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I love co-creating celebrations and events with friends and colleagues. It’s important to mark time, honor passages, celebrate the seasons and revel in community. May we never lose the joy of gathering together in merriment and cheer.
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Preis VVK: 30,-€ zzgl. Geb. - bereits gekaufte Tickets behalten ihre Gültigkeit.
due to scheduling problems surrounding the recording and release of our new album we are unfortunately forced to postpone the tour dates scheduled for January to March 2019. Scheduling the recording with the people we want, where we want and how we want proved more difficult than anyone anticipated. We obviously want to make the best record we can, for us and for you - this is something we simply cannot compromise on.
Making an album is a process with a lot of moving parts, and sometimes making them all come together is a big job. We are happy to inform you that all those pieces are now together, and the recording of the album is well under way, but it will not be released in time for the dates scheduled. As these dates are planned to be the start of the “new album”-tour, we have no choice but to move them.
We know that many of you were looking forward to these shows and that this is as big of a downer for many of you as it is for us. We miss you, we can’t wait to see you, and we will see you soon! This is not a cancellation, it’s an unfortunate but necessary postponement.
Thank you for your understanding and believe us when we say that it will be worth the wait. The reason we make albums in the first place is so that we can come out and see all of you on the road. The new album will be released in full in Spring 2019, and You will get a slice of awesome very, very soon.
Thank you. Peace out. / Royal Republic"
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The rise of the SaaS industry has continued to captivate the business community at large given the impressive growth rate it has sustained over the past three decades. We are now entering a new era where thousands of SaaS companies both new and old are creating solutions to address every conceivable business need. The industry’s strong momentum into an even brighter future is hard to refute; and SaaS executives and investors are keen to play bigger and bolder roles as the industry evolves.
SaaS, which stands for Software as a Service, differs from traditional software in that it is deployed and made accessible to users over the internet (or in the “cloud”). Traditional software in comparison is deployed “on-premises” meaning the software is implemented on the premises of a business client on their own servers whereby employees access the software through a desktop interface connected to a local network.
Helping to fuel the industry’s growth is a wide range of investors including venture capital, growth equity, private equity, asset managers, hedge funds as well as individual investors among others. Those who are familiar with the sector and who understand its potential are participating based on their own unique investment methodology. What they have in common, however, is their commitment to reaping the rewards the industry has to offer.
Currently the traditional enterprise application software industry is estimated at generating approximately $300 billion annually. By comparison, the emerging SaaS industry, a subset of the overall “Cloud Services” market, generates $46 billion annually and is expected to grow to $76 billion by 2020, (Gartner Says Worldwide Public Cloud Services Market to Grow 18 Percent in 2017). Usage of traditional enterprise software, on the other hand, is anticipated to decline as companies experience the many benefits of SaaS including its lower relative cost compared to traditional software, its continuous and seamless platform technology upgrades, and the increasing trust in security protocols offered by cloud providers.
The below chart compares the cost of traditional (on-premises) software versus a SaaS (cloud computing) solution. Note the total cost of ownership of traditional software can be more than twice as much as SaaS, driven by the need for the company to purchase, install and maintain their own hardware as well as hire their own technology staff to implement, customize and maintain the software. Over time, the cost incurred to support operating traditional software far surpasses the actual cost of the software license.
Salesforce is perhaps the most notable pioneer of the SaaS model. Founder Marc Benioff famously declared “the end of software” as he began building his customer relationship management company (CRM) in the late 90s. Salesforce went public in 2004 and today has a market capitalization of $76 billion and generates over $10 billion in annual revenue. ServiceNow and Workday are a couple other notable SaaS companies with market capitalizations of $21 billion and $22 billion, respectively.
SaaS and software can be compared in more detail by their revenue models – how they charge their customers. A SaaS revenue model entails a monthly or annual user fee where the user’s cost of entry to gain access to the software is materially lower compared to purchasing an on-premises license. SaaS contracts can also include an up-front implementation fee depending on the customer’s desire for customization and business specific needs. SaaS contracts can be set for certain time frames such as one year, two year, or three year terms and include automatic renewals. The main characteristic of the SaaS revenue model is that the software is managed by the provider in the cloud and its customers are granted access during the term of their contract.
Traditional software, on the other hand, is offered on a license and maintenance agreement whereby the customer purchases a license to the software and in addition pays an ongoing maintenance fee ranging from 15 to 20% of the license cost in order to receive software updates or have access to service assistance form the software provider. The customer is responsible for its own hardware/servers and employing its own staff to ensure the software is operating appropriately at all times. In most cases, the up-front cost of a license represents a significant budget decision by a prospective customer and entails executive or key person involvement. In contrast, a monthly SaaS fee frequently falls below the budget threshold of a prospective client and is easier for an organization to approve and adopt.
SaaS is a subset of the overall “Cloud” market and perhaps another way to understand the difference between on-premises and SaaS as well as the other cloud solutions in between is with the chart below. Note that the term “Cloud” encompasses the three columns to the right of “On-Premises” describing Infrastructure as a Service, Platform as a Service and Software as a Service.
In total, there are over 50 publicly traded SaaS companies representing over $225 billion in aggregate market capitalization. As of August 31, 2017, the median enterprise value / 2017 revenue multiple is 5.7x. Median revenue growth rate is 17%, gross margin is 73% and median retention rate is 97%. The majority of publicly traded SaaS companies now generate free cash flow, however, the metric is not materially weighted for valuation purposes given the heavier emphasis placed on revenue growth and customer retention.
There are an estimated 10,000 private SaaS companies, the vast majority of which are early stage generating less than $3 million in annual revenue. Entrepreneurs, both technical and non-technical seek to automate the wide variety of still manual or inefficient activities of a business. Moreover, the lure of high-profile SaaS success stories such as those of the public companies listed above, is hard to resist. The cost of starting a SaaS company continues to decline while the speed of product development and pace of continuous product improvement has increased markedly. SaaS entrepreneurs can now spend more time on business tactics such as sales and marketing execution and customer retention.
Meanwhile, private capital firms (venture capital, growth equity, and private equity) play a critical role in the development of the SaaS Industry. They are flush with capital actively seeking investment opportunities in proven SaaS companies that are growing quickly and likely to represent attractive acquisition targets for larger software corporations or other private equity firms in the next several years.
Venture capital firms such as Bessemer Venture Partners and Andreessen Horowitz invest in early stage SaaS companies that have high growth rates and the potential to be break out successes. It is not uncommon for venture capital firms to have in their portfolio two successful investment for every eight failures. The returns made from those two investments more than compensate for the eight failures.
Growth equity firms such as Summit Partners or TA Associates invest in later stage or growth stage SaaS companies that have a proven track record and more predictable path ahead. Each investment in the portfolio of a growth equity fund is expected to return anywhere from 3x to 5x capital invested. Capital is typically used to fund sales and marketing expenses and in some cases provide liquidity to founders and early shareholders.
Private equity firms such as Vista Equity Partners or Francisco Partners invest in more mature SaaS companies that have achieved large scale and have sustained growth, typically while operating profitably. Their goals are typically to further improve margins through operational improvements or acquire companies that bring revenue and/or cost synergies. Each investment in the portfolio of a private equity firm is anticipated to make a return which yields an IRR of 20 to 30%.
Valuing a private SaaS company includes analyzing the following key metrics.
Each of these key metrics could be described and explained in the context of SaaS in great detail. By and large, there are certain thresholds on each metric that investors consider to determine the attractiveness of the SaaS company. Revenue size and growth rate in combination with customer retention and margins are perhaps the most indicative of future potential.
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Gov. Jay Nixon has signed a bill into law that extends several tax-credit programs.
Nixon signed the bill today at the Southeast Missouri Food Bank in Cape Girardeau, one organization that benefits from the extension.
The bill encourages private donations to charitable organizations such as food pantries and crisis nurseries, and provides tax credits to those who give.
Senate Bill 20 reinstates or extends seven separate tax credit programs, including incentives for contributions to food pantries, crisis nurseries, child advocacy centers, and pregnancy resource centers. A donor who contributes financially to a qualifying charitable organization can receive a tax credit worth half of that contribution. By leveraging private donations, these tax credits can decrease the need for more costly state services.
The bill also renews property tax credits for the surviving spouses of public safety officers killed in the line of duty and extends tax credits that help low- and middle-income Missourians make their homes more accessible to loved ones with disabilities. For families adopting a child with special needs, the bill authorizes a tax credit of up to $10,000 for non-recurring adoption expenses. Senate Bill 20 also authorizes an incentive for businesses to create jobs in distressed communities.
The bill was sponsored by Sen. Bob Dixon and handled in the House of Representatives by Rep. Eric Burlison.
Nixon has also signed a bill that authorizes a refundable tax credit aimed at attracting amateur sporting events to the state.
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This policy has been created to assist Ellison Construction Ltd in a manner which respects the environment and establishes procedures which the company and personnel should follow in order to ensure that compliance is maintained with current environmental legislation and to minimise our impact on the environment.
Our policy applies to all personnel irrespective of whether they are full or part time, temporary or permanent or on site or on client’s sites. Our policy also applies to contractors or sub contractors or other persons working on our behalf either on site or on client’s sites.
Ellison Construction Ltd will consult with competent persons as required to ensure that its environmental objectives are met.
All incidents that may have serious or have the potential for a serious environmental impact shall be immediately controlled and rectified. Matthew Ellison must be informed of all environmental incidents occurring within the business. If working on a client’s site then the Site Manager will be informed of any incident or potential incident so that controls can be implemented.
– The company operates an Environmental Management System that conforms to the requirements of the international standard ISO 14001:2015.
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NOTICE IS HEREBY GIVEN that the undersigned has been appointed Personal Representative of this estate. All persons having claims against this estate are required to present their claims within two months after the date of the first publication of this Notice or the claims will be forever barred. Claims must be presented either to the undersigned Personal Representative, c/o AHR LAW OFFICES, P.C., 6707 Academy Road. N.E., Suite A, Albuquerque, New Mexico 87109, or filed with the Second Judicial District Court Clerk, PO Box 488, Albuquerque, New Mexico 87109.
DATED this 21st day of October, 2016.
/s/ George Dana Brabson, Jr.
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None of the Ghosts of Failed Franchise Extensions Past, however, seem to have blunted excitement surrounding AMC’s upcoming Walking Dead prequel series, Fear the Walking Dead. If anything, folks have been craving a full trailer like zombies staring at a sealed corridor of delicious humans.
The network aired the first full screener for Fear the Walking Dead on Friday afternoon at Comic-Con — and now you can watch it here at TVLine! Plus, the spinoff’s finally got a premiere date: August 23 at 9/8c.
We won’t spoil the whole shebang for you, but suffice to say one family’s sweet-but-strained suburban existence gets shattered by a flu-like outbreak that’s ultimately a harbinger of much worse things to come. “When civilization ends, it ends fast,” says one character — and boy he’s not kidding.
The Walking Dead spinoff is set in the Los Angeles area during the early days of the zombie apocalypse, which means that members of the general public have yet to learn what fresh decaying hell awaits them in the coming years. The series’ cast includes Cliff Curtis (Gang Related), Frank Dillane (Harry Potter and the Half-Blood Prince), Alycia Debnam Carey (Into the Storm), Kim Dickens (Deadwood), Mercedes Mason (666 Park Avenue) and Shawn Hatosy (Southland).
Press PLAY above for the full, terror-inducing trailer, then share your anticipation level in the comments!
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Hope the weather’s better than today!
The Dedication of the third phase of the miners’ memorial in Hednesford takes place this Saturday, 26th April, at 2.00pm. The Service will be led by the Rt. Rev. Nigel McCulloch, KCVO.
A further 913 named bricks, remembering those who worked in the Cannock Chase coalfields, have been laid around the grass areas by the clock tower in the town centre and adjacent to the iconic Davy Lamp.
All those who have bought a brick have been invited to Saturday’s dedication, which is open to the general public. It is hoped that hundreds will turn up.
Rugeley Power Station Band will perform, while Cannock Chase Orpheus Male Choir will sing, among other things, the miners’ hymn ‘Take me Home’. Local man, lay preacher and past miner Jim Bullock will be taking part, as will Deputy Lieutenant of Staffordshire, Mr. Anthony Winterton.
Market Street will be closed to traffic from noon. Members of the Chase Arts in Public Spaces (Chaps) committee and Hednesford Lions Club will be acting as stewards and handing out Order of Service sheets, which families will be able to keep as a memento.
After the service, copies of the book ‘A Lasting Tribute’ will be on sale at £5.00 per copy, with inserts containing the names of all included in this latest phase. These will be sold from the large room at the rear of the Light Works arcade. Refreshments will also be available within the Light Works.
A GALLERY celebrating the mining heritage of Cannock Chase has opened its doors following a £150,000 transformation.
Mining Memories, at The Museum of Cannock Chase, provides a new, permanent coal mining gallery for the local community, allowing people to experience a ‘day in the life’ of a miner and explore features of the mines. Visitors can try out interactive displays including a crawl-through tunnel.
The project, which received a £97,600 grant from the Heritage Lottery Fund, has also created an education package to make sure people of all ages get the maximum benefit from their experience at the museum.
Councillors were invited to visit the gallery earlier this week for a sneak preview of the gallery.
A special event celebrating the opening of the new gallery is being planned for June 28.
The museum is open from Monday-Friday, 11am-4pm (last admission 3.30pm) until Good Friday. From Easter Saturday until the end of September it is open daily, 11am-5pm (last admission 4.30pm).
The first talk of this year will take place Wednesday 26th March 2014 at 3.00 p.m at our usual venue the Museum of Cannock Chase.
The second talk will be on Wednesday 21st May 2014 at 3.00pm. Again at our usual venue the Museum of Cannock Chase.
The talk will be on “South Staffs Water” and will be given by David Moore.
All our talks are open to the general public so make an effort to attend and bring a friend.
Hednesford No.1 Signal Box in busy days with West Cannock Colliery Sidings behind it. – Pic Chasewater Railway Museum Collection.
The lifting operation will take place from approximateley 7am when the box will be lifted from its brick base and over the railway lines onto a trailer located at the rear of the new supermarket development. After securing the signal box to the trailer and derigging the crane both vehicles will then drive along Victoria Street and Rugeley Road to enter the car park adjacent to the tennis courts.
The crane will reverse down to the pavilion followed by the trailer and after setting up the crane the signal box will be lifted over the pavilion into its new location. The offloading should start around midday dependant on progress of the first part of the operation.
The Council have been pushing for this important transport scheme for many years, which will transform CannockChaseDistrict. As well as making the District more attractive for inward investment and job creation it will lead to more frequent, faster, quieter rail services from Cannock, Hednesford and Rugeley to Walsall and Birmingham. It will also help make the case to restore direct services to Stafford and potentially beyond to the North West and south to London.
Construction works are due to commence in November, with major bridge rebuilding at Station Road, Hednesford and on the access to the Chase Enterprise Centre.
Network Rail will also produce posters for display at Stations along the route; they also intend to distribute invitation letters to residents etc. in the vicinity of the initial bridge re-constructions.
Councillor Gordon Alcott, Economic Development and Planning Portfolio Leader said, “Electrification of the Chase Line will see the biggest improvement to passenger services since the line was reopened in 1989. The rail service attracted an additional 100,000 passengers within the District in 2011/2 alone, with a total number of 700,000 per annum. This is the first electrification scheme in the West Midlands since the Cross City line to Lichfield was electrified 20 years ago and as well as benefiting passengers with faster, quieter, more frequent services, is set to make the District more attractive for investment. Whenever a railway line is electrified, the ‘sparks effect’ that follows always leads to a substantial increase in passenger numbers as well as economic benefits to an area.
Note: The Chase Line electrification project was announced by the Government in July 2012. Work will start in November 2013 and completion is planned for December 2017. The £30m project will involve electrifying the 15 mile, strategic missing link in the West Midlands electrified network between Walsall and Rugeley.
Cannock Chase District Council unveiled the new tennis courts at HednesfordPark as part of a £3.1M Heritage Lottery Fund project yesterday.
Representatives from Cannock Chase District Council, Staffordshire Environmental Fund and Friends of Hednesford Park officially opened the brand new tennis courts at HednesfordPark, with a ribbon cutting ceremony on Wednesday 25th September.
This is the first phase of the project part funded by Staffordshire Environmental Fund and the Heritage Lottery Fund which has seen the five adult tennis courts being replaced with four adult tennis court and four junior courts all on one level with a new drainage system and new fencing with gates to allow access for all.
Cannock Chase District Council recently obtained £3.1M of Heritage Lottery Fund grant as part of the improvements to HednesfordPark and War Memorial. The full project will take several years to complete.
Councillor Christine Mitchell, Culture and Sport Portfolio Leader said “I am really pleased with the work that has taken place on the new tennis courts, they look fantastic. This is a great start to a really exciting project for HednesfordPark.
Hednesford Town FC continued their table-topping form today (5th October) with a 4-1 victory over Gloucester City at Keys Park.
Hednesford – New Tesco, a set on Flickr.
A series of photographs following the building of Tesco’s new store in Hednesford.
The first 3 photos show part of the site before building work started, The bus station photo was by ‘walsall1955’. The next 2 show the site after it was cleared, taken from Hednesford Hills.
The remaining photos show various stages in the construction, some taken from Hednesford Hills and some from across Hednesford Park.
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"Don't Be So Clingy" LUV Naturals Detangling Routine - Duration: 3 minutes, 18 seconds.
"Love Me and Leave In Conditioner" Tutorial by LUV Naturals - Duration: 4 minutes, 32 seconds.
"Conditional Love" Tutorial by LUV Naturals - Duration: 3 minutes, 17 seconds.
"Wash Me Gently" LUV Naturals Hair Washing Routine - Duration: 3 minutes, 28 seconds.
Spring 2019 Hair Update - Monthly Routine + How to Stop Breakage - Duration: 5 minutes, 38 seconds.
LIVE- 6 WEEK HAIR GOAL CHECK IN😊 - Duration: 31 minutes.
LIVE CHAT - MIDWEEK MOISTURE Session-2019 Hair Goal Checkin - Duration: 59 minutes.
HairSpaDay Chat / Recent Henna - Duration: 37 minutes.
2019 HAIRGOALS | NEW TRIM, NEW GOAL - Duration: 7 minutes, 25 seconds.
Best Style for HAIR GROWTH Part 2 - Grow Your Back and Crown Areas - Duration: 6 minutes, 31 seconds.
How To Find Your Lifestyle Length - Duration: 4 minutes, 47 seconds.
Spring Transition 2018 - Duration: 3 minutes, 22 seconds.
Week #6 Hair Spa Day- My NEW Routine ❤❤❤ - Duration: 6 minutes, 33 seconds.
Week #5 Hair Spa Day- From BAD to BADDIE ❤❤❤ - Duration: 6 minutes, 44 seconds.
Week #4 Hair Spa Day - Duration: 7 minutes, 6 seconds.
Week #3 Hair Spa Day- HOW TO STOP BREAKAGE IN 2 MINUTES! - Duration: 5 minutes, 24 seconds.
This is my natural hair journey series. I add an update about every 3 to 6 months. If I can grow my hair to my waist/ hipbone, certainly you can grow it to shoulder length and beyond. Enjoy!
Kimmaytube HAIR GROWTH Journey Part 1 - Duration: 8 minutes, 20 seconds.
Kimmaytube HAIR GROWTH Journey Part 2 - Duration: 10 minutes.
Kimmaytube HAIR GROWTH Journey Part 3 - Duration: 8 minutes, 31 seconds.
Kimmaytube HAIR GROWTH Journey Part 4 - Duration: 3 minutes, 35 seconds.
Kimmaytube HAIR GROWTH Journey Part 5 - Duration: 3 minutes.
Kimmaytube HAIR GROWTH Journey Part 6 - Duration: 2 minutes, 36 seconds.
Kimmaytube HAIR GROWTH Journey Part 7 - Duration: 4 minutes, 16 seconds.
Kimmaytube Natural Hair Care, Fashion & Lifestyle Channel - Duration: 2 minutes, 44 seconds.
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The Toronto Raptors and San Antonio Spurs meet Thursday in NBA action at the AT&T Center.
The Toronto Raptors look for another victory after winning five of their last seven games. The Toronto Raptors are averaging 113.1 points on 47.4 percent shooting and allowing 107.5 points on 45 percent shooting. Kawhi Leonard is averaging 27.3 points and 8.2 rebounds while Serge Ibaka is averaging 15.9 points and 7.3 rebounds. Pascal Siakam is the third double-digit scorer and Kyle Lowry is dishing 9.8 assists. The Toronto Raptors are shooting 34.1 percent from beyond the arc and 80.4 percent from the free throw line. The Toronto Raptors are allowing 33.9 percent shooting from deep and are grabbing 45.4 rebounds per game. The Toronto Raptors have lost four of their last five road games.
The San Antonio Spurs look to stay hot after winning six of their last eight games. The San Antonio Spurs are averaging 111.5 points on 47.6 percent shooting and allowing 109.2 points on 46.3 percent shooting. DeMar DeRozan is averaging 22.9 points and 6.3 assists while LaMarcus Aldridge is averaging 19.8 points and nine rebounds. Rudy Gay is the third double-digit scorer and Bryn Forbes is dishing 2.4 assists. The San Antonio Spurs are shooting 39.7 percent from beyond the arc and 82.3 percent from the free throw line. The San Antonio Spurs are allowing 35.9 percent shooting from deep and are grabbing 44.6 rebounds per game. The San Antonio Spurs have won nine of their last 10 home games.
The Raptors are 0-5 ATS in their last 5 road games, 4-9 ATS in their last 13 games playing on 1 days rest and 1-4 ATS in their last 5 games overall. The Spurs are 24-8 ATS in their last 32 home games, 5-2 ATS in their last 7 vs. Eastern Conference and 12-3-1 ATS in their last 16 games overall. The Raptors are 1-5 ATS in the last 6 meetings in San Antonio and 0-4 ATS in the last 4 meetings. The under is 6-2 in Spurs last 8 home games. The over is 7-2 in Raptors last 9 Thursday games.
The Toronto Raptors are falling apart due to these injuries, as they're shooting 40.9 percent from the field and are being outscored by eight points in their last five games. The Raptors have also lost four of their last five road games. The San Antonio Spurs are finally starting to put things together, as the offense has come to life and they're now outscoring teams by 7.7 points at home this season. This is also a clear motivational game for DeRozan, and you know his new teammates will be eager to help him stick it to his former team. Also, the home team has won eight of the last nine meetings between the Raptors and Spurs. I'll lay the bucket with the Spurs, as the Raptors are shaky without a healthy Lowry in the lineup.
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In Remembrance of David Ellman, Class of 1968 There isn’t a day that goes by that I don’t think of you. I’m sure there are many others that experience the same fond memories of your time on planet earth.
Back Of The Moon – Fortune’s Road (Footstompin’ Records) This talented young Scots four-piece brings a real smile to the visage and a tap to the toes on this neat selection of songs and tune-sets (six of.
King of the Hill is a long running animated sitcom that aired from 1997-2010. It was created by Mike Judge and Greg Daniels. In the fictional Texas suburb of Arlen lives Hank Hill, a long time salesman of propane and propane accessories who’s trying his hardest to always do the right thing. A lot of the humor in the series comes from the fact that Hank’s a gigantic stick-in-the-mud.
YOUR MAMA’S NOTES: Jimmy Buffett, He-Rah of Margaritaville fame and fortune. digital listings indicate contains four bedrooms and five bathrooms in 4,322 square feet. A brief entrance hall bursts f.
“Little” Jimmy. with his toes, may your wife be plagued with runners in her hose.” Its flabbergasting success sent Dickens down a novelty sinkhole for a few years (“How to Catch an African Skeeter.
Three members of ApologetiX—drummer Jimmy Tanner. impressions of JESUS LOVES YOU on the sand are more likely to be worn by bona fide born-again Christians, as opposed to college students in “Jesus.
The son of a son of a Mississippi sailor, Jimmy Buffett got his start bouncing around Biloxi dive bars and New Orleans drinking dens before finding fame in Key West. “Culturally and historically, the.
Rest your weary feet at brand-new Hilton property The Main. Music lovers, head to Lucy Buffett’s (yes, sister of a certain Jimmy) LuLu’s for an energetic vibe and serious seafood platters. Or, comp.
"We went back to my dressing room and played acoustic guitars, singing ‘I’ll Fall in Love Again,’ ‘Eagles Fly’ and all these songs of mine that he loved. We were drinking tequila and singing until 3 i.
The beaches are getting swept away and the town has to buy pirated sand just. from my own family. It’s sounds like it was recorded inside of an old garbage can, but it’s still better than having to.
In truth, the two went together: Though it wasn’t mentioned in the colorful brochures, the men and women who loped along the white sand beaches. and singing what must have been some French Club Med.
Keeping DTB Alive and Well I love producing this blog but it takes a lot of my time, which is hard to justify without some financial return. I’m a professional writer and I’d appreciate your support–$5, $10, $20, whatever you can afford. I’ve set up my PayPal account to accept contributions.
The NFL wisely got around the first problem the same way the Academy Awards. dragged onto a cruise-ship stage to dance the Macarena after three all-you-can-eat buffet trips. Everyone wore a fetchin.
After much trouble my grandmother eventually got me up and we ran out into the street which was. using their water buckets, stirrup pumps and sand bags before it created too much damage. The rest o.
By Sarah Bousquet. In July I take my daughter to her first swimming lesson. We walk from our house down to the beach, where a young instructor and a few other neighborhood 2-year-olds meet.
released "Bare Feet" out earlier this year on Jimmy Buffett’s Mailboat Records. Working in collaboration with producer Ric Wake, who’s produced Mariah Carey, Celine Dion and Jennifer Lopez. "Kenny has.
“I got this call to say they were stranded — yet when they came into my office, they came in a way like princes. Blackwell had lost his main Jamaican reggae artist, Jimmy Cliff, who had decided to.
"You know, my. Jimmy Buffett’s parrot," and that "try as one might, [you’ll never] escape the claw; nothing can dodge the talons of hate." The site further contains a disclaimer: "For the last time.
A drummer, sick of all the drummer jokes, decides to change his instrument. After some thought, he decides on the accordion. So, he goes to the music store and says to the owner, "I’d like to look at the accordions, please."
“I’m not mad if someone doesn’t like my casserole, I can eat it as leftovers later.” Their sessions might be a leaderless buffet. and keeping your feet on solid ground. On songs like “Sand Houses,”.
All of the songs either directly concern brushing off obligations for a stay in the Jimmy Buffett Archipelago — or. "being as they are," with their shoes kicked off and sand on their feet. But it’.
The Ronnie Foster Trio has been on the scene since Foster left the Australian singing quartet. under the water with my hand outstretched to catch a regulator and be scooped up by a diver who would.
The bullet caught her in the head, lifting her off her feet as it. other than what he got intravenously. Constantly hungry, even starving, he wasted away to a skeleton” – starved to death like an A.
or warming up the Parrot Heads at Fenway Park for Jimmy Buffett as he did this summer. And then there are those nights where he shows up announced, singing “Centerfold” at a recent Billy Joel show at.
This quote: ”I got my first job when I was 9. the out-of-control Rob Lowe promo, the singing battle against Late Night host Jimmy Fallon). 95. Leslie and Ann finally have a blowout. “I wouldn’t cal.
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Height 5 feet 6 inches. Weight 135 lbs. Chest measurement 31-34 inches. Complexion fair. Eyes blue. Hair brown. Sight, hearing and colour vision all normal. Limbs and chest well formed. Full and perfect movement of all joints. Heart and lungs normal. No illnesses. Free from hernia, varicocele, varicose veins, haemorrhoids, inveterate or contagious skin disease. Vaccinated. Good bodily and mental health. No slight defects. No fits. No distinctive marks or marks indicating congenital pecularities or previous disease. Assessed as 'Fit'.
Martin Joseph Kelly was born on 24 December 1884 at Timaru, the youngest surviving son of Richard and Elizabeth (née Carroll) Kelly, and baptised Catholic on 29 January 1885 at Timaru. His parents had married in Ireland and came to New Zealand in 1874, settling in Timaru. Martin may well have been educated at the Timaru Catholic School, where his older brother William won a prize in 1880. Martin’s mother died a month before his seventh birthday, and six years later his father, a platelayer working at St Andrews, died under chloroform. 54-year old Richard Kelly, who had been on the sick list for some weeks and had only just returned to his work, had had a fit, fallen heavily and dislocated his shoulder. In July 1906 the half-acre section and 5-bedroomed house in Le Cren Street, belonging to Richard Kelly senior, was offered for sale. The following month there was a clearing sale of the furniture, etc. Of the surviving family perhaps only Frank and Richard junior remained in Timaru by 1906. His oldest sister, Mary Anne (Annie), had married John Connor in 1884. William Kelly, one of the family born in Ireland before migration, died on 31 March 1901 at Timaru, aged 31, from a football kick at the park.
By 1911 Martin was living at Konini, where his brother had settled. Martin Kelly, a butter-factory hand, of Konini, was initially listed in the Reserve Rolls. In early April 1916 he registered for the infantry at the Masterton Recruiting Office. He was one of a large number of men who were notified to report at Masterton on 26 June in order to proceed to camp. On 26th “a particularly fine body of men” – the Masterton area quota of the 18th Reinforcements – left Masteron for camp. The Masterton Band accompanied them to the station where they were given a very hearty send-off.
His next-of-kin was his oldest brother Dennis, whose son Francis Hugh Kelly also served in World War I, embarking just one month after Martin. Martin was residing with and working as a butter factory hand for his brother Dennis Kelly, of the Konini Dairy Factory, Pahiatua, prior to his enlistment. He enlisted on 26 June 1916 for the duration of the war. Roman Catholic, single, of fair complexion, blue eyes and brown hair, he was assessed as in good health and fit. He embarked 16 October 1916, with the Wellington Infantry Battalion, 18th Reinforcements, per the “Willochra”, leaving from Wellington for Devonport, England. From 29 December 1916 his name appeared on the Nominal Roll at Sling. Some six months later he proceeded overseas and in July 1917 joined his battalion at Rouen.
The newspaper casualty lists of 7 November 1917 recorded sixty-five deaths. One of those was Private Martin Kelly, of Konini, 28158, Wellington Infantry Regiment, who had fallen - killed in action on 21 October 1917, at Passchendaele, Ypres, Belgium, aged 32 years. Having resided for many years in the Konini district, Martin was very well known there. Their brother Frank was still in Timaru (on the C.F.C.A. staff) when he received word of Martin's death. Martin seems to have gone through his time at the Front relatively unscathed, only to fall just a year after embarking.
One of the hundreds whose bodies were not recovered, M. Kelly, 28158, is remembered on the Tyne Cot Memorial, Tyne Cot Cemetery, Zonnebeke, West-Vlaanderen, Belgium. (NZ Apse, Panel 6). The name of Martin Joseph Kelly is inscribed on the Pahiatua War Memorial (as Kelly M J). Pahiatua’s War Memorial, inscribed with the names of 121 fallen men, was unveiled on 20 July 1922 by the Governor General, Lord Jellicoe, and his wife, Lady Jellicoe, in the Main Street Square. Among the record gathering were the Mayor, the County Council chairman, returned soldiers, and about one thousand school children.
Martin Kelly’s medals - British War Medal and Victory Medal – were despatched to his brother Mr D. Kelly, P. O. Store, 40 Mile Bush, Konini, as were the plaque and scroll.
Brother Dennis Kelly had been with the Konini butter factory since its inception and was for many years the manager; he was also the official cow tester, and sometime postmaster. In 1917 he supported an appeal against war service for one of the employees whom it would be very hard to replace. Both Mr and Mrs Kelly were very active in and valued members of the community, and their two daughters and son contributed to local musical functions. In May 1918 Dennis Kelly was instrumental in arranging the Konini butter staff’s Red Cross social which netted ninety shillings. His son Francis Hugh Kelly, a nephew of Martin, embarked for the Front a month after Martin. Young Frank was severely wounded in action and had to have his leg amputated. Martin’s brother Frank was warmly farewelled from Timaru when he left for camp in August 1918. In 1914 Frank had married Ellen Mulvaney, whose brothers (John, Joseph and Thomas) served in World War I, Thomas being killed in action in 1918. Their sister Margaret Elizabeth Kelly married in 1930. Brother Richard, who had been elected to the Timaru Borough Council, was listed on the Reserves Roll, being a married man with children. He died in 1922, leaving a young family of five. Two sons of this brother and nephews of Martin – Richard Lockwood Kelly and William John Kelly,– served in World War II. Another of Richard’s sons, born in 1918, was named Martin Joseph Kelly. A portrait of Private M. J. Kelly was printed in the Auckland Weekly News, 1918.
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Home » Washington DC and Maryland Bankruptcy BLOG » Newsletters » What is Lien Stripping in Bankruptcy?
What is Lien Stripping in Bankruptcy?
The United States Supreme Court is reviewing two Bank of America appeals. The bank is hoping that they can convince the court to overturn two rulings, Bank of America v. Caulkett and Bank of America v. Toledo-Cardona, which allow stripping of a lien. In both cases, Bank of America is not the primary lender.
Chapter 13 bankruptcy lien stripping helps heavily indebted people find some semblance of relief. In addition, they can keep their house and possibly discharge part of their debt after they fulfill their Chapter 13 payment plan.
What Are the Requirements for Lien Stripping?
Lien stripping is applicable in Chapter 13 bankruptcy throughout the United States. Additionally, the value of your house must be less than your mortgage and you must have multiple mortgages or lines of credit on the house.
Suppose you have a house with a mortgage of $200,000 and an equity line of credit of $25,000 when the real estate market plummets in your area, causing the market value of your house to sink below the cost of your mortgage to $190,000. You soon realize that you cannot make payments on the house and then file for Chapter 13 bankruptcy. In this case, you will have met the requirements for lien stripping.
What Happens in the Lien Stripping Process?
If you are eligible to lien strip the $25,000 debt, then the debt will move from secure to unsecure. It will not be discharged right away. This means that the lenders that have been stripped could still receive some money during your Chapter 13 payment plan. Generally, the plan will last three to five years depending on how much unsecure debt you have. After the payment period has been fulfilled, then whatever remaining debt owed to the equity lender will be discharged.
Chapter 13 lien stripping benefits everyone because you would be able to keep your house, the primary lender would receive his or her entire payments and the equity lender would get some of the money that he or she is owed. Had this been a Chapter 7 bankruptcy, your $200,000 house would have been sold for less than what it was worth. The primary lender would have a deficiency judgment that is unsecured against you of $10,000, as the house was sold at the then market value of $190,000. Finally, the equity lender would have that same $25,000 unsecured debt against you that they would have in Chapter 13, but little hope of payment from you in a Chapter 7 bankruptcy. Therefore, everyone benefits in a Chapter 13 lien stripping scenario—but the banks will still try to fight it.
Like credit cards and other forms of unsecure debt, your debts from your secondary mortgages can be discharged in bankruptcy; however, Chapter 13 requires that you fulfill a three to five year payment plan before you can discharge your unsecure debts.
Lien stripping is beneficial if you are in debt, but it is a complicated process. You will want to find a Washington DC or Maryland bankruptcy attorney to guide you through the process. The Law Firm of Kevin D. Judd offers a free initial phone consultation.
← Bankruptcy: Do I Need to Disclose All of My Assets?
Can Bankruptcy Affect a Wrongful Death Lawsuit?
What Happens If You Hide Assets During Bankruptcy?
Will Declaring Bankruptcy Discharge My Student Loans?
How Does Chapter 11 Bankruptcy Help Businesses?
Will Filing for Bankruptcy Affect My Job?
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manchester secretarial : Central Weather With respect to voice transcription review 2 .
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A Quick Breakdown Of : On the liability side for corporate plans, the person can choose to contribute a minimum amount of time spent mortgage protection working.
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Having a highly differentiated set of automation and AI capabilities is a doubled edged sword.
On the one hand it provides an exciting platform for growth as Arago helps clients to redefine digital operations through our decision-making engine AI platform HIRO. At the same time this allows them to accelerate their digital journey while fending off disruptors.
On the other hand, this differentiation doesn’t lend itself easily to be pigeonholed and tell the story by following a well-trodden path.
I was therefore delighted to hear our partner, SYSback, not only talking about their experience with Arago but also demonstrating HIRO at a recent AI conference in Cologne. Talking to Olaf Windhäuser, Senior Vice President Services, and his team at that conference provided valuable insights into the lessons learned from the early deployments of AI.
While we are going through the process of changing the way we position and communicate our capabilities, I took the opportunity to catch up with Olaf to follow on from our discussions in Cologne.
Olaf, I must admit I only came across SYSback once I joined Arago. Could you summarize what SYSback is all about and what you are trying to achieve?
SYSback is a 16-year-old IT company in Germany headquartered in Hamburg with locations in Darmstadt, Cologne, Dresden and Munich. We were founded as an IT company that sold hardware as well as software and made professional services projects with those components. I have been at SYSback for 4.5 years now and together with my colleagues on the SYSback board, I am turning the company from a reseller into a proper IT service provider.
Our business model today is called “Holistic Automation”. We automate everything end-to-end, meaning processes as well as technology. This is a big part within Digitization today, since data is everywhere and needs to be automated so that enterprises can apply them in new business models. We bring ITSM and Automation (Runbook, RPA and AI-based) together to generate end-to-end automation and to overcome all the silos that customers have typically built in their IT worlds over the last couple of years. Nevertheless, in times of Hybrid Cloud, silos have stopped clients from delivering services effectively and therefore need to be overcome to implement ITIL and DevOps at the same time.
In 2019 we will expand our ITSM and Automation capabilities into a Managed Service offering, which will give us the USP becoming the only Managed Service provider in the German market that is capable of delivering highly automated and therefore high-quality Managed Services to midsize companies as well as larger enterprises. The other differentiator is that our offering is delivered out of Germany from our hubs in Hamburg and Darmstadt, thus with perceptions of great quality, high SLAs, and still reasonable cost.
As an early adopter and proponent of Arago what attracted you to our approach and how do you tell the story to prospects?
The approach of knowledge building blocks that are captured and codified by HIRO is a unique approach in our portfolio. Our automation solutions typically follow the traditional runbook approach. HIRO also offers the option of reusing parts of the implemented use cases, i.e. the atomic knowledge building blocks, in other use cases, thus, reducing the development effort required in automation.
This is a great advantage, especially for customers who want to automate on a large scale. The more knowledge that is captured during projects, the more work can be leveraged in other use cases. Of course, this requires a certain rethinking on the part of our customers. Runbooks are easier to understand as the complexity is lower. Conversely, the AI approach is always challenging at first, like any new technologies. We support our customers with training to understand this approach better, so that they can write their own AI building blocks as soon as possible to take advantage of this approach.
There is a lot of noise around automation and even more so around AI.
How do you see Arago fitting into those discussions?
Basically, every provider of AI solutions appears to have a different definition of AI. For example, if you speak of self-learning AIs, these are systems that learn from successes and failures. Of course, nobody in an enterprise environment wants an AI to have several systems broken first, so the fact that it learns from failure is rather a bad idea. HIRO's approach, on the other hand, is to create knowledge building blocks that are applied in specific situations. These WHEN and WHERE operations of an AI must be open enough to be reused, but also restricted enough not to be executed at the wrong time. With these definitions one provides a basic framework for the application of the knowledge and thus prevents unexpected execution.
Arago has found an approach to AI that can also be used directly with customers. One issue that has to become better over time is that customers will have to understand the difference between Machine Learning (ML) and Machine Reasoning (MR). Customers speak about ML all the time while MR is widely unknown. Nevertheless, MR is a much stronger approach than ML alone, but we have to create more market awareness to outline both the differences as well as the benefits.
What are the lessons learned from the early deployments, for better for worse?
HIRO needs knowledge to work. This information is stored in 3 ways: Factual Knowledge (stored in the graph database), Situational Knowledge (Issue) and Actionable Knowledge (Knowledge Items). Creating this knowledge is the first task needed to start automating. This requires a lot of information from the client who wants to automate his environment. If there is no well-kept CMDB to extract the data or no experts available to explain the process, you can’t feed this information to HIRO. Clients need to be aware of this. To automate you don’t just need a good tool, you also have to have the processes and the information available.
You are a veteran in the world of automation. What piece of advice would you pass on to clients?
SYSback is really a veteran in the world of automation. We have had more than 3.000 customer meetings around this topic over the last 10 years resulting in endless automation projects built with several different automation tools, leading into completely different IT architecture and discussions about organizational change. So how do we approach these discussions today?
If you automate “holistically” you are changing your delivery model and thus your company. That means a lot of “change management” since successively everything will change when automation takes over the work of humans. Humans are freed to do more creative work, e.g. root cause analysis or project work instead of incident management or stupid deployment management jobs. Nevertheless, most people do not want to change. Therefore, you have to prepare for a lot of resistance.
So, if I would have to tell newbies only one thing then that they should focus on “creating a decent governance model”, otherwise your automation project is doomed to fail. Therefore, everybody must sit in the same boat and should not be afraid that automation might destroy jobs, otherwise everything will end in resistance of the workforce. Rather, there must be a change process in line with the actual technical project and the C-Level definitely has to govern this with a strong support process.
Thanks for all the valuable insights, Olaf. We look forward to continuing educating the market with you and all our partners. In such a noisy marketplace, practical experiences are ever more valuable!
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Skill(s): Hand to hand combat, marksmanship.
Personality: Moses, on the job, is professional and hard working. He takes his job very seriously, and carries out orders perfectly. He doesn't question his superiors and would never think of it. Off the job, he is friendly and charming, and has a great sense of humor. He views the games as a good thing for the most part, as he thinks its a chance for redemption that most never get.
Notable Attributes: Strikings eyes and slender yet toned physique.
History(if any): Moses grew up in a family with a history of military service. When he was old enough, he enlisted and performed his duties as expected of him. He received a lot of praise from his superiors and top marks across the board. A few years ago, an old family friend (Mok) contacted him about being a guard on Vian's Locker. Figuring why the hell not, Moses agreed and has been keeping order on the show ever since.
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Hey everyone. This knife, though fairly common, is very special to me as it's the single piece that got me started collecting militaria. This knife originally belonged to my dad who was issued this very knife brand new in 1967 when he was stationed in Vietnam with the 7th Marine Regiment of the 1st Marine Division. He went through many combat and search and destroy missions with this knife so naturally when his time came up in Vietnam in January 1968 he hid this knife at the very bottom of his sea bag and boarded a plane to go back to the US to be restationed at MCAS in Beaufort, South Carolina. I have most of my dad's issue gear including this knife that he smuggled home but as this was my very first piece of militaria and a present from my dad it's very important to me. I always walk around with it at gun shows or out in the woods with it at my side since that's what my dad wanted me to do with it in the first place (he told me it would be better to have it on me and use it instead of letting it rot in a safe where it had been since the mid 70s). Hope you guys enjoy it as much as I do.
Nice, the family story behind it is what makes it even more valuable and rightly so. Thanks for sharing.
Last edited by ffuries on Fri Jul 07, 2017 3:01 pm, edited 1 time in total.
That's awesome! I had the honor of serving in 1/7 in the 1990's: The Magnificent 7th has one of the proudest legacies of any Regiment in the entire Corps. Semper Fi!
I understand how you feel. My cousin sent me my uncle's knife that went through the pacific war with my uncle's USMC cousin; who gave the knife to my SeaBee uncle in 1944. Both came home after the war, and I spoke with them both often when I was young. I will pass the knife on with the provenance to my daughter.
Great story , thanks for sharing. My Dads friend was in the Marines and passed his Camillus on to him. Knives are so much more when carried as so.
A nice piece of history and one that can be passed down for many years.
I carried one for years and even during the war, Desert Storm. I'll pass it down to one of my kids one day.
Another one here that served with The Magnificent 7th, 1/7 and 2/7. Semper Fi.
My dad served with 2/7 over in Vietnam and he brought home a bunch of stuff. His issue gear was the most prominent but he also brought home some souvenir wall hangings and paintings from Thailand during his leave there in late 67, a VC flag he captured during a major offensive, and several different kinds of surrender leaflets he would find on occasion during patrols. However some of his best bring backs are the tons of photos he took over there that were converted to slides later on. Now we as a family are converting them back to normal pictures to be better preserved for future family members.
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DC NearlyWeds: To shuttle or not to shuttle..that is the questions?
To shuttle or not to shuttle..that is the questions?
What is the answer? As I previously posted, transportation has been a big issue for FI and I. We have the bridal party/our transportation/and our parents transportation figured out, however its trying to figure out the "other" guests that the issue arrises.
Do we really need to pay $650 (the cheapest price we have found so far) for a large shuttle to transport guests from there hotel, to georgetown back to the reception. At first I thought YES of COURSE we do, but then I started to think. The hotels where we are looking to do a block of rooms at ( there are 3 seperate hotels) are ALL a mile or less from the church and all about 1-2 BLOCKS from the reception site. Now it's not like we are having our wedding/reception in the middle of nowhere, we are in the middle of a large city, where taxis are abundent and for the short ride, not that expensive! Also, there is some parking in the georgetown area, and our reception site has an underground parking garage available to guests.
The picture I posted above is of a DC Trolley, I thought would be a "cute" idea, but so far it seems like it cant be achieved for less than 1500---for 40 people....although a cute idea, I don't think its worth it for us.
Personally, I think this is a way for us to save some money-what do other DC brides think? With the abundance of transportation in the city do you find it necessary to shuttle your guests?
I could not agree with you more. Sure if you have the cash to spare it's a nice thought but I keep thinking back to 10-15 years ago when nobody provided shuttles and things like that for weddings. And somehow everyone managed to find their way!
I think it's an example of another luxury that brides increasingly think they *have* to have for their wedding to be successful.
Put that money towards something else...especially if it's something like food or music that your guests will really enjoy.
We've been to two weddings this year that both had shuttle service and the shuttle companies completely messed up so people were scrambling to squeeze into cars and vans at the last minute. If we had just planned to drive before it wouldn't have been an issue.
i agree. no shuttle. that price is outrageous!!!!
We are debating the same thing. We wanted to have a bus to save on our carbon emissions- but at $700 miniumum we balked. It's really a lot a money. I'm not sure we will do it because it just is so much money.
Nah. You don't need a shuttle. Walking in Georgetown can be fun, anyway, especially to someone not from here. The architecture in the city is beautiful. And that makes for great photos! I love the idea of a "wedding parade" if it all works out!
Love. Life. And Free Photography!
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In certain scenarios or environments a client may be unable to send an email with an attachment from a mobile device. This usually occurs when the Edge Security Pack (ESP) is enabled with Client Certificates on the LoadMaster, but Client Certificates is also enabled on Microsoft IIS. In this scenario, Microsoft Exchange returns a 413 "Entity Too Large Error".
Disable Client Certificates on IIS.
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{
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"url": "https://support.kemptechnologies.com/hc/en-us/articles/115002311943-ActiveSync-Attachments-Client-Certs",
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Stephanie Rearick Jr. is Stephanie Rearick on casio and loops. it's cool. Diana Darby opens!
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Learn English in simplicity while having fun.
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I have already given support classes to several children and all seemed satisfied.
Returning from a language study trip to England, I learned to perfect my English and to know the culture. As English is an international language that surrounds us on a daily basis, I am available to help anyone who needs it. Having taken preparation courses to get my C1, I could teach with variety. From oral comprehension to written comprehension, text writing and speaking, there are many ways to learn this language.
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{
"timestamp": "2019-04-21T06:41:22",
"url": "https://www.apprentus.com/en/private-lessons/echallens/education-et-trainings/english-as-second-language-esl/english-simplicity-while-having-fun",
"language": "en",
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{
"timestamp": "2019-04-21T14:12:54",
"url": "https://www.enviosimple.com/en/envios-bucarest",
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FACT: SIZE DOES NOT always EQUAL TO STRENGTH. I understand where the logic comes from. The opposing belief seems viable when comparing a toddler to an adult; in which case then yes, size will likely equal to strength. Here I am speaking about the context of physical fitness and athletic performance in adults because although this principle applies to children and young adults when comparing them within the same age category, it’s hard to compare growing children because neither age group are physically mature yet. The truth I want to highlight is that size is not a true measure of strength due to the complex structures which exist within the human body.
On several occasions, in a group class setting, I’ve had women react with complete surprise at how strong I am for such a small person. In Asia, I would say I’m of average size, but I guess to the rest of the world I am what some would consider petite. I am 160cm (approx. 5’ 2’’) and my weight fluctuates between 47 kg-50 kg (approx. 103-110 lbs), but through my athleticism and commitment to training over the years I’ve been able to develop great strength for my size.
Here’s what’s important to understand. Muscle strength is not a matter of size, rather, muscle strength is a matter of force and velocity, which simply put is what allows for muscle contraction to occur. It’s possible to be small in appearance and size but strong in strength. Force is defined as strength or momentum which propels physical action or movement, while velocity is defined as the speed of the movement.
When training for strength, understand that there’s a whole lot more going on under the skin than just lifting, pushing, and moving. What needs to be classified is whether you’re training for size or training for performance and endurance. This difference in classification is what will differentiate between the type of training that’s best to achieve the desired goal. At its scientific level, muscle hypertrophy or muscle growth can occur in two ways: myofibrillar hypertrophy and sarcoplasmic hypertrophy. Neither of the two are better than the other, nor do they exclusively occur independently of one another, but the distinction creates an emphasis on why defining the goal for training matters.
First understand that each muscle fiber is an individual cell with multiple nuclei. Contraction or shortening of the individual muscle fiber is ultimately responsible for contraction of a whole muscle. Myofibrillar hypertrophy is an increase in the size or thickness of the cellular structures of the muscle fiber through the increase in myofibrils within each muscle fiber. An increase in myofibrils improves the force-production of individual muscle fibers because myofibrils is what contains the contractile (active) proteins: actin and myosin, which what makes muscle contraction possible. Sarcoplasmic hypertrophy is an increase in the volume of the semi fluid which surrounds individual muscle fibers but doesn’t contain the contractile proteins actin and myosin. Sarcoplasmic hypertrophy prioritizes on muscle fibers which contain the proteins used for tissue repair and growth. The increase in volume is what people refer to as muscle “pump,” as this situations creates increased cross-section of muscle fibers, but the enhancement in appearance and size is caused by an increase in semi fluid, but the semi fluid does not impact the contractile capacity of the muscle fibers and therefore does not impact force production. This is why identifying the goal to training is important.
Not all training are made equal because beyond the aesthetic and physical efforts there’s a lot of complex physiological, neurological, and chemical reactions and relationships which occur underneath the skin; beyond what meets the eye. This is why cardio may not be the best for weight loss and why strength training is advocated by many health professionals, because if size alone is what’s desired then there are specific methods of training which are more favorable to such goal while the same is true if performance is what’s desired more. At the end of the day, this is why narrowing to more specific goals and having a clear understanding on what the desired outcome is, beyond just being toned and fit is important.
McCall, Pete. “10 Things to Know About Muscle Fibers.” ACE, 7 May 2015, www.acefitness.org/education-and-resources/professional/expert-articles/5411/10-things-to-know-about-muscle-fibers.
Neumann, Donald A., et al. Kinesiology of the Musculoskeletal System: Foundations for Rehabilitation. Third ed., Elsevier, 2017.
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Vanessa Ferrer has been a successful businesswoman for over 15 years in finance and artist management. Armed with the heart of an artist, the belief that she could make a difference, and the drive to make it happen, Ferrer founded InFocus Artist Management in 2009. A Certified Public Accountant and alumna of NYU with an M.S. in Real Estate Finance & Investment, she solidified her music industry acumen through Berklee College of Music’s music business program and hit the ground running. After managing several touring clients and consulting with high-profile industry professionals, Ferrer used her multi-faceted background to develop and launch (2015) Merch Cat, a musician friendly platform for music artists to sell and manage merchandise at live shows. Merch Cat Fan, a fan facing virtual merch table and merch market place is slated to launch in spring 2018. Merch Cat’s big vision is to create an ecosystem of solutions that enable artists and stakeholders to maximize the direct-to-fan merch opportunities rooted in the live show environment. Since the launch of Merch Cat, Ferrer has spoken at over a dozen conferences, including Music Biz and SXSW 2017, and has quickly become a familiar face and respected voice amongst her peers in the music community. Through her speaking efforts, Ferrer aspires to help artists have sustainable careers, as well as inspire other entrepreneurs in music and music technology. Ferrer is a member of NARAS, A2IM, the Music Business Association, and Women In Music.
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"timestamp": "2019-04-21T22:48:38",
"url": "https://eastcoastmusicconference.com/vanessa-ferrer/",
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Within the fast-paced life it has develop into the tendency of human to take quick cut in life and obtain success. Sporting weights before you’ll be able to achieve this stretch will make it tougher and take longer to stretch. When you’ll be able to reach the ninety diploma level, the ankle weight and gravity truly help your foot go down additional and additional in the direction of your head. Once you are past the vertical (90 degrees), your hamstrings can stretch in a painless, virtually passive method.
It is attention-grabbing to see the paradox of man at play in how many are inquisitive eager to know extra concerning the flood and the explanation for the flood, even who the giants are that is learn of in the Bible; but when writings are current to explain all these and extra then males oppose these writings which have been inspired of God within the books of Enoch and cleave as an alternative to the Bible as if instantly content material with not understanding. Read more about second life sit shortcut here. That is likened to saying that one is content material with being blind, even misled.
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First of all, I realize that I haven’t updated my blog in a while and I sincerely apologize for the long wait. I’m sure you’ve all been very worried and simply beside yourselves without my delightfully deep and meaningful ramblings on the nature of all things…well…me. But I assure you, it is okay. I’m fine. I’ve returned. Where have I been, you ask? (I’m sure you’re all dying to know.) I’ve simply been busy. Last time I posted, Thanksgiving Day was fast approaching and I was preparing my humble home for company. Soon after, the day of the feast arrived and I began my day of cooking. Unfortunately for me, my invaluable partner, my irreplaceable assistant, my wonderful and brilliant wife, was ailing from the flu and a rather overwhelming ear infection. (Don’t worry, she’s feeling much better now.) Somehow, I managed to neither hurt nor embarrass myself without her help…or at least, no one’s told me that I embarrassed myself, which is good enough for me, I suppose. I did, however, discover a newly invigorated appreciation for my beloved spouse as I was forced to incorporate her share of the day’s chores into my own. (So many potatoes to peel!) And yet, even in her discomfort she still somehow managed to remain a gracious and wonderful host to our guests and even managed to help me prepare the rolls. I was only about an hour behind schedule for all that…and since the Packers game was on in the living room, no one even seemed to notice. After Thanksgiving, and up until now, I’ve been occupying myself with one thing or another. My dear wife’s flu has not fully infected anyone else in the household, although the children and I have all had little ailments that have knocked the energy out of us for a few days on different occasions. We’ve also had a number of other, much smaller parties to plan for. There have been birthdays and family visits. In the future, perhaps I should take a formal leave of things such as this blog during the months of November and December so that I don’t leave you all feeling so abandoned. It really is a very busy time of year for me.
But I’m here now, and I bring joyous news! I’m here to announce the return of the short stories!
Yes, that’s right. The short stories are returning. This week!
It’s okay. I know how exciting this must be for you. You can cry. I won’t tell.
This Friday, you can look forward to the release of my brand new book, Buried in the Basement, a collection of dark and scary tales. Included in the collection are the four stories previously available through online retailers as well as two brand new, never-before published short stories.
Let the frenzied waiting begin!
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John Chiara has made a career of revealing in a wholly new manner places that have been captured endlessly in paintings and photographs. Early on, in his last year at art school, he built an enormous camera obscura hauled on a truckbed that he used to explore the San Francisco area. After that he targeted Los Angeles (and sites around California), and most recently New York City and the Hudson River Valley. His makeshift cameras, which Chiara enters and operates from within, use wall-mounted photosensitive paper to catch light passing through the lens that he burns, dodges, and often filters to simulate darkroom processes — but in the field, in real time. For the New York series, West Side at Tioronda, he switched from direct-positive Cibachrome paper to sheets designed for use with negatives, which produce inverted colors. Blue becomes dark orange, shadow becomes light. The effects of the “noise” he surrenders to — light leaks and flares, traces of tape, anomalies of exposure that make most photographers cringe — create ghostly images that Chiara likens to the slivers and ambiguities of memory. These are not so much observational portraits of place as they are impressionistic moments of heightened reality, almost psychotropic in their distortion and intensity. As he remains interior to the camera, so does his art feel interior to our vision.
“There is no better way to fall in love with a place than to sincerely try to photograph it,” says Chiara. He arrived in New York with visual preconceptions, but in the course of shooting there his sense of the place changed. His electrifying images of the cityscape, some towering, some closeup, alter our own perspective of the city.
Since receiving his first camera at the age of nine, photography has been Chiara’s means of understanding the world, and his unique method uncovers hidden facets of familiar urban spaces by making the ordinary seem extraordinary. Exploiting the chance events of chemistry, using stripped-down components and extended time (as much as 30 minutes per exposure), and manipulating from within to cause scarring, degrading, and aberrations of color and temperature, Chiara finds a kind of rapture in the very DNA of the photographic medium. Meanwhile, the reflectiveness of the paper adds to the dimensionality of the surface, and suggests objectness as much as image. The irregularities — crooked trims and curled edges — humanize the photograph’s mechanical origins. The viewer is always drawn back to the work’s concrete properties as image carrier as well as image. Aesthetics are piggybacked onto process, which is made front and center.
Although he often shoots on populated streets, he separates himself from the traditional realm of street photography by virtue of his peopleless end results. For his New York series, Chiara plays with the act of strolling through a soaring metropolis, a flâneur idly absorbing the geometries that define Manhattan. He had to construct a new device capable of a wider angle and more vertical exposures, and ventured into diptychs that fused two perspectives, one above the other. These multiple views suggest the fractures of Cubism, the impulse to present different angles of vision on the same field and thereby bend static reality to meet temporal reality. His work inspires meditations in many directions, and not least on the psychology of seeing things passed unnoticed until they are transformed by tricks of light.
John Chiara, West Side at Tioronda, is on view at Yossi Milo Gallery through May 21.
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You can also save as much as you can with AnyCodes ssense Coupons deals. The, ssense, community, be sure to sign up with. Up to 30 OFF. First, you pick up the item and add it to the..
anyone in their "youth" age ranges a deal. Dep: Aug 27, 2018, rtn: Sep 5, 2018, sAT, san AntonioMEX, mexico City282.31. 100 Secure Bookings, get emails from StudentUniverse with first dibs on travel deals, news, contests and special offers. FromToDepartReturnSample Fares new York CityTorontoSep 07, 2018Sep 14, 2018215.59, bostonMontrealDec 04, 2018Dec 06, 2018230.17. (No need to prove you're a student here!). Generation Fly, lufthansa's student travel program promises the airline's lowest and most flexible fares will be available to students with a valid school email address.
But plenty of websites offer stellar student travel deals, if you know where to look. Study abroad flights, thinking about studying abroad for a semester? From coast to coast, from the Gulf of Mexico to the Canadian border, you can find a flight deal that wont leave your pockets empty when you get to where youre going. (You can opt out at any time.).
Dep: Nov 29, 2018, rtn: Dec 1, 2018, sFO, san FranciscoYVR, vancouver283.72. American Airlines Vacations, check out the airline's college page to find vacation deals for travel to Jamaica, Hawaii and more. Identity Card through STA for discounts on air travel, hotels and train tickets worldwide. Check out our cheap domestic flights page and start flying. Dep: Aug 15, 2018, rtn: Sep 14, 2018, lAX, los AngelesYVR, vancouver265.02.
CheapOair, the online travel agency has a special student travel page where you can search cheap flights for travelers between the ages of 16. Let the international journeys begin!
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"url": "http://whcs.eu/43389-student-discount-flights.html",
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A sense of humor, honoring other women and using creativity in the face of challenges are three keys to success for women in the workplace, according to panelists on the “Dealing with Career Disruptions” session at the 2017 Carolina Women in Business Conference.
Five women convened in front of an audience for this panel, in order to provide future business women with their tips and tricks for dealing with adversity in the workforce.
Although they came from different walks of life and career paths, they experienced some type of change in their career since entering the workforce. Some of their alternative paths were more planned than others, but all of the women agreed that adversities had fostered success in their futures, both personally and professionally.
The panelists agreed that no two disruptions are the same, but that every career change is an opportunity to improve on your past. By encouraging other women to have the strength to experiment with a different field of work, you allow them to progress from the risks that they make.
Strength is found when faced with challenges, but resiliency is determined by how well one accepts and moves forward from the disruption. Simple, day-to-day actions can determine the trajectory of a life path.
Jeffs shared a morning routine that helps her be more confident – and it was nothing that the audience expected. Jumping out of her seat on the panel, she showed the audience her “power pose.” She was skeptical the first time she heard of it, but now recognizes an increase in confidence and a larger sense of strength that she has received from repeating the stance every morning. She’s found the mindset so beneficial that her husband and her young daughter join in with her.
“It’s a really great family bonding moment to start off my mornings,” says Jeffs.
Other panelists included Geanine Thompson, associate director at the Emily Krzyzewski Center, and Cathy Combs, director of sustainability at Eastman Chemical Company. Tonya Taylor, principal and executive consultant of the Gift Development Group, moderated the panel.
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Academically affiliated with LSU Health New Orleans, the Urology Department at Children’s Hospital is actively involved in training the next generation of urologists in the principles of best pediatric urologic care. We have medical trainees from both LSU, Ochsner and Tulane urology residency programs who are closely mentored in caring for children. Our staff is dedicated to not only providing the best current care but also developing the care of the future of pediatric urology. We have many ongoing research efforts aimed at improving outcomes and patient experience with your child's privacy and safety as our foremost concern.
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{
"timestamp": "2019-04-25T03:54:02",
"url": "https://www.chnola.org/our-services/urology/research-education/",
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I’m embarrassed to say I’ve paid little more than quick visits to my family pages at WeRelate lately, so once I finally did stop by for a good look around, I was pleasantly surprised.
First off, the current featured page for David Edmiston, and the associated Early Settlers of Augusta County, Virginia page, are quite inspiring. I love the beautifully designed links box on David’s page that directs you to all the research related to him and his family.
The addition of the new family tree viewer on family and person pages makes it easy to see where an individual fits into the family and to navigate between family/person pages. The dots next to an individual box tells you there’s a family page associated with that person (Marjorie has two) and the plus signs next to an individual will expand the tree to show that person’s family.
The family tree isn’t active on the page by default. You must click on the family tree icon just below the initial person/family details box on any page. Click again and the family tree area will disappear. It’s a great addition to the site.
WeRelate continues to amaze. I know where I’ll be spending a good deal of the upcoming holiday weekend. I’ve got a lot of Henry data that needs to be compiled . . .
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Chemists have identified more than 3,000 naturally occurring flavonoids. Flavonoids are placed into 12 different classes, the best known of which are the anthocyanins, flavonols, and flavones. All flavonoids have 15 carbon atoms and consist of two 6-carbon rings connected to one another by a carbon ring which contains an oxygen atom. Most naturally occurring flavonoids are bound to one or more sugar molecules. Small changes in a flavonoid's structure can cause large changes in its color.
Flavonoids often occur in fruits, where they attract animals which eat the fruits and disperse the seeds. They also occur in flowers, where they attract insect pollinators. Many flavones and flavonols absorb radiation most strongly in the ultraviolet (UV) region and form special UV patterns on flowers which are visible to bees but not humans. Bees use these patterns, called nectar guides, to find the flower's nectar which they consume in recompense for pollinating the flower. UV-absorbing flavones and flavonols are also present in the leaves of many species, where they protect plants by screening out harmful ultraviolet radiation from the Sun.
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{
"timestamp": "2019-04-23T18:31:28",
"url": "https://science.jrank.org/pages/5304/Plant-Pigment-Flavonoids.html",
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The ASICS GEL-Cumulus 19 and the Brooks Ghost 10 are both neutral cushioning running shoes for runners who do not need much stability and support, and they can be seen as each other's counterpart.
The uppers of the ASICS GEL-Cumulus 19 and the Brooks Ghost 10 are similar in that they both come with mesh that is quite open and breathable and have no-sew overlays in their uppers.
These two running shoes are not completely seamless, though, because the Brooks Ghost 10 comes with stitches in its toecap at the front, while the ASICS GEL-Cumulus 19 has stitches in overlays around the heel.
The overlays on both running shoes are quite pulled back to open up the toe box for comfort around the big and little toes, and are good running shoes for runners who need room around their bunions.
While the ASICS GEL-Cumulus 19 has overlays running on top of its toe box, the Brooks Ghost 10 does something similar but then with only the structure of the mesh.
Both running shoes provide an adequate amount of support behind and around the heel.
All in all, you can expect to get a similar amount of support from the upper of either running shoe, and both running shoes should be able to deliver a good amount of comfort while still keeping your foot on the running platform.
The midsoles of the ASICS GEL-Cumulus 19 and the Brooks Ghost 10 differ quite a bit in construction and layout, but have comparable features.
For starters, while the ASICS GEL-Cumulus 19 does not have a crash pad under the heel like the Brooks Ghost 10 does, it uses two layers of foam and GEL cushioning under the heel for shock absorption at heel-strike.
However, because the crash pad of the Brooks Ghost 10 wraps around the heel and connects well to the forefoot, it delivers not only shock absorption at heel-strike but also enables smoother heel-to-toe transitions and adds a bit of stability to your runs.
Both running shoes come with two layers of foam, but whereas the Brooks Ghost 10 only has two layers under the heel, the ASICS GEL-Cumulus 19 has two layers under the entire foot, with the one closest to the foot being the softest one.
Nonetheless, lab tests have found the Brooks Ghost 10 to deliver an overall soft ride to both men and women.
Because the ASICS GEL-Cumulus 19 comes with two layers of foam and GEL cushioning in the forefoot, it is expected to have a softer forefoot than the Brooks Ghost 10, so the Brooks Ghost 10 should feel a bit more responsive.
The ASICS GEL-Cumulus 19 also comes with a midfoot shank that consists of two pieces that are not connect to each other but that do deliver a good bit of support under the midfoot.
The Brooks Ghost 10 does not have a midfoot shank but rather provides a good amount of ground contact under the midfoot.
Both running shoes can be seen as stable neutral cushioning running shoes, with the Brooks Ghost 10 have more stability features than the ASICS GEL-Cumulus 19, but as a neutral runner, you are not really concerned about stability and support.
The outsoles of the two running shoes are well separated, but the ASICS GEL-Cumulus 19 has large areas of rubber, while the Brooks Ghost 10 has small rubber pods.
Both running shoes have a good amount of flex grooves, but the ASICS GEL-Cumulus 19 comes with an extra vertical flex groove that is meant to help with gait efficiency.
The women's version of the ASICS GEL-Cumulus 19 weighs approximately 9.1 oz (258 grams), and the Brooks Ghost 10 for women weighs 8.5 oz (241 grams).
If you are a neutral runner who is looking for a soft and comfortable ride from a running shoe, you could choose either the Brooks Ghost 10 or the ASICS GEL-Cumulus 19.
These two running shoes have a lot of features in common, but the Brooks Ghost 10 might be able to deliver a smoother ride and a bit more stability, if you care about those things.
Because the Brooks Ghost 10 is also a bit lighter than the ASICS GEL-Cumulus 19, it is good for long runs.
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NEW YORK — CBS announced Monday that former chief executive Les Moonves will not receive his $120 million severance package after an investigation determined he failed to fully cooperate with an investigation into sexual misconduct allegations.
A lawyer for Moonves rejected the decision as ‘‘baseless’’ but did not say whether Moonves would formally challenge it.
The board did not provide details. Earlier this month, The New York Times said a draft report from the outside investigation found Moonves committed ‘‘multiple acts of serious nonconsensual sexual misconduct.’’ Citing the report, the Times said he deleted numerous text messages and was ‘‘evasive and untruthful at times.’’ The investigators have declined to comment on the details of the Times report.
Three major figures at CBS have lost their jobs over misconduct allegations: Moonves, ‘‘60 Minutes’’ top executive Jeff Fager, and news anchor Charlie Rose.
But the investigation, conducted by two outside legal firms, ‘‘also concluded that harassment and retaliation are not pervasive at CBS,’’ the board said.
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"timestamp": "2019-04-25T01:58:26",
"url": "https://www.bostonglobe.com/business/2018/12/17/cbs-says-les-moonves-won-receive-million-severance-payment/uwQJIQJT3iZuSvibdKH31M/story.html?p1=Article_Related_BigArticle",
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Knocked out of consciousness, the stadium lights bore down on senior Hunter Lavallee, lying numb and inanimate, as he feared what was to come.
On Aug. 28 of 2014, the Tigers played a season changing game. In the third quarter with four yards to go, holding the Iowa City High Little Hawks for the first three downs, little did the varsity cornerback know this play would change his high school sports career.
The Little Hawks lined up in punt formation, but Lavallee was suspicious of a fake. His suspicions came true, and he took off in pursuit of the ball carrier. The punter cocked the ball back to throw, and Lavallee was in trouble as the receiver he was covering was running free. He planted his foot in the ground and reversed on a dead sprint of recovery and tackled the opponent off the field, landing with devastating impact onto the long jump runway.
“I couldn’t feel anything, but I knew something was wrong; I couldn’t stand up,” Lavallee said.
Consumed by confusion, he had no idea what was going on. The injury team rushed over and helped him to his feet.
“Looks like you’ll be out for half the season,” City High injury specialist said after popping Lavallee’s dislocated shoulder back into place. As the words seeped into his heart, he was crushed. Holding the third most tackles on the sophomore team the year before and being the third fastest 800m runner in the state; coaches, teammates and Lavallee feared for what the future would hold.
After working hard in physical therapy, Lavallee was back on the field playing safety in no time. “Although I was back, nothing was the same,” Lavallee said. With the shoulder injury hanging over his head, he was never able to stop the health problems.
The next summer Lavallee attended a football prep passing tournament at Iowa State University. Incapable of competing to full potential since last fall, his shoulder popped out once again, and he prayed to God for answers. “I asked him for a sign whether I should do football or cross country. After my shoulder popped out again. I knew I couldn’t argue with God. The team would have to go on without me,” Lavallee said.
So, he started practice with the cross country team in early August. “Nobody really understands how hard cross country is until they do it,” Lavallee said.
Both football and cross country are extremely physically demanding, but in very opposite ways. “Football is all about short term memory. Stop go, stop go, creating a fast twitch muscle. But in cross country, you basically learn how to endure and suffer all five kilometers,” Lavallee said.
He continues to stay positive and do his very best, setting a personal record by over a minute and a half last Thursday at the meet.
But as he sits back in the stands of the UNI Dome, it’s hard for him to watch. “I’m happy for them, but I feel a sense of self pity for myself. Those were the kids I grew up with every year on the field. It’s hard to watch, not being a part of it anymore,” Lavallee said.
But in his eyes, it all happened for a reason.
His journey continues to help him with his relationship with God. In James 1:2-3, the Bible discusses the importance of staying joyful through trial because in the end these trials give one the abilities to grow. These verses hit home with Lavallee as they’ve helped him immensely through the tough times.
On that August game night just over one year ago, Lavallee’s eyes flashed from the field to his team and back into himself, and he laid hopeless and afraid. The fear of not knowing the unknown consumed his entire career, but by taking a chance on himself and his faith, Lavallee now races with his dreams to the finish line.
|
{
"timestamp": "2019-04-21T18:16:40",
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2005, c. 43, s. 3.
(b) to imprisonment for a term of not more than fourteen years and to a minimum punishment of imprisonment for a term of five years, in any other case.
2010, c. 3, s. 2.
279.02 Every person who receives a financial or other material benefit, knowing that it results from the commission of an offence under subsection 279.01(1) or 279.011(1), is guilty of an indictable offence and liable to imprisonment for a term of not more than ten years.
2005, c. 43, s. 3; 2010, c. 3, s. 3.
279.03 Every person who, for the purpose of committing or facilitating an offence under subsection 279.01(1) or 279.011(1), conceals, removes, withholds or destroys any travel document that belongs to another person or any document that establishes or purports to establish another person’s identity or immigration status is guilty of an indictable offence and liable to imprisonment for a term of not more than five years, whether or not the document is of Canadian origin or is authentic.
This page was last edited on 2 January 2013, at 19:16.
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We believe that Jesus Christ is the one and only son of the Living God.
We believe that salvation and eternal life come from God alone through acceptance of Jesus Christ.
We believe this acceptance is fulfilled in the belief that we are all sinners and have fallen short of God's perfection. Believing in Jesus as God’s only Son sent here to Earth in the form of a man and that Jesus lived a perfect, sinless life and died on a cross.
We believe that Jesus was dead for three days before He rose from the grave, defeating death and providing a way to eternal life.
We believe in confessing to Jesus that you are a sinner and committing your life to Him.
We believe that the Bible is God’s Holy Word and it is the instruction book for a better life.
We believe in One God in three persons: The Father, The Son and The Holy Spirit.
We believe that you can not work your way into heaven by doing good deeds. Good deeds come from love for our fellow man in the name of Jesus Christ.
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{
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All facials are customized to fit the clients skin care needs, for MEN and WOMEN. A blend of different facial treatments may be recommended to obtain the best results possible!
Get the exfoliation benefits of microdermabrasion plus deep facial rejuvenation with the infusion of essential revitalizing nutrients and healing skin oxygenation from within. OxyGeneo™ treatments are suitable for all skin types – any ethnicity and pigmentation, sensitive skin, and even for those who keloid (scar) and couldn’t otherwise have abrasive treatments.
STIMULATE SKINS GROWTH UP TO 71%! Through a remarkable scientific process frozen stem cells, extracted from a bovine source, are topically applied directly to the skin, reprogramming aging and weaker cells. These new skin cells communicate with existing cells to address and reverse the signs of skin problems like acne, aging, fine lines, stress, and photo damage. By rebuilding the interior of the skin the exterior becomes a flawless copy of its previous self. Younger, firmer looking skin is the result! A difference can be seen in 1 treatment! This treatment will last in the skin for 7 days.
Facial lifting to firm skin’s tissues up to 2 cm deep. Reduces wrinkles, helps to penetrate products into the skin. It invigorates and firms the skin by use of sound waves and heat that stimulates regeneration of new collagen and elastin production. A great add on to any of the above facial treatments.
This super hydrating treatment is ideal for dry, mature and aging skin types. Essential skin vitamins and high performance humectants penetrate surface skin layers, reducing dryness, minimizing superficial lines and softening the skin. You can see and feel the difference in one treatment!
The latest wrinkle erasing facial treatment from South Korea!! This NEW treatment serum contains the same Poly L Lactic Acid found in the injectable face filler Sculptra used by dermatologists. It has been doubled in dosage along with a blend of anti-aging favorites of caffeine and niacinamide that absorb into the top layer of the skin to plump wrinkles. The mask applied over the serum contains Hydrogen which drives these active ingredients deep into the skin’s layers. Results can be seen after 1 treatment!!!
A series of 3-6 treatments is recommended for best results and stays active in the skin for 5 months.
V-Line Magic Therapy is a fantastic combination of PDO and Colloidal Gold. PDO thread collagen components are absorbed slowly maximizing the lifting effect and improving the complexion. Colloidal Gold helps the ion action of the skin to make thread collagen components penetrate to the deepest layers of the skin. Also the combination of Aloe Vera and 24K Gold moisturizes the skin by raising the absorption into deep skin through Natural Moisturizing Factors (NSF).
Aquasure H2 infuses hydrogen water into our body to remove free radicals and boost antioxidant activity, which helps anti-aging, anti-inflammatory, and other skin concerns.
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"url": "http://agelesscomplexionskincare.com/skin-care-services/facials/",
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As one of the most compact printer in the high-speed segment, the ECOSYS P7035cdn knows how to impress with astoundingly high print volumes. Thanks to its amorphous silicon drum with an unrivalled long lifetime, the printer is an exceptionally economical device. In order to fulfil even the highest user-demands, this device can be equipped with a total of 6 paper trays for flexible paper handling.
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"timestamp": "2019-04-24T00:23:00",
"url": "http://www.typofot.gr/index.php/14-noone-content/printers-colour/61-printers-colour-6?tmpl=component",
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Education Minister Chris Hipkins has told Cabinet that increased monitoring, including unannounced inspections of childcare centres, “may result in a reduction of the number of providers, at least in the short term”.
“There is the possibility that the recommendations in the draft strategic plan will increase the cost of operating for early learning services, which may result in a reduction in the services available, or some centres passing on this cost through increases in fees to parents,” he said in a Cabinet paper.
The plan includes increased staffing for children under 3, higher funding for centres with 100 per cent qualified staff, higher pay for teachers, a ban on new licences for services that have had quality problems, and a requirement to prove a need before opening new centres.
The cost would be around $300 million a year, or up to $3.5 billion over 10 years, but Hipkins has told Cabinet that this would be “subject to the availability of funding”.
Non-profit centres such as Kiddy Winks in Manurewa, which already have 100 per cent qualified teachers, have welcomed the plan as a financial relief after plans by Helen Clark’s Labour Government to pay more to centres with fully qualified staff were scrapped by Sir John Key’s National Government after 2008.
“That would be fantastic,” said Kiddy Winks manager Shereen Varma.
But Early Childhood Council chief executive Peter Reynolds, who represents mainly privately-owned centres, opposed the plan for 100 per cent qualified teachers and asked where the extra teachers would come from at a time of teacher shortages.
“The 100 per cent debate removes the opportunity for services to have a mixed teaching team that satisfies the needs of their community,” he said.
He said many Pasifika and Māori services, in particular, wanted to employ staff with language and cultural skills even though they might not have teaching qualifications.
The Teaching Council said last week that it would accept a wider range of English language tests from next year, but it has not budged on requiring a level of English that has shut many Pasifika applicants out of teacher training.
The new plan, prepared by an advisory group headed by Victoria University Professor Carmen Dalli, focuses on improving the quality of early childhood services.
It quotes Education Review Office (ERO) findings that 31 per cent of services have “limited or no focus on supporting children’s oral language learning” and 44 per cent were only “somewhat responsive in enabling infants and toddlers to become competent and confident communicators and explorers”.
Lifting required staffing for infants under age 2 from 1:5 to 1:4 by 2022, and doubling staffing for 2-year-olds from 1:10 to 1:5 “in the longer term”. There would be no change in the 1:10 ratio for children aged 3 and 4.
A higher funding rate for centres with 100 per cent qualified staff. Hipkins proposes a target that 60 per cent of teacher-led services should have 100 per cent qualified staff by 2022.
Banning service providers from opening new centres if they have existing centres with provisional or suspended licences or ERO reviews within less than the standard three-yearly cycle.
A “rigorous programme of monitoring, including unannounced visits by the Ministry of Education or the ERO”.
To attract the required extra teachers into early childhood, the plan proposes “improved teacher salaries and conditions” and expanded training scholarships.
Hipkins told Cabinet that the plan would cost $35m a year for the higher staffing ratio under age 2, a further $105m a year to double the staffing ratio for 2-year-olds and $130m a year for “more consistent pay and conditions”, plus another $170m over the next 10 years ($17m a year) for all other proposals.
Although Hipkins warned that this could mean higher fees, the plan says: “It is the intention of this draft plan that affordability for parents will be maintained, or improved improved in those cases where affordability is a barrier to attendance.
The plan suggests limiting costs by imposing tighter controls on the proliferation of new centres, requiring providers to prove that a new service is needed as a condition of getting a licence.
It suggests that the Government should set up three state-owned centres in high-need areas to facilitate wraparound health and social services.
It also proposes “co-designing” new funding models to support ngā kōhanga reo and playcentres.
Previous articleOpinion: Kia King – Parents: what do you think of modern learning?
Two out of five of Auckland schools and three out of five early childhood centres have been marked "could do better" for their non-English-speaking children.
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"timestamp": "2019-04-26T10:38:50",
"url": "https://educationcentral.co.nz/higher-childcare-fees-and-centre-closures-tipped-as-controls-tighten/",
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This amazing shampoo and Conditioner combo is the perfect combo! It only brings out your natural highlights and protects that brunette beautiful hair. It is designed for color treated hair and doesn't have the key ingredient to make one's hair grow like other Monat products.
Please see all of our other Monat products to enhance your hair's perfect style.
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"timestamp": "2019-04-20T08:58:46",
"url": "https://www.jessiannboutique.com/products/monat-colour-enhance-brunette",
"language": "en",
"source": "c4"
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The planet needs a MIRACLE to “give peace a chance,” and cure what ails us personally, politically, and financially.
The Book of 528: Prosperity Key of LOVE. (Medical Veritas International, Inc., 2011) heralds this MIRACLE, as evidenced by the massive movement of musicians and health professionals into the 528 arts and sciences.
Come celebrate and expand your intelligence and heart’s deepest convictions–LOVE, joy, faith, and bravery. These are the qualities of 528Hz frequency of sound, and 528nm of light.
Applications of this musical-mathematical discovery abound. For instance, the 528 Radio Network is now broadcasting in the frequency in which healing miracles are created, enhancing prayer power, and faith fueled outcomes.
Dr. Horowitz advances “medicinal music” with the 528 Revolution, and explains pure Divine spirituality as the Holy Spirit power of LOVE that performs all the natural healing miracles to remedy all crises and cure all diseases.
MUSIC is “The “Universal Language” and LOVE is the “Universal Healer.” WATER is the “Universal Solvent,” and as a liquid crystal superconductor of sound, comprising eighty (80) percent of your body weight, LOVE transmits through your body water musically to produce miracles in the special frequency of LOVE/528.
LOVE/528 music is the most powerful technology for social healing and “deprogramming” humanity out of it trance state generating spiritual dysfunction and distressing thought patterns, fretting over irrational fears. By broadcasting and receiving LOVE, people, and civilization as a whole, stand the best chance to evolve sustainably and prosperously.
Revelations in The Book of 528: Prosperity Key of LOVE. provide the greatest opportunity to transcend social, political, and economic impositions enslaving people to false doctrines and damaging divisions, degenerating everything good.
The Book of 528: Prosperity Key of LOVE. reveals the ways and means to freedom in healthcare and the energy industries. It provides a “ground floor” opportunity to advance industries and entrepreneurial endeavors integrating LOVE/528 to prosper during the predicted mass transfer of wealth from those of “lower consciousness” to those who command intelligence for a technological revolution based on the “Miracle note” of the universe—528Hz—an acoustic energy impacting everyone spiritually. This knowledge is fundamental to the long prophesied “paradigm shift” impacting every industry.
Spirit is energy. Energy is frequency, and frequency is simply musical mathematics vibrating electronically and electro-genetically through spinning spiraling electrons. This physics of creation and recreation, fundamental to biophysics and metaphysics, administers cellular regeneration, as well as genetic expression.
We now know that oxygen carries these electrons resonating most powerfully with LOVE–the “Universal Healer”–in 528Hz, generating 528nm of light, that reflects the heart of the sun and the universe. Human hearts cannot resist this most powerful loving force.
Use this knowledge to actualize a more harmonious life, successful career, prospering enterprise, and civilized world. Here is humanity’s greatest opportunity to transcend social, political, and economic impositions enslaving populations to false doctrines and unnecessary degeneration.
This book provides the ways and means to relieve ignorance and financial dependence on unsustainable policies and lethal practices that rob energy from everything alive, preventing you from co-creating a world that encourages, rather than discourages, purely positive self-expression.
Note to Journalists: Dr. Horowitz is a prolific author and award-winning film-maker. His latest of 17 books, The Book of 528: Prosperity Key of LOVE, has spawned a revolution in the music industry, especially with his pioneering launch of the listener-supported 528RadioNetwork.com, and the music transposition website–528Records.com, freely remastering music for recording artist, and providing 60% royalties to artists and/or their labels.
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"timestamp": "2019-04-24T20:55:31",
"url": "http://www.528revolution.com/book-of-528-press-release/",
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Water Source Heating & Cooling | Why geothermal?
The ground absorbs about 47 percent of the sun's energy that reaches the Earth. Geothermal systems harness that free, renewable energy and provide environmentally friendly ways to heat and cool your home.
Geothermal systems operate more efficiently than ordinary heating and air conditioning systems, saving you up to 70 percent of heating costs in most cases.
The high-efficiency air cleaners remove dust and pollens to improve indoor air quality and operate with no flame, no flue, no odors and no danger of fire or carbon monoxide.
A super-efficient compressor and variable speed fan make the system so quiet that many people find themselves checking to make sure the system is actually on.
With the variable speed units you get precise distribution of warm air in winter. Gone are the uneven temperatures experienced with ordinary furnaces. In summer you get central air conditioning with better dehumidification.
Four major tasks of conditioning a home that can all be accomplished with geothermal heat pumps more efficiently than with conventional systems are heating, central air conditioning, domestic hot water, and radiant floor heat.
The system emits no carbon dioxide, carbon monoxide, or other greenhouse gases, which are considered to be major contributors to environmental air pollution. In fact, WaterFurnace geothermal systems are recognized by the United States Environmental Protection Agency as the most environmentally friendly, cost effective and energy-efficient heating & cooling technology available. You can make a significant contribution to a cleaner environment while saving up to 70 percent on your energy bills.
Microprocessor controls and state-of-the-art components allow smooth operation and years of virtually maintenance-free operation.
Installing a single geothermal unit is the environmental equivalent of planting 750 trees or removing two cars from the road.
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"timestamp": "2019-04-20T01:08:14",
"url": "https://www.watersourcegeothermal.com/why_geothermal.phtml",
"language": "en",
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|
Who said physics couldn’t be cute? The Particle Zoo is the brainchild of Particle Zookeeper Julie Peasley who designs and makes subatomic particle plushies for physicists and geeks around the world.
You can order particle packs of bosons or theoretical particles. Or maybe you’d prefer a cuddly yet elusive Higg’s boson to keep you warm at night?
And best of all, Julie knows her physics. The particle plushy weights vary according to their properties. The dark matter, top quark and W boson, for example, are the heaviest, as they are stuffed with polished aquarium gravel. The massless bosons are the lightest—they are stuffed with polyester stuffing.
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{
"timestamp": "2019-04-25T03:02:32",
"url": "https://www.euroscientist.com/subatomic-particle-plushies-from-the-standard-model-and-beyond/",
"language": "en",
"source": "c4"
}
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Due to the timing of its introduction, it is thought that the origins of the cocktail’s name are most likely are connected with the famed athlete Malcolm Webster Ford rather than with the ultimately more famous Henry Ford. However, since Malcolm’s end was in the end very sad (murder and suicide…no, I’m not making that up), we chose to utilize the images of Henry Ford and his creation for photographing this cocktail. Unfortunately, a change in image didn’t save the taste. Based on the ingredients of gin, dry vermouth, and orange bitters, I had my hopes up for a earthy martini due to the introduction of the Benedictine. Instead, we were left with a muddled flavor of musty herbs fighting against the light citrus and juniper berry. Perhaps with a change in proportions this drink might work, but we found its current incarnation weak and pointless.
Combine all ingredients in a cocktail shaker and stir until well chilled. Strain into a coupe glass and garnish with orange peel.
This has more of a martini feel to it.
Try using Old Tom gin in place of a dry. It alleviates most of the clashing you experienced, and fits more into the time frame of the cocktail. This almost seems like the missing link cocktail between a martinez and the martini to me.
Previous Previous post: Earth Day – I’ll drink to that!
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"url": "https://ourlibatiousnature.net/2011/04/25/vintage-cocktail-project-the-ford-cocktail/",
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this large kits can deal with anything.
Container: Large, heavy duty container that is UV stabilised, water tight and lockable. Comes complete with heavy duty wheels for all surfaces.
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{
"timestamp": "2019-04-23T22:50:51",
"url": "https://www.darcy.co.uk/product/maintenance-spill-kits/1100-litre-maintenance-spill-kit/",
"language": "en",
"source": "c4"
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You can have more than one iSpyoo free 48 trial but you should use another email address than the one that you want to use when you install it on your Target’s phone or device. You can have up to 5 practice installs or target installs before a red flag is raised against you. त्यसैले, when you have some know-how time on your own, then is the best try to do your install on your own phone. Just follow the instructions in the How To menu at the top of the site. As they say – Practice Makes Perfect. When the time comes for you to install iSpyoo on your target’s phone or device, you will have the confidence and know how of how it is done.
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{
"timestamp": "2019-04-24T01:56:46",
"url": "https://ispyoo.com/ne/practice-install/",
"language": "en",
"source": "c4"
}
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The Translation service allows you to easily translate from Vietnamese to Spanish language with one click of the mouse. It includes a set of language tools to facilitate your translation job: multilingual Virtual keyboard, Spell-checker, Dictionary, Russian decoder and Transliteration, Text to Speech, Back translation and others. The translator interface is localized to 23 languages to target a native speaking audience.
To translate, simply enter text in Vietnamese language to the original text window, select Spanish target language, the translation provider, and click Translate.
Select Vietnamese to Spanish translation direction.
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{
"timestamp": "2019-04-23T12:51:28",
"url": "http://free-translation.imtranslator.net/Danish-language_Vietnamese-Spanish_translation/",
"language": "en",
"source": "c4"
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Communication and the therapeutic relationship in intensive care : improving the patient’s voice.
Providing nursing cares for a critically ill patient in an intensive care setting requires the registered nurse to use additional skills to overcome establish effective communication with the patient and allow for the establishment of an appropriate and effective therapeutic relationship. In reports on patient’s experiences of being in intensive care, voicelessness has been described as an extremely unpleasant experience that can lead to feelings of fear, anger, vulnerability and loss of dignity (Almerud, Alapack, Fridlund, & Ekebergh, 2007; Granberg, Engberg, & Lundberg, 1998; Karlsson, Bergbom, & Forsberg, 2012; Karlsson, Lindahl, & Bergbom, 2012). In a review of the literature, the current dissertation aims to explore the cause of the experience of voicelessness and examine the potential impact on the patient’s intensive care experience. This review also identifies some ways that registered nurses can assist the patient with finding their voice, with a focus on the therapeutic nurse-patient relationship. The impact that improving the patient’s voice may have on particular health outcomes for that patient has also been discussed. Finally a brief proposal for future research has also been included.
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{
"timestamp": "2019-04-23T20:30:50",
"url": "https://ir.canterbury.ac.nz/handle/10092/12514",
"language": "en",
"source": "c4"
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Robots with high levels of autonomy are crucial for a fast and fruitful development of space exploration, but hard challenges exist.
One of the most challenging goals is to achieve systems capable of predicting accurately the results of their actions, deliver and autonomously develope theories which can be then applied as general rules similar cases.
Towards this direction, the ongoing research focusses on the design, development and integration of a simulation running on the robotic system, capable of dynamically represent the environment and the robot itself including its software modules.
This representation improves the capacity of the system to predict the results of its actions and opens the doors to better decision taking based on knowledge acquired through internal experimentation.
The proposed architecture design and the assotiated methodology cover three life stages of a robotic system: (1) Initial configuration space illumination, (2) Adaptation of internal models to match experience, and of the behaviors that are based on them, and (3) the Accurate identification of capabilities based on real and simulated experiences.
Although still ongoing development, results available from experiments performed on simulations and on real systems in space analog scenarios like a moon crater and lava tubes will be presented.
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{
"timestamp": "2019-04-21T17:07:55",
"url": "https://robotik.dfki-bremen.de/de/lehre/vortraege/graduiertenseminar-brown-bag-talks/vortragsdetails/entry/internal-simulation-1.html",
"language": "en",
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With over forty solid years in the local agrochemical and fertilizer industry, Mr Chey That Woon is one of the most respected of his generation. Appointed in 2002, Mr Chey came on board as the Chief Executive Officer of Farmcochem. He is a visionary leader and since his appointment, has steered Farmcochem to one of the top key players in local agrochemical industry. Mr Chey graduated with a Bachelor Degree in Agricultural Science with honors from University Malaya and holds a Master in Business Administration.
Mr Voon exhibits vast knowledge and accumulated experience in the agrochemical and fertilizer industry. Prior to the establishment of Farmcochem, he was responsible for the development and expansion of sales in the region. At Farmcochem, Mr Voon continues to strike for excellence by inspiring and innovating the production, quality control, logistics of the company. Furthermore, he is currently the President of Persatuan Kilang-Kilang Perak.
Ricky is responsible for managing Farmcochem’s strategic direction and business operations. Under his stewardship, Farmcochem had successfully expanded its operations to the regional crop protection markets in Indonesia and Thailand. Ricky has Bachelor of Accounting degree from Monash University, Australia. He is also a member of the Young Presidents Organization (YPO). YPO is an international network of over 20,000 chief executive officers and leaders from major companies and organizations across the world.
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"timestamp": "2019-04-26T01:58:19",
"url": "https://farmcochem.com/about-us/executive-leadership",
"language": "en",
"source": "c4"
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NIA CHARLESTOWN NEVIS (July 14, 2016) — Poland’s Ambassador to St. Kitts and Nevis His Excellency Piotr Kaszuba, paid a courtesy call on Foreign Affairs Minister in St. Kitts and Nevis Hon. Mark Brantley, at his Nevis Island Administration (NIA) office at Bath Hotel on July 13, 2016.
In brief remarks ahead of their close-door discussions, Mr. Brantley told the Department of Information that he was pleased for the ambassador’s visit. He said Poland is enjoying good relations with the Caribbean since becoming a member of the European Union.
Mr. Brantley said he looks forward to working with the ambassador.
Meantime, Ambassador Kaszuba said it was his first visit to Nevis and he admires the island’s beauty which reminds him of paradise.
He gave a brief insight into the reason for his visit and discussion with Mr. Brantley, regarding his country’s proposals for group representation of small islands into the United Nations Security Council.
“I came here to make our relation closer and one of the purposes is to talk about the appointment of the Honorary Consul of Poland in your country and secondly, as a candidature of Poland, as a non-government member of the Security Council, one of our aims during our term, if we are elected, will be the support for cross regional representation in the Security Council.
“As we know, small countries do not have many opportunities to be elected and it is a good idea to have group representation of small countries into Security Council. So I would like to talk to you today to tell you about our proposals,” he said.
The Poland Ambassador visited the Bath Stream following the meeting before he left Nevis for St. Kitts.
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{
"timestamp": "2019-04-25T17:47:51",
"url": "https://nia.gov.kn/poland-s-ambassador-to-st-kitts-and-nevis-pays-courtesy-call-on-skn-foreign-affairs-minister-brantley/",
"language": "en",
"source": "c4"
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Having a Vegetable garden fence, it is important, if you are interested in keeping animals out, a little privacy, and finally the protection of the garden. You put all the work on it. So protect it against the fence. But fencing is supported by posts. Depending on what you want to achieve fences to find the right kind of message you want to support the fence.
From durability and strength, metal fencing posts can not be beat. They are extremely strong and durable. Vegetable garden fence are generally the lengths of 5-10 meters, and you can even get them anymore parts, if you have a large garden and do not want to deal with more songs shorter lengths. Do these actions not only come from steel, they come in aluminum too. Aluminum is a very strong and durable, and is very weather resistant. Aluminium takes a long time and does not rust easily. This makes them a good choice for those who are in the garden near the sea, because the salt water will corrode steel, but not aluminum.
Wooden garden furniture posts are probably the most common fencing post. They are very popular and can be found in almost any garden or fencing store. You can get them in a rustic style, or you can also get them in the machine finished look. Wood is strong, and depending on what kind of wood, very easy. Another advantage of the three fence posts is that they can be pre-treated. This will also help them to withstand the elements and warping that can occur from the water as rain. If you choose, you can have a timber garden fence posts stained or painted. It gives you the added flexibility to add color to the garden.
You can buy a fiberglass fence posts to your garden. Vegetable garden fence are lightweight and extremely strong. They do not rust, making them the perfect choice to live near the ocean. These also come in various colors and designs, so you are sure to find one that suits your tastes and needs, if you look hard enough.
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{
"timestamp": "2019-04-21T08:10:38",
"url": "http://www.applianceinhome.com/vegetable-garden-fence.html",
"language": "en",
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The 9 day residency period in the Choreographic centre of Heidelberg was the first phase of research for the project The Waiting Room. Together with the five dancers and composer, we spent a productive and collaborative period constructing ideas and experimenting with these tools, to formulate the language that will shape this piece.
This resulted in a mixture of improvised tasks and some ‘set’ material to create this initial base for the work. This piece (with influences from No Exit and Waiting for Godot), has a particularly distinct nature, we desire to push the limit to see how long we can keep people interested when virtually nothing is happening. This is, at least, the beginning section of the piece that we spent time formulating, with very recognisable body postures and background sounds that creates an illusion that one is in a normal waiting room, we gradually realise, that this is definitely not the case.
The characters are trapped in a perennial space, there appears to be no boundaries, yet they keep themselves there, waiting. What are they waiting for? Some kind of sign, or recognition? The only thing they have in this existence, is each other, and the chairs on which they wait, which the dancers use as a frequent object of interaction.
During the residency, we developed three scenes, which provides a good platform when mapping out the trajectory of the plot and which direction the dramaturgy is taking us for further development.
The end of the residency resulted in a showing, in which we showed these scenes that were more developed and some of the process we took to arrive there. We received some valuable feedback to take us into the next phase of the creation process.
Between 15-20 of October we spent a week in residency at the CC Heidelberg.
The immediate aim of this period was to complete a quintet that forms a pre-study for the full- evening performance ’60‘. This project investigates the human concept of time, the ritual of time-keeping and the experience of time from both a personal as well as a communal context.
1. The fine details of the movement quality. The quintet is based on four sections, each with a different movement quality. Having the time to focus on the particularities of each part and making it more distinguishable was important for the clarity of the work.
2. The order of the sections. We researched different constellations for the four sections to see if different accumulations or resonances between the parts change the overall time sensation of the work. Even when a certain order was clearly not balanced, we tried it anyway to see if the imbalance is interesting or if we could learn something new about the work. This also lead to new ideas about the transitions between parts.
3. Researching new ideas for the full-evening version. We began to develop the idea of a choreographic score that corresponds to a poem. Certain words in the poem would be a trigger for a specific movement, while other moments in between would be free for interpretation by the dancer. This is planned to be the basis for a series of solos that will be spread throughout the eventual piece.
During the week our morning training was open to guests from the region, both professional and amateurs. Every day 3 or 4 people joined us and we had a very nice exchange with everyone.
We completed the residency with a studio showing of the latest version of the quintet (titled ’30‘), where we also explained about our process and talked about the research we had done for the new solos. The showing was attended by members of CC Heidelberg and the dancers of Unterwegstheater, as well as Ivan Perez, director of Dance Theater Heidelberg (and some of his dancers). Also in attendance was Bruno Heynderickx, director of the Hessisches Staatstheater Wiesbaden.
We left Heidelberg with new insights about our work and with several starting points for the continuation of the piece. We fill fulfilled and inspired and hope to be back to present the full work in the future.
communication -> relationship -> touch.
For this residency, we were focusing on <CONTINUE II : TRIANGLE> and it was the first part of the research process, so I started with few potential tasks to develop the movement materials and choreographic methods within this ‘triangle’ concept.
(a) Showing the materials that we had been researched and developed for the residency period.
(b) Showing the public a new triangle score and we did a 10minutes improvisation.
(c) Q & A section.
– Each of us thought of different words constellations for many Triangles, in this case, there is always 3 words in one constellation, example a triangle with ‘jail, fragile, wild plants’.
– We exchanged the words and recreated new words according to our own perceptive towards the relationship of those words, example we kept the word of ‘jail ’, others had created new constellation with the word of ‘jail’, which were ‘jail, earth, sun’ and ‘jail, human, animal’.
– This became our first layer of finding the common approach and understanding of building up the complication of more Triangles.
– As we had 3 words in one constellations, we put each words into each triangles that we drew. Again as we develop further, I added new input within the scores. We used those words as an inspiration for improvising, trying to create an imaginative path to explore a personal storyline and movement materials.
– Function like having ‘Super Power’ and ‘Trap’.
– Este (Musician) was involved in this task as well, as he worked a lot with improvisation, these had given him more guidance by following our triangle, yet having his own triangle.
– Using clock as a continuous motion, starting from lower floor movement, one body part always have to move or point to the clockwise direction of the time from 1-12.
– Fix a triangle point in the clock, example ‘ 3, 6, 10’, every time when we hit/arrive the time of ‘3, 6, 10’, there is a specific movement instruction.
– The instruction within the clock get more complicated as we developed it.
The residency in Heidelberg was the the first part of research for the project of “Bird”. We used the time and space to investigate themes of migration, of travel, of distance and freedom. As we are working as a collective, we are all equally responsible for the delivery of these ideas, and, as a result of this working process, the piece becomes a result of equal collaboration between the dancers.
As this is the first project together as a collective, the residency period was also an introduction into working in unison, creating a group dynamic and understanding each other as human beings as well as artists. It is likely that this process of unity will be present in the final presentation of the work “Bird”. The residency provided the ideal platform to create work of substance, as well as to take on a playful approach to experiment with different ideas.
The end of the residency period created the first opportunity to expose this fresh work to public eyes in the form of a public showing to half a dozen people. The feedback received from this showing was invaluable, and the comments have already been processed and put into practice.
In meine vierwöchige Residenz am CC, mit meiner freien Gruppe green flamingo project, habe ich mich mit Verbindungen und Beziehungen beschäftigt.
Wie bauen wir eine Verbindung zu anderen auf?
Wo beginnt diese und wann entscheidet sich ob die Verbindung von Spannung, Spaß oder Symbiose dominiert wird?
Entscheiden wir selbst oder ist der Weg vorgeschrieben?
Unsere klassischen Konzepte von Beziehung, Freundschaft und Familie, sind zur Zeit von einem extremen Wandel geprägt. Ich wollte mich näher mit dem Moment beschäftigen, wenn eine erste (neutrale) Verbindung zustande kommt und wie sich später dann ein Wandel vollzieht. Ich wollte die komplexe Systematik von zwischenmenschlichen Beziehungen aufbrechen und den Kern in einem simpleren Konzept darstellen. Ehrlichkeit und Offenheit waren dazu wichtige Bestandteile, auch von Seiten meiner Tänzerinnen.
Die Residenz war eine spannende und prozessintensive Zeit. Für zwei meiner drei Tänzerinnen, war es der erste gemeinsame Arbeitsprozess unter meiner Leitung, wobei ich eine von ihnen vorher noch gar nicht kannte. Ein wichtiger Teil unserer Zeit zusammen war es also, eine gemeinsame Dynamik und Gruppenidentität zu finden. Das Finden und Formen von Gruppen, war aber auch Kernthema meiner Arbeit und so konnte dieser Prozess letztendlich auch in unser Bewegungsmaterial und Recherche einfließen.
Zum anderen habe ich mich als Choreographin selbst vor die Herausforderung gestellt, meine Bewegungsrecherche und den allgemeinen Arbeitsprozess, offener und experimentierfreudiger anzugehen. Die ersten zwei Wochen haben meine Tänzerinnen und ich mit viel Improvisation verbracht. Dabei habe ich versucht, möglichst viel Freiraum für unserer darin erlebten Erfahrungen und den gegenseitigen Austausch zu geben. Mir war wichtig, nicht ergebnisorientiert oder wertend zu arbeiten und ich habe auch die drei Frauen darin bestärkt, offen zu bleiben.
Auch das Ergebnis der Residenz, was ich unter dem Titel „Mitternachtskinder“ im Rahmen eines Showings gezeigt habe, orientiert sich an den Freiräumen und Persönlichkeiten meiner Tänzerinnen. Die Rolle, die jede einzelne darin einnimmt, ist in erster Linie aus Improvisation hervorgegangenen und beruht auf ihren eigenen, natürlichen Reaktionen. Auch das hat der Arbeit eine Authentizität und einen sehr großen Spielraum für jede einzelne Beteiligte gegeben. Das Ergebnis ist spielerisch und fokussiert auf den erlebten Moment.
Der Lernprozess, den mir diese Residenz ermöglicht hat, ist unglaublich vielschichtig und wertvoll. In der künstlerischen Arbeit habe ich selten das Gefühl, wirklich frei von Ergebniszwängen und Erwartungshaltungen zu sein/sein zu dürfen. Doch nur mit solchen Freiräumen, kann ich mich selbst herausfordern, mit neuen Impulsen experimentieren und meine Arbeit als Choreographin nähren und weiterentwickeln.
Die Residenz im Choreographischen Centrum war die erste von mehreren Probenphasen, die im Laufe des Jahres in einer Premiere münden sollen. „Shared Canvas“ entsteht über einen längeren Zeitraum hinweg und soll in verschiedenen Locations wie Theatern, Museen und Gallerien gezeigt werden. Die von uns erarbeiteten Ideen finden sich nicht nur im Stück selbst wieder, sondern haben auch starken Einfluss auf unsere sonstige Schaffenswelt. Die Beziehung von Malerei und Tanz ist ein Feld, das uns immer wieder aufs Neue inspiriert und fasziniert.
„Shared Canvas“ ist eine Versuchsanordnung, in der Malerei und Urbaner Tanz aufeinander treffen. Live und vor den Augen der Zuschauer entsteht ein Bild: von der Vorbereitung über den gestalterischen Prozess bis zum fertigen Werk. Der Maler und der Tänzer arbeiten zusammen, inspirieren sich und fordern sich gegenseitig heraus. Der Tänzer agiert als Malwerkzeug und stellt dabei den Graffitikünstler vor immer neue Herausforderungen und Aufgabenstellungen.
Wie können wir einen relativ flexiblen, gut transportierbaren Raum schaffen?
Wie können wir das Material wiederverwendbar halten?
Wie können wir dem Material und unseren Kostümen eine gewisse Patina verleihen?
Welche Rahmenbedingungen braucht Tanz, welche Malerei und wo müssen wir Kompromisse eingehen?
Welche Farben, welches Material kann funktionieren?
Welche Ästhetik wollen wir schaffen?
Wollen wir etwas erzählen und wenn ja was?
Unser Bühnenbildner Dimitris Polychroniadis, der uns eine Woche begleitete, gab uns wichtige Impulse und half uns dabei, das Bühnenbild so simpel und gleichzeitig so vielseitig wie möglich zu halten.
In unserer Vorrecherche und auch in den Gesprächen probierten wir Malmethoden bedeutender Bildende Künstler. Als erster sei hier Jackson Pollock genannt, aber auch Gerhard Richter, der viele seiner Bilder mit einer Art Schaber rakelt. Außerdem experimentierten wir damit, wie wir Tanzbewegungen zum Malen verwenden können. Die Balance zwischen figurativer und abstrakter Malerei, sowie dem Schreiben von Worten oder Buchstaber wollen wir noch austesten. Auch die Dosierung der Farbe ist noch eine Frage, da zu viel den Tanz verhindert und zu wenig nicht genug Resultate bringt.
In mehreren Improvisationen, mal mit, mal ohne Publikum, probierten wir das Material aus. Unser Fokus lag während dieser ersten Realitätstests vor allem darauf, dem Gemälde zu dienen, sich also als Performer eher zurückzunehmen. Die dabei entstehenden Bilder und auch die Kostüme sind vor allem bei näherer Betrachtung interessant. Diese Details wollen wir später auch mit dem Publikum teilen. Um dem eigentlichen Stück mehr Leben einzuhauchen, werden wir in den nächsten Proben vor allem den Tanz in den Mittelpunkt rücken und ausprobieren, wie der Maler mit dem Tänzer kommunizieren kann.
Vor allem praktische Fragen haben wir in dieser ersten Probenphase klären können. Wichtige Entscheidungen zu Material und Raum sind getroffen und geben uns Struktur um uns den Herausforderungen der kommenden Proben stellen zu können.
Unsere Aufgabe für den nächsten Probenblock, den wir beim diesjährigen Metropolink Festival in den ehemaligen US Kasernen im Patrick Henry Village haben werden, ist es vor allem, Themenfelder zu erarbeiten, die zu Szenen im Stück ausgearbeitet werden können. Während in der Residenzphase die Gestaltung eines Gemäldes für uns noch im Vordergrund stand, wird für uns nun der Weg zum Gemälde immer wichtiger.
This work was focused strongly on the relationship between storytelling structures, and collaborative choreographic procedures.
Most of the pre-research circulated around the idee of the act of creation being partially one of “magic”.
Two stories from western literature specifically influenced our working period together. Not only because of their content, but also for their formal aspects. Ex: Both stories use a frame within frame within frame structure. Much like a mise en abime or a mirror within a mirror. Writing styles contain elements of the Baroque, Romantic and Magical Reality..
Concerning content: Both narratives are concerned with the act of creation. Specifically the making of a body.
One story is concerned with the possibility dreaming of a man into existence with the aid of magic.
As the week progressed we became more specifically interested in narratives structures as they occur in oral storytelling techniques and how these “formulas” or “strategies” might be deciphered into choreographic events. Both narratives are written works and I wondered how I might translate or transcribe them into an oral storytelling form, more concise and poetry-like, without compromising their integrity.
Question: What if Narrativity is understood as an expression of processuality and of “becoming”. How do things unfold, emerge and transform in time and space.
Question: what if there is no original, but only re-makings?
Question: What if Choreography is the composition of this “becoming” in time and space. Or choreography as the aesthetic of change; formation; deformation; reformation; transformation.
Specific choreographic tasks were designed as means for materializing thoughts and movement images in human form. (No Videos). Tasks are formulated as questions to be answered choreographically, in order to generate or expose the interplay between structure and coincidence; the known and unknown; content and form; show and tell.
The aim was to enable a kind of dreamlike experience, both while creating and performing for a public audience; to provoke images to emerge “magically” and then to set them free to move within loosely designed frameworks of time and space. Like oral storytelling, the choreography is guided by a loose structure, in which dancers are free to decide how to move themselves through space and time, while aiming to arrive at certain set key points. How and if one arrives remains open to formulation and contingent upon the choices made by others. What happens when one does not arrive where one thought to go? How to suggest a storytelling mode without demanding representation or resorting to pantomime?
The compositional process and the content eventually became synchronized.
HOW DO THINGS GET MADE? Who creates who?
How might multiple parts fit together without loosing individuality?
What gets put in or left out? How many details before over detailing into excess?
What is the responsibility of a creator to his or her creation?
What is a good story? Whose story is it anyway?
Where do thoughts originate? How do they move?
DOES THINKING ALSO HAPPEN IN IMAGES? WHAT IF YOU COULD READ IMAGES AS YOU READ WORDS? READ CHOREOGRAPHY AS A BOOK?
Do you believe in magic? What can be considered Real? Illusion? IMAGINARY?
What is the right mixture between control and anarchy when attempting to capture dream states?
How might formal dance procedures disclose narrative structures ?
How does spoken language and storytelling affect our thinking, acting and moving?
How do stories change over time?
How does translating from one language to another affect the narrative?
How might imitation sometimes improve the original?
What if you were limited to a single gesture? How might you find variation?
How to challenge habits of movement in order to approach “otherness”?
How might form induce meaning?
How might it erase meaning?
The four dancers were generous and highly creative, considerate ,very responsive and respectful towards each other. We quickly formed a sense of “group organism” so that the process of researching and collaborating together was, despite some challenging moments, extremely congenial, engaging, productive, always sociable. All in all, hard work and much laughter…. The organizers of the Choreographic Center were hospitable, helpful and obliging to our needs. Thank-you! . I hope that this kind of research and opportunity for artistic development can continue in the future.
The definition of „falter“: „to lose strength of purpose and stop, or almost stop“. And: „to move awkwardly, as if you might fall“.
A translation of „falter“ into German: schwenken, zögern, stolpern, taumeln.
The second thing was the discovery of the conceptual, performance and video artist Bas Jan Ader. The main body of his art, he said, was „all concerned with falling.“ Particularly two of his short films impressed me: „Fall I“ and „Fall II“. His mysterious disappearance in the Irish Sea intrigued me.
The theme „to falter“ is very personal to me. As an older ex-dancer I regard the reality of my age, my body and its limitations, the hesitation to throw myself into movement, the fear of falling.
I came into the resident period with an established vision and ideas for situations in mind, with a beginning and an end, and an already developed stage installation.
I chose to work with five colleagues of different talents and skills to help me develop a presentable form from the pictures and scenarios which had been evolving in my mind during the months preceeding our actual work span.
Chinese dancer and university student, majoring in sports. I experience the Chinese foreign exchange students as tireless workers who carry a tremendous burden here to fulfill their family’s hopes and expectations back home. She is strong, and interprets my personal dance vocabulary well. She is a dancer that never stops moving.
American dancer/performer and personal colleague of many years and experience. Catherine is a beautiful mover and is endowed with a good stage voice. Together we explored using lyrics from songs by Laurie Anderson throughout the piece. These songs were inhabited by notions of walking/falling, falling angels, crash landings.
Parkcour Artist and founder of „Flight Academy“. I utilized his ability to jump from high places and his stunt skills for my choreography. Also his intuitive and subtle sense of theater helped us develop his role as a fallen angel.
Video Kunstler. Nils accompanied the project utilizing his personal video experiments surrounding our subject.
Musician and composer. Nina supervised my work on the audio segments of the piece.
I also took the opportunity to cast myself in the role of „The Time Line“, a slow motion part of the staging that slowly becomes more and more weighted down as the piece progresses.
„Special Pierre“ ist ein Stück über ein Kind, das anders ist.
Nach einem Tanzworkshop mit Jugendlichen mit William Beuren Syndrom im September 2016 in der Musikschule Horrenberg-Diehlheim, beschloß ich, mich diesem Thema zu widmen. Zufälligerweise fiel mir das Theaterstück „Max“ von Beat Fäh und später das Jugendbuch „Wunder“ in die Hände. Als wir die Arbeit zu dem Stück im CC anfingen , interviewten wir Mütter , deren Kinder körperlich oder geistig gehandicapt sind. Diese Gespräche erwiesen sich für uns als große Inspiratiosquelle.
Eine der Mütter sagte mir, zu 90% werden diese besondere Kinder durch die Gesellschaft behindert gemacht. In der Rehakinderklinik Institut St. Pierre in Montpellier kam ich mit Kindern in Berührung, die an körperliche und psychosomatische Defizite litten. Während meiner Residenz dort, konnte ich ihre Körpersprache studieren, die mich oft vergessen ließ, daß dieser ein physisches Defizit zugrundeliegt.
Diese andersartige, spannennde und eigene Körperlichkeit versuchten wir mit den Tänzern gemeinsam in der Residenzzeit im CC in der Choreographie des Stückes einzubinden.
– Wie können wir eine authentische Choreographie erschaffen, die auf den Erfahrungen der physischen Andersartigkeit basiert und gleichzeitig die Kopie einer Erkrankung vermeidet?
-Wie können wir, tänzerisch, eine spannende Geschichte mit großer Emotionalität erzählen, mit der sich Kinder /Jugendliche mit-und ohne körperliche/geistige Defizite identifizieren können?
– Wie können wir diese schwere Thematik leicht, humorvoll und poetisch in einer Choreographie unterbringen, die einer speziell für das Stück entwickelte Tanzsprache bedient?
– Wie können wir dem Publikum eine andere Perspektive auf Menschen mit geistigem oder körperlichem Handicap aufzeigen und durch einen Perspektivwechsel dieses Handicap als Potenzial darstellen?
– Wie können wir das Vertrauen und hohes Gefühlspotential , das uns die Kinder in den Workshops entgegenbrachten, ihnen durch die von uns erzählte Geschichte zurückgeben?
Die Musik von Zelia Fonseca , sowie die Tonkulisse von Julia Fonseca helfen uns dabei auch sehr.
Ich glaube, daß wir an diesen Fragen bis zur letzten Vorstellung von „Special Pierre“arbeiten werden.
In unserem Stück „Curious Minds“ beschäftigen wir uns mit einem zutiefst menschlichen Gefühl: der Neugier. In unserer Arbeit erleben wir sehr häufig die Lust, Neues zu entdecken, Neues zu lernen sowie die Freude am Finden neuer Wege. Neugier ist für uns sowohl ein kreativer Ort als auch ein sehr wichtiger Wert, den wir mit unserer Arbeit zum Ausdruck bringen möchten. Daher dachten wir uns: Warum nicht ein ganzes abendfüllendes Stück über dieses spannende Gefühl?
Die ersten Überlegungen fanden im Wohnzimmer unseres Zuhauses oder auch überall wo wir uns befanden statt…. Aus unserer 4 jährigen Zusammenarbeit kennen wir das schon… Ideen kommen über Monate hinweg… alles aufschreiben… neue Ansätze… Inspirationen… dann erste Versuche Struktur zu erarbeiten und Tasks für die Arbeit im Studio ableiten….
1) Grundlegendes: Neugier ist die innere Offenheit für Neues sowie das Verlangen, Neues zu erfahren und insbesondere Verborgenes kennenzulernen. Neugier strebt gegen eine Gleichförmigkeit im Denken und hin zu neuen Perspektiven.
2) Wird Neues jedoch nicht verstanden kann leicht Verwirrung entstehen. Was geschieht mit der Tänzergruppe, wenn aus der Neugier heraus das gegenseitige Verstehen nicht gelingt und Irritationen entstehen? Wir arbeiten an Duetten, in denen wir uns neugierig tänzerisch kennenlernen….
3) Seit jeher machen Menschen die Erfahrung, dass die Erkundung von Neuem mit Gefahren verbunden ist, aber auch Chancen eröffnen kann. Es stellt sich die Frage nach dem Risiko: Sollen wir es eingehen und wofür? Wie neugierig sind wir? Wann wird Neugier zur Obsession und wie können wir diese im Körper darstellen?
4) Neugier bringt Freude, verstärkt soziale Nähe, fördert lebenslanges Lernen und gibt Lebenssinn. Uns wird klar: Neugier wird durch das Stellen von Fragen besänftigt… Wir beginnen uns während des Tanzens Fragen zu stellen? Was löst das in uns aus? Wie geht es der Person im Mittelpunkt und welche Bewegungen entstehen?
Aus den Fragen entsteht eine Geschichte…. wie können wir diese mit Bewegungen und Sprache auf die Bühne bringen?
5) Was geschieht, wenn wir unserem eigenen inneren Erleben mit Neugier begegnen?
6) Eine Offenheit und Neugierde liegt auch in unserer Bewegungsrecherche. Welche Neugierde kann bezüglich Bewegungen entwickelt werden, die von uns Tänzern schon unzählige Male durchgeführt wurden? Was kann eine andere Haltung bewirken und in welcher Weise ist diese für das Publikum sichtbar?
7) Neugier ist eng mit Spannung verbunden finden wir: Wie kann Spannung aufgebaut werden: Wir experimentieren und finden viele Bewegungen die diese „Suspense“ in unserem Körper und in verschiedenen Interaktionen ausdrückt.
8) Neugier ist ein Motiv, was uns unser ganzes Leben lang antreibt: Wir arbeiten an einem Solo über die Entwicklung von Neugier… beginnend am Ende des Lebens bis ins Kindesalter….
Mit ganz viel ersten Szenenentwürfen und Ideen kommen wir in der Residenz in Heidelberg an. Wir sind beeindruckt von dem Studio und den tollen Arbeitsbedingungen. Auf geht es in die 2. Arbeitsphase: wir wollen einen spannenden Handlungsstrang über das Stück hinweg entwickeln… wird der Zuschauer neugierig sein, was als nächstes passiert… 6 Menschen stehen im Mittelpunkt… wie stehen wir auf der Bühne in Kontakt miteinander?
Wir arbeiten weiter an den für uns wichtigsten Szenen und langsam entwickelt sich alles ganz natürlich von sich heraus. Uns wird klarer wer wir auf der Bühne sind, wo unsere individuelle Neugier liegt und was jeder ausdrücken möchte. Verbindungen zwischen Szenen werden hergestellt.
Ein weiterer Prozess, der die ganze Zeit neben dem Choreographieren für uns abläuft ist die Komposition der Musik durch Morgan. Welche Stimmung benötigt welche Szene? Wie kann sich die Musik mit dem Tanz verbinden? Morgan verbringt die Abendstunden vor dem Computer und an der Gitarre… langsam entsteht zu den meisten Szenen eine musikalische Entsprechung….
Phase: Fortgehend aus verschiedenen vorherigen Projekten entstand bei Joseph Simon und mir der Wunsch, ein abendfüllendes Stück zu entwickeln. Um ein Konzept zu erarbeiten, trafen wir uns über das Jahr 2016 hinweg mehrmals in Rotterdam oder Heidelberg um uns auszutauschen. Körperlich arbeiteten wir vor allem an Bewegungsspielen, um eine Art Werkzeugkasten zur Bewegungsgenerierung zu schaffen. Hier orientierten wir uns stark an „Improvisation Technologies“ von William Forsythe. Unser Ziel war es, unser Wissen über zeitgenössischen Tanz und verschiedene urbane Tanzstile irgendwie zu vereinen und für uns leichter zugänglich zu machen. Über Skype entwickelten wir unser Konzept zusammen mit Eva-Maria Steinel weiter.
Phase: Im März 2017 hatten wir unsere erste längere Residenz bei Dansateliers in Rotterdam. Hier nahmen wir uns viel Zeit um Bewegungen zu erforschen und um verschiedene Formen der Kommunikation untereinander und mit dem Publikum zu untersuchen. Wir orientierten uns stark an „Foundation“ von Joseph G. Schloss, worin es um die Entstehungsgeschichte des B-Boying geht. Uns war schnell klar, dass der Austausch von Ideen und deren Weiterentwicklung durch die Sprache Tanz im Mittelpunkt stehen sollte. Außerdem untersuchten wir, wie wir verschiedene Elemente einer Hip Hop Jam ins Theater bringen könnten. Besonders wichtig war uns der Kreis als Ort des Geschehens, da dort die Energie von allen Seiten in die Mitte konzentriert wird. Unsere Ergebnisse teilten wir in wöchentlichen Movement Classes und in Showings am Ende der Residenz.
Nachdem wir in der Residenz in Rotterdam bereits ein paar Themen für mögliche Szenen entwickelt hatten, fingen wir in Heidelberg recht schnell damit an, einen Rahmen für unser Stück zu schaffen.
So wie wir unsere Bewegungen in verschiedene Werkzeuge organisiert hatten, versuchten wir Module und Elemente zu schaffen, die wir frei würden verschieben können. Als geistige Nahrung und zur Inspiration diente uns vor allem „Infinite Games“ von James P. Carse.
Wir wollten nun besonders den Ideenaustausch und deren Weiterentwicklung als nie endendes Spiel betrachten – frei nach dem Carse’ Grundgedanken, der oben zitiert ist. Hinter der Idee des unendlichen Spiels steckt eine Einstellung zum Leben, die wir gerne mit dem Publikum teilen wollten.
Zuerst beschäftigten wir uns mit dem Raum. Wir trennten uns schnell von der Idee, alles in einem Kreis stattfinden zu lassen. Dies hatte einen befreienden Effekt auf uns: Der große Raum des CCs und die Loslösung von schon festgelegten räumlichen Szenarios ließen uns den Raum ganz anders wahrnehmen. Hieraus entwickelten wir unser Spielfeld. In Anlehnung an verschiedene Schulhofspiele begannen wir den Raum mit Malertape zu gestalten. Außerdem nahmen wir einen alten PVC-Boden sowie Pappe hinzu, da auf diesen Böden B-Boying entstanden war. Wie würden wir auf verschiedene Untergründe reagieren? Welche Möglichkeiten entstehen daraus? Dadurch, dass wir während der Residenz mehrmal das Studio wechselten, entstanden verschiedene Versionen eines Spielfelds, die uns immer wieder zu neuen Scenarios führten.
Was, wenn der Boden kein Boden ist?
Was können die verschiedenen Gegenstände alles sein?
Wie können wir Spiele abstrahieren, aber sie trotzdem erkennbar lassen?
Wie kommen wir von einem Spiel zum anderen?
Wie verändern wir diese Regeln?
Wie können wir unser Bewegungsmaterial hier einbringen?
Wie kommen unsere Bewegungsspiele zusammen mit dem Raum?
Was rufen sie dann hervor?
Da wir zu zweit sowohl Performer als Choreographen waren, fiel es uns schwer, zu beobachten, was wir machten oder wofür das Material gut sein könnte. Hierfür war Tonia Kyriakou eine große Hilfe, die manchmal für einen von uns einsprang, sodass wir auch von außen beobachten konnten. Außerdem filmten wir viele Improvisationen um dann aus den Videos Material zu extrahieren. Die ganze Residenz über versuchten wir stets, die Balance zwischen Improvisation und gesetztem Material zu finden. Einerseits würde gesetztes Material viel Sicherheit bieten; andererseits: wo ist das Spiel, wenn man immer weiß, was kommt? Ebenso beschäftigte uns sehr, wieviel Ordnung und Struktur und wieviel Chaos wir ertragen könnten.
Aus dem Improvisationsmaterial, sowie aus den Skizzen, die wir schon in Rotterdam angelegt hatten, begannen wir einen Score zu erarbeiten. Wie würden wir die einzelnen Spiele verbinden können? Muss der Zuschauer verstehen, was wir machen? Manche Szenen fingen wir an zu bauen und mehr über eine Struktur zu entwickeln. Andere waren eher instinktiv entwickelt und hatten eine weniger definierbare Ordnung.
Die Musik trugen Steffen Dix und Peter Hinz bei. Bei einem Treffen hatten wir verschiedene Ideen ausprobiert, worauf die beiden mit der Komposition begannen. Sowie die Choreographie auf einem Dialog basieren sollte, sollte auch die Musik auf diese Weise entwickelt werden. Auch die Idee von Bausteinen führten wir in der Musik weiter. So sind Teile der Musik modular aufgebaut, sodass wir damit flexibel umgehen und sie beliebig zusammensetzen können. Bei den Proben probierten wir dann aus was zu was passen würde. Außerdem stellte sich die Frage, wie wir die Musik einsetzen würden. Wie schafft man Übergänge ohne harte Schnitte? Wie kann die Musik so eingespielt werden, dass sie nicht zu viel vorgibt? Wie korrespondiert die Musik mit Bewegung? Wie können wir Geräusche mit der Umgebung machen?
Um eine Art Scrabble für die Bühne zu entwickeln, fingen wir an mit Wörtern zu spielen, die wir in wechselnder Reihenfolge zu verschiedenen Sätzen kombinierten. Die Wörter extrahierten wir aus Spielregeln, aus denen wir dann neue würden schaffen können. Diese Wörter wurden schließlich zu Schildern, die Cédric „Sweet Uno“ Pintarelli für uns gestaltete. Die Schilder hatten wir erst in unserer letzten Probenwoche. Nachdem wir zuerst ein wenig überwältigt waren von der Vielfalt an Möglichkeiten, fingen wir immer mehr an sie durch den ganzen Score hinweg einzubinden. Wie können wir anhand der Schilder Regeln etablieren? Sind die Schilder auch etwas anderes als Schilder? Wie können wir anhand der Schilder mit dem Publikum interagieren?
Das Stück sehen wir mehr als eine Momentaufnahme unserer Entwicklung. Daher wird es sich noch weiter verändern und hoffentlich weiter wachsen. So wie die Spiele auch, soll es kein komplett festgelegtes Stück sein, sondern stets offen für Anpassungen.
TextUs… Textus or text: a thing woven, a fabrication, maybe a lie.
Deutsch: Gefüge, Geflecht, Geschichte, oder Lüge?
The project employs the movement experience of four local professional dancers working together with a newly formed Movement Chorus made up of 10 local Heidelberg citizens from diverse backgrounds who all enjoy dancing.
My personal aim: By investigating fundamental concepts underlying all movement, (Bodies, Time, Space, Relation, Shape, Energy, Flow and Arrest) I try to understand how language works to connect, intrigue or perhaps segregate us. Furthermore, I wish to create a working atmosphere of play, exploration, discovery and invention within socially diversity, seeking accidental and unexpected connections between materials and people. All this with the view towards formalizing the coincidental and offering the participants a chance to become agents for change (and not just instruments for profit making purposes).
The Preparation phase of research was guided by a series of questions I posed to myself concerning the nature of language, texts, spoken or written, the body imagined as a possible text in motion. What kind of language is dance? How does it communicate? What kind of dance is language? What are some contemporary ideas about choreography? Collaboration and cooperation? How do we want to work/ converse with each other?
Arrival/Aliens/Birth/Stuttering/Games/Players/Stories/Communities/Pleasure/Listening/ Differentiation-listen to,for, or with?
What if this dance were the sudden arrival of alien pleasures?
What if this dance were a game of listening with each other?
The questions produce a list. Dancers add to the list. “What if this Dance were a repetition of forgetting habits?” At some point later, I tear the list into separate strips and build a path along the floor and people of the Chorus will walk along and rearrange the paper strips on the floor. Is this choreography? And…How can we perform this list of questions choreographically?
I also write down many thoughts, phrases and formulations from books, like “Philosophy of the Flesh” and “The Pleasure of the Text”. A book on Heidegger which is lying around intrigues me.
“There is language only because there is talk(Rede) or chatter (Gerede)?” And what moves us to talk? English or German? Issues of translation and interpretation arise. German has three words for Interpretation: Interpretieren/Auslegung/Deutung… How do “things” aquire their names?
Making a dance or performance piece always seems like an easy thing at the beginning. Complications of “embodiment” arrive and manifesting ideas can quickly become tedious. Often, my words do not illicit the actions which I anticipate. Sometimes this is actually refreshing, sometimes frustrating. Talking about it can also become tedious…chatter.
I have not worked with any of the profi dancers before….Let’s get to know each other. Sounds good. But, how to actually do it? And what exactly is this IT we are all trying to do? What can be said about IT?
What if Language were a Dance?
How does it start? Slip? Hide? Flow, go on? Appear?
How does it Weave? Knot? Unravel?
How might words influence bodily states or physically imaginative expressions?
How do we invent words from bodily states?
cliffmouths riverstomachs icesexes snowlungs coalbrains cloudfingers…..
What about: Kinder ohne Garten oder Spiel ohne Zeit?
What if the Body can be considered as a Text?
Who is the reader? What is the role of the reader?
What if sensing: touching, looking, smelling, intuiting, sweating, shivering, pressing, sounding, were the grammar by which we compose our relations?
How to find pleasure drifting in uncertain territory? How to converse in a foreign language?
Remember when you learned a foreign language? How did you convey complication on the basis of a limited vocabulary?
How might the moving interplay of repetition, inconsistency, rupture, and stillness, create bodily rhythms similar to those of speech?
What if dancing writes disappearing upon the surface of the surrounding space. How might we interact or relate to this imagined textured space of transformation?
Was ist zwischen uns? What connects us? What connects words? What rips us apart? What remains?
During the first week the dancers create movement material, culled by some of these questions or related tasks and guided improvisations. We exchange some of our movement preferences. We try out some speaking games. In the second and final week of research, I work in a similar fashion with the Chorus and then move towards facilitating an integration the two groups of people. We all play a game of “pass the ball with out throwing it” together. This initiates a nice group flow and with a bit of music everyone loosens up and begins to move nicely, naturally with each other. We play other simple games concerning the relevance of our names as accurate descriptions of our presence(dasein). We attempt simple movement tasks in order to generate “material” together. Could this be the basis of a performance? A simple game of ball?
Everyday, things transform and reformulate into other things. The fragments of events, actions, dances and ideas proliferate so quickly, that it is all too easy to feel completely overwhelmed by possibility. We all feel the pull of “ Ordnung muss sein” But what principle shall be our guiding one? What is IT all?
What if a Performance were more like a poetic Conversation?
and less like a linear narrative? How might we better understand the performance situation as an emergent moment of responsive bodily sensation “ leibliches Aufeinander Re-agieren”?
On the last last two days, I propose a possible temporal order for the final presentation on Sunday, taking on suggestions from the group when they arise. It’s a loose weave, in the hope that the tension of the viewing situation will still allow for suprising moments of discovery between the players…This is the first working sketch and by no means a finalized product. We need and appreciate an audience, in this delicate phase of working, because the viewers are our accomplices, the other side of the “text”, the readers, so to speak… How to read a dance?
As this performance-body of multiple moving thoughts flows or stutters before me, questions begin to coagulate: where is ITS‘ axis, ITS‘ strong pull, the of core of IT? Where is IT bound? What holds IT together? Is IT one thread or many or both?
two week period of research. Part of being together is being together with the viewers..
Facit: The theme of a Chorus is a strong one. And ITS‘ many variations, made up of diverse members and motifs moving and sounding is worth further development. The image of the crowd, transforming, condensing (Dichtung)and dispersing Auflösung), and evolving brings my thoughts back to a book: Crowds and Power, Elias Canetti. The role of the professional dancer and his/her relationship to the Chorus poses more difficult questions. Perhaps it is too easy to slip unintended, into comparing the movement skill of a non dancer to the virtuosities of a trained prof. Dancer . This aspect of the work begs reconsidering. What then is being thematically explored? Status? How to bring people (in a small city)with diverse movement histories together into pleasurable challenging and meaningful interactions? What and how do we want to exchange with each other ?
End notes: Back to IT again. I think of spider’s silk. What makes webs robust is something previously considered a weakness: the way IT can stretch and soften at first when pulled, and then stiffen again as the force of the pulling increases. What sticks in IT’s web after words?
Die Residenz am Choreographischen Centrum Heidelberg war ein sehr abwechslungsreicher und bereichernder Arbeitprozess, in dem wir Zeit hatten, uns auszutauschen und neue Arbeitsweisen auszuprobieren. Meine choreographische Hälfte, Tess Luscassen, und ich haben uns mit dem Thema unserer „globalen Identität“, den Spannungen in unserer Gesellschaft und verschiedenen sozialen Konventionen beschäftigt. Vieles, was zur Zeit politisch und gesellschaftlich passiert, beunruhigt uns und wir haben unseren Prozess mit vielen Bildern und Fragen begonnen. Das Material, welches zunächst daraus entstand, schien uns jedoch zu abstrakt und so haben wir angefangen sehr persönliche Elemente und Erfahrungen in unsere Arbeit einfließen zu lassen und letzendlich verschiedene Ideen zu einer Collage aus Tanz und Theater zusammenfließen lassen. Das Ergebnis fängt ein Gefühl von Unsicherheit und die Suche nach Antworten ein und wird hoffentlich auch anderen als Denkanstoß dienen.
To kill the Monster one needs to keep it apart, but at the same time, to introduce it into the everyday realm, one will make out of it a curiosity (fair) and so it will paradoxically become a liberator of anguish.
This performative research is rooted on the exploration of monstrousness and aims to bring a critical insight on the theatrical apparatus of the Freakshow, the popular fairs of wonders and Humans Zoos.
Freakshows and Human Zoos arose in the middle of the XIX century – as a consequence of the apogee of the western european colonialism – and were a display that emphasised division and Otherness, rooted on the dichotomy: I versus The Other.
Often disguised by the name of “World’s Fairs”, those shows (de-monstrations) offered a particular regulating mechanism where the display of the “monstrous”, or of the “Other” was meant to satisfy and pacify the voyeuristic desire of an audience by attempting to reassure their own normalcy.
The three weeks residency at the Choreographic Center of Heidelberg constituted the third of the five condensed blocks of this research. The previous two blocks were in September (Portugal) and in October (Berlin).
During this 3rd phase Marc Philipp Gabriel (performance and co-creation) and Helena Botto (concept, direction and performance) were present during the whole time. Susanne Foellmer (scholar advising – grotesques expert/dramaturgical mentoring) joined them during the first week. Susanne Mayer (dramaturgy) took part for 10 days (2 blocks of 5 days) and Nikola Pieper (sound designer) worked from Berlin, following the process remotely through video footage of the rehearsals.
The objective of this phase was tending toward the construction of a structural draft that would allow the exploration of, and reflect upon ways of transforming the conventional roles of the “Monster” (the Other), “the Freakshow Host” (the Showman) and the Audience, and to test a few procedures in order to build the skeleton of the future performance.
How strict should the borders of this triangulation remain in order that the spectrum of the former dispositif can still remain visible? And how much can one merge them?
In aesthetical and methodological parameters this research is making use of grotesqueness, absurdity, the exploration of the moustrous, in its comic, morbid and scary variations aiming to achieve states of hybridness in which the content becomes blurred and often unidentifiable.
A public showing at Ada Studios, in Berlin the previous October, inserted within a specific frame, brought back into the work adapted and recontextualised performative material that I had started to develop in 2015 within the frame of the “Portuguese Monster” – where I was developing material related to the role of Portugal as a colony, its mentality, its cultural and folkloric manifestations, a.o.
The first days of the residency were dedicated to analyse that previous phases of work. Marc and I presented to Susanne Foellmer the 30 minutes structure we had done in Berlin, and as well some other isolated performative actions that had not been inserted in the structure at the time.
It started to be clear that the material related to “The Portuguese Monster”, was bringing a political dimension into the work that should be further explored. Nevertheless my question at that moment was if the specificity of the portuguese colonial case wouldn’t be shrinking a more global context?
Another question I had was about the role of Marc and myself. Basically up to that point we have been developing a strategy of twinning each other, creating sort of a doubled, merged entity where often one starts a task and the other answers to it, and afterwards the sequence usually ends up with a reversal of roles. Is this way of developing material bringing a certain predictibility? There is never a situation where one of us, for instance, is performing “the monster” while the other is on the role of the „showman“. Shall we try some moments where this option is present? But if so, wouldn’t that option create a clearer division between the roles, when what is at the stake is the blurring of those roles?
Up to now I have decided to explore the twinning situation up to the exhaustion and see how this will evolve further.
As mentioned before, one of the purposes of this research deals with the merging of the borders between “the Monster”, the “Showman” and ultimately the audience. And if this fusion starts to be visible between the roles of the showman and the monster, up to this point the same is not happening concerning the blurring of the Audience’s role. The Audience is still maintaining a sort of stabilised position. Up to now the closest we are getting from this idea of merging is through a share of space. Many times the performers (within the role of the showman or monsters: Monstrator) physically occupy the space of the audience and directly or indirectly interact with it. But is that enough to affirm that the roles are merging? And what if one would adopt a set up closer to the white box situation, where the audience could be wandering throughout the performance while inhabiting the performer’s space? Would the blurring of spaces help to blur roles?
A dialogue with Susanne Foellmer was important to understand that if one would totally modify the hierarchical and quite framed organisational conditions of the space, and distance them too much from how it was done in the former freakshows, then one would also distance oneself from the freakshow apparatus that one aim to question.
On the other hand if the display of the monstrous will be always presented very near or in the audience’s space, it will soon become very familiar (to them) with the danger that the possible perceptions of estrangement and uncanniness that I’m aiming for will vanish.
So I have decided to leave in standby mode during this residency the questions of the audience’s merging role, and see how I can put that question later, and how another question might emerge through the development of the staged actions.
Another point that I started to realise after the 1st research phase in September in Porto at Teatro do Campo Alegre, Portugal, and that somehow was still present throughout the 2nd research phase in Berlin, is that the blocks of action that we have been working on tend to keep on looping on themselves without really reaching up a point of resolution. I firstly started to frame this aspect as a problem but nevertheless each time that we aim to find it an end, what would come out was a situation more similar to a narrative, which for me is not a direction that I’m interested in ex So the drafting of a possible structure became urgent since it will be through that, that the fragmentary blocks of material will find their relational value concerning what anticipates, or what follows them. So, if those actions started to be developed within a structure, it was interesting to understand their new value and how processes of meaning attribution were functioning.
So, the whole structure has a fragmentary condition/ characteristc, where the connection between the elements is often made by an interruption. Some blocks of actions are sometimes dropped, a change of costumes or space occurs (often performed on a pedestrian basis) as if ressembling a structure of a circus or of freakshows situation.
After that I started to organise several blocks of actions and see how they could work through the performer’s perspective (rhythm and flow) and how would they be spacially organised.
There are two blocks (B and D) whose content is ironising and bringing a critical gaze towards colonialistic processes. In general each block is usually starting with an action that is framed in the context of the “Showman,” followed by other framed in the context of the “Monster,” and many times followed by others developed in a more hybridised manner.
The work of the last two weeks focused on different ways of chaining those blocks of structure together, and make some adjustments to them. Given the constancy of how each block is organised, interbreeding different actions that organise themselves through a repetitive pattern, I first wanted to try randomness in the way the blocks would succeed eachother, in order to break the heirarchy of meaning. But some fragments of text were appearing too soon in the performance, thereby unveiling elements that should only be revealed later.
Is it working? What is to work?
After a few try-outs on composing the whole structure. The sequences were organised A, D, E, B and C.
That was 1h 30 of material and too long to be presented in the context of an open showing followed by feedback.
During the time we started to work on the full sequence we also kept working on some actions, the form and content of which should be redefined or recovered (e.g. “Lips” sequence – now developed in a duet as doubled mirror; “Sexual monster” now adapted and inserted in the “Mr. Emperor” interview, and the “Twinning”, a.o.). Marc and I often redefined and proposed new tasks to be followed through out improvisation moments on each action.
The inside-eyeing from Susanne Mayer was extremely important in diagnosing some latent and hidden potential of some material, that Marc and I from the performers’s point of view would very often not be aware of.
Two days before the public showing on the 25th November we shortened the structure, removing some actions that were not yet ready to receive feedback. At the end we presented 56 minutes of material , followed by feedback with the audience.
Everyday at the beginning of the work session a yoga based training was led by Marc, sometimes a Pilates class was held by Susanne and for 2 days a training based on isolation of body parts was held by Helena.
Die dreiwöchige Residenz am CC Heidelberg vom 15.9.-09.10.2016 bildete die zweite- und somit letzte Probenphase der aktuellen Produktion „Phaidra- Die Virtuosität des Leidens“ meiner Kompanie, der COOPERATIVA MAURA MORALES, vor der Endprobenwoche, welche an unserem Premierenspielort, dem Ringlokschuppen/Ruhr, stattfand.
Der Mythos von Phaidra, wie wir ihn nach Euripides und Seneca auslegen, ist die Geschichte einer doppelten Anziehungskraft. Auf der einen Seite fühlt sich Phaidra gefangen im Gravitationsfeld ihres Ehemanns Theseus, dem sie zu entfliehen versucht. Auf der anderen Seite wird sie angezogen von ihrem Stiefsohn Hippolyt, der sie jedoch zurückweist. Das Drama einer reifen Frau, in fataler Weise verlockt durch die Jugendlichkeit, ist aber noch mit weiteren und stärkeren Bedeutungen aufgeladen. In dieser Auslegung des Mythos wollten wir diese vielfältigen Spannungen nicht verlieren: die Spannungen zwischen aufwärts und abwärts, zwischen dem Transzendenten und dem Vitalen, zwischen dem Unterirdischen und dem Oberirdischen, zwischen Vergangenheit und Zukunft.
Der tänzerische Fokus lag in der ersten Heidelberger Woche hauptsächlich auf dem „Zurückbringen“ der Emotionen, mit welchen die Bewegungen und Tanzsequenzen in der ersten Probenphase kreiert wurden, sowie einem „Wieder ins Bewusstsein bringen“ der beiden männlichen Charaktere, sowie deren tänzerische- und emotionale Auslegung. Denn diese auf Phaidra wirkende doppelte, männliche Anziehungskraft bildet eine zentrale Säule des Konzeptes der Choreographie und spiegelte sich somit auch in der Auswahl der Darsteller wider: Die unterirdische Schwerkraft des Theseus wird von Chang Ik Oh verkörpert, einem Tänzer ausgebildet im Butoh, einem Tanz, der fest auf dem Boden verankert ist. Die luftige Schwerelosigkeit des Hippolyt hingegen wird von Yotam Peled dargestellt, einem auch in der Luftakrobatik ausgebildeten Tänzer.
In dieser ersten Woche in Heidelberg mussten wir uns daher auch der Problematik stellen, dass die im Stück zehr zahlreichen Szenen am Vertikalseil auf Grund der räumlichen Gegebenheiten nicht geprobt werden konnten!
Stückes kreiert haben, die es uns ermöglicht, das Stück auch ohne das Seil aufzuführen.
Im weiteren Verlauf der Residenz hatte wir dann die Möglichkeit, besagte „Seilszenen“ in der großen Hebelhalle zu proben, welche uns freundlicherweise vom Unterwegstheater zum Proben dieser Sequenzen des Öfteren zur Verfügung gestellt wurde.
Des weiteren galt es, in Heidelberg die ebenfalls bereits in der ersten Probenphase komponierte Bühnenmusik zu verfeinern, zu üben, sowie das musikalische Setup dahingehend auszurichten, die Komposition auch live voll reproduzieren zu können.
Während die Tänzer Chang Ik Oh und Yotam Peled mit der Assistentin Victoria P. Miranda und mit mir im Saal probten, befand sich der Komponist Michio Woirgardt meistens im Keller, wo er an der Musik und dem musikalischen Setup zu „Phaidra“ feilte.
Die zweite Woche war geprägt von choreographischer Detailarbeit und von der Verzahnung Musik und Tanz.
Außerdem besuchte uns der Lichtdesigner und Bühnenbildner Philipp Zander. Mit ihm wurden die Ideen zum Phaidrabühnenbild auf Realitätstauglichkeit geprüft und das Endmodell des Bühnenbildes erstellt.
Die dritte und letzte Woche stand ganz im Zeichen des öffentlichen „Showings“, welches am Freitag, den 07.10. stattfand.
Da die „Phaidra“-Premiere für den 14.10. angesetzt war, beschlossen wir, das ganze Stück zu zeigen, welches im Nachhinein betrachtet, eine sehr gute Entscheidung war.
einmal vor Publikum getanzt zu haben.
Zum anderen waren auch die Feedbacks während des anschließenden Publikumsgesprächs sehr interessant und haben dazu beigetragen, letzte choreographische, dramaturgische und musikalische Änderungen vorzunehmen, die das Stück bereichert haben.
So stand unser letzter Tag am 09.10. in Heidelberg noch einmal ganz im Zeichen von „proben, proben, proben“!
Als Fazit kann gesagt werden, dass unsere Residenz am CC Heidelberg eine sehr intensive, konzentrierte und effiziente Zeit war, in der wir die Möglichkeit hatten, „unsere“ „Phaidra“ zum Leben zu erwecken.
Art und Wiese von Jai Gonzales und Bernhard Fauser sorgten stets für ein gutes Klima.
Ein sehr interessanter Aspekt bei diesem Residenzformat ist, dass der Akt des Kreierens und die alltäglichen Dinge wie Essen, Schlafen etc. unter einem Dach stattfinden und somit eine Trennung eigentlich nicht existiert. Durch die somit entstandene Intensität hat die Produktion eine ganz neue Ebene bekommen, die das Stück in jeder Hinsicht bereichert hat!
Residence Report Choreographic Centrum Heidelberg.
We met to start and at once re-start the MichaelDouglas Kollektiv and Prue Lang, 6 years after our initial collaboration on TIMEPIECE in 2010, which was nominated for the Cologne dance production of the year award.
Since this time both the Kollektiv and Prue have continued to investigate in our own ways the nature of time and space. The Kollektiv working with the Architect and Social Theorist Dr. Ing Michael Steinbusch on the relationship between dance an architecture; how is space defined? Which tools do we use to create distinctions in space? Prue’s fascination with time continued through a series of dance productions presented as far as Paris and Melbourne. Our time in Heidelberg was to be the first time we re-entered the studio, interestingly enough, the topic of time and space being unavoidable! New space, new time, same people!
For this reunion our main focus was duality in the body. Creating complexity out of simplicity, or allowing a simplistic movement to resonate through the complexity of the body. Our aim was to initiate a highly articulate physical practice that utilises diverse choreographic modalities.
When we imagine all the actions that a body takes without our consciousness, without our observation. Such as breathing, digesting, hearing, walking or even opening a door. We realise that the body naturally moves with incredible complexity without putting any thought to it. We challenged ourselves to investigate our bodies moving according to their own complexity by creating specific modalities.
One example was to place the attention on the hands, one hand was to be clenched in a fist, the other the fingers flat, an open palm. Should the hand in a fist be opened to an open palm, the other hand was to simultaneously close into a fist. This modality was then explored layering on all aspects of physical knowledge that we as dancers inhabit. The focus placed on the hands in turn would allow the body to move in a new way, to find it’s own new complex organisation.
The length of our stay was marked by long explorations, and intense discussions. The nature of our collective means that while we have roles we aim to avoid hierarchy. The dancer and the choreographer work together to discuss and develop an independent creation, something that exists between everybody involved.
We used the time to expand physical practice, observing ourselves and each other, giving feedback and noticing the shifts in our physical expression.
We decided to show everything we ‘had’ for the presentation, one question that we really wanted to address is how to shift the audiences experience of the their body while watching the performance? What action could we take to bring the audience into the experience of time and space through the body? We decided to offer each member of the audience a touch, an action that was replicated onstage during one section when we work on the sensitivity of mutual touch to instantly create dance. We introduced ourselves to the audience and offered them a mini 1 minute workshop, and mini introduction to what we would then later do onstage. The presentation proved to be a useful chance to test this idea out. Audience members we spoke said they enjoyed the introduction and felt closer to the work. We will continue to develop this idea in the coming rehearsals, we wonder if through words or actions we change create a new perspective for the observer that shifts their own observation of time, and experience of space.
Inspired by the future consequences of the technological revolution, Boiling Cold takes a daring look into the way we communicate. Two dancers are interacting in two separate settings exploring human encounters such as distance, proximity, playfulness and efficiency; A shared search of the future and a study on the fragile beauty of human interaction. With its two settings combined Boiling Cold offers a unique experience of two choreographies, two different atmospheres and a doubled amount of dance.
Theaterfestival „Schwindelfrei“. Leading up to these performances we had a research period of 2 weeks at Theater Heidelberg (thanks to the generous support of the Dance Company Nanine Linning/theatre Heidelberg) and worked at the Choreographiches Centrum Heidelberg for 8 days; 4 days in March and 4 days in May 2016.
March 2016: During these 4 days we focused on the solo section of the work. We were exploring the idea of giving life, meaning, complexity and importance to something and then stripping it down to its essentials, creating a practice of efficiency. We created a system where Evandro (dancer/performer) creates a choreographic movement phrase live in the moment, allowing the audience to see the process of building the phrase. We discovered that through such an exposed rigorous process the audience could become attached to the steps, process and choices that Evandro was making, as if they were part of the process itself. This sense of attachment made the efficiency editing process more impactful. Once the phrase was built and perfected, Evandro began a new process of elimination through efficiency, breaking down the phrase to its essential elements. First he would take away the decoration of the movement such as accents and qualities. Then simplify the transitions between movements, making the phrase shorter and easier to execute. Then he would edit out effort-based movements such as going to the floor and jumping, leaving him with only gestures and directions in space. Then he started narrowing down the gestures and directions one by one till they were gone. Finally leaving him with no movement at all.
May 2016: These 4 days were dedicated to building a structure for our upcoming performances of 20 min. We spent these days selecting certain sections and ideas that we had from our research period and explored mixing and matching sections to try and give the public a concrete experience. This was the moment in the creation process where we were faced with the dramaturgical questions of what we wanted the audience to experience and feel. We realized that our main goal was to trigger dialogue and personal face-to-face communication between the public. To do this we had to give them an experience of mystery and misunderstandings. We explored the unique setting of the public divided into the 2 separate sections. We came up with a structure that gave 1 side of the public a journey of seeing both dancers together and slowly separating them till they were both gone and dancing on the other side. The other side of the public got the opposite experience; not seeing any dancer for a while and only hearing them dance on the other side. Next only seeing one dancer and eventually ending with both dancers in front of them.
Public presentation on May 27th: The presentation was very helpful for us to test the idea of separating the public into two. The discussion after the presentation was very thought-provoking and helpful for us to understand from the public what its like to witness this unusual scenario. What we were happy to discover is that the construction of this idea did trigger dialogue after and that worked very well but what surprised us was that people experienced frustration with not being able to see everything that was going on. We realized after this presentation that we needed to find a way to transform this experience of frustration into more curiosity and intrigue.
In the coming fall, the premiere of the full-length evening can be seen on 18.11., 19.11., 20.11., 25.11., 26.11., 27.11.2016 at Theater Felina-Areal, Mannheim.
Mabel renders homage to the difference, to the abnormality and to the innovation as an inexhaustible source of surprise and diversity. It is an antidote to the intolerance and an approach to the unusualness. Mabel is also a material to think about us and on the role that we believe we are representing in life. Mabel proposes to be vulnerable human beings who are able to look at things we don´t agree or manage to understand. Images that we are able to interpreted with the force of our feelings.
Mabel is a character I created in my mind, a woman that tries to understand all her reactions in different situations that take place in her conscious and unconscious world. Her mind reproduces many surrealistic images which lead her into a deep trip. Sometimes she is in complete control of her actions and other times she simply looses it. Sometimes I think about her, I close my eyes and I see her face as a diamond shape where each side shows different personalities.
For this process of the creation I chose five very different female dancers in order to represent this versatility of Mabel. During this process I have been insisting in finding this imaginary woman in all of us, without loosing our own identity.
We, all the members of the company, were doing three weeks rehearsal at the C.C Heidelberg as a part of the Residency program.
Every week I focused the work in different aspects.
The first week we went deeper in the movements quality and we tried find our own personality inside the movements. The first version of the piece was created with only three dancers so in this new version the other dancers had to learn and adapt themselves to the meaning and quality of the piece. During this process of creation I realized that we were developing the choreography in a new direction. We explored new stories that appeared in the studio through the talks and the improvisation of several tasks that I proposed to the dancers.
On the second week I concentrated the work on a scene of the piece to create an atmosphere that would represent the dreams. This part was the more fragile and difficult to represent. All the dancers had different ideas about this topic, so we discuss it and try to get closer to my first idea. My impression about sensations that we have in a dream, how to interpreted the movement without getting too dramatic, how to walk with high heels and feel that we were flying, or even how to be present without doing anything in “pure silence”?
The other aspect that we were working was our relation with the flying pigs. These are very important object for me, the key for the surrealist character of the piece. How to catch them? how to get them part of ourselves? My intention was to include them in our way to communicate and express emotions but always giving an abstract meaning. With this aspects we close almost the second week of work.
The last week I decided to organize and rehears every part preparing ourselves to the showing that we had to do on Friday 22nd. I used a couple of evenings to record some parts in order to have material to create a promotional video of this new version of Mabel.
We ended the residency with the showing , it was a great opportunity to had contact with the audience after and have some feedback.
Interview mit Residenzkünstlerin Sonia Rodrigez anlässlich des Showings im CC.
First phase of the residency is 7th till 11th of March.
This is a phase of pure research. There will be try outs of materials that could possibly be in the film or for the performance.
12th of March till 14th of March is a first period of shooting images for the film, there will be a camera lady, a writer and a dancer joining from Bochum and Essen.
15th till 17th will be again researching and developing the material for the second period of shooting images. There will be a possibility that we are working mainly at outside locations for this section.
18th till 21th of March is second period of shooting images, there will be a camera man and a sound lady joining from Düsseldorf.
22nd 23rd will be the editing and preparation for the showing at Choreographisches Centrum Heidelberg.
24th of March will be the showing.
Please, can you describe the work and act of choreography?
About my work and the act of choreography, through Video editing I learn more and more about the importance of rhythm and space in composition. At the start which was something unexpected, filming and process of editing changed my view on choreography. It made me understand the choreography from a different angle. My act of choreography deals with movement,space, images and narrative. New work is more of narratives comparing to my last work in Heidelberg.
For the 1st time you worked with „normal“ people also. In which way has this transformed you work?
It had influenced a lot. Last time I was bringing in some objects (props) to accompany my choreography, this time most of it is gone and some new things came up as a result of new encounters. It was almost like work emerged through encounters and each encounter became a plot in the film. First 10 min of the work is shot by a home video camera which gave me tremendous flexibility, meeting Nieves Chaón and having a dialogue with her gave setting for my new work. It started with her telling of the dream she saw the night before the shooting. It was quite amazing to see small things that happens by meeting can sometimes go deeper into the creative process. There are very practical side to these encounters, too. Through the meeting, I got to know the places I never knew before. The scene at the swimming pool is the place that Rita Martin told me and I went to the place to see and I immediately felt attached to the place. With each encounters there are different feeling and emotions, I proposed each one with different propositions. So the film became more complex and rich.
Can you describe Heidelberg from the pint of view of you as film maker and choreographer? What have you discovered in these 2 weeks in the CC?
Heidelberg for me is a wonderful location to make films. The scale of the city is ideal to walk around that allows me to be in the city and nature almost at the same time. This time the geometrical condition of being in between mountains influenced the work in unconscious level. I feel that there is a sense of groove (Ditch?) in my new work. New location I have discovered this time is area of Neuenheimer Feld of which I did not know from the last visits.The most precious thing I learned is that, it is possible to meet up with people and go with them into creative journey. It was overall very exciting process and left some stories that can stay long in my mind. Hopefully I will have another chance to come here, that will make my work triology.
-control has many levels: society, personal,….
working also on a duet with Yuri and Luca, which is half playful, reaching and playing around each other but then also a small power game, provoking and playing tricks on each other.
working more on the group choreography, stating that timing and emotional trueness is important to make the atmosphere work, and to let the true flavor shine trough.
We create a situation where one person tries to escape the group, but where she gets pulled in immediately again. The group doesn’t allow her to be anything else than they are.
Continuing with the duet for Luca and Yuri, finding more situation around each other, also focusing on timing and crispness of the choreography, that otherwise looses it’s freshness and special flavor.
We start again with the group choreography, and we find different dynamics compared to the days before. We unify into concrete rhythms and start a kind of marching situation, which then starts to move through the room with different rhythm patterns. We remember, that rhythm can also be a control condition, like military structures or religious processions.
We find more material for Yuri and Luca, going into almost humorous places, but somehow sarcastic and absurd, still playing roles and tricks on each other.
We start again with the group choreography, and go through it to polish details and timing and spacing , then we add to the marching part which starts to be more tribal. We find a situation, which we repeat in a different way, like control is also about repetition and obedience. It is like a constant routine which we adapt to without even realizing.
We continue with the trio of Erick, Laura and Luca, and we start to create a pattern for the controlling character in the choreography. The situation is recurrent, Laura wants to leave the dominating situation with the other performers, but she gets sent back by Yuri, awaiting her at every exit. Its like a nightmarish loop.
We start a new duet between Laura and Erick, which talks about the emotional damage the control causes in people. It takes two individuals out of the crowd and allows them to show the vulnerability in each of them, playing with the individuality of each performer, wanting to escape from the conformation in the system. We play with an organic approach in the quality of the movement.
We continue also with the research of Lauras Solo material. We focus on what initiates each movement and the clearness of weight and impuls, making an effort on qualities. What is the aim of each moment, and how do we control it’s outcome?
We came here to work on the topic “ control”, which is something not very tangible, somehow abstract, but nonetheless inevitable. We all seem to be controlled by something, consciously or not, driven into certain directions, to make choices, which are no longer free choices, living lifes more predetermined than we would ever want to know or admit. While being controlled by economy, bureaucracy, state systems, religion, technology and consume, we don’t get tired to also be controlling and oppressing on each other, even down to very private and personal levels.
I find it very interesting what it does with us on an emotional level, how we come to deal with all this. The piece is a voyage for every performer through all kinds of states, from perpetrator to victim, from being united in the group to being expulsed, from teasing to being spied out, from love to mistrust, from executing orders to understanding the aftermath of what we are doing. It is a stream-of-consciousness like experience, where no one will be the same afterwards, even though seemingly maybe yes. Life isn’t one-dimensional, and people have many faces. But for sure there is no: “ the good” and “the bad” ones. If there is control, there must be also people who want to be controlled, or who just give in to a certain convenience. People who just accomplish or try to fit in or give in to the seduction a system or control-mechanism offers might not think what damage their behavior causes and how they help the control that way to grow over us.
Part of my work here in Heidelberg was to find out about the texture of control on many levels, structurally but even more important emotionally. The choreographies are charged with all these different textures and translate them into dynamics, moods and atmospheres, trying to find a face for the anonymous phenomena control.
Mit der Residenz am CC Heidelberg Ende November / Anfang Dezember 2015 begann die erste Probenphase für den zweiten Teil unseres dreiteiligen Projekts »becoming undone«. Den ersten Teil – »becoming undone – PART I« haben wir im August/September 2015 als einen Hybrid zwischen Performance und Ausstellung im Studio 1 (Kapelle) des Kunstquartier Bethanien in Berlin gezeigt. Der zweite Teil »becoming undone – PART II« kommt im Februar 2016 innerhalb des Festival »Open Spaces« / Tanzfabrik Wedding in den Uferstudios Berlin zu Uraufführung. Im November 2016 schließlich wird das Projekt mit dem dritten Teil abgeschlossen.
In »becoming undone« beschäftigen wir uns mit Möglichkeiten evolutionärer (Ergebnis)Offenheit. Der titelgebende Begriff ist der gleichnamigen Schrift Elizabeth Grosz` entliehen. Sie zeichnet darin ein weitreichendes Verständnisses von Materie, Natur, Biologie, Zeit und Werden.
Nach Ankunft, Akklimatisierung und Erkundung des Geländes haben wir Möglichkeiten von Probenstrukturen erörtert. Ein Bereich der Probenstruktur war die Etablierung eines physischen Research im Spektrum der mit »becoming undone« einhergehenden Assoziationen und Fragestellungen. Daraus ergaben sich unterschiedliche Ansätze: (Kleinst)Formen von Körpern und Bewegungen erproben, Körper als Organismus in evolutionärer Offenheit denken, mit anderen Aggregatszuständen von körperlichen Strukturen experimentieren, Hybridformen von Körpern suchen. Was davon ist vorstellbar, darstellbar, erfahrbar?
Neben den o.g. Versuchen im Weiten und Wandeln von Körper und Bewegung haben wir parallel ein weiteres Probenfeld eröffnet das in experimentellen Versuchsanordnungen die Weitungen und Wandlung von Stoffen untersucht. Eine Reihe von chemischen Versuchen/Experimenten wurde durchgeführt z. B. Katalysereaktion eines Stoffes. Auch hier stand die Beobachtung von Kleinstformen und –strukturen und deren reaktiven und transformativen Qualitäten im Zentrum des Interesses. Diese Versuchsanordnungen sowie deren mediale Dokumentation haben wir auf die mögliche Anwendung als Bühnenmittel hin untersucht.
In der zweiten Woche haben wir die ersten Anlagen vertieft und erweitert. Der Bewegungsresearch fächert sich nun auf drei Qualitäten hin auf: Bewegungsqualität I kann mit amorphen, kleinstteiligen, mikroorganischen, einzelligen, evolutionär offenen Eigenschaften umkreist werden. Bewegungsqualität II ist ein präzises, reduziertes System aus begrenzten Bewegungen, auf die vielleicht eine andere/weitere Stufe von Entwicklung projiziert werden kann. Ein hybrider Körper, der scheinbar mit nicht humanen Elementen gekreuzt erscheint. Bewegungsqualität III experimentiert mit verschiedenen körperlichen »Aggregats-zuständen«. Ein Körper, der partiell in veränderten Aggregatszuständen erscheint.
Zusammen mit unserem Mitstreiter und Sounddesigner Rudi Fischerlehner haben wir unsere Skizzen aus Bewegung, Experimenten, Medien und Raum auf ihre akustische Dimension und derer Verbindungslinien hin untersucht. Aus diesen Verbindungen haben wir im nächsten Schritt die ersten Skizzen für ein Showing am 4. Dezember 2015 erarbeitet.
Dieses Showing mit anschließender angeregter Publikumsdiskussion hat schließlich unsere intensive, zweiwöchige Residenz im CC Heidelberg zum Abschluss gebracht.
Mit Bewegungsskizzen und weiterreichenden Ansätzen der Sound- Raum- und Medien-Ebenen sind wir nach Berlin zurückgekehrt.
For this piece, we plan to integrate the works of three different artistic disciplines together. We are very excited but also worried if all our efforts will finally lead to a well choreographed piece at the end. For sure, it will be a great challenge for us, since all artists have their own understanding about the way how to present the idea.
Arriving on Monday alone in the afternoon. Meeting Bernhard.
I walked around the city for 5 hours to get inspired from the first impressions of the place. Some locations for the video shooting are found.
Starting to get the rough ideas of how I would like to use the space of choreographic center. Deciding to use different rooms of the choreographic center to create the way of traveling for the showing. I had an impulsive idea to make an installation using old postcards and other objects. This gave me the idea of mixing the element of performance with the elment of installation.
Trying out different ideas and making order of different events to happen. Trying out several installations idea and movements with objects.
Finishing the rough structure for the showing.
Starting to make compositions with the old mirror. Creating the contents to fill the structure. More detailed compositions of movements and images.
Coming week will be more or less about learning to move with different object that I use and making compositions with them. I will be adjusting the structure of the showing in relation with what comes up in the compositions.
On Friday will come the Film makers from Düsseldorf to make the shooting untill 14th of September.
– Schwimmen in einer Schwimmbad und zu spüren wie es wirkt oder fühlt diese Bewegungen dort und andere auszuprobieren.
– „Wasser in mir“ – weiter entwickeln – mehr von dem ganze Körper, jeder Teil mehr isolated, klarer wo das Wasser was bewegt.
– Bewegung Inputs von Daniel (Schauspieler) über alle freie Mögliche Ideen über Wasser – wie ein nicht Tänzer, trotzdem Performer, sich bewegt und auf das Thema reagiert!!
– Dekonstruieren das Schwimmen und Fragmentieren die Bewegungen durch Armen – Beinen – Kopf – Atmen – Ein System damit kreieren und neue komponieren, dass diese Schwimm Bewegungen Fragmenten, Musik Noten wären und eine aleatorisches Arrangement von Frauke und Magali gegenseitig bekommen .
– Sound check Daniels Aufnahme von ein Tag da vor.
– Neue Ton Aufnahme von den Textstellen von „Das Spiel ohne auf die Erde zukommen“.
In 2014 we had the great privilege to spend 4 weeks at the Choreographic Center in Heidelberg to begin researching a new project about social hierarchy. Last year we spent our time exploring games, how they function and how people change and behave when they play a game. We also explored the theme of Psychopathy and researched careless movement. We were curious to try out some ideas of games with the public during the final presentation.
Now after researching and gathering material to work with, we were determined to create a work that is more set as a choreographic score. Our aim was to take the public on a journey through emotions of power, control, manipulation, peoples‘ intentions and deceit. To do this, we created a game show type setting where 4 dancers play – like guinea pigs – a series of choreographic games and tasks. However, one of the dancers is an apprentice who does not know the choreography or the task and needs to figure out what is happening live during the performance and try to join in. Also I was in the piece playing the role of choreographer/director/person in charge. Eventually, the piece ends with the dancers trying so hard to win the game that they turn on each other and destroy one another, leaving me, the choreographer, left to play alone.
The most important part of this residency was the final presentation. Unlike last year, this time we presented a product (not theatrically finished but a draft of a finished work). This was a great opportunity for us to test how the piece (as a piece) affects the audience and test if it works. The feedback from the public was extremely important for the continuation of this project and we are very thankful to all the people who came to see it and offered their feedback. The public was divided in their reactions. Especially towards the way I performed my role of the choreographer. In a way, my role was not very clear; was I there? was I not? was I representing an energy? Was I just being myself or was I playing a role? There was a big discussion about this where some people expressed that I should be more present and clear and some felt this vagueness was just right and added a sense of mystery to the piece. Now after the presentation and some reflection time, I personally like that the public was divided in their opinion. It triggered an interesting discussion about how we see people in the role of authority and expressed quite well the charm and deceitfulness that people in power have over others. So in this case, we are quite happy with the result.
The project is inspired by the work of Steve Reich. Phasing is one of the compositional techniques that Reich used and I would like to challenge my compositional skill by exploring a way to use phasing in dance. Reich says that phasing should be played by two identical instruments and sometimes he used prerecorded material in order for a solo musician to play to at a performance. And I thought of using video projectors to duplicate each dancer, thus the dancer can dance with a video projection to achieve the phasing effect.
Is to task my self to materialize the ideas that I have in my mind and to process them fully by using the time, space and facility of residency best way possible. I am expecting to gain some knowledge about choreography and to learn how to keep my self open to any progression of the ideas.
Q: What kind of movement material is suited for phasing?
changes in the movement. Which means most of them were kept very simple but in certain rhythmic patterns. Sometimes I put music in short repetitions in order for me to keep in short movement and to examine whether that movement can be repeated as much as possible with any harm in body.
Q: How can I develop the sequence that fits in the idea of phasing?
A: I tried several ways of setting the sequences in relation to the phasing and it ended up in a looping system that shifts one movement at the time.
Q: How do you determine the length of the sequence or the amount of loopings?
A: This was the most crucial and difficult question that I had during the process of the work. I tried several variations of it and I and the dancers were examining what length could be done physically. The last variations of a repetition were up to two to four times for each sequence.
Q: How did the dancers relate to the video projection?
A: I took reference from Reich’s composition. It started with video projection and dancers joining to do same movement in unison to the video and slowly shifted the amount of loopings, thus the dancer ends up being ahead of the video. And in the end, they went back to unison with video projection.
It was very difficult to define the system that worked best. It also required a huge effort from the dancers to remember the sequences and all the changes I made through the period of experiment. It was a demanding project, but I could determine the way of working clearly from the begging of the process, which helped to progress the idea without much conflict and confusion. I will carry on to further develop the same idea and I would like to research more deeply and try out all the possibilities that came up throughout the residency. Especially since I did not have so much time to explore the possibility of using video projection and since I have had an idea how it could have worked I could take further with more consideration of involving the video itself.
Throughout two weeks of residency, I believe, I used all the time, space and facilities of the residency the best way possible and it taught me how much I should plan ahead in advance and how much time I should give my self to think about things. I learned how to set up the video projection or lighting, but it also made me realize how much time it takes to set up those things, which I was not aware of. The possibility and support that Choregraphisches Centrum Heidelberg gave to me was absolutely great. I could not have managed to explore what I did without their facility. The studio, the people, the accommodation and all the other things could not have been better. I definitely gained some knowledge about choreography but not only about the dance. I noticed the importance of who you are working with and where you are working at. I am very thrilled to continue working on the project and I hope I will be able to present the work sometime soon.
„les lendemains qui dansent“ den ersten Preis erhalten.
Im CC-HD hatte die junge Truppe im Juni 2014 an ihrem Stück jetzt ausgezeichneten Stück gearbeitet und war anschließend mit „Behind the body“ bei ARTORT014 zu sehen.
Wir freuen uns mit „La Verita Dance“ und gratulieren!
La verita Dance Company im Sprung nach vorn!
In the first week of our residency we’ve been researching techniques involved in partnering and developing methods and terminology.
Next to the research we’ve been creating new movement material pure from the partnering point of view. We’ve been busy with two short duets. In the first one we are using techniques more familiar to us. For example using weight on more obvious manner – the man lifting the woman and by doing this creating volume and harmonisation.
In the second duet we are challenging ourselves to use other kind of techniques. We switch roles of who’s receiving weight and who’s initiating the movement. We are finding techniques and dynamics new to us.
Meanwhile we were analysing the two duets through the methods and terminology being developed at the same time.
With the wonderful weather of the first week, we of course did some sightseeing, biking around the city and enjoyed the local delicatessen!
On the 2nd week of our residency we continued our research of partnering and working on the two duets. While revaluing the methods and terminology, many discussions occurred and ideas were flying around. We made lot of progress, many things got clarified and categorised.
Second part of the week we started to prepare for the Friday evening presentation. Since we were not making a performance, we decided on a form of a ‘lecture performance’. While practising for the showing, once more we got to rethink the theories we came up so far. We were also polishing our dance moves.
Friday evening we presented our results for a small but very interested audience. The reactions were positive and supportive.
The set up of artist residency at the Choreographic Centre in Heidelberg was perfect for our research and we are very happy with the results. We’re looking forward to continue the project and hopefully return to Heidelberg in the future.
Big thank goes to Bernhard, Jai and Emma!
I was alone doing my solo work for some days. On the 4th day Katharina (stage design) came and created an installation with black rope. We had lots of meetings before the residency started. Before she came, I was very worried about the height and depth of the studio. The studio was deeper and flatter than we had thought. I had the idea to suspend a dancer from the ceiling and was worried whether the height would suffice. Katharina came up with the idea to create a kind of web with the ropes.
In fact the CC studio enabled us to realize all of our concepts and ideas. The web we created added width and depth to the studio and therefor gave us a different space to dance in. We were worried that the installation would claim all the space that was meant to contain the dance.
You have to think about body expressions together with an installation. I wanted to be independent from the installation and find a way to realize both individually.
We finished the installation and after the dancers had arrived we started working together. The second week was a period we used to research two statements: “The body which moves automatically” and “The body which moves without preparation”. We tried the idea of the suspended body and discovered what happened to the body directed by and free from gravity. I felt it is interesting to work with a body in gravity and without it. The dancers immediately wanted to work with the installation but I decided not to do so as I still couldn’t figure out the meaning of the installation and the space for my concept.
We had some materials from the 2nd week which I wanted to develop further. During the third week I could finally manage to bring the installation and the dance material together. The installation fitted better to my concept and I felt I began to understand how to handle the body expressions. The dancers could finally work with the ropes. I had never worked with an installation from the beginning of a process. For the showing I selected the material which fit to the concept. Unfortunately, I couldn’t invest enough work into the quality of the material. However it was more important to me to show the direction of the interaction of body and space.
After the showing, we concentrated more on the work with the ropes. One of the dancers came from a circus background and therefor had a different approach to using her body than the other dancers. We tried to find possibilities of using the ropes in different ways.
I still don’t know if I can reach the aim of our research. I have to continue to work on many points. But I think if I could realize the space and the body expression, I can say this residency time has been a progress. Thanks to the accommodation provided by the CC we could really focus on the work and also spend time together as a team which is important for the process as such. I am grateful for the opportunity that was given to me by the CC Heidelberg and am relieved to have clear results from the residency. It was a great beginning for the research and the sights of Heidelberg, the city where this residency is located was inspiring and fascinating to me.
In der Residenz sind mit der Choreographin Minka-Marie Heiß fünf TänzerInnen und zeitweise drei studentische PraktikantInnen der Iwanson International School of Contemporary Dance, München, an der Minka-Marie Heiß Dozentin ist.
In unserer zweiwöchigen Residenz am CC Heidelberg arbeiten wir an der Erweiterung eines bestehenden fünfzehn minütigen Stückes zum abendfüllenden Programm.
Frei inspiriert nach dem Mythos von Sisyphos ist „… meaning, very wise“ eine Reise in die griechische Götterwelt, in der Tanz, Wort, Musik, Licht und Raum miteinander verschmolzen, die antike Sage nahtlos mit der Gegenwart verwebt.
Absurde, bizarre, aber auch poetische Momente zwischen Tagtraum und Wirklichkeit schaffen neue Zugänge zum antiken Stoff; die Figur Sisyphos ist Symbol für ein Lebensgefühl und wirft uns zurück auf unseren vergänglichen Zustand in unserer Verwundbarkeit als Menschen. Sisyphos als unser aller Thema: „… meaning, very wise“ ist eine Erzählung vom Versuch, sich des Glücks zu bemächtigen.
Alles beginnt mit dem ersten Atemzug des Lebens eines Mannes. Wie fühlt es sich an, wieder geboren zu werden? Sisyphos ist in Stücke zerbrochen. Durchzuckt von unermesslichem Schmerz windet er sich biegsam in der brodelnden Dunkelwelt – verloren, vergessen, sich wieder zusammenfügend. Wir sehen Bruchteile von Erinnerungen, Emotionen und Sehnsüchten.
Sisyphos kämpft sich wie ein Schatten aus der Unterwelt empor. Erfüllt von Sehnsucht nach Freiheit und Leben, löst er sich aus dem Schattenreich der dunklen Kreaturen und Dämonen und benutzt diese sinnbildlich als Stufen zum Licht. Von dort oben richtet er sein Wort an die Menschheit und tanzt leichtfüßig mit dem Tod, den er wieder und wieder trickreich überlistet.
Zuvor: Sisyphos herrschte in Korinth am blauen Mittelmeer und lebte eigentlich auf der Sonnenseite seiner Zeit. Dennoch kann man ihn nicht gerade als Liebling der Götter bezeichnen. Er provozierte gerade die Mächtigsten unter ihnen nach Herzenslust und beleidigte sie ohne jede Rücksicht. Bei allen ihren Intrigen und Affären mischte er kräftig mit, auch wenn es für ihn nachteilig war. Tief in seiner Seele nämlich suchte er die Bestätigung, dass er ihnen ebenbürtig war, und das hieß für ihn nicht zuletzt, dass auch er unsterblich war.
Als er dann aber doch zu sterben drohte, griff er zu einer List. Er trug seiner Frau Merope auf, seinen Leichnam nicht gemäß Protokoll zu bestatten, sondern ihn einfach auf den Marktplatz zu werfen. Als diese das dann wunschgemäß und vermutlich gegen ihre Überzeugung ausführen ließ, gab er sich beleidigt. Er bat den Herrscher über die Unterwelt um sofortige Beurlaubung und begründete dies mit der Behauptung, er wolle seine Frau zur Rechenschaft ziehen.
Schließlich stellt sich Sisyphos seiner Dauerstrafe, etwas zu vollbringen, das ihm kurz vorm Ziel je wieder zerstört wird und ihn so zum Neubeginn zwingt. Er rollt den Stein, wieder und wieder. Ein Bild aus Schweiß, Staub und Schmerzen.
In unserer ersten Woche haben wir uns darauf konzentriert, auf Grundlage des bereits bestehenden Fünfzehnminüters die Figur Sisyphos in ihrer Vielschichtigkeit zu zeichnen.
Sein widersprüchlicher Charakter ist von Würde und Stolz sowie von Machthunger gekennzeichnet. Aber auch Demut und konträr dazu Gewitztheit, Einfallsreichtum und Trick zählen zu seinen Eigenschaften. Sein Schicksal ist von Mühen und Kämpfen und vom Scheitern geprägt. Wir haben uns dazu entschieden, die Rolle des Sisyphos den Charakterzügen und den Entwicklungsstadien entsprechend unter den Tänzern aufzuteilen. So können wir die Zwiespältigkeit der Hauptfigur wesensnah wiedergeben und den inneren Konflikt der multiplen Persönlichkeit veranschaulichen.
Der zweite wesentliche Aspekt unserer Arbeit in der ersten Woche war die Beziehung zwischen Sisyphos und seiner Frau Merope; sie ist geprägt von Zärtlichkeit, Zuneigung und Opferbereitschaft, aber auch von Machtbesessenheit, Vertrauensbruch und Instrument-alisierung. Auch diese Beziehung wird in ihrer Entwicklung durch verschiedene Paarungen der Tänzer und Tänzerinnen szenisch verkörpert.
Am CC Heidelberg können wir konzentriert und entspannt arbeiten und bedanken uns für die Residenz und insbesondere bei Bernhard Fauser und Emma Wolf für die Unterstützung.
Wir arbeiten hier für zehn Tage in Heidelberg an der Produktion “Carnival of the body”. Für das Stück ist es die siebte bis achte Probenwoche (von zehn insgesamt), d.h. es ist schon viel da an Szenenstruktur und damit spielen wir im Moment herum.
Es ist für uns die Phase um die finale Struktur des Stücks zu finden, die Musik (komponiert von Simon Bauer) voranzubringen und soweit wie möglich schon an Details zu feilen.
Mit einer Previewversion von zwanzig Minuten sind wir im November bereits im Rahmen von zwei TanzFestivals auf die Bühne gegangen. Das war für uns spannend um uns selbst zu überprüfen und die Reaktionen des Publikums in die weitere Kreation mit ein beziehen zu können.
Fallen, Anspringen, das geräuschvolle Aufeinanderprallen zweier Körper – Im Taumel aus Rastlosigkeit, Gewalt und Behutsamkeit stehen sich zwei Männer gegenüber. Ihr gemeinsames Ringen gegen die Schwerkraft führt sie langsam in den brüchigen Zwischenraum von Achtsamkeit und Verletzungsgefahr. Im Rhythmus ihrer Bewegungen entsteht ein inniger Kampf gegen die äußere Wahrnehmung ihrer selbst. „Carnival of the body“ ist eine Fahrt unter die Oberfläche des Spektakulären, ein Blick in eine entfremdete Intimität der Körper.
Und auf genau diese entfremdete Intimität der Körper scheint das Stück im Moment gegen Ende hinaus zu laufen.
Dazu ein paar Fotos in welche Richtung wir uns das dann vorstellen.
Die zweite Woche verlief ganz gut für uns. Wir haben das Stück von der Struktur her fertig. Auch die Musik ist komponiert. Das Showing am Freitag war für uns wichtig um die Reaktionen unseres dortigen Publikums kennnenzu lernen.
Jetzt stehen die Entscheidungen an, wie viel oder wie wenig Licht wir einsetzen. Teilweise haben wir Szenen schon mit (sehr viel) Licht gearbeitet und im Rahmen der Previews gezeigt. Jetzt überlegen wir wie viel inszeniertes Licht wir für dieses Stück wirklich brauchen.
Anfang Januar sind wir in der fabrik Potsdam für 5 Tage technische Lichtprobe und fürs choreographische Putzen der Szenen. Wir sind selbst gespannt was durchs Licht noch mit dem Stück passiert. Im Ersten Halbjahr 2015 werden wir nach Heidelberg mit unserer BW-Premiere in die Hebel-Halle kommen.
Besten Dank hier ans Choreographische Centrum für diese schöne Probenzeit in Heidelberg.
Kurze Einführung: wir – post theater – kreieren eine Performance über das Trampolin-Springen. Dieses Jahr wäre George Nissen, der Erfinder des modernen Trampolins / des Trampolin-Namens 100 Jahre alt geworden.
Trampolin Springen hat seine Wurzeln in der Akrobatik und im Turnsport. Die Überlagerungen von Turnen als Sport und Akrobatik als Unterhaltungs-Performance sind interessant. Diese Art des Sportes unterliegt ästhetischen Prinzipien – wie alle Variationen des Turnens, Show-Tanz und Eiskunstlauf etc. Die “objektive” Bewertbarkeit von Bewegung ist ein Paradigma das dem Tanz als Kunstform entgegengesetzt ist.
Ziel der Residency ist es, mit Trampolin TrainerInnen und TurnerInnen in Heidelberg und Mannheim über ihre Bewegungspraxis zu sprechen und mehr darüber zu lernen, dann Videoaufnahmen zu machen, die später in der Performance zu sehen sein werden.
Parallel recherchieren wir Texte über das Trampolin-Springen und arbeiten am Script für den Performance-Text. Die Texte sind biographisches Material über George Nissen, die medizinische Wirkung des Trampolinspringen, Regelwerke zum Verhalten am Sportgerät.
Haben gestern den TSV Mannheim besucht, der regionale Hotspot für den Trampolin-Sport in der Region. Interessant: der Begriff der “Choreo” wurde für ein Krafttraining mit Musik gebraucht. Überhaupt müssen die TurnerInnen in einer Altersspanne von 6 – 16 Jahren (sehr gemischt!!!) viel mehr Turnübungen am Boden machen, als dass sie wirklich Springen.
Auch können immer nur zwei Personen auf den beiden Trampolinen springen – die anderen gucken zu und warten.
Die Breite an Fähigkeiten variiert enorm.
Unser Augenmerk lag auf den verschiedenen Schwierigkeiten, die SpringerInnen von oben, von unten und von der Seite optimal zu filmen.
Wir haben Testaufnahmen wg. Der Helligkeit im Raum gemacht.
Es muss geklärt werden, ob die Eltern der minderjährigen SpringerInnen mit den Aufnhamen einverstanden sind.
Wir planen die Filmshoots für die folgende Wochen. Von wo kann mit welcher Kamera wie gefilmt werden. Wie sind die Lichtverhältnisse zu welcher Uhrzeit?
Wie fühlt sich das mit dem Trampolinspringen an? Wer springt in einer öffentlichen Trampolinanlage, und wie?
Die digitale Bildbearbeitung schafft einen klaren Blick auf die Bewegung – Abstraktion fokussiert. Die Körper der Trampolin-SportlerInnen sind NICHT schwerelos, aber simulieren Momente der Losgelöstheit von Schwerelosigkeit. Sie tanzen ohne das Paradigma des Tanzes. Sie folgen ästhetischen Normen, die aber sport-technisch begründet werden.
Das Videomaterial wird in der Postproduktion bearbeitet. Dabei gibt es zwei Verfahren: bei einem wird der Hintergrund herausgerechnet. Das Bild einer festen Kamera, bevor ein Trampolin-Springer das Bild betritt, wird abgezogen von den Bildern des springenden Menschen im selben Ausschnitt. Die andere Methode ist das Blue Screen verfahren – das aber hat nicht wirklich gefruchtet, da die Trampolin-TurnerInnen in der Regel eine viel Größere Strecke gesprungen sind, als unsere Green Screens abdecken konnten. Bei der ersten Methode gibt es den Nachteil, dass andere Springer in den Bild ausschnitt gelaufen sind. Auch ist das Trampolinnetz im Bild, wenn es gebäugt ist. Wenn es plan ist, wird es herausgerechnet.
Yoann Trellu arbeitet teilweise Frame für Frame mit Photoshop die “Fehler” heraus. Bei 25 Frames pro Sekunde ist das ein sehr langwieriges Verfahren. Die einzigen Bilder, die uneingeschränkt funktionieren, sind die, die von unterhalb des Trampolins aufgenommen wurden. Parallel arbeiten wir am Skript, das auf der Audioschiene der Performance zu höhren sein wird. Dabei spricht da Trampolin selber – und kommentiert die Universums-Theorie vom Big Bounce – in Abgrenzung zum Urknall (Big Bang).
Das Phänomen PAARE IM TANZ: gibt es einen qualitativen Unterschied gibt, wenn ein Liebespaar miteinander den Bühnenraum erobert. Existiert ein Bewegungscode zwischen TänzerInnen, die sich auch den gemeinsamen Lebensraum teilen? Können wir ein spezifisches Bewegungsmaterial aufgrund der Innigkeit der Liebenden entwickeln? Verändern sich die gegenseitigen Empfindungen im Laufe eines Liebeslebens und in den unterschiedlichen Altersabschnitten?
ROMEO und JULIA: Die Handlung wird sich an der Abfolge des Shakespeare – Stoffes entlang bewegen. Ziel ist es, die Szenenabfolge neu zu untersuchen und in der tänzerischen Interpretation zeitgemäße Wege, eine neuartige Umsetzung des Originals zu finden. Die TänzerInnen schlüpfen nicht in unterschiedliche Rollen, sondern erarbeiten gemeinsam mit der Choreographin eine eigene Fassung zu diesem Stück.
Wake up,drink coffe, breakfast, warm up, ballet, Tai Chi, impro.
Rehearse, pass the piece, remember yesterdays material, create some more.
Break, eat lunch, think for later, short communication with the world.
Rehearse, try new scenes, feel that you dont have time, work more.
you have one more day tomorrow.
Tomorrow, start all over again.
What do you carry in your luggage?
What do people choose to pack at the moment they leave?
Can only 1 luggage carry all your life or all yourself?
Luggage is heavy with memories.
Luggage is heavy with hope.
CV is a dance piece about truth and reality.
Fluid Landscapes is a timeless hypnotic room, where two bodies, as temporary beings, are in constant transformation.
It is a moment of sensitivity and awareness of the vibrating energies that leads to interaction.
Fluid Landscapes invites to a journey of fluid identities; an encounter in a private and intimate yet open and exposed space, where flesh, air and matter breathe and pulse as part of the same infinite organism.
The theme for this research is power and control. We are specifically inspired by psychopathy and the incredible psychopathic traits that are beneficial in our society. We have been brainstorming and exploring this subject from several angles.
We started with an exploration of repetitive movement where through almost fanatic precision the body can take us on a journey, where we end up in physical situations that we might not have come up with ourselves otherwise. This resulted in a physical language that seems controlled, composed and choreographed, but is actually being discovered and experienced as a form of surprise both for the dancers and for the viewer. We spoke a lot about illusion and how we can gain power or control through deceiving the eyes of the viewer, suggesting that what you see is not necessarily what is happening – kind of like magic.
We worked on creating visual illusions with the body and transformations of suggestive ideas or scenarios, using movement to seem like we are trying to say something specific but eventually reveal another truth. We also worked on more theatrical tasks about hiding the truth from the viewer but trying to describe it in other ways then revealing it.
We have been playing a lot of games and studying the experiences, feelings and situations we go through when playing. We have been exploring how to bluff and lie and convince others that we are innocent and working on getting others to trust us in order to win.
In general, we have been mainly collecting materials and ideas to explore and work with. We have been trying to put as many interesting things into the studio, seeing where it takes us and how it communicates. Our goal for the coming 10 days is to see how we can use these tools, layer them and construct a suggestive experience for the audience, where they can be part of the game as well.
About one week ago we had the public presentation of The Players at the Choreographisches Centrum where we presented a collection of concepts and ideas that we had been experimenting with the last 4 weeks.
Preparing for this presentation was interesting in itself. We realized that it was most important and valuable for us to test some of our audience interaction related ideas, more then just presenting structured choreographic scenes. We had a luxury situation where we were able to try out things that we were NOT sure will work. So we designed a structure of a game in three rounds where the performers and the audience were all players. The only thing was that the audience was not entirely aware that they were playing as well. This was only revealed later on in the presentation.We wanted to explore the difference between what happens when the audience is aware of their participatory role and what happens when not. This turned out to be very interesting.
In general the audience was quite willing to participate but during the talk after it was interesting to discover that many of them felt uncomfortable in that role. Not unwilling but a bit nervous or doubtful. Most people want to be just observers, however, they very much enjoyed all of the tasks they were asked to fulfil. So the real question is now how to design an environment that is inviting enough for the audience to not be stressed but still willing to participate.
In general, the theme of power and control comes out strongly during this type of live game performance. You start to wonder who is actually in charge: The choreographer who directed and thought it all out? The performers who could actually do whatever they wanted live on stage anyway? Or is it the audience, their opinions, or their level of involvement that really hold the power over this whole performance? We will definitely find out when we come back to the creation process and transform this research into a final product. We hope we will get to share it with the public in Heidelberg one day.
We want to thank everybody in the audience who came to the presentation, Emma Wolf for being so helpful and accommodating, Bernhard and Jai for the hospitality and for building up this incredible place including Rosemary and Nanine for bringing us over here and giving us this wonderful opportunity and Mandy’s Diner for the many breakfasts, lunch’s and dinners. We hope to be back soon!
Love – Edan Gorlicki and dancers: Jasmine Ellis, Helena Volkov, Evandro Pedroni, Pasquale Lombardi & Moreno Perna.
|
{
"timestamp": "2019-04-19T06:15:35",
"url": "http://www.cc-hd.de/produktions-berichtereports/",
"language": "en",
"source": "c4"
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Cabochon is a large-scale, sculptural vase, glazed in blue and bronze. With its rough texture and series of well spaced spherical accents (seeming to bubble forth from within) the piece has the remarkably surreal quality of objects that seem natural and unnatural at the very same time. Photographed with pedestal.
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{
"timestamp": "2019-04-24T00:22:29",
"url": "http://www.maisongerard.com/collection/peter-lane3",
"language": "en",
"source": "c4"
}
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Our second LP, Wish, is out now on CD via PROGRESSIVE FOrM records. You can order it from Tower or Amazon in Japan, or directly from PROGRESSIVE FOrM worldwide. Digital and streaming via iTunes, Spotify etc coming soon.
In July, we were still in the UK. We went to London to see Pamyu Pamyu live, and it was even better than we thought it would be. July was also peak Pokemon Go. Whatever happened to that?
|
{
"timestamp": "2019-04-20T13:05:58",
"url": "http://supermagichats.co/news/page/2/",
"language": "en",
"source": "c4"
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You must be a member of the Madrid IT & New Technologies Group to attend this activity. Would you like to join this group?
Please note this event is not hosted by InterNations, will be in English and attendance requires (free) registration at the link below.
I will be unable to attend personally due to work commitments so am posting it an an opportunity for members to go together.
The Digital X Public Debates will be developed in two blocks. Each block will consist of keynotes and a subsequent debate between the three speakers followed by a questions and answers session.
Tim Stonor, Managing Director of Space Syntax, London, UK, and part of the Advisory Board of the Norman Foster Foundation, will chair the debates."
|
{
"timestamp": "2019-04-20T15:02:16",
"url": "https://www.internations.org/activity-group/18085/activity/314516",
"language": "en",
"source": "c4"
}
|
million contract for Carlos González with the Colorado Rockies. 15 Boras and the Boras Corporation have become known for record-setting contracts for their free agent and amateur draft clients. Please improve it by verifying the claims made and adding inline citations. 45 In 1993, Boras represented the first two picks in the draft, Alex Rodriguez and Darren Dreifort. Once again, because of the complexity of Rodriguez's contract, several contractual modifications were necessary for the trade to happen, but unlike the prior year, none of the changes sacrificed previously guaranteed compensation. Shin-Soo Choo, Jacoby Ellsbury, Prince Fielder, Matt Holliday, Alex Rodriguez (until 2010 Max Scherzer, Bryce Harper, and, bifrostgatan 71 helsingborg jayson Werth, are among the highest paid in the game. Chicago Cubs reached a six-year, 126 million with Yu Darvish on Saturday, the baseball world went crazy. Considering how quiet the free agent market has been this winter, pretty much every signing has been newsworthy to some extent. "Boras dismisses the Salcedo loan as a non-issue".
6 Boras made the Florida State League All-Star team in 1976, 7 but knee problems shortened his career and he retired with a career batting average.288. "The arm that changed the Major League draft". Its also entirely possible that Boras ultimately gets his way anyway, alleviating much of the angst that currently exists. "Agent to the superstars has soft spot for the 'common' player". Ken Rosenthal (February 23, 2014). 157 Mainstream media described the deal as a "monster" and "brain-melting." 158 159 On December 21, Boras completed a seven-year contract for free agent Shin-Soo Choo with the Texas Rangers. "Source: Rafael Soriano, Yanks agree". Boras has brokered many record-setting contracts since 1982, and many of his clients, including. 70 2005 edit In January 2005, Boras negotiated his third contract in excess of 100 million, this time sending Carlos Beltrán to the New York Mets for 119 million guaranteed over seven years. "Jacoby Ellsbury, Yankees agree to seven-year, 153M deal". Pacific Tigers 2009 Baseball Media Guide. Statements consisting only of original research should be removed.
|
{
"timestamp": "2019-04-22T06:37:07",
"url": "http://morelmushroom.info/93156-boras-agent/",
"language": "en",
"source": "c4"
}
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Passaic, N.J. August 26, 2011 - Contempo Closet hits the streets of New York City with five of their specialty wardrobe closets on wheels. The wardrobes have been retro-fitted with wheels and are being pulled through Manhattan’s streets; lending themselves to the name “walking wardrobes.” This new initiative is a way to bring the product to the customer in a new and innovative way.
“When making a big purchase, like furniture, consumers should have the opportunity to see and interact with the product,” says Gary Flax, a Contempo design consultant. Interacting with the product means a variety of things; for some, seeing is enough while for others, a more sensory experience is needed. “In this case, we are being proactive and taking the product to the customer.” Due to the increased accessibility of the Internet, manufacturers need to take new and creative steps to engage customers in real time. This project is a way to unite the wardrobe closet to the consumer in a way they never have before.
In order to find out where the wardrobes will be, follow us on Twitter @ContempoCloset and at Facebook.com/ContempoCloset. In addition, check back shortly for photos and video of the “walking wardrobes” in action and for future appearances.
Contempo Closet supplies “The Instant Wardrobe.” Contempo Closet, a furniture company based in New Jersey, specializes in American made custom wardrobe closets for quick and efficient storage solutions. Design consultants and craftsmen work with customers to create freestanding wardrobe closets from modular units that best meet the customer’s storage needs. For more information, or to view the complete line, visit www.contempocloset.com.
This entry was posted in Company News and tagged modular unit, NYC, portable wardrobe, the instant wardrobe, walking wardrobe. Bookmark the permalink.
|
{
"timestamp": "2019-04-18T21:20:31",
"url": "http://www.contempocloset.com/news/2011/08/26/walking-wardrobes-take-over-the-streets-of-nyc/",
"language": "en",
"source": "c4"
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|
The physicochemical and microbiological laboratories of the Quality Control department monitor the manufacturing processes in compliance with the procedures of the Quality Management System ISO 9001:2008. They ensure comprehensive verification, from quality control of raw materials and packaging components to the semi-finished and finished product.
The Cosmetics Research & Development Laboratory develops formulas for new products for both adults and children, and modifies the formulas of existing products according to the latest market trends. It tests and chooses product fragrances and also develops cosmetics documentation. All our actions are compliant with the requirements of the Cosmetics Act and are in accordance with the EU Cosmetics Directive.
The Research & Development Laboratory for Household Chemicals develops new formulas for reliable and effective cleaning products for the home and public places, and modifies the formulas of existing products according to the latest market trends. It also prepares documentation for product registration in accordance with applicable regulations. All the activities carried out by the laboratory shall comply with the regulations of the European Parliament and EU Commission on detergents and dangerous substances and biocides.
To ensure a high level of quality, consistent with international standards, we introduced an ISO 9001 quality management system in 1999. The system is customer-driven, enables systematic and transparent measures, facilitates the achievement of goals and improves internal operations.
In 2009, the company was certified A.I.S.E. and has been a signatory to the “A.I.S.E. Charter for Sustainable Cleaning” ever since.
In 2011 we received the IFS HPC certificate. This standard specifies hygiene management requirements at all stages of process management, production and distribution.
In January 2017 we obtained the certificate of GMP (Good Manufacturing Practice) – compliance with PN-EN ISO 22716:2009. The main aim of Good Manufacturing Practice is to ensure the repeatability and quality of products and product safety.
|
{
"timestamp": "2019-04-22T17:03:49",
"url": "http://globalcosmed.eu/en/global-cosmed-group-en/quality-innovations/",
"language": "en",
"source": "c4"
}
|
BSNL has announced the launch of Diwali 2016 festival offer for Prepaid plans mobile users under GSM mobile service on PAN India basis.
State run Telecom Company Bharat Sanchar Nigam Limited (BSNL) launches prepaid Extra free voice calls benefit upto 10 percent from 15th October, 2016 in all Telecom circles.
As per latest information, BSNL competent authority on occasion of upcoming festival has decided to offer extra minutes/seconds for voice calls for Prepaid mobile users through voice Special Tariff Vouchers (Voice STVs) during festival period.
As per latest information, BSNL competent authority after launch of Dussehara 2016 Extra Data usage (Double data benefit) offer under data services has decided to offer 10% extra voice minutes/seconds tariff for Prepaid users to make customers more enjoyable under both voice and data services in all Telecom circles.
Under this offer all existing/new Prepaid mobile customers can enjoy extra benefit free voice call minutes and extra voice call seconds on most popular Voice packs of Rs.159/-, Rs.201/-, Rs.359/-, Rs.449/- from 15th October, 2016 onwards during festival period.
The above promotional offer will be implemented with effect from 15-10-2016 and available upto 31-10-2016 for limited period in all Telecom circles.
|
{
"timestamp": "2019-04-25T21:56:28",
"url": "https://www.bsnltariff.com/2016/10/2016-diwali-special-offers-10-extra.html",
"language": "en",
"source": "c4"
}
|
I have a Wordpress client that wants to change the way their navigation header looks. This will consist of moving the ...Wordpress client that wants to change the way their navigation header looks. This will consist of moving the menu items, social icons and logo to different positions/alignments on the nav bar to match a similarly designed website.
|
{
"timestamp": "2019-04-24T11:03:06",
"url": "https://www.vn.freelancer.com/job-search/icons-for-website-design/",
"language": "en",
"source": "c4"
}
|
This collage is the perfect decorative piece for your home. It is a 60 cm * 60 cm collage that consists of three picture frames. Picture collage is the best way to reflect the memories and decorate your home with those special moments of your life. This decorative piece is very stylish as well as trendy. It adds a touch of elegance to your home. This collage frame consists of three picture frames making it ideal for the center decorative piece for the wall of your living room. The material used is of high quality and long lasting. The material will not break easily and is very durable. This photo collage is light in weight and easily maintainable. The photo collage is a combination of three photo frames so that you can add memories to decorate your living room. This piece is very elegant and pleasing to the eyes. This is the perfect gift for others too. You can gift this collage to friends and family so that they also get this attractive piece in their living rooms. You can buy many decorative products as well as this elegant and attractive photo collage only @home.
|
{
"timestamp": "2019-04-20T20:58:13",
"url": "https://www.at-home.co.in/products/buddha-collage-60x60cm-set-of-3-picture-frame-orange-hglpgimstorg00344",
"language": "en",
"source": "c4"
}
|
This was such a great time and the kids made it quite an event. They loved the various sprinkles offered and probably loved playing with the sprinkles and eating more than anything else!
I made the cookies the night before so they were completely cooled and ready to frost and decorate the next day. You can also make the dough in advance and keep it chilled for up to 3 days. Before rolling out and cutting, I recommend having the dough come to room temperature so it doesn't crack when it's rolled out or when cutting out shapes. For the frosting, I made it easy and used a store bought, but you can definitely use your preferred buttercream frosting or my personal fave recipe.
|
{
"timestamp": "2019-04-24T02:53:37",
"url": "https://www.whatscookinchicago.com/2014/12/2-days-to-christmas-countdown-christmas.html",
"language": "en",
"source": "c4"
}
|
Injecting sophistication and finesse into the midsize SUV segment! The engine breathes better thanks to a turbocharger, improving both performance and economy. Lincoln infused the interior with top shelf amenities, such as: adjustable headrests in all seating positions, power door mirrors and heated door mirrors, and the power moon roof opens up the cabin to the natural environment.
|
{
"timestamp": "2019-04-18T22:46:38",
"url": "https://www.koonssilverspringlincoln.com/exotic-new/Lincoln/2019-Lincoln-Nautilus-silver-spring-md-12465dfb0a0e0a173a9c5812a8bbecb7.htm",
"language": "en",
"source": "c4"
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In this work, Seventhwave conducted primary and secondary research on the small commercial sector in Minnesota. The objective of this research is to provide insights on energy use and attitudes toward energy and to inform energy efficiency program designs that address barriers to participation.
The small commercial sector is historically difficult to reach due to its dispersed nature and other market barriers; those energy efficiency programs that do target this sector have long been dominated by lighting-only retrofit programs. New, more holistic programs that address the barriers facing small commercial customers are needed to serve this market and contribute to achieving Minnesota’s 1.5 percent savings goal.
To help surpass these barriers, Seventhwave characterized this hard-to-reach market, focusing especially on more comprehensive opportunities that go beyond lighting retrofit. We found that this sector is indeed dispersed and diverse, but that there are holistic savings opportunities if utilities can target their efforts at appropriately fruitful customers, end uses, and building types. As a result, we identified a number of promising program strategies for targeting both customer types and energy use types.
We calculated the weighted technical potential for 100 measures for four business types.
|
{
"timestamp": "2019-04-19T22:19:26",
"url": "https://www.seventhwave.org/small-commercial-study",
"language": "en",
"source": "c4"
}
|
MUTHALAND by Minita Gandhi - THE ROBERT A. FREEDMAN DRAMATIC AGENCY, INC.
MUTHALAND by Minita Gandhi is extended in its World Premiere at 16th Street Theater!
This sparked a curiosity leading to vulnerable interviews where her parents shared stories they had never spoken of before. By weaving their stories with her own life-changing journey to India in 2009 for her brother’s arranged marriage, Muthaland shares the magic of Minita’s journey to India, full of prophets, ritual, the convergence of American and Indian cultures and finding one’s own voice within a culture of silence.
|
{
"timestamp": "2019-04-26T09:55:19",
"url": "https://www.robertfreedmanagency.com/news/muthaland-by-minita-gandhi",
"language": "en",
"source": "c4"
}
|
Karnataka High Court Civil Judge Syllabus is provided here. The aspirants can check the Karnataka Civil Judge syllabus from below. We have also mentioned the Karnataka High Court Civil Judge Exam Pattern 2018-19 on this page. The readers can check the detailed Karnataka High Court Civil Judge Syllabus 2018 on our page. Also, check the revised Karnataka High Court Civil Judge Previous Papers with Solutions in PDF Format here. The applicants must start preparation as soon as possible by downloading the KHC Civil Judge Syllabus 2018. Get, the details of Karnataka High Court Civil Judge Recruitment 2018 on this page.
Karnataka High Court released employment notification recently. Karnataka High Court Notification 2018 is published to recruit candidates for Civil Judge posts. Many eligible aspirants have been applied for Karnataka HC Recruitment 2018. Here we have provided Karnataka High Court Civil Judge Syllabus 2018 for both Prelims and Mains for reference purpose. So, the applicants who are attending for Karnataka HC Civil Judge Exam 2018 must refer the Karnataka High Court Civil Judge Syllabus 2018 given below. Also, check the Prelims and Mains Karnataka High Court Exam Pattern 2018 -19 for Karnataka High Court Civil Judge Exam 2018.
Karnataka High Court latest syllabus for Civil Judge has been updated here. By checking the KHC Civil Judge Exam Pattern 2018-19 from the below sections, the candidates can get an idea about the scheme of the Karnataka HC Civil Judge Examination 2018. In Karnataka High Court Civil Judge Syllabus section, we have covered each and every topic which are asked in recent Karnataka Judge examinations. So, the people who will be attending the Karnataka Civil Judge Exam 2018 should download the Karnataka High Court Civil Judge Syllabus here. Therefore, aspirants must prepare a good exam plan and crack the KHC Civil Judge job. Hence, get the complete Karnataka Judiciary Civil Judge syllabus 2018 & KHC Civil Judge Exam Pattern 2018-19 from below sections.
The KHC Civil Judge Preliminary exam consists of objective type questions and organized for 100 marks.
Get subject wise Karnataka High Court Civil Judge Syllabus for both Preliminary and Mains Civil Judge Examination from below sections.
Code of Criminal Procedure, 1973 etc.
Writing of Judgement in Civil Cases.
Candidates General Knowledge and Grasp of Principles of Law.
Suitability of the Candidate for Civil Judge.
Finally, the complete Karnataka High Court Civil Judge Syllabus for both preliminary and mains exam is provided above. For any doubts regarding Karnataka High Court Civil Judge Exam 2018, visit the official website. And Check Karnataka High Court Civil Judge Previous papers with Solutions here. Bookmark our website Sarkari Employment News to get the latest updates about all Government Job Notifications, Syllabus, Previous Papers, etc.
|
{
"timestamp": "2019-04-25T03:47:04",
"url": "http://www.sarkariemploymentnews.com/karnataka-high-court-civil-judge-syllabus/",
"language": "en",
"source": "c4"
}
|
The Mormons* more than any people helped to cause settlement on the western side of the Missouri. Their settlement in the Florence area was a difficult period, and many died as a result.
The Mormons first arrived at the Missouri River starting in 1846, and settled for a brief period before traveling on, with the majority being the Winter of 1846/1847. Many Mormons moved on to the Great Salt Lake Valley in 1848.
From 1846 to 1853, the area was mostly populated by the Mormons. Even though after 1853 the area was no longer predominantly Mormon, the Mormons continued to be settled in the surrounding areas as late as 1859 or 1860.
There is so much to learn about the Mormon contribution to local history, the information has been broken down into several pages. To best learn and understand the full story, start at the top; you can choose 'Next' at the end of each page. 'T.O.C.'' returns to this page. The side menu listing all pages will be displayed on each page.
|
{
"timestamp": "2019-04-24T20:08:26",
"url": "http://historicflorence.org/Mormons/index.php",
"language": "en",
"source": "c4"
}
|
Hairy horny guy next door type interested in horny guys into wrestling, lifting fun.
Met scotsguy for a muscle worship and flexing session. True gentleman and true to his word. Both had a good flex, bit of lifting and very brief wrestle. Stronger than he makes out too with a good bear hug!
Legflexer is a strong muscly guy who like to show off his formidable physique and strength. And he's certainly a strong guy. Lifted me up no trouble at all at 78kg.
He's an affable chap who likes to show off and more than lives up to his name. Highly recommended.
|
{
"timestamp": "2019-04-22T05:05:01",
"url": "https://www.meetfighters.com/users/scotsguy61",
"language": "en",
"source": "c4"
}
|
Norwalk, CT—November 14, 2017—The Board of Trustees of the Financial Accounting Foundation (FAF) today announced the reappointment of James L. Kroeker as vice chairman of the Financial Accounting Standards Board (FASB). The Trustees also announced the appointment of Gary R. Buesser—a long-time portfolio manager and financial analyst—to the FASB. Both terms are effective July 1, 2018.
Mr. Kroeker’s second and final term extends through June 30, 2024. He began his first term as vice chairman of the FASB on September 1, 2013. During his term, Mr. Kroeker worked closely with FASB Chairman Russell G. Golden in leading the FASB’s issuance and post-issuance support of major new accounting standards including revenue recognition, leases, credit losses, not-for-profit financial reporting, and hedging.
The position of vice chairman was created early in the FASB’s history, but was later retired. The FAF Trustees decided to reinstate the position in 2013 in response to increasing demands on the time of the FASB chairman.
Mr. Kroeker was the SEC’s chief accountant from 2009 to 2012, following two years of service as deputy chief accountant. Prior to joining the FASB, Mr. Kroeker also served in a number of roles at Deloitte & Touche LLP, most recently as deputy managing partner in the firm’s professional practice group. Between 1999 and 2001, Mr. Kroeker was a practice fellow at the FASB, leading the project that resulted in a new standard for accounting for stock compensation.
At the SEC, Mr. Kroeker led the effort to address the many accounting and auditing issues that grew out of the economic crisis of 2008 to 2009, including taking steps to improve off-balance-sheet accounting guidelines. In addition, he directed the SEC’s Congressionally mandated study of fair value accounting standards and served as the designated federal officer responsible for the oversight of the SEC’s Advisory Committee on Improvement to Financial Reporting.
“On behalf of the FAF Board of Trustees, I am very pleased that Jim will continue as FASB vice chairman,” said Charles H. Noski, chairman of the FAF Board of Trustees. “He has played a pivotal role during a highly dynamic period in the Board’s history and we’re fortunate to have his continued leadership as the FASB works to educate stakeholders on understanding and implementing new accounting guidance in the areas the Board addressed during his tenure,” Noski added.
Mr. Buesser has been a portfolio manager/research analyst for the past 30 years, including at Lazard Asset Management from 2000 to the present. A director/research analyst at the firm since 2009, he has worked as an accounting analyst to improve the firm’s global investment professionals’ understanding of accounting standards to enable them to make better-informed investment decisions. From 2000-2009, Mr. Buesser was a portfolio manager/research analyst on the US Strategic Equity and US Mid-Cap product teams.
Prior to Lazard, Mr. Buesser was a portfolio manager at the Evergreen Funds, SG Cowen Asset Management and Shearson Lehman Hutton Asset Management. Mr. Buesser is a Chartered Financial Analyst (CFA) and a member of the New York Society of Security Analysts (NYSSA).
He currently serves on the FAF’s Financial Accounting Standards Advisory Council (FASAC). From 2010 to 2013, Mr. Buesser served on the FASB’s Investor Advisory Committee, including as co-chair from 2012 to 2013. He has also participated in numerous FASB investor outreach projects.
Mr. Buesser has been a member of the International Corporate Governance Network (ICGN) since 2013 and served as the chair or co-chair of the organization’s Accounting and Auditing Practices Committee from 2015 to 2017. He has an MBA/Finance from the College of William and Mary (Virginia) and a BS Economics from St. Peter’s College (New Jersey).
Mr. Buesser will succeed Marc A. Siegel, who joined the FASB in July 2008 and whose second and final term concludes on June 30, 2018. At the conclusion of his term on June 30, 2023, Mr. Buesser will be eligible for appointment to a second five-year term.
|
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Formation: Square set for 4 couples numbered anticlockwise.
Couple 1 have their backs to the musicians.
Music: 48 bar jigs - Clawdd Offa + similar.
A1 Bar 1-4 Holding Hands in a circle, all take 4 steps to the centre and 4 steps back to place.
5-8 All back to back with partner.
A2 Bar 1-4 Repeat A1.
5-8 All back to back with corner.
B2 Bar 1-4 All join hands and circle left with 8 slip steps.
5-8 All circle back to place.
first, then the lady the second time, then go back to place.
C2 Bar 1-8 All swing partners.
Repeat the dance with Couple 2 being the working couple, then Couple 3, then Couple 4, and then at the discretion of the caller, e.g. with two couples doing B1 and C1 at the same time - the dancers must listen carefully to the caller's instructions!
|
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"timestamp": "2019-04-25T16:20:54",
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When accessing the http://solasgallery.com website, Solas Gallery, llc will learn certain information about you during your visit.
Solas Gallery, llc will not obtain personally-identifying information about you when you visit our site, unless you choose to provide such information to us, nor will such information be sold or otherwise transferred to unaffiliated third parties without the approval of the user at the time of collection.
We will use your e-mail address solely to provide timely information about Solas Gallery, llc.
http://solasgallery.com may contain links to many other websites. Solas Gallery, llc cannot guarantee the accuracy of information found at any linked site. Links to or from external sites not owned or controlled by Solas Gallery, llcdo not constitute an endorsement by Solas Gallery, llc or any of its employees of the sponsors of these sites or the products or information presented therein.
All copyrights, trademarks, patents and other intellectual property rights in and on our website and all content and software located on the site shall remain the sole property of Solas Gallery, llc or its licensors. The use of our trademarks, content and intellectual property is forbidden without the express written consent from Solas Gallery, llc.
Solas Gallery, llc is not responsible for any of the opinions or comments posted on http://solasgallery.com. Solas Gallery, llc is not a forum for testimonials, however provides testimonials as a means for customers to share their experiences with one another. To protect against abuse, all testimonials appear after they have been reviewed by management of Solas Gallery, llc. Solas Gallery, llc doe not share the opinions, views or commentary of any testimonials on http://solasgallery.com - the opinions are strictly the views of the testimonial source.
Solas Gallery, llc may use software programs to create summary statistics, which are used for such purposes as assessing the number of visitors to the different sections of our site, what information is of most and least interest, determining technical design specifications, and identifying system performance or problem areas.
For site security purposes and to ensure that this service remains available to all users, Solas Gallery, llcuses software programs to monitor network traffic to identify unauthorized attempts to upload or change information, or otherwise cause damage.
Solas Gallery, llc makes no representations, warranties, or assurances as to the accuracy, currency or completeness of the content contain on this website or any sites linked to this site.
All the materials on this site are provided "as is" without any express or implied warranty of any kind, including warranties of merchantability, noninfringement of intellectual property or fitness for any particular purpose. In no event shall Solas Gallery, llc or its agents or associates be liable for any damages whatsoever (including, without limitation, damages for loss of profits, business interruption, loss of information, injury or death) arising out of the use of or inability to use the materials, even if Solas Gallery, llc has been advised of the possibility of such loss or damages.
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"timestamp": "2019-04-20T11:21:42",
"url": "https://solasgallery.com/privacy-policy/",
"language": "en",
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|
Unscented facial moisturizer - Adult archive.
Olay Total Effects Anti-Aging Face Moisturizer, Fragrance-Free fl oz Cetaphil Fragrance Free Daily Facial Moisturizer, SPF 15, 4-Ounce Bottles (Pack.
Evonne Age: 31. Looking forward to meeting you.
Description:Hyaluronic acid occurs naturally in skin and pulls some serious weight, but we lose it as we age. We felt comfortable being so conservative here for a few reasons: The recipe for completing that function is pretty simple and employs three types of ingredients: Any ingredients beyond those three are either marketing hype or serve a function beyond moisturizing like anti-aging retinoids.
|
{
"timestamp": "2019-04-22T16:58:35",
"url": "http://www.granprif1.info/facial/unscented-facial-moisturizer.php",
"language": "en",
"source": "c4"
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|
Bill Kenwright presents the multi-award winning production of Kander and Ebb’s landmark musical, CABARET. Directed by National Theatre Artistic Director Rufus Norris, the production has enjoyed two smash hit West End runs at The Lyric and The Savoy theatres. CABARET features show-stopping choreography, dazzling costumes and iconic songs Money Makes The World Go Round, Maybe This Time, Cabaret and more. Since its Broadway premiere and the movie version with Liza Minnelli and Joel Grey, CABARET has won numerous stage and screen awards including 8 Oscars, 7 BAFTAs and 13 Tonys.
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{
"timestamp": "2019-04-19T20:54:21",
"url": "https://churchilltheatre.co.uk/Online/tickets-cabaret-bromley-2019",
"language": "en",
"source": "c4"
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The hard drive is one of the major storage components of a computer system. It stores various kinds of data like text, pictures, audios, videos, etc. Any problem arising in such hard drives could lead to inaccessibility of the data present in it. Such inaccessibility is often supported by various error messages. One of the most common error messages that make the hard drives inaccessible is “Hard Drive is not accessible. Access is denied“.
What is this “Access is Denied” error?
The error message indicates that there is some problem with the hard drive, which has made the hard drive inaccessible. In the worst case, it could also lead to data loss.
Why do we face it?
The issues mentioned above can be experienced in many different situations as well as different versions of operating systems. The error message indicates that the hard drive has gone corrupt.
1. How to Automatically Fix this Error?
To solve hard drive inaccessibility issues, formatting will be the sure shot way. However, the stored data may be compromised, and you may permanently lose access to it. To avoid losing data, you can use data recovery programs that can recover data from the inaccessible hard drive without altering the file attributes.
Use Stellar Data Recovery Professional for Windows to recover files from the inaccessible hard drive or any other storage media with similar issues. You can free download this data recovery software on any latest Windows machine and begin scanning the formatted or erased hard drive for your data.
2. How to Fix this Error via Manual Ways?
Right-click on the inaccessible drive.
Now go to the ‘Properties’ section.
Select the ‘Security’ and click on the ‘Edit’ button.
The “Permissions for New Volume (E:)” dialog box appears, as shown in the figure below. Click the ‘Add’ button to continue.
Add a new user named ‘Authenticated User’ and Click ‘OK’.
From the permission section, give ‘full control’ to newly added user and click ‘OK’.
The dialog box will show two options: ‘Continue’ or ‘Cancel’.
Press Continue… and Cancel at last.
In the case of Windows 7, you might get that error if you are running HomeGroup and have shared a root drive E:\, and finally, you have left the HomeGroup. This situation would deny you any access to the drive that was shared and would give you the following error message.
F:\ is not accessible. Access is denied.
Right-click on the inaccessible hard drive.
Go to the Security tab, and then click Advanced.
Click ‘Edit’ by going to the Owner tab.
Modify the ownership of the desired account.
Alternatively, you can also try the following option if you are not able to access any file or folder on a Windows 7 drive.
Right-click on the inaccessible file or folder.
Click your name Under Group or username. This would show you the permissions you have to access the file and folder.
Change the drive letter for an inaccessible hard drive.
Try to boot into the safe mode and access the HDD.
Try accessing the HDD in Windows 7 Ultimate and Home Premium.
You will be able to access the drive, as chkdsk command would have deleted the files that were causing the problem.
You can also face a similar kind of situation while working with Windows Vista.
Like Windows 7, you can also check the permissions of the file or folder in Windows Vista.
Go to the Properties by right-clicking the file or folder.
From usernames or Group, check the permissions you have by clicking your name.
You can also check if the problem is due to an encrypted file or not, by following the below mentioned steps.
Click the General tab-> Advanced.
See the checkbox encrypt is selected or not.
If yes, then get the certificate used for encryption to open the file. The encryption certificate lies with the person who creates the file.
You need to have an encryption key or certificates for those Windows edition in which the Encrypting File System (EFS) is not fully supported. For example, Windows Vista Starter, Windows Vista Home Basic, and Windows Vista Home Premium do not support it so that you can follow the below mentioned steps.
Type Cipher.exe /d on the command prompt to decrypt the file.
Copy the decrypted file on your computer’s hard disk.
Import keys and EFS certificates.
Type Cipher.exe /r to back up EFS certificates and keys.
In the case of Windows XP, you might face the “Access is denied” issue if you have used an earlier version of Windows to create a volume based on NTFS file system and then installed Windows XP.
A change in the version of the operating system changes the security ID of the user. As the security ID of the person who created the folder was different on an earlier version of the Windows, in spite of the same username and password you do not have the permission to open the folder after you perform the following steps.
The actual location of the ‘My Documents’ folder has been changed before installing Windows XP professional.
Install Windows XP Professional, by formatting the primary partition.
For resolution turn off the Simple File Sharing option and take ownership of the folder.
Go to Advanced Settings and clear the Use simple file sharing checkbox.
Right-click the desired folder for ownership and click Properties.
Click OK on the Security message if any.
Click your username in the Name list.
In case you get an error message, click ‘Yes’.
Reapply the permissions and security settings.
I tried to use this for an external drive not recognized by Windows. I performed the scan (yes it identified that the device existed) and 45 minutes later I received ZERO output.
Kindly confirm us the file system of the hard drive and please make sure that drive should be detected in disk management of the same.
If the drive is not detecting on location page of our software then please use “Can’t find drive” option (feature) in our software and perform data recovery.
upgrade to win10pro and now my WD 750Gb E: drive is not accessible.
We would recommend you to install our software i.e. Stellar Data Recovery Professional for Windows and check whether the drive is listing in “can’t find” of software or not. If it is listing then you may select the drive and start the scanning on the same.
You may download the software from the below link.
The Stellar software can recover data from a Bit locker drive. However, you would be requiring to unlock the drive with BitLocker password.
@Oliver Powell : Thanks you have saved my day. It is really helpful to me, Thank you very much!
Glad to know that our software works for you. Please also follow us on twitter, facebook & youtube.
Thanks, David for these Good words.
just add authenticated user, that’s it and it works perfectly, Thank you very much!
thank you soooooooooooooo much. it works!
|
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"timestamp": "2019-04-26T03:41:22",
"url": "https://www.stellarinfo.com/blog/fix-inaccessible-hard-drives-and-recover-data/",
"language": "en",
"source": "c4"
}
|
Welcome to The Air Raid Sirens Wiki!
This site is about air raid sirens. Most people know what these are, and they've most likely heard the sounds, but how many can tell you what they look like?
What they weigh? How they work? Who makes them? Not many! That's why this site exists--to satisfy anyone who wants to know more about these sirens.
New reader or editor? Need help? Click here.
...that the Surry Power Station's activation sequence for their system results in a distinct "triple windup"?
...that, although having two more cells, the Modulator II 8032B is still 23.64 inches shorter than the Modulator 6048?
...that the national siren system in Denmark is one of the largest single systems using Whelen sirens, with 1,078 sirens covering 80% of the country?
...that the Model 2 is the oldest siren currently in production, dating back to around 1921?
...that Fort McPherson, Northwest Territories, and Cambridge Bay, Nunavut, are home to two of the few sirens located north of the Arctic Circle, both STH-10s?
...that, contrary to popular belief, the "2001-DC" is not a model in itself, but rather refers to battery-equipped units in general?
The Modulator II is a family of omnidirectional sirens produced by Federal Signal Corporation. The seven models can produce 106 to 124 dBc at 100 feet.
► W.S. Darley & Co.
This page was last edited on 31 July 2018, at 09:26.
|
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"source": "c4"
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Clock Tower will take your mind far from the ordinary world into a quiet and peaceful medieval town, with its small houses and narrow streets. Imagine that you are standing in the central square of the town and observe the beautiful architecture of the clock tower. This is the oldest clock tower in the town and has kept time for countless years. It was built long ago, and since those days it has become the symbol of the town.
3Planesoft is pleased to introduce a new 3D realistic screensaver - Clock Tower.
Enjoy frost clock screensaver with the whole family!
|
{
"timestamp": "2019-04-23T00:56:40",
"url": "https://shareme.com/details/clock-tower-3d-photo-screensaver.html",
"language": "en",
"source": "c4"
}
|
When using these 4 guides, what I want first is the high overview ... I don't enjoy having to scroll past the many images.
Biblical Events is a good example of the kind of conciseness I want.
Biblical People I would like to have expand/contract at the person level making it possible to simply see lines for Jesus, Holy Spirit, God, John the Baptist, Satan, an angel. That would be much more useful than having to expand to see John the Baptist, Satan, an angel -- the first two rather essential to the passage.
|
{
"timestamp": "2019-04-19T04:37:58",
"url": "http://community.logos.com/forums/p/176150/1017617.aspx",
"language": "en",
"source": "c4"
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|
In the Methodist Church, Candidating is the shorthand term for offering for the ordained ministry. It is the process by which you and the church test your call.
This will begin in your circuit, before going to the district and then to a selection committee that represents the Connexional Church.
|
{
"timestamp": "2019-04-21T14:03:33",
"url": "https://www.cumbriachristianlearning.org.uk/course-type/methodist/",
"language": "en",
"source": "c4"
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|
Pierre Fabre today announced that the Committee for Medicinal Products for Human Use (CHMP) of the European Medicines Agency (EMA) adopted a positive opinion recommending approval of BRAFTOVI® (encorafenib) and MEKTOVI® (binimetinib) in combination for the treatment of adult patients with unresectable or metastatic melanoma with a BRAFV600 mutation. This opinion is based on data from the Phase 3 COLUMBUS trial.1 The CHMP recommendation will now be reviewed by the European Commission (EC), which has the authority to approve medicines for the European Union (EU). The decision will be applicable to all 28 EU member states plus Liechtenstein, Iceland and Norway.
Important safety information and recommendations for the use of BRAFTOVI and MEKTOVI will be detailed in the summary of product characteristics (SmPC), which will be published in the European Public Assessment Report (EPAR) and made available in all official EU languages if marketing authorisation is granted by the EC.
On 27 June 2018, Pierre Fabre’s partner Array BioPharma, which has exclusive rights for these medicines in the United States (US), announced that BRAFTOVI and MEKTOVI were approved by the Food and Drug Administration (FDA) in the US for the treatment of unresectable or metastatic melanoma with a BRAFV600E or BRAFV600K mutation, as detected by an FDA-approved test.3,4 BRAFTOVI is not indicated for treatment of patients with wild-type BRAF melanoma. BRAFTOVI and MEKTOVI are investigational medicines and are not currently approved in any other country outside of the US. Applications for marketing authorisation for BRAFTOVI and MEKTOVI in other countries are currently under review.
BRAFTOVI (encorafenib) is an oral small-molecule BRAF kinase inhibitor and MEKTOVI (binimetinib) is an oral small-molecule MEK inhibitor which targets key enzymes in the MAPK signalling pathway (RAS-RAF-MEK-ERK). Inappropriate activation of proteins in this pathway has been shown to occur in many cancers, including melanoma, colorectal cancer, non-small-cell lung cancer, thyroid and others.
Pierre Fabre has exclusive rights to develop and commercialise BRAFTOVI and MEKTOVI worldwide, except in the US and Canada, where Array BioPharma retains exclusive rights; Israel, where Medison has exclusive rights; and in Japan and South Korea, where Ono Pharmaceutical has exclusive rights to commercialise both products.
The COLUMBUS trial (NCT01909453) is a two-part, international, randomised, open-label, Phase 3 trial evaluating the efficacy and safety of BRAFTOVI (encorafenib) in combination with MEKTOVI (binimetinib) compared with vemurafenib and encorafenib monotherapy in 921 patients with locally advanced, unresectable or metastatic melanoma with BRAFV600 mutation.1 All secondary efficacy analyses, including OS, are descriptive in nature. More than 200 sites across North America, Europe, South America, Africa, Asia and Australia participated in the COLUMBUS trial.
With a portfolio representing a continuum of activities spanning from prescription drugs and consumer healthcare products to dermo-cosmetics, Pierre Fabre is the 2nd largest dermo-cosmetics laboratory in the world, the 2nd largest private French pharmaceutical group and the market leader in France for products sold over the counter in pharmacies. Its portfolio includes several global brands and franchises, which include Eau Thermale Avène, Klorane, Ducray, René Furterer, A-Derma, Galénic, Elancyl, Naturactive, Pierre Fabre Health Care, Pierre Fabre Oral Care, Pierre Fabre Dermatologie and Pierre Fabre Oncologie.
In 2017, Pierre Fabre generated 2,318 million euros in revenues, of which 62% came from its international business and 61% from its dermo-cosmetics division. Pierre Fabre, which has always been headquartered in the South-West of France, counts about 13,500 employees worldwide, owns subsidiaries and offices in 47 countries and enjoys distribution agreements in over 130 countries. In 2017, Pierre Fabre dedicated ca. 175 million euros to R&D efforts, split between oncology, central nervous system, consumer healthcare, dermatology and dermo-cosmetics.
Pierre Fabre is 86%-owned by the Pierre Fabre Foundation, a government-recognised public-interest foundation, and secondarily by its own employees through an international employee stock ownership plan.
The independent French certification group AFNOR audited Pierre Fabre for its corporate social responsibility policy at the “exemplary” level, according to the ISO 26000 standard for CSR.
Dummer R, et al. The Lancet 2018;19 (5): 603–615.
Dummer R, et al. J Clin Oncol 2018;36 (suppl): abstr 9504.
BRAFTOVI® Prescribing Information. Array BioPharma Inc., June 2018. Available at: https://www.accessdata.fda.gov/drugsatfda_docs/label/2018/210496lbl.pdf. Accessed July 2018.
MEKTOVI® Prescribing Information. Array BioPharma Inc., June 2018. Available at: https://www.accessdata.fda.gov/drugsatfda_docs/label/2018/210498lbl.pdf. Accessed July 2018.
Melanoma Skin Cancer. American Cancer Society. Available at: https://www.cancer.org/cancer/melanoma-skin-cancer.html. Accessed July 2018.
A Snapshot of Melanoma. National Cancer Institute. Available at: https://seer.cancer.gov/statfacts/html/melan.html. Accessed July 2018.
Globocan 2012: Estimated Cancer Incidence, Mortality and Prevalence Worldwide in 2012. Available at: http://globocan.iarc.fr/Pages/fact_sheets_population.aspx. Accessed July 2018.
Klein O, et al. Eur J Cancer 2013;49(5):1073-9.
American Cancer Society. What Causes Melanoma Skin Cancer? 2016. Available at: https://www.cancer.org/cancer/melanoma-skin-cancer/causes-risks-prevention/what-causes.html. Accessed July 2018.
|
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Cookie Dough Ice Cream – when a fellow ice cream dipper named Jenny first approached me about a new flavor of ice cream idea, I didn’t think it would sell. This was in the mid-1980’s – just a few years after we started making ice cream in our batch freezers on the farm. I told her we already had a flavor with cookies in it – Cookies & Cream – and who would buy ice cream with raw cookie dough in it?!
Jenny was very persistent, and kept pestering me about this flavor, so one day we made a batch of 5 gallons. Of course, you know the story at this point – turns out a lot of Guests liked Cookie Dough – it’s now usually the number one or number two flavor we dip on cones, every year!
Buffalo Cheddar Deep Fried Curds – we were just about one year into making our deep fried cheddar cheese curds – and they were selling well. We thought we had a winner and the sales kept growing as a nice side choice at both of our restaurants. Meanwhile, a few times a year we hold an event with about a dozen Staff at Young’s called Great Tastes of Young’s. Each of us cooks something for each other, and then we rate it. Craig, a new manager (just a few months into his job) at his first Great Tastes of Young’s came up with Buffalo Cheddar Cheese Curds (pictured above) – we all loved it and we immediately put it on the menu. It was, and is, a hit. This caused us a year or so later (at another Great Tastes of Young’s) to discover Sweet Chili Deep Fried Breaded Cheddar Curds.
Sea Salty Caramel Ice Cream – this flavor is what I refer to as our first Facebook® flavor! One day about five years ago I posted on our Facebook® page – “What flavor of ice cream do you like that Young’s does not make?” We got 100’s of responses, many that referred to some version of a caramel ice cream that had salt added. We had never heard of this flavor, but it sounded intriguing and it was mentioned so many times. We investigated – found a couple places dipping this flavor, tasted it and immediately created our recipe and got it on the menu. This flavor is now consistently in the top 15 flavors we make each year (out of close to 100 flavors of ice cream and gelato made each year).
A few other ideas that have come from Staff or Guests over the years include Buttermilk Chicken, Chicken & Dumplins, Chocolate Fudge Brownie ice cream, Grandma’s Meatloaf, and our Homemade Chili recipe.
Of course, every list like this also has a few that did not work so well. Some of these include a Marshkin Sundae, pick your own strawberries, Orange Macaroon ice cream, P-Nut Butter & Jelly ice cream, Maple Waffles & Bacon (another Facebook® flavor – that did not work!) and the first two recipes for our Deep Fried Breaded Cheese Curds!
We always are looking to new tastes and activity ideas. We know we are only as good as you – our Guests – think we are. Our aim is to keep ahead of you just a little with new stuff to do and taste!
|
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The home can be significant if your main guest visitors usually are checking out, and this Traditional Style Furniture photo gallery may well inspire people for any magnificent house. By applying your style coming from Traditional Style Furniture photo stock to your house, you can create every one of your company amazed. Every last characteristic of this Traditional Style Furniture picture collection will help you to get a property that could be very lovely and captivating. Traditional Style Furniture snapshot gallery will allow you to renew the structure in your home so you can enjoy the splendor of your home everytime. You will be able to enhance your household in a even more modern residence by means of a kinds of Traditional Style Furniture picture gallery. Consider your look choice prior to when picking out a fashion coming from Traditional Style Furniture photo stock. You have got to pick a idea competently so you can recognise your aspiration residence when proven by way of Traditional Style Furniture graphic stock.
You can search to apply clean recommendations by mixing certain styles from Traditional Style Furniture graphic stock. Along with the right formula, a variety of various motifs from Traditional Style Furniture picture stock will give you an unusual and appealing look. Although very simple, a theme associated with Traditional Style Furniture snapshot stock could possibly have an impact on the complete appearance of your home. You might soon get a great atmosphere that you ought to unwind simply by homing that ideas because of Traditional Style Furniture photo stock. For everybody who is never convinced to embrace all of substances of which Traditional Style Furniture pic gallery will show, sole acquire a few parts that you really enjoy. Sun and rain that you take up coming from Traditional Style Furniture graphic collection will certainly make a affirmation in your house. If you need to give a custom touch, you will be able to incorporate your own suggestions for a idea that you buy Traditional Style Furniture photo collection. Please find out this particular Traditional Style Furniture pic collection to obtain additional ideas. Thank you so much for seeing Traditional Style Furniture picture gallery.
Traditional Sofa Styles Traditional Style Living Room Furniture Traditional Living Room Charming Traditional Furniture Styles Traditional .
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"url": "http://www.offapendulum.com/traditional-style-furniture/furniture.html",
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The Nationwide Mortgage Licensing System and Registry (NMLS) published a report compiling data regarding the status of state approved entities and licenses tracked though the NMLS system for the first two quarters of 2011.
According tot he NMLS "Nationwide View on State Licensed Mortgage Entites" report, at the end of the first quarter 2011, there were 131,035 total entities licensed in the NMLS, including, 14,980 company licenses, 15,957 branch licenses and 100,098 individual licenses. Among the companies licensed, 3,515 self-reported reverse mortgages in their business actives, amounting to 23% of the licensed companies.
By the end of the second quarter, the number of licenses increased to 140,421, including 16,153 company, 17,387 branch and 106,881 individual licenses. The total number of licensed increased by just over 7% in the second quarter.
Of the companies licensed, 83% or 12,503 held licensed in a single state, only 1,317 held licenses in 3 or more states.
In terms of originators, the percentages resembled those of the companies with a slightly smaller percentage, 80% holding a single state license. A little over 9% hold 3 or more individual state licenses.
California, by far, has the largest number of licensees with over 6,200 companies and 31,500 individuals licensed. Texas was second with just under 1,500 companies and 12,000 originators, followed by Florida with about 1,150 companies and 8,073 companies.
|
{
"timestamp": "2019-04-24T10:02:48",
"url": "https://www.housingwire.com/articles/45071-nmls-view-on-state-licensed-mortgage-entites",
"language": "en",
"source": "c4"
}
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This is our medium size cutting board. Made from endgrain teak and designed in Denmark, it would look fantastic on any worktop. It has a moat-like edge on one side to hold juices from your cooking. The other side is entirely flat. It also has built-in grips on the side to let you carry it safely to the table.
|
{
"timestamp": "2019-04-22T23:02:25",
"url": "https://triggerfishcookshop.ie/products/cuttingboardendwoodinteakoilfinish27x50cm",
"language": "en",
"source": "c4"
}
|
A herd of 30 wild elephants have recently been seen to migrate into the Yok Don National Park in the Central Highland province of Dak Lak, said Nguyen Huy Hai, a forest official in the Park.
Hai said that in the past month, the elephant herd has been consistently spotted in many parts of the park. Earlier the elephant herd had inhabited the Cu Jut forest, however because of depleting food resources they were now migrating to the Yok Don National Park.
The park management board have suggested to local residents living in close proximity of the park in Ea Sup District, to create a hostile atmosphere by creating loud sounds by beating drums and lighting fires to drive away the elephants from approaching too close to their residential areas and agricultural fields. This method would help in protecting their homes and crops and move the elephants away without harming them.
The province already has a project until 2015 to conserve wild elephants. Under the program, 10 wild elephant herds including those in Yok Don Park and in Ea Sup District will be conserved and protected in the wild. The elephant habitat and their food source will also be under the conservation plan.
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Broadway Brands, publisher of Broadway News and Broadway Briefing, and the Drama Desk jointly announced today that Broadway Brands will present the Drama Desk Awards beginning with the upcoming 2019 ceremony.
The 64th annual event will take place on June 2, 2019 at 8:00p.m. at The Town Hall.
The cut-off for nominations will be April 24, 2019. Nominations will be announced April 25, 2019.
"Matt Britten and his innovative company, Broadway Brands, are a perfect match for our organization," said Drama Desk co-presidents Charles Wright and David Barbour. "Matt cares deeply about New York theater and, especially, about the health and welfare of theater journalism. At a time when platforms for theater writing are shrinking and going out of business, Broadway Brands is finding new ways to cover the industry and encourage lively, intelligent discussion of drama and theater artists. We're delighted by this new association with Broadway Brands and excited about the 64th annual presentation of the Drama Desk Awards in June."
"The Drama Desk Awards are one of the great, long-standing traditions in our community, created by theater journalists to celebrate outstanding theater," Britten said. "At Broadway Brands, we celebrate the history of the industry while we are even more excited for its future. When we learned that the Drama Desk Awards were in need of new support, we knew immediately that we wanted to be a part of it. Broadway News, one of our brands, is focused on revitalizing theater journalism, and so it just makes sense on all levels to partner with this storied institution. We look forward to building a new network of support within the theater community to take this important event into its seventh decade and beyond," he added.
"Broadway Brands is a perfect fit for the Drama Desks," said Joey Parnes. "We've had a great time working with the Drama Desks for the past seven years and are looking forward to our continued collaboration."
Following the 2019 ceremony, Broadway Brands will explore future enhancements for the event, including negotiating a new television/streaming deal for the Drama Desk Awards beginning with the 2020 ceremony.
The annual Drama Desk Awards honor outstanding achievement by professional theater artists on Broadway, Off-Broadway and Off-Off Broadway. The Drama Desk Awards are voted on and bestowed by theater critics, journalists, editors, publishers and broadcasters covering theater. The Drama Desk Awards reflect enthusiasm for all aspects of New York's professional theater.
The 2018-2019 Drama Desk Nominating Committee is composed of: Martha Wade Steketee (The Clyde Fitch Report, Dramatics, HowlRound), Chair; Linda Buchwald (American Theatre, TDF Stages, Theatre is Easy); Peter Filichia (Broadway Select; Broadway Radio; books including Strippers, Showgirls, and Sharks, St. Martin's Press); Helen Shaw (4Columns, Time Out New York, American Theatre); Jose Solís (American Theatre's Token Theatre Friends, TDF Stages, American Theatre); Zachary Stewart (Theatermania.com); Doug Strassler (Garden State Journal, Back on the Block, TDF Stages); Charles Wright (Drama Desk Co-President), ex officio.
The mission of the Drama Desk is to recognize outstanding achievement in New York theater and encourage discussion of issues significant to theater professionals. The organization accomplishes these goals by bestowing annual awards in more than 30 categories of theater arts and crafts, hosting the awards celebration, and presenting educational forums and panel discussions on theater topics.
The Drama Desk was founded in 1949 by New York Times arts reporter Sam Zolotow, Edith Oliver of The New Yorker, and New York Post critic Vernon Rice, among others. Six years later, after Rice's untimely death, the organization initiated an award in his honor for outstanding achievement Off-Broadway. Subsequently expanded and renamed the Drama Desk Awards, they now recognize accomplishments on Broadway, Off-Broadway, and Off-Off Broadway.
Led by Joey Parnes, a Broadway producer and general manager with over 40 years' experience, Joey Parnes Productions produces, executive produces, and general manages theatrical productions from the commercial and non-profit worlds, both on and off Broadway, internationally and on the road. Currently represented on Broadway by To Kill A Mockingbird and on the road with the Tony Award winning Hello, Dolly!. Upcoming Broadway productions include King Lear, Gary: A Sequel to Titus Andronicus, and Hillary and Clinton. Recent Broadway credits include The Waverly Gallery, Meteor Shower, Three Tall Women, The Iceman Cometh (2018), Carousel (2018), Hello, Dolly! (2017; Tony Award), 1984, A Doll's House, Part 2, The Glass Menagerie (2017), The Front Page (2016), Shuffle Along, The Crucible (2016), Bright Star, Blackbird, The Humans (Tony Award), A View from the Bridge (2015), Fish in the Dark, Skylight (2015; Tony Award), A Delicate Balance, This Is Our Youth, A Raisin In The Sun (2014; Tony Award), A Gentleman's Guide to Love and Murder (Tony Award), Betrayal (2013), Vanya and Sonya and Masha and Spike (Tony Award), and the revival of HAIR (2011; Tony Award). Joey is a past president of the Yale Dramatic Association and teaches Producing for the Commercial Theatre at Yale School of Drama. Joey served as the Coordinating Producer of the Tony Awards from 2001 to 2008 and has produced the Drama Desk Awards since 2012.
Broadway Brands is building a community of entertainment entrepreneurs, with a passion for taking show business seriously. It celebrates the history of the industry, and is even more excited for its future.
© 2019 Broadway Brands LLC. All rights reserved.
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On the days when it feels like you could use a field guide just to help you navigate life on this spinning globe hurtling through space and time, look no further than Sheila Walsh’s book of the same title.
It’s Okay Not to be Okay is filled with insights, stories and hands-on ways that we can access Jesus, His teachings and use the Bible for its intended purpose. As Sheila says, “the Bible is not a just book but a living letter, alive and able to change our lives.” In IONTBO, Sheila Walsh points us keenly to Jesus and the Bible as a tool and gift that transforms us. Especially in this confusing modern world, Walsh helps us to dive deeper into God’s word in a way that is not only meaningful but also intensely relevant.
Sitting beside her at a table in a 100 Huntley Street board room, her Bible perched between us, I had what I can only describe as a life-changing moment. We had a long conversation about her book and the personal journey it is based on. Many of us are trying to figure this all out: how to follow Jesus and find our way in the world. Though it is no easy feat, Walsh reminds us of the importance of putting Jesus at the front our lives and not thrown in the back.
And my thing was that if Jesus is just a hashtag in your life, everything that comes before the hashtag is up to you and you alone. He had tried everything to help with this—they had even taken off the door to his bedroom.
This is just one of the many ways that Walsh’s book brings us right back to the heart of Jesus. He is not a background player or an afterthought, but a key player in our future and present.
If we connect with him authentically there can be healing, love, hope and direction. We are not alone spinning out of control in this world. Instead, we are invited to dance through both hard times and good ones with an ever-loving God who wants to be there with us in every moment. It’s Okay Not to Be Okay is a must read for youth-leaders, young adults and the people that love them. Find it where books are sold.
|
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Where can i find the source code of the android version?
The Android client is built on top of the 1.5-rc2 codebase available on GitHub which compiles for ARM. The source code for the GUI and some glue code is not released.
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{
"timestamp": "2019-04-24T02:57:00",
"url": "http://forum.tunsafe.com/viewtopic.php?id=13914",
"language": "en",
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From nuclear medicine to physical therapy, consider 10 in-demand jobs for community college graduates. With salaries ranging from $50,000 to even $100,000, opportunities are ripe for those with the right training from community colleges.
Going to college represents a piece of the American dream. Students can expand their minds, learn new skills, meet new people, and enjoy intellectual, social, and cultural experiences they might otherwise not have a chance to experience. But it also represents an opportunity for students to improve themselves by preparing for post-collegiate employment.
The advantages of attending community college are numerous. You can graduate sooner, usually in just two years. The skills you acquire are often immediately applicable to the workplace, making you an attractive candidate for fast employment. There’s also the cost – community college is much less expensive than four-year institutions, meaning that more of the money you begin to earn goes into your pocket and not towards paying off student loans.
Another advantage is that as the economy continues to grow, many of the most in-demand jobs are those that require only an associate’s degree. An added bonus is that a number of these jobs offer excellent income potential, with starting salaries for many of these in-demand occupations in the $40,000-$50,000 range. Some jobs even offer the potential to earn a six-figure salary with just a community college degree!
The trick is to find something that you are both passionate about and that will allow you to earn a comfortable living. Unfortunately, not everyone’s passion will be in a career area that is growing quickly, or that pays well. However, if you have an interest in a job in the medical field, you are certainly in luck because the majority of the jobs on this list are in the healthcare sector.
To provide you with some insight into the possibilities available to soon-to-be-graduates, examine the list that follows of the top 10 in-demand jobs for community college grads.
The men and women that install insulation in floors, ceilings, and walls of buildings, or remove old insulation, such as that contaminated with asbestos, are insulation workers. Mechanical insulation workers perform the same duties but on pipes, machinery, and HVAC systems. Individuals in this field of work are in very high demand, as businesses seek to reduce heating and air conditioning costs by making their facilities more efficient.
It can be an unglamorous job, but it is one that can be easily obtained with a certificate from a community college and an apprenticeship. The Bureau of Labor Statistics (BLS) projects this field to grow at a rate of 47% through 2020, making it the fastest growing occupation that does not require a four-year degree. With no experience, workers can expect to earn a starting salary of $39,170.
Individuals that help patients recover or improve upon the skills they need for daily living are occupational therapy assistants. Workers in this field might assist a patient with exercises or stretches, or help a patient learn how to use a walker, cane, or other supportive equipment. Occupational therapy aides are also tasked with preparing treatment areas, record-keeping, and clerical work.
Typical occupational therapy assistant programs last two years and are widely available at community colleges. The BLS predicts that careers in this area will grow by 43% in the coming years as more and more Baby Boomers age and require therapeutic services. The pay band for occupational therapy assistants varies widely, however, with a median annual wage of $53,240, it offers an excellent return on investment for community college students.
Much like occupational therapy assistants, physical therapy assistants work with patients who are recovering from illness or injury. They assist patients in regaining mobility and movement, as well as manage pain associated with their injury. Physical therapy assistants monitor patient progress, implement a care plan, supervise treatment, and prepare and clean treatment areas. Various record-keeping and clerical tasks are also usually part of their job.
With jobs in this sector set to grow by 41% over the next decade, there is ample opportunity for community college students to enter the field and find employment. The annual median salary for a physical therapy assistant is $52,160, making it an attractive option for students who complete the necessary two-year program.
A diagnostic medical sonographer utilizes imaging equipment to take images of patient’s bodies, which are used by physicians to assess and diagnose the patient. Sonographers often are responsible for patient intake, maintenance, and upkeep of the imaging equipment, analyzing images for abnormalities, and recording results of testing in the patient’s records.
Although there are bachelor’s degree programs available in diagnostic medical sonography, an associate’s degree is all one needs to enter the field. The BLS expects 39% growth in this field through 2022, adding over 110,000 jobs between now and then. With an average yearly salary of $60,350, it offers community college graduates with excellent earning potential.
A career as a dental hygienist involves working closely with a dentist to ensure the oral health of patients. Hygienists will often be responsible for cleaning a patient’s teeth, apply fluoride and sealants, and take and develop dental x-rays. Dental hygienists will also often be asked to teach patients proper technique for flossing and brushing teeth. Record-keeping and clerical work may also be expected.
Dental hygienist associate’s degree programs are a popular option on many community college campuses. This is a reflection of the growth of the industry, which the BLS pegs at 33% in the next few years. As of 2012, the average yearly wage for a dental hygienist was $70,120. Although entry-level positions do not pay as well, there is long-term potential for substantial income growth.
Workers in the field of medical equipment repair install, maintain and repair the equipment used by other medical-related workers. Testing and calibration of parts is a central role of this job, as is demonstrating how the equipment works to the individuals who will be using it. Medical equipment repairers can work in many different environments, from hospitals and home health settings to dental and eye clinics.
The BLS estimates that the need for medical equipment repairers will rise by 30% between now and the early years of the next decade. With associate’s degree programs in this field common at community colleges across the nation, it is a solid choice for a well-paying career with long-term positive growth. The pay, which averages $44,570, is not as good as some of the other jobs on this list, but still provides a very livable income.
People that work as radiation therapists are responsible for administering radiation therapy to treat cancer and other diseases in hospitals, clinics, and cancer treatment centers. Radiation therapists explain the procedure to patients and work with them to answer any of questions they may have. Workers in this field must be highly attentive to details and be proficient in the use of computers to ensure the correct dosage is administered.
Like the other medical-related jobs on our list, radiation therapy is set to have strong growth over the next few years, estimated by the BLS at 24%. The need for radiation therapists will continue to grow, as the population continues to get older and become more susceptible to cancer. Pay for this type of work can be extremely good. The average annual wage is currently $77,560, but those in the top 10 percent of the pay band make in excess of $110,000 per year.
Individuals working as a nuclear medicine technologist are responsible for utilizing highly technological medical equipment to scan patients’ bodies for abnormalities. Nuclear medicine technologists will prepare and administer radioactive drugs to the patient, which highlight abnormal areas in the scans. Operation of the equipment and record keeping of the patient’s reaction to the drugs is up to the technologist, however, interpretation of the scan’s results is left to a physician.
Like radiation therapy, nuclear medicine technology is a growing field, with 20% projected growth through 2022. This growth should increase as the population ages. The pay band for this field of work extends from a low of $50,560 to a high of $93,320. The median annual wage is $70,180.
A respiratory therapist works in a hospital or clinical environment to provide therapy to patients having trouble breathing due to illness. Respiratory therapists are responsible for evaluating patients, consulting with physicians to develop a treatment plan, performing diagnostic tests, and analyzing data from those tests. Additionally, respiratory therapists monitor and record the patient’s progress during treatments and teach patients how to use their respiratory equipment.
The BLS predicts strong growth in the field of respiratory therapy, at 20% over the next few years. Job opportunities are even greater for individuals who are willing to travel for work, particularly to rural areas. The median annual wage for respiratory therapists is $55,870. However, entry-level workers can expect to make closer to $41,000 per year, with that wage increasing with experience and training.
Not to be confused with a nuclear medicine technologist, a nuclear technician typically works in a nuclear power facility. Their role usually involves assisting physicists and engineers with research, as well as operating equipment that measures the levels of radiation produced by their research, power production, and other related activities. Collection and analysis of soil, water, and air is a primary duty of nuclear technicians as well.
Employment opportunities in this area of work are set to grow by 15% over the next decade. While this represents less robust growth than some of the other occupations on this list, it is still faster than average. Additional job growth is expected, however, with growing interest in nuclear power around the globe. Pay for nuclear technicians can reach up to $97,300, however, the mean yearly wage stands at $69,060.
When you wish to enter the workforce as quickly as possible with the potential to earn a good income, community college is a highly attractive option. This list of potential occupations just scratches the surface of the dozens and dozens of jobs that community college graduates are qualified to apply for and get. There are plenty of other occupations out there that only require an associate’s degree, although they may not have the projected growth or income potential as the jobs on this list.
That said, do your due diligence and explore all your options when considering a career path. If you are interested in a particular career field, consult with your academic advisor to see if your school offers degree programs in that area or a closely related field. Academic advisors can also help you determine the level of education you need to enter your professional area of choice. Sometimes, students who think they need a bachelor’s degree need only an associate’s degree to enter their chosen field and be successful.
As stated earlier, the key to all this is to find a career that you are passionate about. Although the draw of potentially earning a six-figure salary with an associate’s degree may be very strong, if the career isn’t something you like, the amount of money you make likely won’t make up for doing work you don't enjoy. Putting your community college’s resources to good use, and clarifying what you want to do and are skilled to do, will help you make an informed decision and enter a career that is both enjoyable and financially rewarding.
Counseling and Career Center, Grand Rapids Community College. 2011. Web. 21 Jan 2015. <http://www.grcc.edu/counselingandcareercenter/careerexploration>.
Employment Projections: Fastest Growing Occupations, Bureau of Labor Statistics. 19 Dec 2013. Web. 21 Jan 2015. <http://www.bls.gov/emp/ep_table_103.htm>.
Giang, Vivian. 23 High-Paying Jobs That You Can Get With an Associate’s Degree, 23 Dec 2013. Web. 21 Jan 2015. <http://www.businessinsider.com/high-paying-jobs-with-associates-degree-2013-12#>.
Henderson, Maureen J. Forget Four More Years: Why Community College Could Be Your Ticket To Financial Success, 31 Dec 2012. Web. 20 Jan 2015. <http://www.forbes.com/sites/jmaureenhenderson/2012/12/31/forget-four-more-years-why-community-college-could-be-your-ticket-to-financial-success>.
Occupational Outlook Handbook: Dental Hygienist, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/dental-hygienists.htm#tab-1>.
Occupational Outlook Handbook: Diagnostic Medical Sonographers, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/diagnostic-medical-sonographers.htm>.
Occupational Outlook Handbook: Insulation Workers, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/construction-and-extraction/insulation-workers.htm#tab-1>.
Occupational Outlook Handbook: Medical Equipment Repairers, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/installation-maintenance-and-repair/medical-equipment-repairers.htm#tab-1>.
Occupational Outlook Handbook: Nuclear Medicine Technologist, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/nuclear-medicine-technologists.htm#tab-1>.
Occupational Outlook Handbook: Nuclear Technician, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/life-physical-and-social-science/nuclear-technicians.htm#tab-1>.
Occupational Outlook Handbook: Occupational Therapy Assistants and Aides, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/occupational-therapy-assistants-and-aides.htm#tab-1>.
Occupational Outlook Handbook: Physical Therapy Assistants and Aides, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/physical-therapist-assistants-and-aides.htm#tab-1>.
Occupational Outlook Handbook: Radiation Therapist, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/radiation-therapists.htm#tab-1>.
Occupational Outlook Handbook: Respiratory Therapist, Bureau of Labor Statistics. 8 Jan 2014. Web. 20 Jan 2015. <http://www.bls.gov/ooh/healthcare/respiratory-therapists.htm#tab-1>.
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Divorce is difficult. This is one of the reasons why couples all over the world choose to stay in unhealthy or unfulfilling marriages, despite an inner voice urging them to leave. Rather than heed this internal guidance, people seek out or invent reasons to justify remaining.
Many float through life in a perpetual state of confusion or ambivalence because things are not so awful. Being confused, they can’t possibly be asked to make a decision so they rationalize staying with their spouse, waiting for something to happen which will make it clearer as to whether they should keep the relationship together or not.
For others, the fear of the unknown is simply too daunting so they numb out or get distracted to make life with their partner bearable (for example, by workaholism, drug/alcohol addiction, and spending excessively). In some cases, the fear of leaving is not about the unknown, rather it is the known that paralyzes them. The other spouse has threatened the one who wants to leave with some kind of abuse: “outing a secret,” bad-mouthing him or her to friends, loved ones, or employers, or even physical violence. Then there is the segment of this unhappy population who choose to have an affair (in real life or, more and more, in cyberspace) as a way of escaping or even as a way to cause the marriage to end.
Leaving your marriage may be the biggest challenge you will ever face in your life. It is important to contemplate divorce only when all other alternatives have been considered and exhausted. If, however, you truly feel your marriage is over and that you have done all you could to save the relationship, it is more of a disservice to yourself and the world around you to stay.
Remaining married or leaving is a very personal choice to and I highly encourage those who are contemplating divorce to get professional guidance and find or create a tight support network of friends and family. The following information is simply meant to be a guide in making your decision.
Many of those who divorce have known that their marriage was over long before they began to actually physically separate. When I ask these people what kept them from leaving sooner, the number one reason they give me is, “because of the kids.” I have no doubt that every parent who has said this believes wholeheartedly that this was a noble and selfless reason to stay. Staying and sacrificing their lives seems like the only thing to do.
Quite often, those who feel committed to keeping things together to this degree are children of divorce themselves. They swear that they will not put their children through what they had to endure. What they don’t understand is that they can get divorced differently than their parents did and spare their children much of what they experienced. How a couple divorces does more to determine how well children fare than the mere fact that they divorced.
While I would agree that being a good parent entails giving up a big part of yourself every day, I also know that you cannot give what you don’t have. If you are not happy, your children will undoubtedly feel that and suffer on some level as well, even if you don’t think your unhappiness shows. Children (and all of us, for that matter) are negatively impacted by being exposed to a loveless, tense, angry environment, regardless of the circumstances in which it has been created. They are impacted more deeply because they have not yet built up the level of defenses that we have. It is as if they have half the thickness of skin that we adults do. The good news is that they also tend to be more resilient than we adults allowing them to recover faster from unhealthy situations.
When you stay in an unfulfilling, unhappy or even abusive marriage, children come to believe that relationships are experiences that entail suffering, pain and even a slow death. You are not happy, your spouse is not happy and, in turn, your kids are not happy. The world doesn’t need more married couples for the sake of having married couples - the world needs more happy people!
While it’s understandable that having become accustomed to a certain lifestyle, most people don’t want to give that up, it’s often not a good enough reason to stay together, especially when your soul and spirit are dying. It is very scary to face the world as a single person after being with a partner for a while, whether it’s one year or thirty years. Of course, it’s scarier for the people who have been in longer-term marriages, or for those who have never worked, have no apparent job skills and who are now faced with having to get a job, but everyone in this kind of scenario feels challenged and overwhelmed.
The expense of keeping up two households is enormous. The spouse who has not been working, or who has worked but earning less, may want to hold on to the financial security blanket and stay with their counterparts. The spouse making more money may justify staying as a way to avoid having to support two households. What I find ironic is that people who marry for money are judged very harshly, but people who stay for the money are not.
Money is not the only financially related perk of marriage. Medical insurance coverage is also a very real benefit that can have a tremendous monetary impact. Many people feel they have to stay married to keep their health coverage. It used to be that couples could agree as part of their divorce settlement to continue the ex-spouse on the employer’s health insurance plan. This is no longer the case. While alternatives for health coverage exist (COBRA’s or private health insurance plans), they are usually temporary and/or quite costly.
Misguided Reason #3 to Stay in a Bad Marriage: You Promised!
Those of you with kids will have heard this (“but you promised…”) said many times. Kids are brilliant and they know that calling you on your word is important and can evoke enough guilt for you to give in to their desires.
Exchanging vows of being together forever is a very powerful exercise. It is a wonderful ideal and it is wonderful that most people do take this commitment seriously. But let’s examine reality again. Seasons change. Tides change. Relationships change. People change. Life situations change. Everything changes. That is life. That is what is supposed to happen.
I remember looking back at my high school yearbook and my friends saying, “never change!” I had to laugh because, although I knew the sentiment behind this comment (you’re a great person and please stay a great person), not changing isn’t really something to aspire to!
Neale Donald Walsch writes about this in his book, Conversations With God: An Uncommon Dialogue. Walsch is talking to God about the whole concept of marriage as we know it. God tells Walsch that the intention of joining two people together was never about binding them, rather, quite the contrary. It was about letting the other person be true to themselves while being true to yourself. Joining with, not attaching to, another soul. He adds that, “until you can predict your future, you cannot promise anything truthfully.” According to Walsch, God does not endorse promising yourself forever to another person as this may not be in both people’s best interest.
While the contents of this book may be controversial due to the fact that this is simply Walsch’s interpretation of what God said, anyone who is aware of what it is to be a conscious, mature, self-actualized adult would agree that healthy relationships are not about controlling or imprisoning others, rather quite the opposite. The trick in any relationship is to change and grow on your path while allowing your partner to change and grow on his or her path. Clearly, judging by the current divorce rates, this is getting harder to do in our complex world.
Too many couples hide behind these misguided reasons to remain married believing they are “doing the right thing.” While I agree that they are important considerations and should be seriously pondered, I do not believe these reasons, alone or in combination, are enough to warrant remaining in a marriage that is based on anything short of true happiness and mutual fulfillment. Instead of being motivated by fear, guilt, or inertia, I would like to see people begin to make choices based on trust. Movement toward a goal rather than away from fears is a much more powerful place to live from.
Susan Pease, LCSW, CADC, is the founder and executive director of the Transition Institute of Marin. She specializes in assisting women through the divorce process by providing ongoing support groups and educational programs. See website.
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Keeping up with your human hair extensions can be a real challenge if you don’t know what you’re doing. On top of being a challenge, it could even cause you to throw away hundreds of dollars from not being done on a regular basis. Luckily, we got your back. Take a look below at some of the best tips for restoring hair extensions.
Just like doing an apple cider vinegar rinse can do wonders for your natural hair, using it as a hair mask for your human hair extensions. This is basically a more one-up method from conditioning because it’s going to take a little more effort. Be prepare ladies, this stuff does not agree with the nose that well, and with it being on your hair, you’re going to get a full dose of the “aroma”.
The final way that we’ll discuss that’s good for restoring human hair extensions is a coconut hair mask. Remember, hair extensions depend on you for moisture, and coconut oil and honey take the cake when it comes to leaving the hair feeling silky and smooth. The honey in the hair has healing properties while the coconut helps to add moisture and make the hair appear smoother.
Take 2 tablespoons of melted coconut oil and 1 tablespoon of honey and add to a bowl. Use either a spray bottle or a container with a nozzle to drench into hair. Let sit for 30 minutes, rinse, and style as usual.
What’s your favorite remedy for restoring human hair extensions?
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Relaxed shirt in large scale tattersall check. Single patch chest pocket, contrast back neck tape and pheasant feature shank buttons at cuffs. 100% Cotton with large scale tattersall check print. Barbour branded metal ID bar, pheasant shank buttons and Barbour branded buttons. Wash at 40°C. Back length: 28-29.5in / 71-75cm. Relaxed fit garment.
Smashing shirt and at a bargain price. Fantastic delivery service as well!
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}
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Just 20 metres from Fanari Beach in Kefalonia, Galaxy Hotel features an outdoor pool with a sun terrace and sun loungers. It offers air-conditioned accommodation with a balcony. A snack bar is available at the pool area. Featuring views to the Ionian Sea, the pool or the mountain, all rooms at Galaxy are bright and open to a furnished balcony. Each comes with a flat-screen TV. Free toiletries are included in the private bathroom. Guests may enjoy a selection of light snacks and refreshing beverages prepared at the snack bar, while enjoying a view of the pool. A BBQ is included in the facilities and free Wi-Fi is available in public areas. The popular Lighthouse of Agioi Theodoroi lies within a short distance. Argostoli Town is at a distance of 2.5 km, while Kefalonia International Airport is 5 km away. Free private parking is possible on site.
When would you like to stay at Galaxy Hotel ?
Featuring views to the Ionian Sea, the pool or the mountain, this room opens to a furnished balcony. It offers air conditioning and a flat-screen TV. Free toiletries are included in the private bathroom.
Featuring views to the Ionian Sea, this room opens to a furnished balcony. It offers air conditioning and a flat-screen TV. Free toiletries are included in the private bathroom.
Featuring views to the mountain, this room opens to a furnished balcony. It offers air conditioning and a flat-screen TV. Free toiletries are included in the private bathroom.
Please note that the swimming pool will be closed from 13/10/2018 to 22/10/2018.
Each day we'll check prices and send you an email for your selected dates at Galaxy Hotel. If you don't have specific dates but would like to check prices for say next weekend or say next month we can check the price too.
Click to write a review and share your experience of Galaxy Hotel with other travellers.
|
{
"timestamp": "2019-04-26T08:24:44",
"url": "https://www.hotel.com.au/argostoli/galaxy-hotel.htm",
"language": "en",
"source": "c4"
}
|
If you have recently suffered fire damage to your property, you will need a team of certified technicians to come in and help you rebuild and restore. Disaster Pros of Campbell, California is just the company for the job. With 30 years of experience in the field, we can help with fire damage, water damage, and even storm damage as well. A fire disaster can happen for a number of reasons; faulty electrical wiring, a cooking accident, or even careless smoking. When this happens, it is in your best interest to call certified professionals who can help you restore and rebuild your property in a safe and time efficient manner. Because we know that fire disasters can happen at any time, we are available for your call 24 hours a day, 7 days a week, and 365 days a year. Whether it is a weekend, holiday, or even during the night, Disaster Pros will be there for you. We employ only the best of the best when it comes to manpower and equipment. All of our technicians are IICRC certified, meaning that they have gone through extensive training to ensure that they exceed all industry standards. Our equipment is state of the art, and the best available in the industry today. and cleanup, flooded basement cleanup, water damage restoration and storm damage recovery for commercial and residential customers.
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{
"timestamp": "2019-04-26T02:29:14",
"url": "https://firewaterstormpros.com/fire-damage/california/smoke-damage-cleanup-fire-restoration-campbell-ca/",
"language": "en",
"source": "c4"
}
|
Do not be mistaken by the name. Even though it is known as the 'Dutch palace', it was built by the Portuguese around 1555 and was gifted to the Raja of Cochin.
It is said that it was built to appease the king after they plundered a nearby temple.
When the Dutch captured Fort Kochi, they made some renovations and extensions to the palace. After which it was known as the Dutch Palace.
The King also made some modifications.
It is built in the traditional Kerala style of architecture as a ‘Naluketttu’ (Four-sided building) with a courtyard in the middle. Some elements of European architecture were also incorporated.
A small temple dedicated to Pazhayannur Bhagavathi (the Goddess of the Cochin royal family) stands on the courtyard.
There are two more temples on either side of the palace. One dedicated to Lord Shiva and the other dedicated to Lord Krishna.
The palace is now basically an art gallery. It is famous for mural paintings on the walls. Some of the artifacts used by the royal family are also displayed here.
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{
"timestamp": "2019-04-24T00:04:29",
"url": "http://www.transpireonline.com/2018/04/mattancherry-palace-dutch-palace.html",
"language": "en",
"source": "c4"
}
|
THE AMBAH tehsil town of Morena district today observed a complete bandh in protest against the yesterday's abduction of well-known physician Dr Narayan Hari Sharma.
There was no clue about the missing doctor even as the police launched intense search operation and took some persons in custody. Police parties were also sent to Agra and other places. Sources indicated the hand of bandit Charan Sikarwar gang in the kidnapping of Dr Sharma. The sources also did not rule out the hand of notorious Raju Tomar, Ramu, Gore, Lalla and Ramveer.
The private practitioners government doctors of district Morena took out a silent procession protesting against the abduction of Dr Sharma, who is the son of the late Radhe Charan Sharma, a former Member of Parliament. They submitted a memorandum to the Collector. It was learnt that the kidnappers had stayed for some time in village Goshpur near Sarai Chola.
The police were reported to have collected some evidence of staying there and have also detained an absconding miscreant of Konthar, district Morena.
But the police have given no official statement about incident so far. The irate doctors' fraternity held a meeting in the district hospital, Morena, before taking out a procession to the resident of Collector Amit Rathore.
The doctors wore black badges. The president of All India Medical Association Dr Dilip Premi said that is was unanimously decided that the doctors would boycott work except emergency service in the district hospital. A delegation of the association would also meet the IG and DIG Police in this connection.
|
{
"timestamp": "2019-04-21T14:28:32",
"url": "https://www.hindustantimes.com/india/bandh-observed-in-ambah-against-doctor-s-kidnapping/story-418RVauMF2FuLXpIuCILVL.html",
"language": "en",
"source": "c4"
}
|
Dr. Alicea is board certified in Cardiology and Internal Medicine. He received his Doctor of Medicine from Universidad Central Del Caribe Eseuela de Medicina in Bayamon, Puerto Rico. He completed his residency at Sinai Hospital of Baltimore and his fellowship at Barnes-Jewish Hospital of St. Louis Washington University in St. Louis, Missouri. He is a Fellow of the American College of Cardiology.
|
{
"timestamp": "2019-04-24T22:32:52",
"url": "http://www.nanticoke.org/physician/?id=143",
"language": "en",
"source": "c4"
}
|
Integral Christian higher education is in vogue. Most Christian institutions of higher education who take their mission seriously make the claim that the education offered to students is one where faith and learning are not separate. It is a belief that their entire educational enterprise is inexorably tied in some way, shape, or form to our new life in Christ. Most engineering programs on Christian campuses are the outgrowth of this perspective. Over the last fifty years, numerous philosophers, writers, scientists, and engineers have developed a solid foundation from which engineering can be understood as an essential calling in the kingdom of God.1 Central to this work has been a revival of the Biblical theme of creation, the mandate for culture formation, and the proclamation of the gospel through engineering work. The dialogue has often focused on developing a Christian motivation for our engineering work rooted in a Biblical understanding of Creation or on defining what constitutes “right” engineering action (ethics, responsibility, morality, witness…) from a Christian perspective. While I applaud these efforts and find this work indispensible for our task in engineering education, our work to date has yet to plumb the depths of another theme that thoroughly pervades scripture. This Biblical theme is the unpredictable, indeterminate, and irrational grace that characterizes life in the kingdom of God. When it comes to engineering education (which seems at home in the systematic and rational environment of laws, rules, regulations, and responsibility), grace is often either relegated to a personal sphere or is conveniently left for elsewhere in the curriculum. If the epoxy of grace is so bound up in the fiber of the kingdom of God and we claim that faith and engineering are not separate, then the trajectories of engineering and grace must somehow intersect. This paper will begin by establishing a biblical hermeneutic for understanding engineering in the light of scripture. It will illustrate from scripture that “grace” is not simply a theological concept or a mechanism for salvation. It is a way of life. Using the work of Christian philosopher Albert Borgmann on technology and grace as a starting point, the paper will explore how grace is woven into our work as engineers. An example of how “grace” might color a course in the engineering curriculum will be presented using an Instrumentation and Control Systems course as an example.
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{
"timestamp": "2019-04-25T18:11:19",
"url": "https://digitalcollections.dordt.edu/faculty_work/776/",
"language": "en",
"source": "c4"
}
|
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