my Neighbor called me today morning: no more power :o(
I went to see what happened and saw a LED pattern on his Multi, not listed in LED error definitions:
"Inverter On" LED is flashing, all other LEDs are solid.
When I switch the unit to charger only, the red "low battery" LED is not lit and then the pattern matches Error 24 then.
I disconnected AC in and AC out and measured resistance between Line in and out and Neutral in and out. All good, but still same error. (as written in Error 24 Code description)
I connected my Laptop to the Multi and started VE.Config and noticed a reported battV of 5.6V (in reality 56V) and ACin (genset) reported 23V instead of 230V. So the Voltage values shown by VE.Config are divided by 10.
I know, this is a "involve your dealer" kind of thing, but unfortunately my dealer is on his deserved holiday and I don't really want to bother him there.
But it would be interesting anyway: Is this a "true" Error 24? Is there something more to try?
System is completely offgrid and on battery/MPPT charger power. Generator was not running for weeks now, but I started it to see if it changes something, but same result
Battery is 100% full.
System was working normal, when switched off the last time. The error was present from the beginning, this morning.
The Multi is switched off with its main switch, when not in use.


Why Didn’t Obama Give Hillary Clinton’s Speech on Defeating ISIS?
Why didn’t President Barack Obama give the speech Hillary Clinton delivered Thursday on defeating Islamic State?
This was, overall, an address that President Obama could have delivered. The overarching strategic framework and key ingredients recommended by both the president and his former secretary of state are similar: Work with coalition partners to get them to pull their weight in this fight, install safeguards against the slippery slope of deploying large numbers of U.S. combat troops to the Middle East, use intelligence and law enforcement tools to keep Americans safe at home, and push back against the calls to close U.S. borders to desperate refugees.
The above excerpt was originally published in The Wall Street Journal. Click here to view the full article.
The positions of American Progress, and our policy experts, are independent, and the findings and conclusions presented are those of American Progress alone. A full list of supporters is available here. American Progress would like to acknowledge the many generous supporters who make our work possible.
Former Senior Fellow


text:
Taking note of seriousness of incidents of child abuse in schools, the Union Ministries of Women & Child Development and Human Resource Development will hold a high level meeting in New Delhi tomorrow. The meeting will be co-chaired by the Minister of Women & Child Development, Smt Maneka Sanjay Gandhi and Minister for Human Resource Development, Shri Prakash Javdekar. Officials of the two ministries, National Commission for Protection of Child Rights, CBSE, NCERT, Kendriya Vidyalaya Sangathan will participate in the meeting.
In a telephonic discussion, Smt. Maneka Sanjay Gandhi requested Shri Javadekar to consider suggestions like having women employees as the support staff and bus drivers/conductors in the schools, screening of educational films on child sexual abuse in the schools, popularizing POCSO e-Box and Childline 1098 through NCERT publications and having strict norms for employing the support staff. Smt. Maneka Gandhi has also given the suggestions in her letter to the HRD Minister.
The Ministry of Women and Child Development has already started its outreach campaign for protection of children through electronic as well as social media.
Smt. Maneka Sanjay Gandhi stated that the basic objective of the meeting of the two ministries is to develop a set of guidelines and protocols which schools must follow so that the children remain protected from any kind of abuse or physical/ mental harm.
The WCD Minister further stated that the parents, guardians and teachers should remain vigilant about the children as well as their behavior and any suspected situation should be reported immediately on the Childline No.1098 and the POCSO e-Box.
Link of the POCSO e-Box is given below:
Scource - PIB, Govt of India
Image Courtesy - govtech.com
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domain: sociology


|Publication number||US1911073 A|
|Publication date||May 23, 1933|
|Filing date||Nov 19, 1930|
|Priority date||Nov 19, 1930|
|Publication number||US 1911073 A, US 1911073A, US-A-1911073, US1911073 A, US1911073A|
|Original Assignee||Dyment Co|
|Export Citation||BiBTeX, EndNote, RefMan|
|Referenced by (12), Classifications (11)|
|External Links: USPTO, USPTO Assignment, Espacenet|
May 23, 1933. E DYMENT 1,911,073
RECEPTACLE Filed Nov. 19, 1950 y 'l 'vx' f2 E un EM NHV. i i I 'I nl 17 I /0 "/51 a lI a Patented May 23, 1933 UNITED STATES PATENT GFFIQE ELWOOD DYMENT, lOF CLEVELAND, OHO, ASSGNOR TO DYMENT COMPANY, 0F CLEVELAND, GI-IIO, A CORPORATION RECEPTACLE Application led November 19, 1930.
The present invention relates to receptacles, and more particularly to a receptacle, such as a Waste basket, for inst-ance, which is collapsible, and it has for its principal object the provision of a receptacle of this character Which may be cheaply manufactured from stiff paper' or card-board Which will be sturdy in construction, easily manufactured and Which Will be collapsible substantially flatly so as to occupy but little amount of space and Which can be readily handled when not in use.
A further objectof the invention is to provide an article of this general character wherein the folding or collapsing of the article is accomplished through instrmneutalitics comprising a bottom member which may bc removed but firmly secured in position when the side members of the rcceptacll are extended, and the invention further contemplates the provision of novel securing means for this bottom member when the receptacle is positioned for use and the sides thereof extended.
Devices in accordance with this invention can bo made in any desired configuration7 can be made with any desired ornamental dcsigns, and readily adapt in general to forms 1nd figures of pleasing appearance; and since it is preferred to make these articles out of light materials such as card-board, they are cheap to manufacture and readily adapt themselves to many uses While both utility and pleasing appearance can be combined.
The devices of this invention are characterized, notwithstanding the lightness of the material from which they are constructed, by high degree of strength and rigidity which is imparted through the provision of the bottom member and locking instrumentalities which are provided for securing this bottom member in position when the article is extended; While it is preferred to form the articles of this invention from cheap materials such as card-board, it is obvious any desirable material may be substituted therefor Without altering any of the adhered features of novelty.
The embodiment illustrated in the accompanying drawing shows a receptacle of the Serial No. 496,802.
nature of Waste basket formed in the oct-agonal conigu 'ation and provided With ornamentations in the nature of cusps or hearts, although it Will be apparent that such details do not effect the inventive features; and it will be apparent that the sides of the receptacle may be decorated if desired in any pleasing manner.
In the drawingl Fig. 1 illustrates a side elevation of a receptacle of this character illustrated in the form of Waste paper basket.
Figure 2 is a sectional view along the line of, 2 2 of Fig. 1.
Fig. 3 is a fragmentary sectional vien' taken along the section line 3-3 of F ig. 2 and showing in dotted `lines the direction movement of the bottom member.
Fig. l is a side elevation of the rccelitacle Fig. 1 but showing the receptacle as being collapsed, the position of the bottom member being indicated in dotted lines.
Fig. 5 is a top View of the collapsed receptacle of Fig. 4:.
Referring more particularly to the drawing, it will be seen that the receptacle is formed a plurality of side walls 10 giving any desired conligiu'ation to the receptacle, the illustrated form being that of an Octagon. lfalls 10 are hinged together so as to collapse substantially flatly and may be provided with ornamental designs 11 and 12 if desired.
is will be seen especially from Figs. 2 and 4 a bottom. member is provided for the. receptacle, this member being indicated by 13; and as illustrated the bottom 18 is scoured as shown at 14 to one of the side members, `and is conveniently hinged as indicated at 15 so that it Will be movable in a vertical plane indicated by the arrows at Fig. 2; by this Vmeans the bottom member 13 enabled te fold upwardly so that will lit between the side members When the receptacle is collapsed. rlhis described and illustrated arrangement is a convenient one, although. it will be understood that modifications thereof Will be readily suggested to one skilled in the art to which this relates.
One of the principal features of the invention is the provision of slits 16 adjacent the bottom end of the side members 10, or formed elsewhere therein there being thus cut out a plurality of tongues 17, which are resilient and which maintain substantially eontiiiuious the surface of each side member. lt will be seen that each side 10 can be prepared in this manner so as to have one of these tongues 17, although it is not necessary, as is obvious, to so provide the side to which the bottom 13 is secured; it is also obvious that each ot' these cut out portions or tongues 17 will provide a shoulder delined by the thickness of the material from which the receptacle is constructed. The bottom member 13 is illustrated as being provided with lugs 18 which will lit into the cut out spaces behind the tongues 17 and will rest upon the aforesaid shoulders, engaging the tongues 17 to torce them outwardly so that thel pressure exerted by these tongues against the lugs 18 as they rest upon the aftoresaid shoulders will firmly retain the bott-om membei1 13 in position when the side members 10 are extended; but the construction is such that the bottom 13 can be readily pushed out of position and folded against the sides ot' the receptacle so that the walls are then tree to be collapsed substantially 'llatly as illustrated in Figures 4 and 5. The shoulders relerred to above are indicated in Figure Q b v numeral 19. It will be seen that when the side members 10 are extended and the bottom member 18 is in position as indicated in the tull lines as shown in Figure 3. the bottom 13 will very substantially re-enforce the reeeptacle and the resilient tongue 17 maintaining substantially continuous, as they do the surface of each side member assures the receptacle being substantially tight so as to prevent even small articles deposited therein falling out.
It desired the bottom ends of the side members 10 can be cut in ornamental fashion as indicated at 20 to increase its pleasing appearance withoutl detraeting from the stability ot the receptacle.`
It will be understood, as above pointed out, and it will be obvious, that many changes in the specific details of the orm ot' deviee herein described. in detail and illustrated in the drawing may be made without departing from the underlying inventive concept; and it will. also be obvious that many ot such changes in details will become at once apparent to anyone skilled in the art to which this invention relates; and it will be understood accordingly, that it is intended and desired to embrace within the scope of this invention such modilications and changes as may be necessary to adapt it to varying conditions and uses.
That is claimed is:
A receptacle comprising, in combination, collapsible side members, the extremities of which are adapted to form top and bottom portions respectively, the side mem ers iatly folding together when collapsed, and when expanded forming a receptacle of polygonal configuration, and a member hinged to one of the side members and adapted to extend transversely of the receptacle to form a bottom therefor, the side members being provided, adjacent the bottom ends thereof, with slits' to form yieldable tongues between the slits, the bottom member being provided with tabs adapted to engage the said tongues upon eX ansion of the receptacle and to torce tie said tongues outwardly from the plane of the sides of the receptacle, the said tongues having their free ends overlying the bottom tabs and exerting force against the ends' of the tabs to lirmly retain the bottom against aceidental displacement while the receptacle is expanded.
In testimony whereof` I affix my signature.
|Citing Patent||Filing date||Publication date||Applicant||Title|
|US2674400 *||Jan 3, 1950||Apr 6, 1954||Behr Manning Corp||Shipping carton|
|US3373917 *||May 10, 1966||Mar 19, 1968||Robert C. Cox||Foldable container|
|US3425764 *||Jun 6, 1967||Feb 4, 1969||Budd Frances M||Knockdown furniture|
|US3923233 *||Dec 4, 1973||Dec 2, 1975||Phillips Petroleum Co||Container and paperboard blanks for forming same|
|US4164316 *||Oct 20, 1977||Aug 14, 1979||Gooding David O||Foldable display container|
|US4374560 *||Dec 14, 1981||Feb 22, 1983||Container Corporation Of America||Collapsible display bin stand|
|US4383637 *||Aug 3, 1981||May 17, 1983||Container Corporation Of America||Carton for comestibles and structure for erecting same|
|US5257734 *||Oct 15, 1990||Nov 2, 1993||Bartle Andrew D||Waste paper bins|
|US20040226858 *||May 12, 2003||Nov 18, 2004||Jin-Chul Jhung||Display package|
|US20060102705 *||Nov 15, 2004||May 18, 2006||Rick Anderson||Trash Tower|
|USD725315 *||Jul 19, 2013||Mar 24, 2015||Purina Animal Nutrition Llc||Feed container|
|WO1991005499A1 *||Oct 15, 1990||May 2, 1991||Andrew David Bartle||Waste paper bins|
|U.S. Classification||229/109, 229/122.28, 229/116.2, 229/5.5, 229/117.1, 229/122.29, 229/116.1|
|International Classification||B65D5/02, B65D5/14|


text:
GOD IN THE LORD OF THE RINGS
| "Just as a word is an invention
about an object or an idea, so a story can be an invention about Truth..." (J.R.R.
I have given much thought to the block buster movie The Lord of The Rings. A story full of allegories, symbolisms, and fiction. Or as some would call it; PARABLES. Jesus was one of the greatest story tellers that ever lived. He used references such as, "wolves", "sheep", and even "serpents". Jesus Himself is associated with as a Lion, an Eagle, and a dove. All symbolic characters to express a greater truth.
This is what you see in stories like Lord of the Rings by J.R.R. Tolkien, or Chronicles of Narnia by C.S. Lewis. Or even The Final Quest by Rick Joyner. Allegoric pictures painted on the canvas of our imagination to convey eternal truth. John the Revelator in his divine discourse in the book of Revelations is by far the most graphic author of our time. His symbolisms and images that grasp at deeper spiritual things puts even Stephen Spielberg to shame.
Throughout history people like J.R.R. Tolkien have been misunderstood and judged. Before you can judge the work of a man you must know something about the man. I am sending some interesting articles I have read in reference to The Lord of the Ring so that you may come to own conclusions. My first impression from the Holy Spirit at its release, was that the Lord of the Rings was really, the contradiction or opposing force to Harry Potter. Read a quote from the article in mention below:
'Myths, C.S. Lewis told Tolkien, were "lies and therefore worthless, even though breathed through silver."
"No," Tolkien replied. "They are not lies." Far from being lies they were the best way - sometimes the only way - of conveying truths that would otherwise remain inexpressible. We have come from God, Tolkien argued, and inevitably the myths woven by us, though they contain error, reflect a splintered fragment of the true light, the eternal truth that is with God.
Such a revelation changed C.S. Lewis' whole conception of Christianity, precipitating his conversion...' (end of quote).
God is speaking profoundly to a world grasping for spiritual truth and experience. I pray that the church does not miss again this awesome responsibility and opportunity. Prophets in each generation have the power to derail or incubate harvest by their perceptions and opinions. God was using a culture and its music to reach a generation in the 60's and 70's. Modern day prophetic voices ultimately aborted this by their judgments and words. I pray in this great hour that the prophetic voices of our day do not repeat this fatal error.
Below is an insightful article by Jim Ware which was first published in Breakaway Magazine a young adult periodical produced by Focus on the Family. You will discover interesting insights into the story and even more importantly the man, J.R.R. Tolkien. You can find the book "Finding God in the Lord of the Rings" by Kurt Bruner and Jim Ware at http://www.family.org/resources/itempg.cfm?itemid=2604 . Now enjoy the article below. Chad Taylor
Finding God in The Lord of the Rings
by Jim Ware
It was a dark and stormy night. Well, windy, at any rate. On the grounds of Magdalen College, Oxford, two tweed-jacketed, pipe-puffing professors go crunching down the gravel path known as Addison's Walk, under the deeper shadows of a grove of trees. "Look!" says one of them, a tall, long-faced fellow with the furrowed brow and twinkling eyes of a sage . . . or wizard. He points to a large oak. "There it stands," he says, "its feet in the earth, its head among the stars. A majestic miracle of creation! And what do we call it? A tree." He laughs. "The word falls absurdly short of expressing the thing itself."
"Exactly," says the first man. "And here's my point: Just as a word is an invention about an object or an idea, so a story can be an invention about Truth." The other rubs his chin. "I've loved stories since I was a boy," he muses. "You know that, Tollers! Especially stories about heroism and sacrifice, death and resurrection-like the Norse myth of Balder. But when it comes to Christianity . . . well, that's another matter. I simply don't understand how the life and death of Someone Else (whoever He was) 2,000 years ago can help me here and now."
"But don't you see, Jack?" persists his friend. "The Christian story is the greatest story of them all. Because it's the Real Story. The historical event that fulfills the tales and shows us what they mean. The tree itself-not just a verbal invention." Jack stops and turns. "Are you trying to tell me that in the story of Christ . . . all the other stories have somehow come true?"
A week and a half later, Jack-better known to most of us as C.S. Lewis, teacher, author, defender of the Christian faith, and creator of the beloved Chronicles of Narnia-writes to his friend Arthur Greeves: "I have just passed on from believing in God to definitely believing in Christ-in Christianity. My long night talk with Tolkien had a great deal to do with it."
A muggy, dusty afternoon at the local Renaissance Festival. I'm taking a break in the shade with my fellow festival musicians. Around us swirls a crowd of armored knights, brown-robed friars, gauzy-winged fairies, and white-whiskered wizards. It's the closest thing to the Middle Ages-or Middle-earth-that you're likely to find here at the beginning of the 21st century.
Tom, a fiddler in a feathered cap, asks what I've been up to. I tell him about the writing project I've taken on with my friend and collaborator, Kurt Bruner: a book of Christian reflections on The Lord of the Rings. "The Lord of the Rings!" laughs Tom (who does not consider himself a believer). "Isn't that a pretty pagan book?"
New Line Cinema's big-screen version of The Fellowship of the Ring-part one of The Lord of the Rings trilogy and one of the most anticipated film events of the past several decades-hits the theaters after more than a year of hobbit-hype. Since January, fans have been visiting movie-related Web sites and waiting in line overnight just to see the trailer. So forget about Star Wars and Space Odyssey. In 2001, the place to be is Middle-earth.
And yet, hype or no hype, there are a few filmgoers who are still wondering what it's all about. Especially serious-minded Christians. Elves, dwarves, wizards, goblins, magic rings-haven't we been through this kind of thing before-recently? Isn't The Lord of the Rings just another romp through the occultic world of Harry Potter? For answers, let's go back to Jack and "Tollers."
"Tollers" (a nickname used by some of his closest friends) was, of course, J. R. R. Tolkien himself: creator of Middle-earth and author of The Lord of the Rings, the fantasy trilogy hailed by some as "the book of the 20th century." And yes: It was Tolkien who helped Lewis take that final decisive step toward faith in Christ.
Their long night talk about symbols and verbal inventions was just the beginning. Through the years, Lewis and Tolkien were to spend long hours refining their ideas and incorporating them into their literary art. In part, they did this with the help of a group of like-minded Christian friends: The Inklings.
Tuesday mornings at the Eagle and Child (an Oxford pub); Thursday evenings in Lewis' rooms at Magdalen; year in and year out, the Inklings met, talked, sipped tea, and critiqued one another's manuscripts-in-progress: books like Lewis' That Hideous Strength, Williams' The Place of the Lion, and, of course, The Lord of the Rings. Their goal? To find ways of pouring the steaming, bubbling, heady stuff of the Real Story into the molds of their own invented stories.
Just how serious were these writers about the Christian purpose of their "verbal inventions"? Let's ask them. Lewis made no secret of his intentions. "Supposing," he once asked himself, reflecting on the nature of God, the sufferings of Christ, and other fundamental Christian truths, "that by casting all these things into an imaginary world, stripping them of their stained-glass and Sunday school associations, one could make them for the first time appear in their real potency. . . ." This, he said, is exactly what he was trying to do in The Chronicles of Narnia.
As for Tolkien, he would have been shocked and angered to hear Tom refer to his work as pagan. "The Lord of the Rings," he wrote in a letter to a friend, "is of course a fundamentally religious and Christian work; unconsciously so at first, but consciously in the revision."
Humphrey Carpenter, author of Tolkien's authorized biography, takes this claim seriously. Tolkien's writings, he says, are "the work of a profoundly religious man." According to Carpenter, God is essential to everything that happens in The Lord of the Rings. Without Him, Middle-earth couldn't exist.
But be forewarned: Evidences of God's presence are not as obvious in Tolkien's work as in Lewis' more allegorical style of writing. They are there, however-firmly embedded in the tales he insisted on calling "inventions about Truth." In fact, if you know what to look for, you may find them popping up everywhere. Here are a few things to keep in mind as you set out on the quest.
First, stay alert to the importance of story. The Lord of the Rings is actually a story of stories-a vast web of histories, legends, tales, and songs in which every character has a crucial role to play. "What a tale we have been in, Mr. Frodo, haven't we?" reflects Sam after a harrowing encounter with their enemies. As a Christian, Tolkien understood that we've been in a tale, too. Like the adventure of his hobbits, he saw the adventure of our lives as part of a story that begins "once upon a time" and moves toward its eventual "ever after"-a tale full of meaning and purpose, composed by the grandest Author of all.
The Power of Sin
You'll also want to keep an eye on Gollum, the pitiful, wretched creature who discovered the great Ring-his "Precious"-and kept it for many years in dark places under the earth. So long did he possess and cherish the sinister talisman that he has become the possessed. That's because Tolkien's Ring is an image of the unwholesome, perverting power of evil and self-serving sin-a progressive, growing, encroaching power that starts small and ends big. The apostle James described it like this: "Each one is tempted when, by his own evil desire, he is dragged away and enticed. Then, after desire has conceived, it gives birth to sin; and sin, when it is full-grown, gives birth to death" (James 1:14-15).
Good out of Evil
Notice, too, that Middle-earth is full of battles and conflicts-images of the spiritual war in which we are engaged as Christians: "For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world" (Ephesians 6:12). We're not talking generic good vs. evil here. The evil in Tolkien's universe is personal. It takes shape as an Enemy who relentlessly hounds and pursues his prey with ill intent: "Be self-controlled and alert. Your enemy the devil prowls around like a roaring lion looking for someone to devour" (1 Peter 5:8).
That's not the end of the story, of course. Because at its deepest level, The Lord of the Rings is also a tale about the sovereignty of God. The God whose love and power are so great that He is able to work all things together for good (Romans 8:28). The God who uses even the Enemy's wicked designs to bring about the ultimate fulfillment of His perfect plan. Within that plan, even Gollum has an indispensable part to play in the saving of Middle-earth. As Tolkien wrote in The Silmarillion, "Evil may yet be good to have been . . . and yet remain evil."2 This is a great mystery and a profound Christian truth.
Small Hands Can Do Great Things...
Finally, take a close look at the members of the Fellowship of the Ring as they go trekking across the movie screen. Ask yourself which one looks the most like an epic hero. Is it the handsome, mysterious, swashbuckling Aragorn? Keen-sighted, swift-footed Legolas? Hard-fisted Gimli? Strong, dauntless Boromir? Wise and aged Gandalf? Each is a hero in his own way, of course. And yet not one of them is chosen to carry the perilous Ring into the heart of Mordor. Instead, it's a hobbit-a boyish-looking halfling-who bears the burden of the world to its final destination.
This idea-that God uses small hands to accomplish great deeds-could almost be called the heart and soul of The Lord of the Rings. It's Moses and Pharaoh, David and Goliath, Gideon and the Midianites all over again. But the mission of Frodo and Sam isn't just your typical underdog story. It's something much more. In a way, it's a desperately needed reminder that God's ways are not our ways (Isaiah 55:8)-that when the power of evil confronts us with overwhelming odds on its side, the answer is not to fight fire with fire, but to look for deliverance in unexpected places. Hope and salvation, Tolkien seems to say, often arise in small, unnoticed corners. Like a hobbit-hole in the Shire.
Or a manger in a Palestinian stable...

domain: library


text:
It looks great, I love all the colors.
Looks wonderful - I'm using all my left overs and orphan 'American Jane' and '30's' - not as bright and fun as yours.
This is looking great! I like how all the colors play off of each other. Looks like fun!
Your colors are fabulous. I've always wanted to do a row by row quilt. Such a fun way to do a long term quilt.
Post a Comment

domain: artistic


Floaty and fabulous - add this dip hem ruffle dress from Jolie Moi to your wardrobe for a look like no other. Crafted from scuba fabric with a hint of stretch, this v-neck dress comes with oversize frilly collar which add interest and cover the shoulders, whilst the ruched waistband creates a form-flattering silhouette. Finished off with a handful of ruffles along the side and dipped hemline.
Size Advice: Standard size chart, please order your normal size.
Care Instructions - Machine washable at 30°C, do not tumble dry
Fabric: 95% Polyester 5% Elastane ( Scuba )


text:
|Photo by Freeimages.com/Julia Patterson|
TAP Portugal signed a code share agreement with JetBlue, allowing customers more seamless flight options through several North American gateways, including JetBlue’s hub airport of John F. Kennedy International Airport (JFK) in New York and Logan International Airport (BOS) in Boston.
Through this agreement, TAP will be able to place its code on JetBlue flights departing New York - JFK or Boston - Logan to as many as 34 North American cities, including San Francisco, Los Angeles, Washington D.C, Chicago, Las Vegas, Orlando, Detroit, New Orleans, Savannah, San Juan, Richmond and Tampa, among others. JetBlue operates the largest domestic operation at both airports.
Jose Guedes Dias, vice president, alliances, industry and regulatory affairs, TAP, said that by TAP combining its transatlantic services with JetBlue's domestic flights, both airlines' customers benefit from the smoothness of the flight connections.
Currently, TAP operates flights to Newark and Miami and is now extending services to the U.S. as part of its expansion strategy. It will begin daily flights from Lisbon to Boston on June 11, and daily flights to New York – JFK starting in early July. Both will be operated with new Airbus A330 aircraft to be delivered soon. That will increase TAP’s U.S. service to 30 flights a week.

domain: travel


text:
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plays, books, television shows, entire Web sites) and provide a page number if it is available. In this example, since the reader does not know the author of the article, an abbreviated title appears in the parenthetical citation, and the full title of the article appears first at the left-hand margin of its respective entry on the Works Cited page.
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text:
The North American Sustainable Refrigeration Council (NASRC), an environmental nonprofit working to advance climate-friendly natural refrigerants in supermarkets, recently announced it published a free refrigerant transition hub to help retailers navigate regulation changes implemented by the American Innovation and Manufacturing (AIM) Act. Enacted in 2020, the AIM Act authorizes the Environmental Protection Agency (EPA) to phase down hydrofluorocarbon (HFC) refrigerant greenhouse gas emissions by 85% by 2036.
“HFC regulations from the AIM Act and several states are pressuring retailers to transition to climate-friendly refrigerants,” said Danielle Wright, executive director of NASRC. “Retailers need neutral information to help them make the right decisions. NASRC works in partnership with the supermarket industry, so we are uniquely positioned to identify the gaps in available resources.”
The federal phasedown of HFCs is expected to result in refrigerant shortages and significant price increases. In Europe, refrigerant prices increased by 900% following a similar HFC phasedown. Also, new legislation introduced in states such as California proposed to ban the sale and distribution of virgin HFC refrigerants as early as 2025, further driving the need for natural refrigerant solutions.
NASRC will continue to evolve the hub as state and federal governments pass new legislation. Some of the resources available now include:
- HFC Policy Tracker – An interactive map to aid retailers in navigating the complex system of regulations by tracking the latest policies at the federal and state levels.
- Natural Refrigerants in Supermarkets Factsheet – An overview of why natural refrigerants in supermarkets are one of the most impactful and cost-effective climate solutions.
- Nat Ref Tech Library – The most comprehensive collection of presentations on the latest natural refrigerant technologies.

domain: news


text:
Hi, I'm Metus! (Pronounced however you choose to pronounce it) I've been playing TTRPGs for a little over 6 years and over the course of the past two year of running campaigns I've fallen in love with being on the other side of the DM's screen. I love exploring a character's motivations and morality, I love dramatic, dynamic combat, and I love the small things that make the world feel real all the same. I like running games in settings rich with lore like the Forgotten Realms, but I also have fun tossing all those preconceptions aside and coming up with something custom. Outside of playing and DM-ing I also have a hobby for using my limited editing experience to make character portraits and tokens- my profile picture is of my character for a game of Curse of Strahd I'm in.
I usually try to keep combat semi-frequent but I have no problems with an entire session of doing vaguely-british accents and having the owner of a bakery argue why their bread is worth even more than the five silver they're charging. My main experience with TTRPGs is through playing 5th Edition Dungeons & Dragons. As such that's what I feel most comfortable with running, but I also like to house rule, homebrew, and when all else fails go with the Rule of Cool. I always try to reward clever usage of a character's surroundings and teamwork between party members.
Player reviews (6)
Tabletop Roleplaying Games Run by Game Masters
- Find a game to join solo or search for a professional game master for you and your friends/coworkers/family.
- Book your session and wait for the Game Master to approve you.
- If you don't have a blast with your first game, your next game is on us.

domain: game


RAW VIDEO: Alaska Zoo Polar Bear, Wolf Run for "President"
September 5, 2012
AP / Powered by NewsLook.com
The Alaska Zoo is conducting a "presidential election" between a polar bear and a gray wolf in a fundraising and promotion effort. According to the zoo's development director, the winner will claim zoo presidency.
AP (May 27, 2014) The Alaska Zoo is expanding its polar bear exhibit and building a Polar Bear Transition Center to help polar bears that become orphaned as cubs learn how to survive in the wild. (May 27)
Video ... watch video
AP (Sep. 22, 2013) A polar bear cub made its first public appearance at a zoo in Australia on Saturday to the delight of visitors and keepers. Nineteen-week-old Henry is the first polar bear cub to be born at Sea World ... watch video
Newsy (May 30, 2014) Firefighters found five orphaned wolf pups in an area stricken with a massive forest fire in Alaska. Those pups are being cared for at the Alaska Zoo.
Video provided by ... watch video
AP (June 28, 2012) Three black bear cubs are being kept at The Alaska Zoo. They were taken to the zoo by the Alaska Department of Fish and Game from Joint Base Elmendorf-Richardson in Anchorage after their mother was ... watch video
AP (Mar. 20, 2013) An orphaned polar cub is making its temporary home at the Alaska Zoo in Anchorage. An official says the bear's mother was killed March 12. The cub is about 3 or 4 months old and weighs just over 18 ... watch video
Reuters (May 13, 2012) The Denver Zoo is vying to become the greenest zoo in the world with the installation of a new energy system run entirely on waste. Using a process called gasification - engineers at the zoo have ... watch video
May 28, 2015 Research on canine behavior shows that gender, age, context and individual recognition can be identified with a high percentage of success through statistical and computational methods of pattern ... read more
May 28, 2015 Scientists are using an unmanned aerial vehicle to take very precise overhead images of migrating gray whale mothers and calves. This research will help scientists understand ... read more
May 28, 2015 Zoonotic malaria has been shown to be caused by two genetically distinct Plasmodium knowlesi parasite subpopulations associated with different monkey host species in Malaysia, according to new ... read more
May 28, 2015 For years, scientists have been aware of the potential problems of antibiotics being present in wastewater, and new research is showing that treatments to clean wastewater may actually be creating ... read more
Dec. 10, 2014 Studying the social interaction of bears through the use of camera traps and visual observations requires that humans be able to tell individuals apart. A study done using volunteers to study the ... read more
Apr. 9, 2014 The California condor was one of the first species to be listed under the Endangered Species Preservation Act in 1966 when the population was reduced to a handful of birds. Through a massive ... read more
Apr. 1, 2014 The Jamaican iguana continues to be critically endangered, with only a single location left for the recovering population in the Portland Bight Protected Area. A recent proposal by Jamaican ... read more


text:
Opening of the Quinte Botanical Gardens
A new botanical garden, and the first of its kind in the heart of South Eastern Ontario, the Quinte Botanical Gardens offer six acres of unique garden displays.
Meander through an authentic Oriental Garden; learn about the plants that help pollinators in the Bird, Bee, Butterfly Garden; unwind in the tranquility of the White Garden; and marvel at the exquisite plant combinations in the Colour Wheel Garden; plus many more.
A refreshing place to connect with nature, be inspired, or just soak in the surroundings at your own pace. Join us for an extraordinary experience.
Open daily 9:00 to 5:00, closed Wednesdays.

domain: biology


text:
C H R I S T O P H K I E F H A B E R
"[Kiefhaber] soon realized that every good painting is a painting about paintings, that good art is always derived from the creative individual confrontation with the history of art to the present day, that there are no 'original geniuses.'"
- Philipp Maurer
Landau Contemporary is proud to present a solo online exhibition of works by Austrian artist, Christoph Kiefhaber.
Kiefhaber's narrative talent, combined with his exceptional creativity and symbolic gestures, leads us on a journey through ancient and dream-like worlds.
The message in Kiefhaber's artistic output is very important to the artist, and so critical is his ambition to communicate the symmetry between history, literature, art and our state of being that it has been an obsessive objective throughout his career.
Kiefhaber’s fusion of playfully deconstructed architectural, rhythmic, archeological and lyrical forms in prismatic arrangements of pure and modulated colours is a trademark that makes him one of the most intriguing Austrian artists of his generation.
Christoph has been a dear friend of Alice and myself for more years than I care to remember...I look forward to sharing my deep appreciation of his work with friends and art lovers in Canada and around the world.
- Robert Landau
The great aesthetic traditions of Austrian classical modern art were already deeply embedded in Kiefhaber’s DNA before the artist attended the “School of Seeing” at age 13, a seminal international summer academy for gifted children under the curatorship of Oskar Kokoschka in Salzburg. There, Kiefhaber developed a particular sensitivity towards colour theory and application from the venerated Austrian Master, that he would carry with him throughout his career.
In the late 1950s, he studied at Dublin University, but the following year, he returned to Vienna and spent two years as an occasional student at the Academy of Fine Arts. Then, in the 1960s, he immersed himself in the works of Jean-Paul Sartre, free form jazz music, and participated in several archeological expeditions in Austria and Greece. All three experiences - philosophy, music and history – coupled with an innate sense of colour become the pillars of his artistic vision.
Mixed media on paper
56 x 60.5 cm.
Beginning with still-life gouaches, inspired by drawings produced during archeological excavations, Kiefhaber transposed these fragmented forms, found scattered through layers of earth and across expanses, into paintings, unifying and fleshing out disparate elements into single entities and de-constructing the whole into parts.
For Kiefhaber, as it was for Hans Bellmar, the act of de-construction offered a renewed appreciation for the components, providing endless opportunities to combine and juxtapose elements, like words in a sentence, to reveal new meaning and expression.
The artist's youthful passion for archeology continued to appear in his later works, but these early explorations were followed by pictures of dolls and puppets. Initially, these figures were broken, damaged or destroyed, a reflection of the artist's cynicism at the time. Yet, Kiefhaber's paintings evolved into intelligent and light-hearted de-constructions of playful images as the artist gained confidence in himself and the world.
By combining his historical awareness with a playful re-imagining of identifiable forms, and the juxtaposition of contrasting elements, Kiefhaber believed he could stimulate in the viewer an authentic passion, fantasy, or heightened state of being by removing our natural assumptions and connections to objects; these re-shaped objects formed by the artist's desire.
"[Kiefhaber] paints moments in which Goethe's Faust would have wanted to remain because they are so beautiful."
German philologist and historian
Yet, despite the inanimate objects, there is a palpable sense of drama and theatre in Kiefhaber's arrangement of unified forms. His paintings have a noticeable stage-like bearing. The illusory three-dimensional nature of the figures is placed in a shallow space; no naturalistic background, no view of what lies behind; a wall of colour obscures the view like a curtain.
The artist's costumed puppets and dolls retain a sense of child-like wonder and unbridled expression, transposed onto the artist's stage. "They all, figures and objects, populate a theatre frozen in the eye of the artist."
Kiefhaber’s work of the 1990s betrays the influence of Pablo Picasso and Joan Mirò, with the disintegration of form inspired by Cubism from the former and the ethereal nature of the latter, which lent a dream-like quality to his work.
Picasso constitutes a central point of orientation for Kiefhaber, who wasn't interested in emulating the Spanish master but wanted to understand the artistic process, and by extension the nature of seeing; how the artist could use colour and forms like words to express the subtle nuances of seeing and feeling as if every contour and colour were re-shaped in the form of his desire. Picasso's work fundamentally helped Kiefhaber discover himself as an artist and give form to expression.
We also witness the prevailing influence of Miró in Kiefhaber’s work from this period, evident in the dream-like quality of his canvasses, the etching-like quality of his lines, and the predilection for pure colour.
Although Kiefhaber always held a sharp interest in Miró’s work, it wasn’t until 1993, during a stay in Barcelona, when he visited the Fondació Joan Miró's exhibition in honour of the artist's centennial birthday, that this interest began to materialize in his work. He discovered a newfound appreciation for the Surrealist master, and the indelible mark he left on the history of modern painting and sculpture.
Miró's dream-like world of birds and stars also precipitated Kiefhaber's personalized collection of signs and symbols - faces, leaves, moons, gloves – concrete representations of an unrepressed imagination, articulated through vivid saturated colours in a style that is a free mixture of optimism, joie de vivre, lyricism, eroticism and sardonic humour.
Du Bist Mein Labyrinth
(You are my Labyrinth)
Mixed media on canvas
90 x 90 cm.
Kiefhaber's work is never static. He is constantly experimenting with new ideas, new historical understanding and new materials. In an attempt to re-contextualize social representation and identity through the lens of history, allegory and mythology, he uses a variety of modern techniques and materials, creating an unbroken link in time. These contemporary manifestations were not confined to paintings, either.
"Kiefhaber's light-hearted cynicism reappears in his pastels and in his picture diary, a sketch-based notebook in which he spontaneously records day to day impressions, experiences, thoughts and emotions.
- Philipp Maurer
With no preferred medium of expression, Kiefhaber uses his notebook as the basis for a creative output that includes graphic work, pastels, etchings, acrylic, mixed media on canvas and sculptures in ceramic, glass, wood and, most recently, bronze. Landau Contemporary is pleased to include the full spectrum in our collection.
For over a decade, the artist has worked in close collaboration with the world-renown Berengo Studio in Venice, Italy, to create Murano glass sculptures that transpose Kiefhaber's fantastical characters into real space and substance through the mastery of artisans who must push the boundaries of traditional glass-making to realize them.
Berengo Studio has, since the late 1980s, invited some of the most well-known contemporary artists to unleash their creativity and experiment with glass with Berengo’s highly skilled glass masters.
(Photo property of Fondazione Berengo)
Additionally, in the early 2000s, Kiefhaber created a series of etchings based on Greek myths that were given a contemporary update by the artist. With the Medea etchings, accompanied by a poetic text from Otto Brusatti, Kiefhaber brings the mythical woman to our times.
In these works, the artist reveals that the story of man is never-changing. We are always facing the same problems of hate, and the struggle for power, even if in Kiefhaber and Brusatti's version, Medea is given a happier fate; still in love, she escapes with Jason (Medea VII).
Etching and coloured aquatint
66 x 70 cm.
"Kiefhaber uses material of other artists and subjects them to a process of transformation which frees his material of its concrete historical density and makes it his own."
The Extermination of Strangers
Etching and coloured aquatint
66 x 70 cm.
As the artist's studio noted in describing the Medea series, "We feel the joy of love and understanding. Man will always be dominated by greed and lust. For Christoph, there is just one hope: Art alone is rescue and freedom!"
Born in Neumarkt am Wallersee, Austria, Kiefhaber, at the age of thirteen, studied at an international summer academy held by Oskar Kokoschka in Salzburg. Following a period of study at the University College, Dublin, he enrolled at the Academy of Fine Arts in Vienna where he remained for two years.
However, his bourgeois upbringing led him to become an accountant with a large firm while continuing his studies at the Viennese school of Fine Arts with Fritz Martinz. His early work is informed by the youthful archaeological excavations he participated during his studies in as well as a fascination with dolls and puppets that he playfully deconstructs.
His mature work finds its orientation in Picasso and Miro’s dreamlike world of birds and stars which Kiefhaber transforms into his own language of symbols of faces, stars, moon and leaves.
Kiefhaber left the corporate world in 1983 at the behest of his employer who became his earliest serious collector. His first solo exhibition was held in 1984 and since then he has had countless exhibitions worldwide. Today Kiefhaber lives and works in Salzburg and Vienna.
"Götter Helden Kriminelle" at Galerie Nöfa, Austria
"Nereides", Institute of Classical Archaeology at the University of Vienna
Presentation box no. 2, Graphic Arts Collection Albertina
Landau Contemporary at Galerie Dominion, Montreal
Petit Salon d’ Hiver, Paris, France
Salon International de l´Estampe, Paris
Graphic collection of the Albertina Vienna
Galeria Maeght, Barcelona
Alice and Robert Landau, Switzerland
Fondazione Berengo Murano-Venice
Galerie Ambassade Hotel, Amsterdam
Danubiana, Meulensteen Art Museum
Fields Museum, Chicago
University of Applied Arts, Vienna
Select Art Fairs
Art Miami, Landau Fine Art, Miami, Florida
Art Austria, Vienna
ARCO International Art Fair, Madrid, Spain
Art Basel Switzerland, Landau Fine Art
Art Basel Miami Beach, Landau Fine Art
Art Chicago, Landau Fine Art
Biennale dell´ Incisione, Mirano, Italy
Biennale des Antiquaires, Paris, Landau Fine Art
Expo Chicago, Landau Fine Art
Feria Internacional, Bogotá, Colombia
FIAC, Landau Fine Art, Paris, France
Fine Art Fair, Frankfurt, Germany
TEFAF Maastricht, Holland, Landau Fine Art
Vienna Art Fair, Vienna, Austria
International Art Fair, Hangzhou, China
Graphic Biennial, Varna, Bulgaria
PAN Amsterdam, The Netherlands
Graphik Messe, Dresden, Germany
Art Multiple, Düsseldorf, Germany
Arte Innsbruck, Austria
We thank you for visiting our online exhibition. Please contact the gallery to find out more about this exceptional artist.


Japanese candy-pop gets a jaw-dropping treatment by Hideyuki Tanaka, in which Kyary Pamyu Pamyu (of Pon Pon Pon fame) is a stick-armed giant toy drummer girl in a storage room full of mini …
Kyary Pamyu Pamyu 'Harajuku Iyahoi' by Hideyuki Tanaka
J-Pop princess Kyary Pamyu Pamyu returns with another of her remarkable music videos, combining kiddie cute with the deeply trippy, bursting with a level of visual imagination that puts 99% of Western pop videos to shame.
Directed by Hideyuki Tanaka - also the director of her previous Sai & Co video - it's a 21st century, VFX enhanced musical showstopper for Harajuku Iyahoi, a celebration of Tokyo youth cultural hub Harajuku (the songtitle is essentially 'Hooray Harajuku'), where multiple Kyarys are joined by dancing tree trunks, giant polka dot hands, walking hat masses, and much more.
And there's a Russian theme too, as the centrally featured version of Kyary is decked out in Russian folk dress - with accompanying serious, almost-grumpy face.
It's weird, and its brilliant. It's what Busby Berkeley would have been doing if he'd had access to motion capture
|Director of Photography||Kazunali Tajima|
|Production designer||Tateo Yanagimachi|
|Production designer||Toshihide Sakai|
|Production designer||Tatsuya Imai|
|Hair & Make-up||Masayoshi Okudaira|
|1st AD||Takuya Kodaira|
|1st AC||Takumi Watanabe|
|Post production company||Digital Frontier|
|Production Manager||Akinori Matsumoto|
Claire Marie Vogel and Aaron Hymes present a deserted world for veteran power-popsters Silversun Pickups. Deserted, that is, apart from the toys...
Shygirl teams up with Aidan Zamiri to bring her iconic CGI alter-ego into live action world...
Au/Ra takes 3D form in the spectacular promo for Dead Girl, directed by Elliott Gonzo.
The fifth episode of Promonews' new series of podcasts with creatives in the music …
The entry deadline for the award categories at the UK Music Video Awards 2021 has now been …
With a few days to go to the entry deadline to the UK Music Video Awards 2021, leading …
With a few days to go to the entry deadline to the UK Music Video Awards 2021, its been announced …
Leading international VFX and grading studio Electric Theatre Collective has become the latest …
With the deadline of entry for this year's UK Music Video Awards arriving in less than two weeks, …


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Multiple mini-interviews are being used collaboratively by a higher education institution and an NHS trust to select nurses with the right skills and value
Citation: McGouran V (2015) Multiple mini-interviews for nurse recruitment. Nursing Times; 111: 15, 23.
Authors: Val McGouran is lecturer in adult nursing and course director return to practice; Katrina Emerson is lecturer in adult nursing and director of admission; both at University of East Anglia; Julia Saunders is practice development nurse at Queen Elizabeth Hospital, King’s Lynn Foundation Trust.
- Scroll down to read the article or download a print-friendly PDF here
The effectiveness of traditional interviews in assessing candidates’ suitability for nursing has been called into question (Perkins et al, 2013; Rodgers et al, 2013). There is also a risk of interview bias or chance (Eva et al, 2009). The use of the multiple mini-interview (MMI) to select candidates was pioneered in Canada; it is now used in many parts of the world.
Several studies have evaluated the MMI’s feasibility, validity and effectiveness in determining the suitability of applicants and their subsequent clinical performance (Dowell et al, 2012; Eva et al, 2009; 2004; Reiter et al, 2007). Its success as an indicator of the professionalism and communication skills of candidates and its cost-effectiveness in terms of interview time have also been studied (Eva et al, 2009; Rosenfeld et al, 2008).
Preparing and running the MMIs
The School of Nursing Sciences at the University of East Anglia prepares students for interviews after qualifying by offering them practice in interview skills. The school recently adopted the MMI system in collaboration with King’s Lynn Foundation Trust, one of our service partners.
Chance and bias may be prevented by using many different interviewers and, to assist us in the MMI practice interviews, we recruited a trust governor, a service user, an NHS manager, a matron, a practice development nurse, a ward sister and a nurse lecturer. The interviews were offered to students on a return-to-nursing course and 10 took part.
On the day, we provided several short independent assessments at several stations, each with a theme. The time at each station was kept short, and stations were run simultaneously, with students moving in a circuit from station to station to prevent unnecessary waiting. Interviewers remained at the same station, where they assessed candidates on agreed criteria, such as professionalism, collaboration, communication and interpersonal skills, and task performance.
This system potentially gives candidates and interviewers a better chance of producing a good performance as they concentrate on one theme at a time.
A fairer approach
In an informal discussion after the MMIs, students said they preferred the MMI approach to traditional interviews.
All students said anxiety had affected their performance regardless of which station they started at. However, they felt they gave a better performance as the interview cycle progressed and said they enjoyed the process once they had overcome their nervousness.
Interviewers found the MMI system less fatiguing and more interesting than traditional interviews. Many valued the informality the system created but would have liked to have spent more time with the candidates. They also appreciated the opportunity to be involved in candidate selection.
The MMI approach may be a fairer system than the traditional interview. It allows a fuller assessment of a candidate’s attitudes and values. Involving different NHS personnel and service users appears to improve the selection process. It could also help to achieve a more accurate understanding of whether a candidate has the 6Cs - care, compassion, competence, communication, courage and commitment - that the chief nurse has called for.
Dowell J et al (2012) The multiple mini-interview in the UK context: 3 years of experience at Dundee. Medical Teacher; 34: 297-304.
Eva KW et al (2009) Predictive validity of the multi mini-interview for selecting medical trainees. Medical Education; 43: 767-775.
Eva KW et al (2004) An admissions OSCE: the multiple mini-interview. Medical Education; 38: 314-326.
Perkins A et al (2013) Evaluation of multi mini-interview protocol used as a selection tool for entry to an undergraduate nursing programme. Nurse Education Today; 33: 465-469.
Reiter HI et al (2007) Multiple mini-interviews predict clerkship and licensing examination performance. Medical Education; 41: 378-384.
Rodgers S et al (2013) Recruitment, selection and retention of nursing and midwifery students in Scottish Universities. Nurse Education Today; 32:11, 1301-1310
Rosenfeld J et al (2008) A cost efficiency comparison between the multiple mini-interview and traditional practice. Advances in Health Sciences Education; 13: 43-58.

domain: literature


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domain: entertainment


The Treasury Department said Monday that its first sales of Citigroup stock will cover up to 1.5 billion shares.
That would amount to about 20% of the 7.7 billion shares of Citigroup common stock that the government owns.
It received the shares as compensation for the massive support it extended to the bank during the height of the financial crisis.
In a statement Monday, Treasury said Monday that it planned to proceed with the sales of the Citigroup common stock "in an orderly fashion under a pre-arranged trading plan with Morgan Stanley, Treasury's sales agent."
Treasury did not disclose in its brief announcement exactly when the initial stock sales would begin or how long the sales would last.
Treasury said Morgan Stanley had the authority to make the initial sales "under certain parameters" and that Treasury expected to give the company the authority to sell additional shares after the initial 1.5 billion shares had been sold.
The sales should earn a tidy profit for the government which purchased the common stock in the summer of 2009 at a share price of $3.25 a share. Citigroup closed Friday at $4.86 a share but was changing hands in pre-opening trading on Monday at $4.82 per share.
At the moment, the Treasury owns 27% of the company in return for an investment of $25 billion.
Treasury had announced last month that it would soon begin sales of its Citigroup stock and planned to sell the shares over the course of this year.
Citi, one of the hardest-hit banks during the financial crisis and Great Recession, received a total of $45 billion in bailout money. That was one of the largest rescues under the goverment's $700 billion bailout fund, known as the Troubles Assets Relief Program.
Of the $45 billion, $25 billion was converted to a government ownership stake in Citi last summer and the bank repaid the other $20 billion in December.


text:
Conservative budget plans depend crucially on the £12 billion they state they will save from the annual welfare budget. They ask us to trust that they will do this because of the savings made in the last Parliament. On Newsnight, David Cameron stated that "the £12 billion is only half of the £21 billion that we saved on the welfare budget in this Parliament".
I was puzzled by this, and not just be the fact that £12 billion is well over half of £21 billion. The DWP's Benefit and Caseload tables showed no evidence of a big reduction in welfare costs. These show that total "GB Benefits and Tax Credits" actually rose during the last Parliament - from £202.5 billion in 2010/11 to £207.8 billion in 2014/15 (in real terms using 2014/15 prices).
Now that does include pensions and other pensioner benefits, which all the political parties have promised to maintain. But even the figure for benefits and tax credits to people of working age and children seems to have risen from £91.9 billion in 2010/11 to £93.6 billion in 2014/15. That is a rise of £1.7 billion. There is no trace of a reduction of over £20 billion.
I wondered if the Conservatives had simply made up their figure. But, no, it turns out the claims do have a very authoritative source, and come directly from analysis by the Office for Budget Responsibility (OBR). The OBR calculated the saving from every budget change and did indeed calculate the total saving - though based on projections for the financial year to March 2016 - at £21 billion.
The Institute for Fiscal Studies (IFS) has studied the Conservative claim and, though they dispute the £21 billion figure, do find "changes to the benefit system that mean spending in 2015-16 will be £16.7 billion lower than it would otherwise have been".
The wording is interesting, though. Spending is stated to be less than "it would otherwise have been" but not lower than it was in previous years. Indeed the IFS go on to note that "real terms benefit spending, however, is forecast to be almost exactly the same in 2015-16 as it was in 2010-11". Thus savings in some areas were balanced by increases in others, like housing benefit (as rents rose) and in an increase in payments to the sick and disabled.
Can it really be called a saving, though, if spending has not been reduced? It feels a bit like when you come back with your shopping, having "saved" £40 but having spent the same as you always do. More seriously if the Coalition savings did not lead to any actual reduction in the welfare bill, can the Conservatives use their track record to justify that they will save a further £12 billion?
My figures for benefit & council tax spending for those of working age and children is calculated after removing Council Tax Benefit, which was in 2013/14 transferred to the local government budget. My thanks to Tony Travers for clarifying the change in Council Tax benefit funding.

domain: finance


Scott Coulter was only a few years into his life in New York City after studying musical theater at the University of Cincinnati and he had fairly good success.
He got an agent right away and landed roles in a couple of shows.
“I was up for things I didn’t get and was up for a really big Broadway thing and I never heard back at all,” Coulter recounted. “I decided I would never wait for someone else to give me a job. I’d make my own job.”
He turned to performing in cabarets and small clubs in New York and toured with a musical revue, where composer Stephen Schwartz (“Godspell,” “Pippin,” and “Wicked”) spotted him and invited him in 1999 to tour with his revue, “Stephen Schwartz and Friends.”
That led Coulter to join a business with partners that organized various musical tours, and five years ago he set up his own company.
“Blockbuster Broadway” is the first show he produced for Spot-on Entertainment and he brings it — with piano player John Boswell and fellow Cincinnati graduates Jessica Hendy and Kelli Rabke — to Stockton for the first Pops concert of the Stockton Symphony’s 2018-19 season at 2:30 p.m. Sunday.
Stefan Sanders is the guest conductor.
“It’s music from the biggest hits of all time,” Coulter said. “From ‘Annie,’ ‘Phantom of the Opera,’ ‘Wicked,’ ‘Jersey Boys,’ ‘Les Miserables,’ ‘The Lion King,’ all the biggies. There are a couple numbers, from ‘West Side Story’ and ‘The King and I,’ but the focus of this show is on the shows that had really long runs. Original productions only ran four or five years back then. It’s not like now, where shows run for decades. But we give a nod to Rodgers and Hammerstein, (Stephen) Sondheim and (Leonard) Bernstein.”
The key to the show’s success, Coulter said, is selecting popular songs.
“When I started doing cabaret music in New York, the idea is to do something original. My family said, ‘If you want people to buy tickets, you have to do songs people know,’ ” Coulter laughed. “It’s true. When we’re traveling on the road, people just want to be entertained and hear songs they know and love.”
Some songs are recognizable even if their shows, in Broadway terms, are relatively new, including “Beautiful,” the music of Carole King that is in its sixth year on Broadway.
“We were talking about that. It used to be in the ’30s, ’40s and ’50s, hit songs came from Broadway shows,” Coulter said. “The songs on the hit parade came from Broadway musicals. Then, in the ’70s and ’80s there was no hit music from Broadway except when Barbra Streisand recorded ‘Memories’ and Judy Collins won a Grammy for ‘Send in the Clowns.’ There was no crossover. In the late ’90s and early 2000s, they started taking hit songs and building musicals around them. It was a reversal of the ’30s and ’40s and you got ‘Mamma Mia!’ and ‘Jersey Boys.’ ”
And an enormous catalog of music from which Coulter could build his show.
His company has a variety of shows. In addition to “Blockbuster Broadway” it has “Blockbuster Hollywood,” “The King: The Music of Elvis” and “Music of the Knight,” featuring the works of Sir Andrew Lloyd Webber, Sir Elton John and Sir Paul McCartney.
Coulter said he is on the road about 37 weeks a year, traveling with other shows if he’s not performing with “Blockbuster Broadway.”
The cast of the show is made up of friends and singers with pedigree, Coulter said.
Radke, Coulter said, was hand-picked by Lloyd Webber to be the narrator in the revival of “Joseph and the Amazing Technicolor Dreamccoat” and Hendy played the cat Isabella at the end of the original run, on the national tour and in the revival of “Cats.”
Boswell, the pianist, played for Andy Williams, Judy Collins and Sheena Easton, according to Coulter.
“There’s not a better piano player in the world. We don’t leave home without him,” Coulter said.
Coulter said he was introduced to playing with a full symphony orchestra when he was asked to direct and perform in “A Christmas Carol: The Symphonic Concert,” which premiered with the Baltimore Symphony and then was created for an Emmy-nominated PBS production in 2013.
“There’s nothing like singing with a full symphony orchestra,” Coulter said. “In a Broadway pit there are maybe 10 to 12 pieces. Most performers go their whole lives without singing with a full symphony orchestra. To get to present this music in that way, it’s a gift to the audience and to us.”
Contact reporter Lori Gilbert at (209) 546-82824 or firstname.lastname@example.org. Follow her on Twitter @lorigecord.


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You can’t spell Cork without Rock. I used that in a tweet recently and knew I would have to use it again. I knew I would want to use it again.
MTV had a profound effect on me when I was younger. Not the known MTV of now, but the MTV of yore when the likes of ‘Unplugged’ played to heavy hitters, grunge was being introduced to eager teenagers, and it actually played good music. I count myself as one of the lucky ones who was around to appreciate it for what it was.
20 years later, my musical tastes haven’t changed all that much – Sure, I like many more different types of music now, and have distinct views and tastes, but I still know good music when I hear it. Enter Paradox.
In a time when it’s easy to get lost in the swarm of new and music wherever you go, it’s nice to get hit with an album that sounds like it was forgotten about in the 90’s only to be dug up in the digital era of now. For me, at the ripe age of 34, it’s a nice feeling.
Paradox hail from Cork – currently the grunge/rock/punk capital of Ireland as far as I’m concerned. A local music scene can create a popular bubble of the same musical genre in the area with many bands sounding the same, or playing homage to their surrounding peers. Paradox has been the band that others play homage to, and now they are bursting from that bubble and creating waves further a-field.
The lengthy 14 track album is distinctly different from their previous 3, a paradox in itself one could say – notes of Alice in Chains (particularly their Unplugged album), Nirvana, Silverchair, Mad Season and A Perfect Circle and NIN. As with these bands, there is a certain melancholy and assuredness to their sound particularly with top track and video ‘Nothing lasts’. I was sold on this song alone.
With an independent band producing music of this standard, my hopes are high for the future of the grunge/rock genre and era in Ireland, wherever it might exist. If MTV was to fall back to its 90’s roots right now, this band would be all over your TV screens, not just your computer screens. Just like the 90’s, pay your respects here.


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Reason in Madness: A Devised Reworking
Draíocht Theatre, Blanchardstown, Dublin, 29-30 November 2016.
Directed by Aisling Byrne. Design: Ciaran O’Melia; Dramaturgy: Oonagh Murphy; Sound Design: Susie Birmingham; Costume: Kate Bauer.
Cast: Mark Smith as Lear; Jane Ryan as Goneril; Ella-Jane Moore as Reagan; Michelle Brennan as Cordelia; Wesley Fairbrother as Kent; Maurice Coll as Gloucester; John Egan as Edmund; Paul O’Neill as Edgar; Kate Bauer as psychologist; Sean McPartland as the Fool; Bert Coster as Cornwall; and Conor Begley as Oswald.
Reviewed by Stephen O’Neill
It has sometimes been claimed that Irish theatre can’t quite do Shakespeare or that it has an attenuated relationship to Shakespeare for a variety of reasons that are cultural, historical and ideological. The absence of Shakespeare from the Abbey’s 2017 programme is likely to reactivate such claims. And even 2015’s DruidShakespeare, which gave the lie to such arguments, nonetheless ended up being ghosted by them, as critics located the production in the context of how previous Irish productions had faired with Shakespearean verse and themes, and determined that Druid had Gaelicised or Hibernicised Shakespeare’s English history plays. However, such broad and ultimately improbable claims about the national theatre scene risk overlooking more local theatre and community based productions of Shakespeare. Reason in Madness: A Devised Reworking of Lear gives the lie to the notion that Irish theatre productions must be filtered through questions of cultural nationalism. In this production by Run of the Mill Theatre, a 16 strong ensemble cast of artists with disabilities, bring us into Lear’s kingdom, but not as we know it.
The pre-scene features the cast on stage, awaiting the arrival of Lear: “The King is on his way”, the announcer explains, followed by the customary instruction to the audience to turn off mobile phones. The cast themselves hold phones, a visual cue to the dominance of technology and social media in this production, with tweet updates from @CourtGossip, or images of a bounded and blinded Gloucester displayed on a screen above stage. The use of social media, along with pop music, is not gimmicky but serves the story world and amplifies its themes. Under Aisling Byrne’s direction, the major concerns of Shakespeare’s play – the family, mortality, the vulnerability of the human being, the fragmentation of a political order – take on a more particular resonance in the context of a performance by actors with intellectual disabilities.
Theatre can importantly shift normative structures of viewing and representation, disrupting audience and indeed wider cultural assumptions about how value is assigned to particular bodies and identities, and how, by extension, it is denied to others, or doled out in a limited way. The work of Run of the Mill Theatre, founded in 2014 by Aisling Byrne and the participants of the drama and theatre training programmes within St. John of God Community Services, realises the capacity of theatrical performance to alter ways of seeing and release a dispersal of representational value. Blue Apple Theatre, established in the UK in 2005, have being doing similar work with actors with learning difficulties. Lawrie Morris, who played Claudius in the Blue Apple’s 2012 Hamlet, captures what the production means to him: “I think people out there in the world need to see that people are capable of doing Shakespeare, even with a learning disability like we’ve got”. In America, similar initiatives are to be found. Project A.B.L.E (Artists Breaking Limits and Expectations), founded by Kate Yohe, features a group of actors with Down Syndrome and other developmental needs in Twelfth Night at Chicago’s Shakespeare Theatre. Run of the Mill’s Reason in Madness importantly contributes to increased representational visibility and opportunity; the Arts Council’s support of such work, valued internationally, is welcome. There is no sentimentality to this production; instead, the cast produce something that makes meaning on its own terms. Striking is the sense of a collective, of a directorial hand operating with a lightness of touch, of actors helping each other onto and off the stage, and having lots of fun in doing so. But there are also stand out performances: Mark Smith as Lear is all kingly deportment, then disintegration as Goneril and Regan vie for power; Ella-Jane Moore as Reagan revels in mock royal waves as she takes to the throne; Jane Ryan’s Goneril is busy tweeting about court intrigue; John Egan plays Edmund with a maniacal, pantomime laugh.
For a small theatre company, this is an ambitious production. Run of the Mill make good use of Draiocht’s large stage, filling it with the ensemble cast, with hooded figures that haunt Lear, or by creating a distinct performance space stage right, where a psychologist, played by Kate Bauer (who also gives subtle onstage assistance to the performers) tests Lear’s memory loss. The Director’s note offers the audience one way to interpret such extra-diegetic elements, plot additions and the wider implication of Reason in Madness. Byrne notes “that the rate of developing early onset dementia stands at an estimated 75% greater risk for adults with Down Syndrome was a sobering reminder of the pertinence of a story where the gift of growing older can come with a price; and one that seems so steep and unfair for individuals who have already fought long to have their voices heard in society”. However, on a Wednesday evening in a packed Draiocht Theatre, the play’s sense of endings – of plot, of life, of political power – become a celebration of life and of community. As an audience member, you cannot but be aware of the family, friends who are there to support and cheer on the actors.
Reason in Madness is a cacophonous, energetic and reassembled Lear. The spoken word converges with dance, with now iconic pop tracks (from Icona Pop’s “I Love It” for the opening love test to Lady Gaga’s “Bad Romance” to capture Goneril and Regan’s relationship with Edmund), with social media and news images. Shakespeare’s tragedy is defamiliarised, in ways that recall Elaine Feinstein’s Lear’s Daughters (1987), another production that emerged out of theatre workshops, and which pared back the main plot to reveal a dark nursery rhyme about the symbolic power of fathers. Byrne and the ensemble cast are very much in touch with current trends in Shakespeare performance studies, where the energy of a Shakespeare play in production is understood as residing in post-textual, adapted and remediated responses. Experienced as fragments, from alternate perspectives, or with and through other media, the Shakespeare play reforms in our minds as a dazzlingly new theatrical experience. The programme note makes reference to the production’s repackaging as a “gift” to Shakespeare in this, the year of the 400th anniversary of the playwright’s death. Reason in Madness rewards all of its participants, actors and audience alike, because the Shakespeare it produces is not a site of privilege or some inherited entity that, in an Irish context, is to be revered or feared. Rather, it’s the catalyst for a dynamic theatrical experience.
Dr Stephen O’Neill is Senior Lecturer in English Literature at Maynooth University Department of English. He is the author of Shakespeare and YouTube (Bloomsbury, 2014), Staging Ireland: Representations in Shakespeare and Renaissance Drama (Four Courts, 2007) and several essays on Shakespeare and popular culture. With Janet Clare, he co-edited Shakespeare and the Irish Writer (UCD Press, 2011). Twitter: @mediaShakes


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Humans as Animals
by AMNH on
Science has uncovered major continuities between the social behavior of humans and other primates, including politics, culture, and morality. In this podcast, primatologist and ethologist Frans de Waal explores the similarities between humans and other primates in power politics, transmission of knowledge and habits, empathy, and sense of fairness.
This lecture took place at the Museum on May 21, 2015.


The description of SH15 amorphous alloy transformer
SH15 amorphous alloy transformer is widely used in some lighting, high-rise construction, airport, terminal CNC machinery and other occasions. Briefly speaking, dry-type transformer refers to the transformer whose core and winding are not immersed in insulating oil.
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The reliable structure of SH15 amorphous alloy transformer
⑴Solid insulated encapsulated winding of SH15 amorphous alloy transformer
⑵Unencapsulated winding of SH15 amorphous alloy transformer, the higher voltage is the high voltage winding and the lower voltage is the low voltage winding.
From the relative orientation of high and low voltage windings, the high voltage can be divided into concentric and overlapping. The concentric winding is simple and convenient to make.
Overlap type, mainly used for SH15 amorphous alloy transformer.
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Iron core of SH15 amorphous alloy transformer
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⑵Pouring epoxy resin and quartz sand;
⑶ glass fiber reinforced epoxy resin casting (i.e. thin insulation structure);
⑷Multi-strand glass-fiber-impregnated epoxy resin surround type (usually choose 3 more because it can effectively avoid cracking of the cast resin and improve the reliability of the equipment).


text:
Western Civ, Period 4
March 18, 2014
On January 30, 1933 Hitler became the Chancellor of Germany (The Holocaust: An Introductory History). He instigated the systematic and state-sponsored oppression and massacre of six million Jews and twelve million other groups known as the Holocaust (ushmm.org). He justified the genocide by painting Jews as enemies of Germany and inspiring national pride through propaganda.These atrocities were only stopped when World War II officially ended on May 8, 1945 (The Holocaust: An Introductory History). The Holocaust was allowed to occur due to the Nazi’s persecution of races deemed inferior and their propaganda.
Hitler used the foundational concept of Anti-Semitism to and isolate the Jews socially and economically, then persecute them in increasingly drastic fashion. In 1933, Nazis boycotted Jewish businesses by marking them with the Star of David and vandalizing them (G-H). Hitler also threw thousands of Jews out of universities (G-H).. These political moves shuffled Jews down into the lower class. Without income, many Jewish business owners were forced to live in poor housing. They could also not obtain advanced degrees, and therefore could not find well-paying jobs since most of them require a higher education. This economic isolation limited Jewish contact with the middle and upper class. More drastic and official oppression of the Jews was set in place when the Nuremberg Laws were passed later in 1933 (G-H). These laws stripped German Jews of their citizenship (G-H). They were not allowed to enter many public places, and were forced to wear the Star of David on their clothes (G-H). Now that movie theaters, parks, and other public venues could not be accessed by Jews, the common German population had little contact with them. Previously, Germans of all social classes mingled in these common public places, however now non-Jews only met other non-Jews. They couldn’t form relationships or friendships with Jews because their social classes rarely intersected. Now that the Jews were isolated, the Nazis could inflict even more drastic measures against them. Jews were painted as however evil...

domain: history


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The Predators caught the Lightning at home at the wrong time.
Tampa Bay entered Thursday night’s game with the NHL’s worst road record of 8-14-3. The major catch is that they had won their previous five on the road. The Lightning extended their road win streak to six thanks to Vaclav Prospal’s game-winning goal at 58 seconds of overtime, giving the Lightning a 2-1 victory.
Despite the loss, the Predators picked up one point in the tight Western Conference playoff race. They have earned at least one standings point in 15 of their last 18 games.
Goaltender Dan Ellis was strong all game, but felt he should have controlled Brad Richards’ overtime shot that fell onto Prospal’s stick for the winner.
“It was a fluttering type of shot that I needed to control, he was able to pounce on it before I was,” Ellis said.
Blueliner Greg Zanon defended his netminder.
“It was unfortunate in overtime that they got that lucky one of Ellis’ chest,” he said. “He played a great game for us tonight. He gave us a chance to win, but we didn’t have our best tonight.”
The trio of Jason Arnott, J.P. Dumont, and Alexander Radulov teamed up to score the game’s first goal at 12:37 of the first period.
Dumont picked up the puck behind the Tampa net and passed to Arnott, who was stationed on the left half boards. Arnott motioned like he was going to make a return pass to Dumont, but instead slid a backhand pass to Radulov in the left circle. Radulov collected the puck and promptly wired a wrist shot top shelf over Tampa goaltender Johan Holmqvist’s glove.
Nashville’s top line is carrying the team offensively, having scored seven of the team’s last 13 goals.
The goal extended Radulov’s career-high point-scoring streak to eight games. Arnott has points in his last ten games, although the league does not recognize the streak because he missed Saturday’s home game with Phoenix due to a leg injury.
The Predators are jumping on their opponents early in games lately, outscoring them 19-5 in the first periods of their last 17 games.
Unlike Tuesday’s win over Carolina, one goal would not be enough to defeat the Lightning.
The Lightning carried the play in the second period, outshooting the Predators 12-2. One stretch midway through the second saw the Lightning force the Predators to take three consecutive icings, keeping the line of Radek Bonk, Jerred Smithson, and Darcy Hordichuk on the ice for an extended shift.
Tampa’s big line tied the score at 13:09 of the second period on a goal by Richards.
Richards converted off of a rebound of Martin St. Louis’ redirection shot. The rebound was not controlled by Ellis, and Richards pounced on the puck, sending it by a sprawling Ellis and a diving Zanon.
“We let them dominate in that second period,” Predators coach Barry Trotz said. “We lost all of our pace, flow, execution and alertness.”
Nashville had just nine shots on goal through two periods.
Martin Gelinas had a shorthanded breakaway with just over five minutes remaining in the third period, but was hooked down from behind by Lightning defenseman Dan Boyle in the neutral zone. Despite pleas from the Nashville bench and crowd, Gelinas was not awarded a penalty shot and Boyle was assessed a minor penalty for hooking.


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To be or not to be 'socialist' is the question
A public interest petition has challenged the 42nd Amendment enacted in 1976 during the emergency that added the word "Socialist" in the Preamble to the Constitution, reports Satya Prakash.Updated: Jan 08, 2008 23:59 IST
Should allegiance to socialism be mandatory for registration of political parties? A public interest petition has challenged the 42nd Amendment enacted in 1976 during the emergency that added the word "Socialist" in the Preamble to the Constitution.
A three-judge bench headed by Chief Justice of India KG Balakrishnan on Tuesday asked the Centre and the Election Commission to respond to the petitioner's plea to strike down the mandatory requirement under the Representation of the People Act, 1951, for any political party seeking registration to pledge allegiance to socialist ideology.
In the alternative, petitioner Good Governance India Foundation sought de-recognition of all political parties which have wrongly sworn allegiance to socialist ideals despite pursuing contrary objectives as evident from their manifestoes, political speeches, common minimum programmes and other such documents.
The petitioner contended that as the Preamble is part of the basic structure of the Constitution, the amendment was unconstitutional. It said such an insertion was also wholly inconsistent with the phrase "Liberty of thought, expression, belief, faith and worship" in the Preamble itself.
The 42nd Amendment was an attempt to create a particular ideological basis for adherence to the Constitution, which was against the principle of a multi-party democracy, it added.
The bench, however, refused to consider the challenge to Section 2(a) of the Constitution's 42nd Amendment Act that added the word "Socialist" to the Preamble, saying socialism should not be taken in a narrower sense as was construed by communists. It should be understood as a facet of democracy and a welfare state.
On behalf of the petitioner, senior counsel Fali S Nariman submitted that Section 29A(5) of the RPA, to the extent it required mandatory adherence to the policy of socialism, violated Articles 19(1)(a) (right to freedom of speech and expression) and 19(1)(c) (right to form associations of unions) as it was an unreasonable restriction on these rights. This provision was added to the RPA by an amendment in 1989.
Nariman pointed out that most political parties which pledge allegiance to socialism to get them registered, were violating it. He said in the changed political and economic scenario, the provision had no meaning.
The petitioner said the word "socialist" was not present in the original Constitution and that the Constituent Assembly took a considered decision not to include it. Terming it as a "tainted insertion" the petitioner submitted that it out to be erased to free the Constitution from the "shackles of limited ideology".
By using its power of amendment under Article 368 of the Constitution, Parliament could not have amended the Preamble which laid down the ideals and aspirations of the nation, it added.


The inspirational quote for this episode is from “The Golden Swift” (part of “The Silver Arrow” series) by Lev Grossman.
Leif’s loves for this episode are the book “Bewilderment” by Richard Powers and the TV show “Rings of Power” (and the TV show “House of the Dragon”).
Tess’s loves for this episode are the movie “Nobody” and the TV show “A League of Their Own” (and the podcast “Pretty Little Recaps”).
For this episode’s cake challenge we discuss discuss the movie “Tron: Legacy.”
In this episode’s tales from the library Leif bonds with a young customer about “Sonic the Hedgehog” fan art, and Tess experiences her library’s staff appreciation days.
This episode’s life lesson: Leif has three new rules for life, including an intriguing challenge: Can a person enjoy… everything?
If you’d like, please rate and review our podcast wherever you’re listening, email us, tweet at us, watch us on YouTube, listen to our playlists on Spotify.
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