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Exclusive:’ We’re sitting ducks,’ says the boss of Edendale Lodge as concerns rise that variant will break through the defenses of homes
Covid was affected by a nursing home in East Sussex, losing half of its residents over Christmas. This is fueling concerns that the current viral variant, more readily spread, sweeping the southeast of England is beginning to break through the defenses of homes.
Thirteen of 27 residents have died from reported or suspected covid since Dec. 13 at Edendale Lodge care home in Crowhurst, said the chief executive of the home provider, Adam Hutchison, who also operates care homes in Kent.
During the outbreak, in which residents died on Christmas Eve and Boxing Day, about a third of the workers have tested positive. The new death occurred Monday of this week.
Hutchison said, “It was a terrible Christmas and terrible for the staff,” “It’s just unstoppable. We’re sitting ducks.”
Covid outbreaks in nursing homes are on the increase again across England after prevention measures have held infection rates much lower in recent months than they were in the spring.
Essex County Council banned all visits to nursing homes in its area on Tuesday, citing “the increasing number of outbreaks in nursing homes and the difficulty of controlling these outbreaks. The Kent Integrated Care Alliance, which represents nursing homes in its region, also warns about deaths and absences of caregivers, emotional and mental exhaustion among caregivers, and a threat to the viability of the viability of the caregiver.”
Many nursing homes are upset that residents are still not allowed to use vaccines.
Boris Johnson said Wednesday in Parliament that he wants to accelerate the program and that 10 percent of nursing home residents and 14 percent of nursing home workers have received the vaccine so far.
“Clearly that needs to be increased,” said the Prime Minister.
It was planned that family doctors will start taking the AstraZeneca vaccine to nursing homes beginning in the second half of this week.
Many of the nursing home residents who died were thought to be at the end of their lives, Hutchison said, but the virus took them months before they were expected to die. Others were more healthy.
“One of our residents played the piano and I would talk to him when I came in,” he said.
Via regular swab tests, the outbreak was detected. When the results came back, none of the 14 residents who tested positive had any symptoms, Hutchison said. One of the 12 staff members who tested positive was hospitalized but recovered.
The outbreak seems to have thwarted the infection prevention measures of the shelter, including a ban on visitors with the exception of windows, personal protective equipment for caregivers, and no use of temporary staff who could shuttle and transmit the virus between various shelters.
“It’s hard for me to say how it got in,” Hutchison said. “Based on the protocols we followed, everything was there.”
He said there were hospital visits for certain residents and that workers necessarily had lives outside of work. His company, Belmont Healthcare, manages four nursing homes and asks employees to suggest whether they have second jobs.
Official figures indicate the number of deaths in nursing homes across England increased gradually in December, and at a slightly faster pace than Covid’s total death toll.
According to the Office for National Statistics, nursing homes in England reported 440 people dying from Covid in a week at the beginning of December, increasing to 588 by the week before Christmas. While the figures are much higher than the last week of September, when only 42 people died from Covid, they remain a fraction of the up to 2,700 nursing home residents who died weekly from Covid at the Covid weekly
HC-One, the UK’s largest private nursing home provider, said Tuesday that a third of its 330 nursing homes were facing outbreaks, but often with small numbers of infected individuals and positive testing by more staff than patients.
In the southeast, there are fewer homes than in the north, and in the past month, outbreak rates have fallen.
Visits to nursing homes have been widely prohibited in the U.K. unless occupants are close to the end of life or walls or cubicles have been built for infection prevention. In addition, the government has offered free PPE to care for homes


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domain: artistic


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Compagnie des Alpes, a leading European leisure park operator, has released its annual sales report for the financial year 2019/2020.
The report shows that the first half of the financial year was satisfactory, with sales in-line with the growth trajectories of previous years.
In mid-March the trajectory changed, when the Compagnie des Alpes’ leisure parks and ski resorts were closed due to the Covid-19 pandemic. The sites gradually reopened when lockdown restrictions were lifted in May and June.
The Group reported that in the last period of the year there was a significant decline in visitor numbers at its Leisure Parks compared to the same period last year.
From October 1, 2019 to September 30, 2020, Compagnie des Alpes’ leisure parks witnessed a -39% change in sales compared to the same period in the 2018/2019 financial year.
The Compagnie des Alpes Group has announced it has taken measures to protect its liquidity position. One measure was the implementation of a government-backed loan for 200m euros in June. The Group also confirmed an overdraft limit of 147m euros with its banking partners.

domain: finance


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In the beginning of 2015, the “RhodesMustFall” movement ignited a ripple effect that will continue to resonate in the unrest of institutions of higher learning across South Africa for some time. The “RhodesMustFall” movement began at the University of Cape Town when student activist Chumani Maxwele threw a bucket of excrement at the Cecil John Rhodes statue. This performative act spiralled into a movement that saw a generation of young South Africans challenging monuments and structures that are a representation of the past. While the protests were primarily in response to the lack of transformation within institutional structures that continue to ignore and neglect the “real” lived experiences of marginalised people—who in South Africa make up a majority of black African people—it is also important to point out that the “RhodesMustFall” movement was also a response to a continued monumental and symbolic presence of reminders of a painful past that South Africa has in many ways not yet addressed.
These reminders often find their way into art institutions such as museums and galleries, public spaces, all of which carry and house the institutional memory of monuments to colonialism and apartheid. It would therefore be inattentive not to begin by recalling some of Annie Coombes’ reflections in History After Apartheid: Visual Culture and Public Memory in a Democratic South Africa precisely because of the inferences it makes in pointing out that “one of the most startling periods of political and social transformation in recent history during which the South African debates on history and heritage, on ‘truth’ and lies, and on memory and make-believe demonstrated the health and vitality of a political culture of critique and countercritique.” The “RhodesMustFall” movement presented a similar moment, which in this article I posit has implicated an entire range of institutional factors—particularly in the arts and culture and heritage sectors.
At the core of the students’ protests is how they exposed an uneasy discourse around the myths of the “rainbow nation” and the idea that “rainbow-ism” died with Nelson Mandela and the ideals his presidential administration had ushered into governance. Although the students’ protests are in this instance setting the context for this argument, it also extends beyond the provocation posited by the students and rather positions entities such as galleries and museums as instrumental to outlining this narrative, and in so doing, interrogates whether the kinds of engagements with such colonial legacies can begin to imagine a decolonized history of South African art and art history.
Museums and galleries have indeed featured prominently in the shaping of South Africa’s art historical narrative. In addition to furthering the colonial and apartheid project, museums and galleries also became sanctuaries from which nationalist ideals were cemented through the types of exhibitions and artists that were shown. With the political shift following the democratic elections of 1994 came the “post-apartheid” era, which demanded the visual art world in South Africa re-evaluate its values on how it would assimilate into the new political dispensation. This did not necessarily mean that museums and galleries where required to change their institutional structures to match that of the new political order, but rather that they were required to readjust their programming to be a more inclusive definition of art, culture, and heritage.
Overall, art, culture, and heritage occupy a precarious place in South Africa’s socio-political conscious because they only ever become significant in historical moments such as the cultural boycott of the 1980s and increasingly become an obscured understanding associated with popular-ism and contradictions about self and artistic expression. One also needs to refer to how the idea of art, culture, and heritage was constituted in instances like the delivery of retired constitutional court judge Albie Sach’s infamous address, Preparing Ourselves for Freedom: Culture and the ANC Constitutional Guidelines. It becomes a significant document because Sach subsequently became instrumental in the establishment of the Constitutional Court art collection, which now sees hundreds of annual international visitors as a heritage site. There were many criticisms of the article when it was initially published, and rightfully so, because, in addition to being instructive and manifesto-like, it also reflected on an imagined role of art, culture, and heritage in a “liberated” South Africa.
The effects of Sach’s address are more nuanced in terms of its influential role on a particular understanding of visual culture and artistic expression, one that posits the difficult questioning of the relationship between the culturally dominant and culturally dominated. Decolonizing art institutions in South Africa therefore requires a level of reservation and furthermore an interrogation of who gets to determine the terms under which this debate takes place. An example of this debate can be seen in the idea of the township and “township art” that was coined as a label for particular kinds of works from the 1980s. Of all the stylistic modes of expression and schools of creative thought, from a historical perspective prior to 1994, the art centres in the townships are a common factor in the country’s mental geography, preceding current global trends, signified through post-structural identity commonly referred to as Post-Modernism. However, this aspect of the cultural development of the moral geography of Township life in South Africa in context of an economic survival is rarely linked to the industrial development that sought to single out the country from the rest of the African continent for the sake of mineral wealth and fertile farmlands. This is essentially how informal human settlements were established. Township existence is therefore consistent with numerous new forms of social expressions borne of a common yet separate struggle, and was incited by the need to survive in a hostile terrain. Art produced in this context is thus more than a stylistic art genre typified by sentimental scenes glamorizing poverty, but rather is in terms of cultural existence the archetype of a South African phase and language more unique to this part of the continent and prevalent to the global development resultant of rapid industrialization of the world.
This is but one example, but in highlighting its meaning in the making of the social and cultural fabric of current cultural and artistic landscape it starts to generate a kind of scholarship and better understanding of art and culture within a geographical common expression that informs a more coherent national identity. One may think that in the “Post-Apartheid” era a more coherent narrative of South African art has emerged within South African institutions of learning. In many ways they have, and in many ways they have not, because the government is still dealing with problems around transitional issues—be they ideological, regarding funding, and/or procedural—but this absence points to a larger deficiency in terms of a lack of participation on the part of the arts community (which consists mainly of a Eurocentric perception towards art) in building a more inclusive and critical voice towards shaping matters of national concern.
There seems to be a disjuncture in institutions like the Johannesburg Art Gallery (JAG), Wits Art Museum (WAM), and Hector Petersen Museum (HPM), for example, and the ways in which they form part of the social and cultural fabric of what formulates South Africa’s artistic and cultural national identity. Such a disjuncture can also be traced back to the “rainbow-ism” connotation that sought to advocate for the arts and culture through the idea of “diversity” and its inclusivity of multiplicity and fluidity for creating a new institutional lens from which to allow a variety of voices and approaches to be explored. However, in her essay On Being Included, Sarah Ahmed speaks of “diversity as a form of public relations.” Ahmed’s reading of the creation of “diversity” is that it is concocted as a political solution, one that can participate in making those who speak about racism the cause of the problem. The socio-political framework of South Africa is also such that terms like “diversity” and “multiculturalism” have the potential to exclude and alienate those whose realities do not match or fit neatly into the mould of such terminologies and their meanings. In the context of the curatorial space, they (terminologies and their meanings) legitimise their authority as the final arbiters through a set of conditions. Ultimately, this can be traced through a trajectory of history and the history of the museum, and gallery settings that encourage a particular kind of public engagement with the arts, culture, and heritage.
Museums and gallery spaces currently sit precariously as markers as well as makers of history. On the one hand, as markers of history they have the tendency to literally edit out certain narratives, making museums and galleries implicit in the processes of erasure. At the same time, this process of editing out has also allowed for the omissions and inaccuracies of representation to be highlighted. But on the other hand, museums and gallery spaces can be considered as makers of cultural history depending on the kind of public engagement they encourage. The process of decolonization as note by Khwezi Gule, is thus not just about a change of guard nor is it an optional extra. It is the imperative of our time and we have to admit that museums and other art institutions no longer have the authorial voice. By confronting this, it is hoped that such a discussion will offer a means to raise, probe, and address some of the incongruities and contradictions of celebrating such institutions that up until today continue to harbour colonial ghosts of the past.
Same Mdluli is an artist, art historian, and writer living in Johannesburg. She holds a PhD in History of Art, MA in Arts and Culture Management from the University of the Witwatersrand and a B-Tech degree in Fine Arts from the University of Johannesburg. She has worked as an administrator at the Goodman Gallery and projects in both Cape Town and Johannesburg and taught art at various school levels. She has participated in various exhibitions, conferences locally and internationally and won some awards. She has also participated in a number of international residencies including being invited as a Junior Research Scholar at the Getty Research Institute in Los Angeles and a participant at the Diversitas Summer School in Oldenburg, Germany. This was followed by an invitation as guest researcher at the Institut National d’histoire de l’art (INHA) in Paris for the ‘Culture Profession’ programme under the department of Art and Globalisation. Her research interests are in contemporary African Art, Black Expressive Modes and Aesthetics as well as the conversations between Jazz and Visual Art. She currently serves as council member for the National Arts Council, is a member of the Black Mark: Critical Creative Thought collective and a sessional lecturer in the divisions of Fine Arts and History of Art at Wits University.


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A well-stocked pantry makes cooking a breeze, and vinegar is one of the pantry staples you must have on hand. Today, we are talking about ten essential cooking kinds of vinegar that you need to have in your pantry — from the apparent classics to the unusual dark horses. Grab your grocery shopping lists and add these flavored vinegars to your inventory:
1. Balsamic Vinegar
This robust, jammy vinegar is perfect for swirling into salad dressings, mixing into marinades, and reducing a fruit dessert. Note that the only official balsamic comes from two small locations in Italy: Reggio Emilia and Modena. This vinegar is aged 12-15 years old and comes with a price tag. Thankfully, you can get delicious, nontraditional domestic balsamic vinegars for a fraction of the price from reputable vinegar makers worldwide.
2. Apple Cider Vinegar
Another kitchen staple, apple cider vinegar, has a strong and fruity taste in keeping with its name. Apple vinegar usually has a light orange color and typically does not impart any color to the food it is added to. It makes a delicious dressing for grain or vegetable salads where you want a strong yet sweet vinegar taste.
3. Distilled White Vinegar
This vinegar is too strong for adding to most recipes, but it is perfect for pickling vegetables — not to mention cost-effective as well, since you need large quantities of vinegar for pickling. It also makes for a great all-natural cleaner in the kitchen and house, especially when paired with baking soda. You will not regret keeping a jar of this on hand in your pantry at all times.
4. Red Wine Vinegar
Red wine vinegar is the Goldilocks of classic cooking vinegar. It is neither too acidic nor too sweet, and it offers a perfect balance of flavors to complement many dishes. Keep in mind that the red colors will turn light-colored foods pink, which may not be desirable. If you are looking for a colorless alternative to red wine vinegar, try white wine vinegar instead, which we will talk about next.
5. White Wine Vinegar
White wine vinegar is similar in taste and acidity to red wine vinegar, though it is lighter in flavor. The main difference between them is the color. White wine vinegar will not dye your food pink, which many home chefs consider a plus when pickling or glazing foods. If color is not of concern to you, ask yourself if you would drink red wine or white wine with the dish you are making, and let that determine which of these two kinds of vinegar you ultimately select.
6. Champagne Vinegar
Champagne vinegar is the lightest of all the vinegar, and in many recipes, fruit juice makes a better substitute for it than another, more pungent vinegar. True to the name, champagne vinegar has a light and fruity taste that pairs perfectly with more delicate dishes, including fish, desserts, and even cocktails. If you are very sensitive to the taste of vinegar, champagne vinegar is a great place to start because of its mild flavor.
7. Rice Vinegar
Rice wine vinegar is just a touch less mild than champagne vinegar and has an equally light, almost colorless appearance. It features prominently in Asian cooking and is the perfect vinegar to reach for when you want to add a touch of vinegar to a dish without overwhelming the other flavors. It often garners comparison to champagne vinegar and white wine vinegar, but its taste is slightly less fruity than either of these, so bear that in mind if you are swapping out one for another.
8. Sherry Vinegar
Popular in Spanish cooking, sherry vinegar has a distinct taste that is nutty and woodsy. Like balsamic vinegar, official sherry vinegar must come from the Spanish “sherry triangle” region, be aged for at least six months in wood barrels, and have at least a 7 percent acidity. If you are shopping for nontraditional sherry vinegar, make sure to buy it from a reputable producer to know you are getting a quality product and not a cut-rate syrup.
9. Malt Vinegar
Malt vinegar is not widely used outside of the UK and Canada, but if you cook a lot of meat and potatoes, you should consider adding this to your pantry. Malt vinegar is the by-product of over-fermenting malted beer, and it has a stout, toasty flavor to match. It is known as a popular condiment for fish and chips, but it also goes fantastic in meat marinades and works well as a glaze for roasted winter root vegetables as well.
10. Chinese Black Vinegar
Another unique vinegar that will level up your cooking game, Chinese black vinegar, has a malty, earthy taste with faintly sweet undertones. It is also less acidic than most Western vinegar. You might also have heard of Chinkiang Vinegar, a particular type of Chinese black vinegar worth checking out. Most grocery stores do not carry this vinegar, so try your luck instead at the local Asian market.
If you have never really cooked with vinegar before, you might not know that different kinds offer a surprising range of acidity, flavors, colors, and more. Stocking a wide variety of cooking vinegar in your pantry will ensure that you are always ready for any cooking endeavor, whether it is pickling a bunch of vegetables or making a reduction for a delicate fruit dessert. Shout out your favorite cooking vinegar in the comments below, and let us know if we missed any of your go-to’s!
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domain: food


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A Bitcoin (BTC) exchange-traded fund (ETF) will most likely ultimately gain approval from the United States securities regulator, according to a commissioner. The comments were reported by political journal Congressional Quarterly in a forthcoming interview leaked on Twitter on Feb. 5.
Robert J. Jackson Jr., the Securities and Exchange Commission (SEC)’s only Democratic commissioner, said that despite its string of rejections of ETF applications last year, the practice will ultimately change.
“Eventually, do I think someone will satisfy the standards we’ve laid out there? I hope so, yes, and I think so,” he told the publication, according to the reportedly leaked interview excerpt.
One operator, VanEck, engaged in extensive dialog with the SEC, addressing various worries aired over its product. Last month, the U.S. government shutdown caused the application to be temporarily withdrawn, before making a reappearance a week later.
Discussing previous applications, Jackson meanwhile highlighted an effort for an ETF by Tyler and Cameron Winklevoss in March 2017 as a demonstration of how attitudes were changing along with the market.
“There you had a situation where the risk for manipulation and for people getting hurt was enormous. The liquidity issues in the market were very serious,” he continued.

domain: politics


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Pet Shop Boys today announce the release on DVD, Blu-ray and CD of their show ‘Inner Sanctum’, filmed at London’s Royal Opera House during a sold-out run last summer.
Staged by designer Es Devlin and choreographer / director Lynne Page, the show was filmed by director David Barnard and will be released on 12 April 2019.
The full-length film on DVD and Blu-ray is accompanied by two CDs of the complete audio of the live show plus a bonus feature of Pet Shop Boys live at Rock in Rio, which was filmed on 17 September 2017 at the Brazilian festival.
'Inner Sanctum' is available to pre-order now from the link below.


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Away teams randomly vanishing and then falling from 150+ meters
View Single Post
Join Date: Jul 2012
12-10-2012, 10:41 PM
All coordinates given with /loc.
I have this bug on facility 4028 (the prison from the Cardassian chapter). I've set up a fight between targs and feds. Near the end of the fight, the mobs start vanishing, spawning back in the center of the map. They spawn at -75/0/50. Some of them try to reset (I can see the teleporter animation), but are warped back. I also added a lot of invisible walls, because targs used to jump one on top of another (it was not intended, and no, they didn't make babies that way) and jump over the wall, even the tall walls. I added several invisible walls, so even if they skip one, they can't reach the player and reset back. Dunno if it's related.
My BOFF fall to this location for no reasons.
All of them spawn half buried in the ground, one on top of another. Ever seen a pile of targs ? Because I did. And no babies again.
Also, I have some mobs getting warped away from their spawn, into a wall. They should spawn on 50/-40/-20, and spawn around 95/0/-51 (13m away from me, inside a wall)
Those bugs are new, the map was working before New Romulus, I was just correcting the typos and grammar before publishing.
I don't know if it's happening only on preview mode or also when published, and this is annoying.
Last edited by erei1; 12-11-2012 at
. Reason: coordinates.

domain: game


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The War Between the States: Americas Uncivil War By John J. Dywer
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Hot off the press and more timely than ever, the brand new FOURTH edition of the book that retired UCLA history lecturer Roger D. McGrath called "The best textbook for the high school, preparatory academy or junior college I've ever read" packs a wallop you won't forget and is more timely than ever. It's the definitive story of America's uncivil war, which changed the nation more than any other event. Seven hundred action-packed pages that will forever change the way you view the Civil War. Featuring the incomparable paintings of John Paul Strain, over 500 photographs, maps, and charts, and dozens of biographies of politicians, theologians, writers, soldiers, inventors, spies, nurses, and journalists.

domain: history


I was just wondering what is the easiest way to implement a platform in HydroDyn when the platform/tower connection is above the mean free water surface. Is it possible to set the TwrDraft in the HydroDyn input file to for instance -3, if this is the deck clearence of the platform, or is the correct way to do it to set this parameter to 0 and then change the tower properties in the tower input file to also account for the part of the platform that is above the water surface?
To set the platform/tower connection above the still water level, you should set TwrDraft to a negative number. This will decrease the flexible tower length, such that the tower base is ABS(TwrDraft) above the still water level.
Is what you’re saying that the tower input file should not be changed because the code is programmed in such a way that setting TwrDraft to a negative number automatically cuts off a part of the tower? The way I did it was to also change the tower file and selecting a new number for TowerHt in the FST file. If the total length of the tower originally is 100 m (from MSL to hub height), and TwrDraft is -5 m, I also change the tower file such that tower length is 95 m. TowerHt in the FST file is set to 95 m. The mass of the platform that is above the MSL is then included in the platform mass matrix. I suspect that the approach I’ve been using might be wrong.
The tower in FAST is flexible between the tower base and tower top. The tower base is located a distance of TwrRBHt - TwrDraft above the MSL. The tower top is located a distance of TowerHt above the MSL. So, the flexible length of the tower equals TowerHt - TwrRBHt + TwrDraft. The distributed tower properties (mass per unit length, bending stiffness, etc.) in the tower input file are defined with regards to the nondimensional flexible tower length, with the tower base at 0.0 and the tower top at 1.0. (Please note that all of these distances are for the undeflected system; turbine deflections will change these throughout the simulation.)
I hope that clarifies things.


Apple’s iOS remains the top selling smartphone platform in the US, according to a new report released Monday by Kantar Worldpanel ComTech.
Looking at the 12-week period ending November 25, 2012, Kantar said Apple’s market share was at 53.3 percent. This is the first time iOS has broken the 50 percent barrier, according to the research.
In the same period, Kantar said that Android sales declined 10.9 percent, leaving it with 41.9 percent of the market.
“The iPhone 5 has been successful this period however we also see that Apple’s older models – the iPhone 4S and 4 have also contributed to the growing share of iOS,” said Kantar Worldpanel ComTech analyst Mary-Ann Parlato. “This is particularly the case for first-time smartphone iPhone buyers where we see the older models still selling well amongst this group.”
An interesting note in the research is the breakdown of iPhone purchasers in November. According to Kantar, 27% upgraded from another smartphone OS, 34% upgraded from a previous iPhone and, 40% upgraded to their first smartphone.


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20th and 21st Century Literature, Creative Writing and Film Research Group
The 20th and 21st Century Literature, Creative Writing and Film research group promotes interdisciplinary research and teaching in all aspects of twentieth century literature, culture and media. Based within the College of Humanities, the research group is characterised by intellectual expertise, strong archival holdings, a thriving postgraduate community and internationally recognised academic events. Its researchers have achieved success in obtaining support from the AHRC, British Academy and others.
The Research Group enjoys substantial archives including the South West Literary Collection (with papers relating to Ted Hughes, Daphne Du Maurier, John Fowles, John Betjeman, Agatha Christie, Henry Williamson and others) and the Bill Douglas Cinema Museum, as well as benefitting from locally-based writers hosted under the Royal Literary Fund Fellowship scheme and Arts Council funded residencies.
A vibrant community of PhD students also research the twentieth and twenty first centuries at Exeter. Current research areas include: postcolonial aesthetic theory, film adaptation, Medical Humanities, Espionage fiction, Modernism, the urban elegy, poetic composition and contemporary landscape writing.
Significant research publications
- Sinéad Moynihan: "Other People's Diasporas": Negotiating Race in Contemporary Irish and Irish-American Culture (Syracuse University Press, 2013)
- Tim Kendall: The Art of Robert Frost (Yale University Press, 2012)
- Eds. James Lyons and Paul Williams: The Rise of the American Comics Artist: Creators and Contexts (University Press of Mississippi, 2010)
- Alex Murray: Giorgio Agamben (Routledge, 2010)
- Vike Plock: Joyce, Medicine, and Modernity (University Press of Florida, 2010)
- Jason Hall: Seamus Heaney’s Rhythmic Contract (Palgrave Macmillan, 2009)
- Jo Gill: The Cambridge Introduction to Sylvia Plath (CUP, 2008)
- Leverhulme Trust “Cultures of the Suburbs International Research Network” (PI) (£68,836 for 3 years from Sept 2011)
- Eccles Centre Visiting Fellow in North American Studies (2010-11)
- Arts and Humanities Research Council Research Leave Scheme (£23,543) for The Poetics of the American Suburbs (July 2009 for autumn term 2010)
- 2012 Leverhulme International Network grant of £88,089 pounds over two years for his project "Chinese Cinemas in the 21st Century: Production, Consumption, Imagination."
Dan North, Philip Wickham, Richard Evershon (Engineering) and John Plunkett
- have been awarded a grant of £1540 from Bridging the Gaps for a project to make a short 3-D film about the the history of 3-D pictures using the Bill Douglas Centre archive.
- March 2010 H. D. Fellowship in English or American Literature ($4,000 plus travel stipend), Beinecke Rare Book and Manuscript Library, Yale University Library ( Edith Wharton, Fashion, and Social Regulation).
- with John Plunkett of £225,000 bid to ‘Visual Arts and Media: practice, history, theory’ AHRC panel for project titled: ‘Moving and Projected Image Entertainment in the South-West: 1820-1914’. The project will take place across three years, with a project team including Dr John Plunkett, myself, a postdoctoral researcher, and a fully funded PhD student.
Tim Kendall & Jo Gill
- 2007- present: Great Western Research grant (£40,000) for funded PhD on Ivor Gurne.
- British Association for American Studies Honorary Fellowship 2010-2011 (in recognition of distinguished contributions to American Studies.
- Medicine, Health & the Arts in Post-War Britain (seminar series to be held Feb-July 2012, funded by the Wellcome Trust).
- 29 June 2012 Re-Visiting Sylvia Townsend Warner (1893-1978): A One-Day International Symposium hosted by the Centre for South West Writing, University of Exeter and the Dorset County Museum
- British Association for American Studies Annual Conference, University of Exeter (2013)
- From The Cradle to the Grave: Reciprocity & Exchange in the Making of Medicine and the Modern Arts (2011, funded by the AHRC)
- International conference “Reclamation and Representation: the boundaries of the literary archive.” University of Exeter 2nd – 3rd October 2010, supported by the Centre for South West Writing
- Critical Theory: Violence & the Limits of Representation (2010)
- Critical Theory: The Text & the World (2009, funded by the AHRC)
My PhD project 'Reconfiguring Bombay: Postcolonial Poetry and Urban Space', considers how Bombay has been figured in poetic discourse since Independence. I focus on the work of the founding members of the small press Clearing House, examining the spatial and cultural significance of marginal poetic communities in the postcolonial city. The project is supervised by Dr Jane Poyner. Wider research interests include postcolonial aesthetic theory, postcolonial methodologies, Bombay little magazines, and poetics.
Thesis title: ‘The Worlds that Were and Will Be’: Consolable and Inconsolable Voices. The Death Poetry of D. H. Lawrence and Walt Whitman.
"My thesis looks at the filmic and televisual adaptations of Jane Eyre and Wuthering Heights, exploring historical and formal questions concerning the representation of masculinity and Rochester and Heathcliff as Byronic figures in their literary and visual incarnations."
'Mapping New Jerusalem: Space, National Identity and Power in British Espionage fiction 1945-79' supervised by Dr. Alex Murray and Professor Gerald Maclean. My doctoral thesis concentrates on the popular prose fiction of Ian Fleming, Graham Greene and John le Carré. I examine the production of space as a means of creating national identity and sovereign dominance throughout espionage fiction. Wider Research Interests:Modernism, Antimodernism, critical theory, the later novels of J.G Farrell & the 1970s, Medical Humanities.
I am currently researching towards a PhD focusing on the development of the zoom lens in Hollywood from the postwar period to the rise of the 'New Hollywood'. This research represents a progression from my MA dissertation, which advanced an in-depth case study of the development of new 10:1 zoom lenses by the French firm Angenieux.
My thesis 'Writing Outside Voices and Outside History', asks: how can the novel utilise 'gothic' imagined places and un-space to explore post-war guilt and social change? What are the challenges of writing about the remote past and creating believable imagined landscapes? What is the relationship between these lost worlds and the remote inner landscapes of “outsider” characters? What role can we ascribe to female characters in literatures dealing with foreignness and destabilizing encounters with the "Other"?
Philip has reorganised and catalogued the extensive archive of the Gloucester poet and composer, Ivor Gurney (1890-1937), and is endeavouring to complete his thesis looking at the development of Gurney's poetry of war following the First World War, supervised by Professor Tim Kendall. Philip is an acknowledged expert on British art music of the early twentieth century on which subject he has lectured and written widely.
My thesis ‘T. S. Eliot's Voices’, supervised by Vike Plock and Jason Hall, focuses on Eli ot's anxiety over the fallibility of the speaking voice. My wider research interests include historical perspectives on the physiology of the voice and associated speech disorders, and the use of electrotherapy in the treatment of such disorders. I'm particularly interested the oral recitation of Modernist poetry, and the use of voice and rhythm in the transformation and extension of meaning.
My thesis focuses on twentieth-century elegiac geographies, supervised by Jason Hall and Adeline Johns-Putra and funded by the European Social Fund. My thesis examines the littoral elegy and its traditions and conventions, analysing, for example, Sylvia Plath's "Berck-Plage" and Elizabeth Bishop's "North Haven", and the urban elegy, focusing on Douglas Dunn's Elegies and Ted Hughes's Birthday Letters.
Thesis titled “Poetry in the Making: composition and poetic process in the work of Ted Hughes”, supervised by Tim Kendall and Jo Gill.
'An Archipelagic Environment: Rewriting the British and Irish Landscape in the Twenty-First Century', a study of a disparate cross-section of such authors as Tim Robinson, Andrew McNeillie, Kathleen Jamie, Robert Macfarlane and Alice Oswald, among others. The project is supervised by Andy Brown and Andrew McNeillie.
My PhD research focuses upon the national film production of Belgium to explore the transnational connections forged between nation-states in Europe, predicated upon a linguistic allegiance. My area of study is interdisciplinary, blending together French language studies, and ‘La Francophonie’, with Film Studies.
My doctorate is titled, The Art of Witness: a Poet's Road to Afghanistan with the Infantry, 2008-2011. I am examining the ethics, aesthetics and context of non-combatant war artists. I'm working with Professor Tim Kendall and Andy Brown, and am interested in war studies and military culture, theology, theatre, music, English literature (primarily war poetry), film and middle eastern culture.
My thesis title is 'After Ariel: Sylvia Plath and Late Style'. Supervisors, Professor Tim Kendall and Dr Jo Gill. More widely I am interested in aspects of influence and intertextuality and in twentieth century British, Irish and American poetry. I had a BAAS short term travel award to visit the Plath archives at Smith College this year.
MA English: Twentieth-Century Literature
The Department of English at Exeter has considerable expertise in the area of twentieth-century literature. Research topics range from English poetry of the First World War, modernism and mid-century confessional writing to contemporary comic books and the postcolonial novel. The MA pathway reflects that variety, and allows students to adapt the course to their own specialist interests.
Students opting for the MA in English Studies with Twentieth-Century Literature Pathway will choose two of the available twentieth-century literature modules, two other English modules (which might be in twentieth century film, creative writing, American literature, or any other literary topic), and complete a Dissertation in the area.
For more information including entrance requirements and how to apply, visit the MA English: Twentieth-Century Literature.
Special Collections holds 350 collections of archives and manuscripts. These include the richest collection of twentieth-century literary papers by writers associated with the south west of England in any university library. Writers represented include Ted Hughes, Leonard Baskin, John Betjeman, Daphne du Maurier, Henry Williamson, Charles Causley, Patricia Beer, Theo Brown, Jack Clemo, TS Eliot, John Fowles, Eden Phillpotts, Lawrence Sail, John Fairfax, John Moat, Sylvia Kantaris, Agatha Christie, Frances Bellerby, Arthur Caddick, RF Delderfield, James Farrar, A L Rowse, and Flora Thompson.
The collections are used extensively in University teaching and research programmes. We also have strong links with other regional, national and international institutions, engaging in outreach and collaborative projects which benefit both the University and the broader community.
The Bill Douglas Cinema Museum
The Bill Douglas Cinema Museum contains both a public museum and an academic research centre, housing one of Britain's largest public collections of books, prints, artefacts and ephemera relating to the history and prehistory of cinema. The Museum provides a research collection of international stature, illustrating the development of optical recreation and popular entertainment from the late 18th century to Classical Hollywood and the present day. Complementing the University's existing extensive resources for the study of popular culture, the Collection's 18,000 books gives Exeter the country's largest university library on cinema.
Professor Tim Kendall – 'War Poetry Blog'
Andy Brown - andybrownpoetry.blogspot.com
Dr Dan North – 'Spectacular Attractions: film in all its forms'
Philip Lancaster – Ivor Gurney Blog
Carrie Smith and Dr Lisa Stead - Reclamation and Representation: the Boundaries of the Literary Archive
- 30th January 2012 - Bryony Dixon, Silent Film Curator at the BFI, 'Why Silent Film Still Matters', Seminar Room A/B in the Research Commons at 6.30pm.
- 19th March 2012 - Santanu Das (Queen Mary) 'The Indian Sepoy in the First World War: Objects, Images and Words' 4-6 in MR1.
Staff and PhD Research Papers
All Staff Research sessions take place on Wednesdays 1-2 in LT7, Queens Building.
Wed 25 January 2012: Elizabeth Micakovic, ‘T. S. Eliot’s Ineffable Voices’
Wed 15 February 2012: Dr Vike Plock, ‘The Search for the Dress, the Perfect Dress”: Sartorial and Socio-Psychological Impasses in Jean Rhys’s “Left Bank” Fiction’
12 December 2011 - Celeste-Marie Bernier (Univeristy of Nottingham) ‘Narrative, History and Memory: Representing World War I in African American Visual Culture" Queen's MR3, 5pm. Part of Visual Culture lecture series.
- 'Lo-fiying Stars': cult directors and Mumblecore.'
Wed 7 December 2011: Rebecca Mills, ‘Transcendence vs Immersion: Twentieth Century Elegiac Perspectives and Littoral Geographies’
Mon 5 December 2011: Dr Jo Gill and Dr Martin Dines (Kingston), Research Roundtable, ‘The Culture of the Suburbs’
9 November2011: Prof Gabriella Giannachi (University of Exeter), ‘The Documentation and Archiving of Mixed Reality Experience: from CloudPad to Art Map’.
- 2 November 2011: Matt Hayler (University of Exeter), ‘Implications and Provocations: Interdisciplinary Responses to Digitisation’
- 25th October 2011 Paul Muldoon 'The University as Patron of the Arts'
Professor Gabriella Giannachi
Professor Gabriella Giannachi is Director of the University-supported Centre for Intermedia and Creative Technology and her current research interests are: art and technology; exhibition, documentation, archiving and replay; mixed and virtual reality; presence; environmental and ecological performance; and art in the San Francisco Bay area.
Professor Tim Kendall
Professor Tim Kendall has written mainly on twentieth-century poetry from Britain, Ireland and America. His most recent publications have focused on war poetry: Modern English War Poetry (2006); and The Oxford Handbook of British and Irish War Poetry (2007). Previous projects include studies of Sylvia Plath and Paul Muldoon. Currently he is working on a study of the American poet Robert Frost, a book on war poetry for OUP's Very Short Introductions series, an anthology of First World War poetry and (with Philip Lancaster) Ivor Gurney's Complete Poems.
Professor Helen Taylor
Professor Helen Taylor has published widely on American southern literature and culture, and is also known for feminist critical articles and editions, as well as engagement with radical pedagogy. Her books include Scarlett's Women: Gone With the Wind and its Female Fans (1989), and Circling Dixie: Contemporary Southern Culture through a Transatlantic Lens (2001). Her current research project focuses on the transatlantic historical and cultural significance of the Storyville District of New Orleans, 1897-1917.
Dr Jo Gill
Dr Jo Gill's research focuses on confessional and life-writing, mid-twentieth century American poetry, and the literature and culture of the American suburbs. Her recent books include edited collections on Modern Confessional Writing (2006) and Sylvia Plath (The Cambridge Companion to Sylvia Plath). She is the author of Anne Sexton's Confessional Poetics (2007); Women's Poetry (2007) and The Cambridge Introduction to Sylvia Plath (2008). She is currently completing work on a new book, The Poetics of the American Suburbs.
Dr Jason Hall
Dr Jason Hall's research focuses on the literary and cultural history of the nineteenth and twentieth centuries, with emphasis on poetry and 'historical prosody'. His books include Seamus Heaney's Rhythmic Contract (2009), a co-edited 2007 collection Seamus Heaney: Poet, Critic, Translator and the forthcoming Meter Matters: Verse Cultures of the Long Nineteenth Century (2011).
Dr Sinéad Moynihan
Dr Sinéad Moynihan's areas are Twentieth-century American literature; African American and Ethnic American literature; Contemporary American fiction, 1990s to present; Contemporary Irish fiction, 1990s to present; Race, Racial Passing, Whiteness Studies and the Black Atlantic; and Transnationalism and Diaspora; Irish/American Transatlantic Culture. Forthcoming publication: "Other People's Diasporas": Negotiating Race in Contemporary Irish and Irish-American Culture (2013).
Dr Vike Martina Plock
Dr Vike Martina Plock has published widely on James Joyce and specifically on Joyce's lifelong interest in medicine and science. Her monograph on the subject is Joyce, Medicine, and Modernity (2010). Vike is curently researching the centrality of fashion as a cultural force and discourse in the works of early twentieth-century women novelists. Vike has also developed an interest in middlebrow literature and its contentious relationship with literary modernism.
Dr Jane Poyner
Dr Jane Poyner's areas are South African literature of the apartheid and post-apartheid eras; South African intellectual history; the South African Truth and Reconciliation Commission; postcolonial literature and theory, particularly the politics of writing and intellectual history; literary, critical and cultural theory; and modernism. Jane Poyner's long-term research project is a book titled Writing Under Pressure: the Ethics of Intellectual Practice in Post-Apartheid South Africa.
Dr Paul Williams
Dr Paul Williams's research focused on Cold War texts and examined the interplay of gender and race in Hollywood's depiction of the Vietnam War. This work grew to asses the possible postcolonial future of Nuclear Criticism. He is interested in the growing academic study of comics and graphic novels. His published research includes the co-edited collection The Rise of the American Comics Artist (2010).
Dr Helen Hanson
Dr Helen Hanson's monograph Hollywood Heroines: Women in Film Noir and the Female Gothic Film (2007) analyses female investigators and gothic heroines in Hollywood cinema from the 1940s to the present. The book incorporates industry and generic histories, theories of narrative, agency and identification to offer fresh perspectives on gender and genre.
Joe Kember's research addresses the development of popular and visual entertainments throughout the Victorian period and early twentieth century, including traditions of performance and representation in early and silent film, magic lantern shows, music hall, fairground, and melodramatic theatre. His co-authored book, Early Cinema 1895-1914: From Factory Gate to Dream Factory (2004) offers an introduction to this field.
Dr James Lyons
Dr James Lyons is currently researching stardom and performance in recent American Independent Film, and is developing a major new research project on stunt performance and discourses of risk in cinema. He has recently published a book on the television show Miami Vice (2010), and has co-edited The Rise of the American Comics Artist with Paul Williams (2010).
Dr Andy Brown
Dr Andy Brown's writing is informed by post-postmodern concerns and the tensions between traditional form and literary innovation. His poetry publications include Goose Music (Salt, 2008) with John Burnside; The Storm Berm (Tall Lighthouse, 2008); Fall of the Rebel Angels: Poems 1996-2006 (Salt, 2006) and five previous volumes of poetry.
Mr Sam North
Mr Sam North's areas are current fiction in both dramatic and prose form; the history of narrative and genre development; and the mechanical/imaginative processes of story-telling. Sam North is currently developing a PhD titled ‘Five Analogies' to be published by OUP which explores the imaginative landscape of narrative from a practitioner's point of view.


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New DEAR Campaigning & Advocacy Video Launched
Shared across social media today with the hashtag #DEARProgramme, the European Union’s Development Education and Awareness Raising programme has created a new video giving an overview of the kind of work that DEAR-funded projects do in campaigning and advocacy.
As a DEAR-funded project, Bridge 47 is delighted to connect with other activity happening across Europe and organisations that are, as the video states, amplifying citizens’ voices on the important issues of today.
The principles of Global Citizenship Education are emphasised by the video’s focus on the strength of collective action, as active citizens come together to advocate for change - in both physical and virtual spaces.
At the moment, the future of the DEAR programme, along with the rest of the EU budget, is being negotiated. As these conversations take place, there is an opportunity to ensure that the EU budget is more closely linked to the Sustainable Development Goals set in Agenda 2030. This also holds true for the DEAR programme, as it covers Global Citizenship Education, which is a key instrument for achieving Agenda 2030.
You can read insights from DEAR programme projects, including in response to Covid-19: https://europa.eu/capacity4dev/dear/news/learning-dear-projects

domain: sociology


His team was struggling against Esperanza High School Wednesday night, so Los Alamitos guard Brett Pagett took things into his own hands. But he didn't keep them there.
No, Pagett shared the wealth, not only scoring himself but handing out assists like party favors. Controlling the pace of the Empire League game in the second half, Pagett led Los Alamitos to a 70-53 victory over host Esperanza.
"He really took charge," said Griffin Coach Steve Brooks, whose team won its fourth consecutive Empire League game. "He helped us get the job done inside."
In the first half, the Griffins struggled to get there, and when they did, 6-foot 8-inch center Dre Lamoureux had trouble getting it into the basket, shooting just 2 of 7 from the floor in the first two quarters.
But in the third quarter, Lamoureux scored 10 quick points, almost all on assists from Pagett.
Pagett dribbles down the court, pulls up at the three-point line, passes inside to Lamoureux. Lamoureux scores.
To keep from getting repetitious, Pagett occasionally just pulled up at the line and shot the ball himself, hitting three three-point shots in the third quarter and four in the game.
Pagett finished with 26 points and 10 assists. Lamoureux scored 23 points for Los Alamitos (13-6, 4-0).
"We had shut them down in the first half," Esperanza Coach Mike Morris said. "But the kids were unbelievably fatigued in the second half."
The teams were tied, 16-16, after the first quarter, and the Aztecs opened up a nine-point lead before Esperanza guard Gary Brushwyler went out with a ankle injury midway through the second.
The Griffins cut it to 29-26 at halftime and outscored Esperanza, 44-24, in the second half.
"That hurt our quickness," Morris said of the loss of Brushwyler. He played sparingly in the second half, and the extent of his injury was unknown.
Guard Roger Weems scored 13 points for Esperanza (9-8, 2-2) and Matt Werner added 11 points and 8 rebounds.
El Dorado 66, Loara 65 (OT)--Forward Chris Facione scored 30 points for El Dorado (10-6, 3-1) at home, and teammate Charlie Stevens added 12 points. The score was tied, 56-56, at the end of regulation. Ted Buchanan and Monttes Whitock each scored 16 points for Loara (4-11, 0-4).
Cypress 76, Katella 62--Host Cypress jumped to a 23-18 first-quarter lead and never trailed. Greg Bedford led Cypress (5-12, 2-2) with 32 points. Joe Pinkston added 18 and Bond Weaver 15.
Ian Donnelly had 21 points for Katella (1-3 in league).


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AMT BRIDLE – 72% reduction in NG Tube pull-outs…
Preserving “precious” tubes line naso-jejunal tubes… and improving patient outcomes.
When NG tubes don’t stay in place Bridle affords clinicians valuable time to determine the most appropriate nutritional program for their patients. Easily placed by passing tiny catheter-mounted magnets, Bridle’s clip grips the NG Tube to positively secure it in place. Early and potentially unnecessary PEG tube placements can be avoided. Available in paediatric and adult sizes.
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High definition P8 outdoor full color portable outdoor led stage
P8/P10/P12/P16 outdoor LED screen adopts physical and virtual pixel
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|2||Density per sqm||15625 pixel|
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The intercept area of the live wire is the same as the null.


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When it comes to homemade dog treats, Miss Molly and the pack are front and center! You can bet they will always be ready for delicious goodies baked up just for them! We bake up quite a few of own around here, but the pups insisted on me finding some new fun flavors. So, we asked our friends to share what makes their pets woof and meow! Take a look at these TASTY 25 Homemade Pet Treat Recipes! Miss Molly and the pack, along with your pets, are sure to drool just dreaming about them!
We are working our way through trying these delicious new homemade pet treat recipes but we also have an arsenal of favorite pet recipes ourselves!
The pup’s favorites are the Oatmeal, Peanut Butter & Banana Dog Treats, while our kitty cat friends are licking their lips at our yummy Homemade Salmon Cat Treats!
Now, let’s get on to the drool-worthy …
Homemade Pet Treat Recipes
Photo Credit: The Flying Couponer, Chicken & Parsley Dog Biscuits
Your dog will beg for these tasty Chicken & Parsley Dog Biscuits from The Flying Couponer! These yummy dog treats are made with wheat flour and other wholesome ingredients making them a healthy treat. In addition, they are filling and delicious.
Photo Credit: Three Little Ferns, Bacon Cheddar Dog Treats
These tasty Bacon Cheddar Dog Treats from Three Little Ferns feature two favorite flavors of all pups bacon and cheddar! Oh, my! Let the drooling begin! The yummy dog treats are easy to make and then just pop in the oven and bake.
Photo Credit: Spaceships and Laser Beams, Easy Homemade Cat Treats
We can’t leave our kitty cat friends out! They love homemade treats too! This Easy Homemade Cat Treats from Spaceships and Laser Beams makes the puuurfect treat for your feline friend! They are shaped like super cute little fish and have a crunchy texture and flavor kitties love!
Photo Credit: Sweet ReciPeas, Pumpkin Peanut Butter Pretzel Twist Dog Treats
Your pups will love these softer Pumpkin Peanut Butter Pretzel Twist Dog Treats from Sweet ReciPeas! You make these tasty grain-free treats with oat flour, organic pumpkin, peanut butter powder, and an egg. This tasty combination is sure to please any pup!
Friday 15th of January 2021
There's nothing better than a happy pup with a full belly! Thanks for sharing!
Saturday 28th of November 2020
Wow, these would spoil our pets rotten. They will begin demanding homemade treats, lol. Thanks for posting!
Sunday 22nd of November 2020
So many wonderful and I'm sure tasty dog treats here, I bet the dogs go crazy over those banana squash treats. @tisonlyme143
25 Homemade Dog Treat Recipes Your Dog Will Love – Mr Dog Food
Wednesday 9th of September 2020
[…] Miss Molly Says: 25 Homemade Pet Treat Recipes to Spoil Your Pets With! […]
Saturday 15th of August 2020
Great homemade pet treat recipes I have bookmarked and plan on making many of them! Thank you!


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Who doesn’t love to travel, right?
Once that travel bug has bitten you, crawled under your skin and infected your soul, it’s hard to sit still.
Sometimes travelling solo can teach us more than we knew we needed to learn. To be pushed outside your comfort zone, outside of the ordinary – this is where we truly learn.
Do you enjoy travelling? Or do you simply want to go travelling but don’t know where to start? Then you’ve come to the right place my friend. You’ll find our pages vast repositories of solo travel goodness, and we hope to not only inspire you, but to also give you the tools you need to make it all happen.
Oh, and if you have a story to tell and want to share your own experiences of going down the solo travel rabbit hole, then do get in touch with us – we’d love to hear about it.
In the meantime, enjoy exploring the globe!!

domain: hobby


The new Mercedes-Benz E-Class Coupé offers users a luxurious combination between a grand tourer and cutting-edge technology. The Coupé is equipped with smartphone integration, Widescreen Cockpit, and advanced driver assistance systems that can support partially automated driving. Users can also experience a powerful driving experience with low emissions and selective damping suspensions.
The Coupé showcases the evolution of Mercedes-Benz design language, with a puristic design renowned for its reduced lines, sensual surfaces, and perfect proportions. All these features, as well as intelligent luxury, sporty agility, and technological intelligence cover the exclusive and refined driving experiences of the Coupé. According to Professor Dr Thomas Weber, Member of the Board of Management of Daimler AG and responsible for Group Research and Mercedes-Benz Cars Development: “With its clear, aesthetic lines, our new Mercedes-Benz E-Class Coupé appeals equally to heart and mind. It condenses contemporary luxury, agile sportiness and high-tech engineering into an automotive personality with esprit, offering exclusive, refined driving pleasure.”
Treat yourself to luxury with Mercedes-Benz E-Class Coupe 2017 posters, mouse pads, t-shirts, and calendars. Get the latest and greatest from Mercedes-Benz on your wall, desk or wardrobe. Make a great impression and show your style with Mercedes-Benz E-Class Coupe 2017!


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Tasmanian authors have demonstrated their breadth of talent when it comes to telling the stories of our place, dominating the longlist for the State’s most prestigious history book prize.
Nine books have made the longlist for the State’s most significant book prize, the Dick and Joan Green Family Award for Tasmanian History.
Of those, six were either University of Tasmania alumni, or current or former staff. This includes a book co-authored by the University’s Pro Vice-Chancellor Aboriginal Leadership Professor Greg Lehman.
Other alumni and staff include: Dr Jacqueline Fox, Dr Alice Meredith Hodgson, Dr Grant Finlay, Dr Eleanor Robin and Dr Nick Brodie.
The $25,000 biennial award recognises high-quality published works that make a significant contribution to our understanding of Tasmania’s past and seeks to celebrate books on the island’s history and cultural heritage.
Among the works recognised are two stories about Tasmania’s Black War, the first whitefeller ferryman on the Arthur River by former West Coast author Pam Wood and the plight of child prisoners sent to Van Diemen’s Land by a former editor-in-chief of The Age and Herald Sun, Steve Harris.
The full longlist can be found here.
Chair of the award’s judging panel and Executive Dean of the College of Arts, Law and Education at the University of Tasmania, Professor Kate Darian-Smith, said a depth and richness of scholarship shone through from the entries.
“We are seeing a wonderful vibrancy and diversity in books about Tasmanian history and heritage, with some finely produced books by a range of publishers,” Professor Darian-Smith said.
“This level of interest in telling stories of our place, its people and communities indicates the richness of Tasmanian history, not just for local readers but in contributing to Australia’s development and place in the world.”
The award was set up to commemorate and celebrate the contribution Joan Green, and her late husband, Dick made to Tasmania.
Both from Launceston, the Greens were key players in the establishment of the National Trust and have been strong supporters of the arts and many community organisations.
Dick Green was a former alderman and Mayor of Launceston and served on various boards, while Joan Green was a champion golfer and, for more than 50 years, has contributed to a variety of organisations.
Speaking on behalf of the Green family, Caroline Johnston, one of Dick and Joan’s daughters, said:
“The family is pleased to see the announcement of the longlist with such a diverse range of people and their stories from Tasmania’s past.”
The shortlist for the award, which is managed by the University of Tasmania, will be announced in May 2020, with the winner revealed in June.

domain: library


text:
'Green Funds' gain ground
Socially responsible mutual funds "have been gaining interest as people begin to align their personal principles with their investment approach," says Ed Rosenbaum, vice president of research at Lipper Inc.
Approximately $10 billion is currently invested in socially responsible mutual funds, Mr. Rosenbaum notes. Many focus on environmentally friendly companies.
But because of the range of different kinds of funds available, "you have to make sure your personal view of what constitutes socially responsible investing is in line with the fund's objectives," he says. "When you group [socially responsible] funds by investment-group objective - like small cap or large cap - they're right in line with their peers, and many of them are superstars within their categories," Rosenbaum says.
(c) Copyright 2000. The Christian Science Publishing Society

domain: economics


I have finally exhausted all the dye baths from Farm Aid! Here are some photos of the process, plus some of the ratios and measurements for each plant material. I didn’t keep close track of the times and temperatures during the demo itself because it was so busy. Each bath with the plant material heated for at least an hour, and some of them heated for longer.
As I mentioned in the first post, I used madder root, weld, orange cosmos, and marigolds. All the yarns at the demo were 4 ounces of 4-ply wool. They were pre-mordanted with aluminum sulfate at 1 tablespoon per 4 oz. fiber, and cream of tartar at 1 teaspoon per 4 oz. fiber. As I got further along with the exhaust process, I switched to alpaca yarns, pre-mordanted at the same ratios. All the exhaust baths were heated to about 140-160 degrees, kept at that temperature for an hour, then cooled overnight.
Madder: I used 10 ounces of chopped, dried madder root to make the dye bath. Some was from Aurora Silk, some was from my mom’s place in New Hampshire, and some was from my school’s dye and fiber plant garden at Bramble Hill Farm in Amherst, MA. Before the demo, I soaked the roots for 24 hours in about a gallon of water, with a teaspoon of calcium carbonate and a teaspoon of soda ash. The day before the demo I did the first extraction of the roots, heating them up to about 160 degree, maintaining that for about an hour, and then letting them steep overnight. The temperature accidentally got up to 200 degrees for a short time. I extracted the roots a second time at the demo in another gallon of water, then combined the two dye baths.
Weld: I used 8 ounces of weld to make the dye bath. The weld was from the dye plant garden at Bramble Hill Farm. It was dried and chopped up. I didn’t soak it ahead of time, but I did extract the plant material twice during the demo. I didn’t put in any soda ash or chalk at first, so the color didn’t bloom until after I strained out the plant material and adjusted the chemistry. After that, I kept the pH around 8.
Orange Cosmos: I used about 16 oz. frozen orange cosmos from our community garden plot at Amethyst Brook and the Bramble Hill garden. I kept the flowers frozen until right before I put them into the pot of water. After I extracted the flowers, I added soda ash to keep the bath around pH8.
Marigolds: I used 6 ounces of dried marigolds picked at our CSA, Next Barn Over, in Hadley, MA. I don’t know the variety, but they were huge and eye-poppingly bright! I didn’t adjust the pH or use other additives.
Here are four exhaust dye baths on the stove on September 24th, two days after the event. All of these skeins are the 4-ply wool mill ends from Webs that I used at the demo.
The weld dye bath got stinky within a few days, so I wrapped that one up first. Here are the weld-dyed skeins rinsing in the bathtub:
I have seldom gotten such an orangey-yellow from weld. I used cream of tartar along with the aluminum sulfate when I mordanted these skeins, and I wonder if that made the difference. Otherwise, my treatment was the same as usual, i.e., I bumped up the pH and mineral content with calcium carbonate and soda ash. Here they are hanging on the rack to dry. The skeins are hanging from left to right in the order in which they were dyed:
Here they are all dried and twisted neatly. The total weight of all four skeins was 16 oz:
For the orange cosmos baths, I kept the pH up around pH 8-9 by adding soda ash solution, which contributed to the surprising redness. It was also a really strong bath!
Here are all the orange cosmos skeins dripping and drying outside. They are really vivid because they are still wet in this picture. Fiber is always lighter when it dries.
I always do a delayed rinse on my fiber, which means that after I pull a skein out of the dye bath, I wait until it’s dry to wash and rinse it. The two on the right, above, are wool. The one on the far right went into the strongest dye bath. The one second from the right was the first exhaust bath. The thinner skeins from the middle to left hand side are alpaca fiber. In this photo, I hung the skeins slightly out of order. The larger, more orangey skein second from the left was the third in the sequence, and the teensy ones in the middle were, in fact, in the fourth bath. The pale pinkish one on the far left was last.
Orange cosmos is not the most lightfast dye plant, but it’s bright and easy to grow and looks extremely cheerful in the garden. And I love orange. Here’s how the skeins looked once they were dry, in front of an autumnal maple. This time they are hanging from left to right, strongest bath to weakest. The woolen skeins together weigh 8 oz. The alpaca skeins together weigh 12 oz:
Here are the madder skeins this afternoon under the same maple tree:
The three skeins on the left, above, are 4-ply wool, hung in the order in which they were dyed, strongest bath to weakest. The thinner skeins on the right are alpaca. The three woolen skeins together weigh 12oz., and the alpaca all together weigh 16 oz.
Again, the skeins on the left are wool, and the skeins on the right are alpaca. The two woolen skeins together weight 8 oz. the alpaca skeins together weigh 12 oz.
Here are the madder, cosmos, and marigolds skeins hanging all together on October 20th. I liked the way the skeins echoed the color in the trees, so I didn’t include the weld skeins.


text: One of the most challenging things in life is to forgive someone. Forgiving someone and meaning it is a difficult task to do mostly because the people who got hurt dont feel as if the ones who hurt them deserve it. What people dont know is that forgiveness isnt for the ones who hurt you, its for yourself. People also tend to forget that just because someone apologizes to you doesnt mean you have to forgive them. Forgiveness takes time; it’s not an overnight thing, but never forgiving someone can hurt you in the long run rather than help you.The reason why forgiveness is so hard is that people will hold grudges. They think that holding this grudge will either punish the one who hurt them or protect them from getting hurt again. The only thing holding a grudge will do is harm you, not the other person. It disrupts your ability to cope with or resolve your issues and keeps you stuck in the past. Forgiveness can give the feeling of freedom because you choose to separate yourself from the negative outcome you had experienced in the past. It might not happen immediately because, like all things, it takes time for you to realize that you chose to get better and move on rather than stay in the past. Now dont think that just because you forgive someone it excuses what they have done or that you should forget about it. Knowing the differences between forgiving and forgetting is something everybody should know. Forgetting means believing what happened didnt happen and thats not a healthy way to live. The reason you need to remember what happened to you is so that you can learn from the experience you gained no matter how painful or small it may be. Forgetting about something doesnt make it better but forgiving them can help the wound they have given you. You also do not have to trust the person who hurt you just because you have forgiven them. Trust can be rebuilt but that doesnt mean it has to be the same type of trust you had in that person before or that it has to be built back up thats completely up to you not other people. Forgiving is hard but not impossible. It might come naturally to you or it might not but know that forgiving someone is more beneficial to you than it is to the other person. Know you dont have to forgive someone right away or that you have to forgive them if they apologize to you. Remember forgiveness is for you and only you, never for the other person. You are the one who will feel something positive they might but guilt is more to what they will be feeling for what they have done. It might seem that it is for them but you are the ones choosing to overcome your negative experience and moving on with your life. Thats what true forgiveness is. I know this because I had to learn how to forgive others after they hurt me.Simply press the button, and we’ll handle the rest!


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domain: design


Prime Minister Harper Announces NRC Arctic Program
WHITEHORSE — August 21- Prime Minister Stephen Harper has announced the launch of the National Research Council (NRC) Arctic Program. As part of the Arctic Program, the NRC will enter into research partnerships, which focus on technology aimed at improving the lives of Northerners and advancing Northern economic development. The announcement took place at the Yukon Cold Climate Innovation Centre, within the Yukon Research Centre of Excellence at Yukon College, where the Prime Minister highlighted NRC-supported practical research into high efficiency home insulation suited for Northern climates. The announcement was made during the Prime Minister's ninth annual Northern Tour, taking place from August 21 to 26, 2014. He was joined by Ed Holder, Minister of State (Science and Technology), James Moore, Minister of Industry, Bernard Valcourt, Minister of Aboriginal Affairs and Northern Development, Leona Aglukkaq, Minister of the Environment, Minister of the Canadian Northern Economic Development Agency and Minister for the Arctic Council, and Ryan Leef, Member of Parliament for Yukon.
The NRC Arctic Program will focus on four main priority areas: resource development; northern transportation and shipping; marine safety technologies; and community infrastructure.
The research and development performed through the Arctic Program will have several benefits including:
* Increasing the safety of resource development in ice-covered waters by reducing the uncertainty in ice loads, and increasing the reliability of ice management, as well as enabling the effective detection and remediation of oil under ice;
* Developing and implementing technologies that will reduce the number of incidents and vessel structural damage;
* Increasing the number of days of operational use of ice roads;
* Increasing the survivability rates in lifeboats;
* Increasing the performance of immersion suits in a cold and harsh ocean environment; and,
* Reducing catastrophic failures in urban infrastructure, and increasing energy efficiency and durability of northern housing, thereby decreasing the cost of maintenance and repairs.


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This Sunday at 09:30, 11 boats will roar away from the Solent to make the arduous trip to Torquay and hopefully back again.
2018 will see the 58th time that Offshore Powerboat racing has taken place from Cowes on the Isle of Wight and for 4 teams, the stakes couldn’t be higher.
Warpath, Silverline, Dry Martini and Blastoff Racing not only need to win the coveted Beaverbrook Trophy that comes with a Cowes Torquay Cowes win, the teams need the big points to secure the oldest motorboating trophy in the world, the Harmsworth.
The trophy that was first awarded in 1903 to lady racer Dorothy Levitt and is this year being contested over 4 rounds.
Round 1 was held back in June in Dorset, where the Warpath team of Glenn Chidzoy, Ole Finholt and Gordon Compton won the Fortitudo Property Poole Bay 100. Christian Toll, Mike Bontoft and Michael Peet steered Dry Martini to the runners-up position.
Later that month the teams travelled to Falmouth in Cornwall, Drew Langdon and Miles Jennings finished ahead of Warpath and took the overall honours in Silverline, some compensation after mechanical issues had relegated them to 5th overall in Poole.
After 2 rounds Warpath goes into the Cowes race with 700 points, Silverline is on 527, Dry Martini 525 and Blastoff Racing’s Dorian Griffith and Will Stevens have secured 320.
The race to Torquay this weekend will count as Round 3 and the Round 4 race back to Cowes is set to start from Haldon Pier at 14:00 on Sunday afternoon.
The hot favourite to win the Beaverbrook Trophy is the Swedish team of Mikko Oikari, Lars Eriksson, Michael Backhuvud with Irish ‘bon viveur’ John Ryan completing the crew.
They are bringing an Outerlimits hull, ‘Going Lean’ which is powered by 4 Fiat Powertrain diesel motors which push out some 2400 hp.
Oikari is no stranger to Offshore Racing, having won the Skagerak Across race (Norway to Denmark) and has competed admirably in the 2008 Round Britain race.
The 2016 Cowes Torquay Cowes winner, Richard Carr has pulled out all the stops after his Fortitudo Cougar hull suffered extensive and expensive damage at the Poole 100 race. He will be racing with Mark Pascoe and James Sinclair, his usual throttle man Steve Curtis has a prior commitment to race for Geico in the United States this weekend.
The burning question is, after completing the 189.80 NM Offshore Race, will the winning team even have the strength to lift the famous old trophy on Sunday evening at the Royal Yacht Squadron?
You can follow the race via the Cowes Torquay Cowes Website.

domain: sports


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FRAMINGHAM – Police are looking for a man they said used two cloned credit cards to purchase Visa gift cards.
The man used the cards at one of the Stop & Shops in Framingham on April 8. He is also believed he used the cards at the Shaw’s in Sudbury.
The victim of one of the cloned cards reported the incident. A second victim has not been identified, police said.
Police said the suspect may be driving a silver-colored sedan.
Anyone with information about the suspect is asked to call Framingham Police Detective Val Krishtal at 508-532-5923.

domain: news


Mayor: New Council May Revisit Monroe Sewer Rates
MONROE, La. (AP) — Now that three new members are joining Monroe City Council, Mayor Jamie Mayo fears they'll try to rescind the increased sewer rates.
The News-Star reports (http://tnsne.ws/ROijHK) the city council last month gave final approval to an amended ordinance that raised sewer rates for customers.
The new rates will go into effect Jan. 1, but residents won't see the increase until their February bill.
The new sewer rates will be $3.55 per 1,000 gallons for city residents and $5.33 per 1,000 gallons for customers outside city limits.
Dr. Ray Armstrong, Betty Blakes and Kenneth Wilson will join incumbents Eddie Clark and Gretchen Ezernack to form the new City Council.
Mayo says if the new rates are rescinded, it could delay much-needed repairs to an antiquated system, eventually causing problems for residents.


Crocodile leather is the processed hide of one of twenty-three crocodile species in the world. Crocodile leather is an exotic leather that as a group, makes up less than 1% of the world's leather production. It is rare compared to other hides such as sheep or cow and requires elevated levels of craftsmanship to prepare it for use in the consumer industry. Crocodile leather is considered a luxury item utilized by high fashion brands such as Hermes, Moet Hennessy Louis Vuitton (LVMH) and Gucci. As a material, crocodile leather is rare and expensive because of limited numbers of crocodiles, their small size and the scarcity of dependable farms and tanning facilities to process and prepare the product for market.
Crocodile skin is primarily used in the production of handbags and other luxury items such as shoes, belts, wallets, upholstery, and furniture. The Nile crocodile, mostly available across Africa, is durable, making it desirable for heavy-duty items such as footwear and belts.
The skin is laid out on a clean, flat surface. Mentally divide the skin into 6 sections as per the graphic and check the surface for defects.


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If we want other people to show up for us, we have to stand in solidarity with them. Racial justice should not be thought of with a zero-sum mindset.
Vietnamese writer Viet Thanh Nguyen (who we quote for this website’s tagline) has created, along with his students, a new website of peoples’ memories of the war.
Watch Jackson State University’s Margaret Walker Center and the Gibbs-Green 50th Commemoration Commission’s discussion, held via Zoom, on May 14th.
“We had had several nights of protests … every campus in this country was in an uproar about the war in Vietnam.”
The shootings at the Vietnam War protest was seen “as an indication that things in the U.S. — on and off campus — were spiraling out of control.” NBC News Report
“He is close in age with many of you … My friend is currently stationed in Kansas, and patiently awaiting his deployment to Afghanistan.”
By Michael Winship: “This was the sort of thing that happened in South American dictatorships—student protestors gunned down for speaking out against the government. Not here.”
I want you to know the truth about what could have been, an alternative and viable path of history that both countries could have trod together for mutual benefit.
Jon Oplinger was wounded in Vietnam and came home to pursue a doctorate in sociology at Kent State. This is his account of the massacre .
Was he brainwashed in Vietnam? Maybe, he said. But no more so than he had been by American culture before he went to war.
This intergenerational conversation took place at the 2018 Veterans For Peace convention in St. Paul, Minnesota:...
In 2018-2019, the My Lai Memorial Exhibit was hosted by Veterans for Peace chapters in 16 cities. The tour wrapped up...
Popular folk singer-songwriter John Prine died yesterday at the age of 73. A survivor of heart disease and cancer, his...
by Emma Paradis. There are not many prominent figures whose message is so aggressively stifled and twisted as Jesus Christ. Would you list him alongside anti-capitalist, anti-cis-hetero-patriarchy revolutionaries?


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Little Treworlas Farm
Little Treworlas Farm Cottages, Self-catering
The Roseland Peninsula is a beautiful part of Cornwall with everything you could want for a relaxing holiday. A stay at Little Treworlas Farm, right in the heart of the Roseland, could make that relaxing holiday even more special.
Two miles from the lovely village of Veryan, Little Treworlas is a working farm with 70 acres of peaceful countryside looking out towards Gerrans Bay. The former mill house and grain store, which date back to 1830, have been thoughtfully converted into three delightful cottages, each offering comfortable accommodation and all the facilities you need.
There is plenty of parking available for all three cottages and there is also space to park boat trailers etc although we would ask you to arrange this with us prior to your arrival.
All guests are welcome to use the communal garden area - a grassy paddock, fenced off from the farmland and bordered by wildflower banks, which overlooks the surrounding countryside and out to the coast. In the evenings you can enjoy a glass of wine while watching the Barn owls glide above. There are picnic tables, ideally placed to watch the chickens enjoy a dust bath.
A large tumble dryer and recycling facilities are available in an adjacent building. We do not provide any baby equipment, but you are welcome to bring your own.
Prices from £200.00 to £700.00
* As a guide, prices are per room per night for hotels, guest houses, B&Bs and serviced apartments, per week for self-catering accommodation and static caravans,and per pitch per night (based on 2 people) for camping. Please note that the capacity stated above is the maximum number of people that room or self catering unit can accommodate, including adults, children and babies. Note: Prices are a guide only and may change on a daily basis.
- Linen Provided
- Beach within 2k
Open all year
From the A390 between Truro and St Austell: Approximately one mile west of Probus, take the A3078 signposted to Tregony and St Mawes. Continue on this road towards St Mawes. About a mile after passing through the hamlet of Ruanhighlanes, turn right (just after an S-bend) signposted to Treworlas and Treworthal. Follow the road for approximately 200 metres and Little Treworlas Farm is the last property on the left hand side.

domain: travel