How to get the quality of a sartorial product with a fully automated process.
Crea Solution works together with the biggest brands of men’s suits to achieve the same sartorial quality with an automated production. The CAD for the made-to-measure automatically creates the patterns of the garments after taking measurements at the point of sale, thanks to Crea Solution integrated platform. The artificial vision systems are able to recognize millimetrically the plaid and striped fabrics and make an optimal auto nesting taking into account defects and the condition of the fabric, guaranteeing a continuous cycle of cutting. This technology allows a time interval from taking measurements in any one is based on machine learning systems and Artificial Intelligence and is an exclusive patent of Crea Solution.


text:
6202158638 El Trabajo Colaborativo Como Estrategia Para Favorecer La Inclusin Una Experiencia En Educacin Preescolar Spanish Edition 30 Aug 2019 - Great ebook you want to read is 6202158638 El Trabajo Colaborativo Como Estrategia Para
If you are searched for the ebook Beyond the Blue House: A Penny and Dharma Tale by Jack Lehman in pdf form, then you've come to right website.
Super teacher logo
both a conference championship game and the Super Bowl since the NFL expanded to a 12-team playoff format in 1990. Willie Williams was the last remaining player to have been on the Steelers last Super Bowl team, their Super Bowl XXX loss to the Dallas Cowboys following the 1995 season.
1. Fiscal 2003 Full-Year Consolidated Results May 12, 2004 2. Fiscal 2003 Full-Year Parent Results 5.
television series, and then compress the show into a coherent feature (technically, two movies), but the folks at Sentai Filmworks have done just that. Part one, “Made in Abyss: Journey’s Dawn”, screened around the US in its original Japanese on March 20 and in an English dub
The metabarons series returns to form in newest volume | sequart Warning: this review contains spoilers for the current volume and the In fact, the universe is ending, and galaxies are colliding, causing great explosions. The Metabaron and Orne-8?s armada have seemingly
Uploaded by Amar Yogi PriyantoB-Robo Kabutack 2.Kuwajiro & 3.Cobrander Super charge series wotafa's review - Duration.. Nepali Movie Vairab Download Film Dr Slump Sub Indo Full Episode Dr Slump . Awan dania the movie full movie film kabutaku episode detective conan movie . disebut kartunkarna anime sendiri dalam bahasa jepang berarti film animasi .
series, we’d be rooting for the super sentai group, not watching a random amnesiac steal their powers after being swallowed by a giant cat. I do get more than a vague sense that this isn’t go-ing to be a typical series, though. We get a precious few moments of insight into the people Souya is …
rave reviews book club, current procedural coding expert - 2015 edition, anthem, by ayn rand, london, britney: inside the dream, three men in a boat:, the book of the damned: reports of ufos, cryptoids, spontaneous combustion and other strange occurences carrie underwood unveils 'the storyteller tour' concert storyteller
the revived pre-1972 version of Super Laff-In, ... the weekly Filipino movie features Cine Fiesta and Star Cinema Presents-featuring the Star Cinema movies, the current affairs shows Assignment and Usapang ... Choujuu Sentai Liveman, Kyoryuu Sentai Zyuranger and the American Series Muppets Tonight. Destiny Cable covers the media special ...
by sentai filmworksa live action film was released on july 12 2014 save ... current slide of total slides price refinements manga say i love you vol1 18 comics complete set japan comic f s 13512 from japan was previous price 15013 buy it now ... manual motorcycle pdf download,jeep wrangler 2002 factory service repair manual,jesus is my super hero
also be designed to test knowledge of current events and of such matters of every day observations and 2 / 4. 1103280 Geography Theory Grade 11 Pdf texes bilingual generalist ec-6 (192) - rea | ap test prep 14. what is the main reason for introducing the letter– sound correspondence of the m, b, t, p,
interactions it provides an overview of the current understanding of gas surface dynamics and, in particular, of the reactive and non reactive processes of atoms and small molecules at surfaces leading scientists in the field, both from the theoretical and the experimental sides, write in …
the tour. From Japan Guide: “The current Imperial Palace was reconstructed in 1855 after it had burnt down and moved around town repeatedly over the centuries. The complex is enclosed by long walls and con-sists of several gates, halls, and gardens. The en-thronement ceremonies of Emperors Taisho and Showa were still held in the palace's main ...
- super sentai bioman
- watch super sentai series
- super sentai episodes online
- super sentai series in order
- super sentai series list
- super sentai series
- super sentai tv series
- super sentai watch
- top 10 super sentai seasons
- watch super sentai english sub
- watch super sentai online
- watch super sentai subbed online
- watch super sentai episodes online
- watch super sentai online free
- next super sentai series 2019
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.

domain: entertainment


The tripod is made of durable aluminum with sharp metal feet for stability on any terrain. The tripod has quick locking clamps,which make it fast to setup and take down. Compatible with all 5/8" thread lasers and laser distance measurers: cross line lasers, dot laser, dumpy levels and rotary lasers. Staff telescoping rod can be adjusted from 3.94 ft-16.40 ft in length, indispensible for a wide range of applications from installing cabinets to building retaining walls. Easy-to-read graduations with measuring scale on the backside for direct reading at eye level.


text:
Babies truly are a gift and the most precious things on Earth. People swoon over puppies, kittens, and baby humans, but the fairy babies in the Baby Fairies in Leaves Set are special because they will grow up to care for nature. Each of the four cold cast resin babies in this set of decorations is different. One is curled up in its leaf while another rests on top of its leaf. One is snuggled up to a kitten while another clutches its leafy blanket. All of these adorable chubby fairies wear flower petal hats and are pictured fast asleep. A cute gift for friends and loved ones who love fairies and babies, or collect fairy statues, this four-piece set will bring a sense of fantasy innocence to any surface they are set on!
- Depicts four sleeping fairy babies
- Features incredible detail
- An adorable piece of fantasy decor
- Makes a great gift or collectible
- Made from cold cast resin
- Individual Length: 3 Inches
There are no reviews yet.

domain: artistic


text:
When you're talking about the client, you're talking about the person who has been kidnapped or the person who is not available or not in contact. I'm just trying to see whether there is a better way, where we can improve it, because we're talking about people who might not have the ability to provide consent, yet their family members are worried. We're getting into this legal limbo where you can't get the consent because the person has either been kidnapped or has been prevented from contacting someone. Do you know what I mean?
On March 27th, 2018. See this statement in context.

domain: law


text:
Mobility changes due to aging are treatable
By Monique Giroux, MD, East Denver LIVING WELL Magazine
A change in mobility is one of the most common problems I see in my clinic. Common complaints are:
- “I can’t walk as far as I used to.”
- “I feel more unsteady or dizzy and need to grab onto something.”
- “I am stumbling or tripping over my own feet.”
- “My legs give out when I walk or stand.”
- “My walking has really slowed down.”
Unfortunately, many patients I see for consultation have already experienced a fall. Falls are serious in older adults, and often prompt a move to an assisted living facility or a nursing home and can lead to more significant problems. Each year, about one in three adults over 65 years of age fall due to associated medical problems, and a slowing of protective reflexes.
Under recognized is the emotional distress, decline in daily activities, increased dependence and reduced socialization due to fear of falling.
The common questions asked are “what is the cause, is this going to get worse, and can it get better?” Many causes of mobility problems are reversible and treatable. They can also be a sign of a more serious brain or nervous system condition.
Balance problems can be avoided and minimized with early intervention. Walking and balance problems are usually caused by more than one problem, so a multidisciplinary approach to treatment is best. This includes a comprehensive medical evaluation, physical and/or occupational therapy by experts specialized in movement focused on the following key factors.
- Nerve and Brain – Aging and disease affect control of balance, coordination, strength and sensory processing. Some conditions that impact mobility––stroke, MS, Parkinson’s, diabetic neuropathy, normal pressure hydrocephalus.
- Cognition – thinking problems, mood and behaviors can increase fall risk.
- Cardiopulmonary – Heart, lung and blood pressure changes can cause dizziness, breathing problems and reduced endurance.
- Vision – vision problems increase fall risk.
- Inner Ear problems – Ear issues may cause of vertigo or dizziness.
- Medications – i.e., sleep, pain, blood pressure, and antidepressant medications.
- Deficiencies – Vitamin, electrolyte and hormonal deficiencies.
- Biomechanics – Pain, posture, joint health, muscle strength and stamina impact mobility.
- Activities (work, play, exercise)
- Environment (home or work)
- Cane/Walker (Improper use or lack of compliance)
Monique Giroux, MD, is a movement disorders neurologist and Integrative medicine specialist that directs the Movement and Neuroperformance Center of Colorado’s Comprehensive Gait and Balance Clinic in Englewood, CO. More information is available at centerformovement.org or 303-781-0511.

domain: medical


FOR IMMEDIATE RELEASE
June 14, 2017
DENVER—In a Federal Register notice released today, the Bureau of Land Management announced it would suspend key parts of a rule designed to limit methane waste from oil and gas operations on public lands. In May, the United States Senate voted against eliminating this rule. In response the Center for Western Priorities released the following statement from Advocacy Director Jesse Prentice-Dunn:
“Last month Congress explicitly opposed killing these safeguards with a bipartisan vote, but it seems oil and gas CEOs have an ace up their sleeve—Interior Secretary Ryan Zinke. This reckless decision will leave Westerners with dirtier air to breathe and cheat taxpayers out of money owed to all Americans.
“These commonsense safeguards will ensure more natural gas is captured and sold, and will create jobs designing and installing methane capture technology. Instead of looking out for all Americans, Secretary Zinke is simply ignoring rules on the books at the behest of oil and gas companies.”
Eliminating the Bureau of Land Management’s methane waste rule was a major priority for the oil and gas industry, which spent millions lobbying Congress. Last month, Senators McCain (R-AZ), Graham (R-SC) and Collins (R-ME) joined Democrats to defeat a Congressional Review Act resolution that would have eliminated the methane waste rule and prevented substantially similar rules from being issued in the future.


text:
It's like a Scavenger-Hunt game where you use your TV.
The Object is to surf the TV looking for Items on the Cards, Contains 236 two-sided cards, Card rack, Timer, Score Pad, Instructions.
To play, you must have a remote control and a TV with cable. To win the game, your team has to have the most points at the end of 3 rounds. 1 or more players, ages 12 and up. Game is in excellent condition.
It appears to never have been played. Box has very minor shelf wear.
1994 Milton Bradley


text:
The town Mělník lies in the immediate vicinity of Dresden, at a distance of just 93,54 km. For this reason, it lies well within arm's reach of the garages of our partner bus companies within Dresden. Our nice operator pool is able to provide you with any sort of passenger transportation by immaculate buses, minivans and cars within and near Mělník and provide you with untarnished vehicles for your journeys near it. It doesn't matter whether you need just a quick city round-trip in Mělník, or a lengthy excursion to the vicinities to some of the enjoyable sightseeing attractions of Central Bohemia, our dedicated operator pool and our congenial and punctual drivers will be happy to be of service to you. We invite you and your group to drop us a note by e-mail message at . Our staff is going to reply you with your carefully conceived, unique, fully professional price quote for your query.
Hiring of flawless buses, minibuses and cars for your transfers in Mělník
Use our coach hire services for your group itineraries close to Mělník! No matter if you need city tours, excursions to the vicinities, sightseeing trips from one city to the other, or a longer coach tour, our staff is eager to accomplish numerous services. Together with dedicated and punctual bus owners, our agency is available to let you have a remarkably satisfactory quote for the subsequent available services. No matter if you book tailor-made trips or a somewhat longer bus tour, we will handle the services. Our team of drivers would also be delighted to efficiently tailor interesting rubbernecking tours starting or terminating in Mělník - upon request even with professional guide service in English or other languages.
Services for your coach reservation inside and within range of Mělník
Our bus rental company's services incorporate quick rental of chauffeur-driven vehicles within the limits and in the surroundings of Mělník and in the enveloping territories, such as quick, private transfers linking Mělník and Prague, Ústí nad Labem, Liberec, Hradec Králové, Pardubice, Vysočina, South Bohemia, Plzeň, and Karlovy Vary. Moreover, WienBus Dresden can also charter out highly developed buses for excursions, tours and transfers in Central Bohemia and in each one of its neighboring regions. We can reply to any inquiries you might have relating to our bureau and with reference to the many different and attentively chosen bus charter companies with whom we work accordedly. You only need to drop us a note by mail at .
Tailorable sightseeing trips by top buses, minibuses and cars anywhere in Central Bohemia: Dependent on the size of your travellers party, we have either limousines, cars and sedans, or maintained coaches with driver that you can reserve for a wide array of short and distant rubbernecking tours. If you intend to participate in your comprehensible, personal, custom-made sightseeing tour in Mělník, dodge the headache of nugget-washing for rentable chauffeur-driven vehicles. We have punctual and sophisticated partner coach charter companies for your personalized sightseeing trip in Mělník. If your crowd is in need of buses with driver, you just need to get in touch with us using , and understandably specifying the number of travellers, the travel itinerary and further specifications. The more data you present to us about your specifications for your voyagers, the better we are able to come to your rescue. Please devise these important parameters: headcount of passengers, baggage amount, scheduled journey program, pickup address, and finishing address.
Totally efficient booking of prime vehicles for transfers in Mělník: The chartering of sublime means of transportation for ample trips on the surface of Mělník as well as near it can be amazingly painless if you consider to entrust the substantiation of your upcoming ground transfer rides to our competent bureau. On the basis of the size of your travel group, we have either cars, limousines and sedans, or minibuses, microbuses and minivans, or pristine buses and untarnished coaches with a skilled conductor. If your crowd wants a bus, please don't hesitate to ask us for an individual offer using , and accurately particularising the number of persons to be transported, the journey plan and further demands ( by way of example child's safety seats, luggage hangers etc. ). Our nice team is able to have a look at your inquiry.
Far-flung coach or microbus routes everywhere in Europe: The international vehicle operator City Tours principally specializes in supplying passenger vehicles of all capacities with a competent driver for usage in the context of extensive travel itineraries all over Europe. From our base camps in Saxony, our team can also conduct any excursion starting or ending in Mělník or anywhere else in Central Bohemia. We are here for you to call upon us if you look for a travelling bus with friendly and punctual drivers. When you get in touch with us at referring to an upcoming coach rental for a far-reaching coach route in Europe, please think of specifying the meeting address and the ending point of the desired tour. In addition, please advise the expected quantity of passengers and the ride.
Types of rentable passenger vehicles in Mělník
Dependent on the accurate passenger headcount, our efficient team is available to satisfy your coach needs with top-class vehicles of various carrying capacity, specifically superior buses, pretentious coaches, as well as minivans, microbuses and minibuses, as well as cars, sedans and limousines within the boundaries and in the neighbourhood of Mělník.
Hire pristine buses and exclusive coaches in Mělník: If your traveller group is looking to make a reservation for a comfortable motorbus in the circumference of Mělník, we will definitely be proud delighted to efficiently blueprint your bus ordering. Besides this, our company will also be happy to suggest a couple accessory congeneric services, like for example proficient tour guide service in Central Bohemia and in all of its neighbouring regions.
Find thrilling minibuses and de luxe microcoaches in entire Central Bohemia: Our skilled staff can offer individual microbus renting for sightseeing tours and travel itineraries from across Mělník to wherever you need in Czech Republic and Germany, Poland, Slovakia, and Austria. Trust our professional staff if you lack to deliver just a small number of guests from here to there.
Charter advanced limousines or latter-day sedans around Mělník: Through the vehicle operator City Tours Austria, non-corporate takers and corporate consumers are invited to hire a wide array of superb sedans, limousines and cars for straight airport departure dropoffs by splendid limousines in Mělník. But our company is as well prepared and able to propose cars, sedans and limousines with a charming and skilled driver for terrific sightseeing circuits in Central Bohemia as well as in the adjoining countries Germany, Poland, Slovakia, and Austria.
Charter a speckless sedan, coach, or minivan in all districts of Mělník and its neighborhood
Accordedly with respected motorbus hire companies who work from Mělník, Dresden and everywhere in Europe, WienBus Dresden can execute any kind of transportation by outstanding coaches, maintained buses, and exquisite double-deckers. We are impatiently waiting to have a look at your needs and answer all questions connected to with reference to bus, double-decker or coach rental across Mělník and in the enveloping regions. If your club needs high-quality motorcoaches for a point-to-point transfer, or a long-distance bus tour, our staff can take care of query in Mělník and in its enveloping territories. We are waiting for you to just drop us a note at the address .

domain: geography


text:
Browse Exhibits (50 total)
German immigrant Theodore Crenwelge built the stone farmhouse for his bride, Katherine (Katie Rumpel) in 1895. Originally the farm consisted of about 156 acres.
Culebra Road Stage Coach Stop and Outbuilding
Built about 1850-1865 on San Antonio-Castroville Road
William Davenport was born in 1820 Saltville Township, Virginia. His family later lived in Kentucky before settling in present day Kaufman County, Texas in 1843. There William met and married Mary Ware, daughter of Texas Revolutionary veteran, William Ware. William and Mary built a home south of Cibolo Creek soon after purchasing land here in 1851, part of the Vincente Micheli survey. When Mary died the following year, William buried her near their home establishing a community burial ground in 1853. William married Nancy D. Young whose father John was a veteran of the War of 1812 and was also later buried in Davenport Cemetery.
August Fredrich Ernst was the grandson of the early immigrant Ernst family who initially settled in New Braunfels, Comal County, TX. His grandparents, John Peter Ernst (born about 1803) and his grandmother, Katherine, (born about 1804) arrived in the U.S. in 1852 from Nassau, Germany. The Ernst’s initially establish residency in Comal County where they were purchased property and established a farm. After several years August and his parents along with other family members moved to Bexar County. Here they again bought property and established their home in a small community that was thriving at the time, but unfortunately no longer exists.
Robert B. Evans was born in Liberty, TN. He came to Texas in January 1844 (?) by way of Fort Caddo. On the way he lost two mules from sudden weather changes in Texas. One mule died of heat stroke and the second mule froze to death from a “Norther.”
The Selma Historical Parks Committee was commissioned to document Selma’s historical cemeteries and to preserve the remaining historical structures in Selma as new development approached the city. One of those structures documented was the Harrison & McCulloch Stage Stop.
The John S. Harrison Homestead, located in northeast Bexar County along the Cibolo Creek at the rear of Forest Creek Subdivision on the access road of IH-35, consists of four historic structures/features. The house was built in the early1850’s by stage master, John S. Harrison and his wife, Martha Jane Harrison. Harrison ran three Star Routes (mail and passenger routes) through Central Texas from the mid-1840’s through the mid-1860’s. He died in Waco, Texas in December 1864. The house is owned by the City of Selma and has been restored as a community center and city park. It was officially opened in August 2016.
The Heermann Store stands as one of the few surviving examples of the commercial buildings of rural south Texas. It has served multiple functions throughout its history. During the first few years after its construction, this building was a combination general store, post office, and residence (1892 to 1896). As a general store and post office, it would have served the community of Oak Island, with an estimated population of 600 agriculturalists scattered throughout the area. The building later served as a residence for farmers (ca. 1910 to 1939), and between 1945 and 1970, possibly a support building for a cotton gin. In addition to the main building, the Heermann Store site also includes ruins of an historic building reported to have been a saloon, and possibly at one time a gristmill. The saloon likely operated sometime between 1910 and 1920. The overall property may have been the site of commercial activities serving the Oak Island community for much of the time between 1892 and 1920. Rural general stores throughout this area were often short-lived business ventures, and many of them were abandoned after they ceased to be stores. The Heermann store demonstrates the early rural commercial building’s inherent adaptive characteristics. (Source: HABS report)
Nine Historic Structures built in the 1860s: Log cabin, barn, smokehouse, water well, workshop, Heidemann-Barrera house, storage house, cemetery, possible early kiln.
Listed on the National Register of Historic Places, July 6, 2011.
In 2014, Professor Frances Gale of the University of Texas At Austin, School of Architecture, took the Materials Conservation Laboratory class to the Heidemann property to analyze the building materials of the log house and the barn.
A Building Award was given to Mr. Roy R.Barrera, Sr. and Mr. Gilbert Barrera by the San Antonio Conservation Society in March 2016 for the restoration of the cabin, the barn and the smokehouse by Gilbert Barrera.
In 2016, the Heidemann Family Cemetery was dedicated and designated as a Historic Texas Cemetery (HTC).
The Herff Farm is an excellent example of a Texas Hill Country farmstead built by pioneer German families who settled in and near Boerne in the mid-to-late 1800s. Located on the eastern outskirts of Boerne in Kendall County, the farm is part of a larger tract purchased by pioneer physician Ferdinand Herff in 1852. Herff’s holdings eventually expanded to some 10,000 acres which were used for ranching and as a retreat for his large family. After an earlier house burned, Ferdinand and Mathilde Herff built a two-story limestone house on the site. The property remained in the family until 1935 when it was acquired by George and Erma Rozelle who farmed and raised livestock. The house, farm, and domestic structures and surrounding fields remain remarkably intact in light of the rapid urbanization of Kendall County. Since the Cibolo Nature Center purchased 68-acres of the property in 2007, the Herff house has been restored and the surrounding land is conserved as open space. The farm was entered in the National Register of Historic Places in 2009.
The Scottish surgeon Dr. Fredrick Marnoch (1802-1870) purchased more than 1500 acres at this site in the autumn of 1858....

domain: history


text:
Natural Beauty: Fiesta of Land, Water, and Sky celebrates the natural beauty of Texas at a time of great significance for the Witte Museum. Come see the first Fiesta exhibition in the New Witte. The exhibition celebrates the unique land, water and sky of Texas, which serve as a permanent theme at the Witte.
From rolling prairies filled with wild flowers to starry skies that spark the imagination, Natural Beauty will spark the imagination with a stunning selection of the Witte’s collection of Order of the Alamo coronation robes and gowns.
Community interaction is an important part of life, which is why Oxford at Estonia Apartments in San Antonio, Texas is urging you to join in the all of the excitement at this event!
Saturday, June 3, 2017 – 10:00 AM
Event Venue Location:
The Witte Museum
San Antonio, Texas 78209


text:
All bridal bouquets, bridesmaid bouquets, button holes, pomanders & hair accessories can be mixed and matched according to your requirements.
Most can be replicated should you require more than one.
Cream Peony, Blush Berry & Pearl
£55 ~ Cream peonies with a touch of pale pink on the edges of the petals, blush berries and crystal and pearl accents.
Hand tied finished with black and pale pink satin ribbon with pearl pins.
Something Blue - Hydrangea & Ivory Rose
£60 ~ Gorgeous blue hyrdrangea, soft cream roses, cream orchids, hydrangea leaves, with pearl and crystal drop accents set into a wedding belle oasis bouquet holder.
Pink Mother's Love Rose
£55 ~ Beautiful pink 'Mother's Love' large roses with soft cream foam roses with diamante accents, small pink ranunculus. Hand tied with cream satin ribbon with a vintage pearl tassle.
Cascading Red Rose
£75 ~ Fabulous large red rose surrounded by lots of red rose buds with sprigs of stephanotis, varigated euphorbia foliage and a cascade of soft round leaf ivy, with a sprinkling of diamante.
Fluff & Sparkle Ivory Rose
£65 ~ Gorgeous soft cream/ivory roses surrounded by fluffy white feathers, accented with trimmed white feathers with sparkle glitter edges and aurora borealis diamante. The main roses have diamante in the centre of the flowers. Also sprigs of white pearl branches add interest. The handle of the bouquet holder is finished with black satin ribbon.
Raspberry Ripple Rose
£65 ~ This is so pretty - amazing and unusual cerise pink large roses with a cream 'ripple', large cream roses, cerise pink azalea flowers, fern and hydrangea foliage. Pearl and diamante 'flower' accents. Hand tied with cerise pink satin ribbon and pearl and diamante detail.
£80 ~ Large Cala Lily, cream peony, cream chrysanthemum, glossy foliage, diamante accents. Has the WOW factor! On a bouquet holder, lovely to hold.
Pink & Cream Japanese Tree Peony
£80 ~ This is my favourite - totally gorgeous. Japanese tree peony, large ivory rose, large pale pink ranunculas, ball carnations, pink/pale yellow large roses, pale pink freesias, decorated with pink diamante spheres. Hand tied with lush green satin ribbon and vintage lace. (Pictured right - coordinating flower hair comb)
£40 ~ Striking pink, cream & burnt orange Calla Lily, large orange gerbera, accented with green diamante. Hand tied with blue & orange satin ribbon with pearl pins.
£80 ~ This is so elegant and beautiful, really stunning. Ivory roses, large orange rose, pink ranunculas, cream calla lilies, cream freesias, diamante sprigs. Set into bouquet holder, white handle.
These can also be used as Bridal Bouquets if you want something smaller!
Sex & The City
£35 ~ This was inspired by Carrie's choice of colours for her bridesmaids in the Sex & The City film. I loved the combination. Large red and blue roses, calla lilies, soft cream foam roses, red crystal accent, dark green grass swirls with blue and red glass beads threaded on. Hand tied with red satin ribbon and a blue, red and white bead tassle.
Exotic Pink & Orange Posy
£25 ~ Large orange poppy, orange rose, pink gerbera, hand tied with spring green satin and a gorgeous bright orange bow.
Pink & Blue Posy
£30 ~ Large pink chrysanthemum, pink azalea, cream orchid, blue cape daisy, hand tied with blue satin ribbon with pearl pins & cerise pink bow.
Orange & Hot Pink Chrysanthemum
£35 ~ Large orange Dahlia, large orange spider chrysanthemum, large pink chrysanthemum, orange & cream calla lily. Set in a bouquet holder.
£35 ~ Really fun & original pomander. Made entirely from phalaeonophopsis orchids. Finished with polka dot satin ribbon.
Dew Drop Purple Rose
£55 ~ Purple roses with little water dew drops, cream/pale yellow freesia with water droplets, orchids, diamante sparkle sprigs, green flowers, finished with a cream satin ribbon loop.
Left to right: Ranuncula & Freesia - £3.50, Azalea & Rose Bud - £4.50, Chrysanthemum & Calla Lily - £4.50
Front: Azalea, Rose bud, Cape Daisy & Pearl flower corsage - £5
£60 ~ So sparkly! Vintage lace, vintage pearls, diamante, silver sequin hair comb. All hand beaded. Can be worn in many ways - stunning for a bride.
Rose & Sweetpea
£30 ~ Beautiful pale cream/yellow/pink large rose, soft pink sweet peas on either side, pink felt hand beaded with vintage pearls and sparkle - on a large comb.
Vintage Fluff & Bow with short detachable French Net Veil
£55 ~ 1950's vintage look diamante bow brooch with white fluff feathers. Detachable white French Net short veil. Very cute!
Vintage Rose & Pearl Band
£65 ~ This is vintage prettiness at its best! Each flower is made from paper in tones of soft pinks and creams.
Secured on a pearl hair band which is very comfortable and is accentuated with pearl and diamante stars - so so pretty!
£55 ~ SOLD ~ Gorgeous rich purple hydrangea, ranuncula, sweet peas, black berry sprigs
Yellow & Blue
£75 ~ SOLD ~ Tulips, rose, sunflowers, blue and yellow hydrangea, iris, chrysanthemum, ranuncula plus many more! In a beautiful glass round vase
£175 ~ SOLD ~ Glorious and luxurious arrangement of plum purple roses, berries, peony, thistles, lily in a vintage urn
£45 ~ SOLD ~ Pink extravaganza, lily, peony, hydrangea, ranuncula, euphorbia, rose, stocks, fuzzy buds
£45 ~ SOLD ~ Lovely spring fresh look, gorgeous blue hydrangea, cream & pink rose, lily of the valley, pink bell, surrounded with lush hydrangea leaves
£30 ~ SOLD ~ So fresh and pretty arrangement - very girly pale baby pinks and lush creams all tied up in a blown glass vase
£17 ~ SOLD ~ Rustic weaved basket containing cinnamon sticks tied with sheer ribbon, dark leaf holly, sea holly & red berries, cream rose, red poinsettia & gold diamante
£10 ~ SOLD ~ Small arrangement - great for a centre piece or anywhere really. Red poinsettia, dark red sparkle & cream gold sparkle poinsettia, holly, berries, gold berry accents all in a gold pot
£8 ~ Pretty small posy - perfect as a hostess present! Multiple uses! Red poinsettia, sea holly & berries, cream rain drop rose buds, pine cone, gold ribbon
SOLD ~ Fern, Ivy, Sea Holly & berries, cream/gold & red poinsettia, pine cones, red baubles, white LED battery light pack, flicker flame battery operated tea light, gold jewelled glass
Three Candle Display
Red or Gold
Purple Birds & Berries
SOLD ~ Sizeable rich purple glass surrounded by lush cream roses decorated with pretty ornate birds and purple berries
SOLD ~ Beautiful shabby chic vintage look chandelier crystal drop candle holder surrounded with red & cream poinsettia, holly, baubles all on rose leaves. Battery operated tea lights
All are sold individually - where there is more than one pictured these are my suggestions for co-ordinating pieces.
Some bouquets are handtied so have the stems exposed - some are securely held with special bouquet holders which consist of a white handle and the oasis sits on the top.
For extra orders or bespoke orders please allow 4-6 weeks for completion.
To make an order please email firstname.lastname@example.org with your requirements.

domain: design


text:
THE BOOK OF NIGHTMARES
Sarah is kidnapped, Nightmare on Elm Street-style. Dreams have power, as our glittering '80s children's film (and a million other consequent fanfics) teaches us, but this is not for children (i.e. take note: rated M).
Disclaimer: I do not own Labyrinth or its characters, nor do I own the title The Book of Nightmares – which is a wonderful book of poetry by Galway Kinnell – and I am not making any money from this.
Warnings: Dark. Probably confusing. "Evil bastard Jareth." Some non-con inklings, so please bear that in mind. Vignettish/sectioned.
I noticed that you can actually change the font and margins via the top right-hand corner. That's neat.
It was a dark dream, darlin'; it's over.
The firebreather is beneath the clover.
Under the fluorescent light of the doctor's office, shirtless and goose-bumped, Sarah closes her eyes and lies down on the table. She wishes she could fall asleep here, under the watchful eye of a medic. Even with her eyes closed for seconds, she feels her mind shutting down, her breath lulling to a sleepy pace and for one moment she feels at peace. The coolness of the stethoscope jolts her awake as it crawls up above her chest, then over her heart, then to the right. The doctor raises her eyebrows, stops listening, hovers the stethoscope over her skin.
"Where did you get these bruises?"
Sarah opens her eyes, then her mouth to say, "I've been having these nightmares, and when I wake. . ."
But she stops, because even she does not want to believe it. How can her dreams be so palpable. How can she wake up as if she's been running through thorns and tripping on roots and stones, sometimes with bruises and blood, barely able to walk from her bed to the bathroom. And what would they do – where would they put her – if she told them that she dreams her wounds?
(How can I wake in one piece when. . .).
Instead, she lies, "I fell off my bike and into some rocks. Took quite a spill. But I'm okay, really."
"Well," she sighs, "just be careful on that thing."
The doctor asks her to inhale, then exhale, then cough once here, then here, then here. Then open her mouth, stick out her tongue, say Ah. The nurse takes her blood sample, the receptionist wishes her a Good day! as she walks out from the sterile scent and into the parking lot, ignoring the icy winter wind, taking deep breaths as she removes the keys from her purse, clicks the doors unlocked.
Driving home on the highway, past the gray-skeleton trees, dreams from the past few months crawl from the back of her mind: Little girl (her) whistling down the trail (skip to my Lou), caught and devoured piece by piece. Another: her body swaying upside down, ankles tied to a branch by a hunter's trap (no one will come for you), the blood rushing to her head as night begins to fall. And another: she lies down to nap beneath an oak and the roots stretch and wrap over her arms and legs and throat like earthen chains, the crack of bone as they tighten.
In every vision, she sees him – feels him – hovering, or staring from a tree branch, or chasing her through the rushes, through the sharp-branched pines. Always so beautiful and sparkling darkly in his black cloak, like a constellation behind a thin layer of cloud. She always sees his eyes before anything else: opalescent grey and blue and hazel and cold. She can see them now, even, as she watches the road unfold before her, the black pavement made unreal by a fresh dusting of snow.
Every book becomes this story.
In her bedroom, she lies awake well past midnight, visions tangling at the back of her mind in a dark cabaret. How long can she take this? She closes her eyes, opens them, closes them, opens them: the shadows seem to move without bodies, to turn and shift until they have voices of their own. When she closes her eyes, she can hear them rustling and whispering to her, like leaves across a tin roof.
(And is that an owl at the window).
She can feel their cold breath on her neck, the way they reach out to her from their places in the room and touch her face, slight tendrils of voices. . .some kind of haunting. She forces herself to keep her eyes closed, listens as they grow louder, more present. . .until she can almost touch them.
(What are they saying?)
When she finally opens her eyes, the window is cracked ajar. The wind is freezing. She looks outside for a sign (nothing), shivers, then locks the latch. Had she been sleeping?
Sunlight. Along the shore, the sea foams at the mouth, glitters and stretches to touch her. Blue and blue and blue. It really is endless, she thinks. Like the end of the world. Or does she say that out loud?
She walks the sand with her black dog, and then runs with him, feeling like such a child again in her white cloth dress, the salt glow soft over her skin, her brown hair tangling in the wind. So peaceful. Nameless.
The seagulls whirl in the cerulean above them, calling to each other. She hears herself laughing. Let's play a game: throw the stick in the water. She throws the stick, and the dog happily chases it into the waves, splashing the water into sunlit diamonds. Shine, beautiful. She laughs again.
Only the dog never brings the stick back to her, keeps swimming far out into the water, his black body shrinking as the current carries him into the vaster body – into the sky and sea and whatever lies between it.
"Come back!" she cries, diving into the frigid water after him, her dress heavy and sopping, her eyes stinging with salt. "Damn it!"
"Come on, boy!" When she calls the salt water floats into her mouth, burning her tonsils.
She blinks and the dog is gone.
She blinks again and the vast ocean is not water but blood, lukewarm and metallic and swallowing over skin, soaking her dress red, coursing over her tongue – cascading into her throat, drowning her – and the current sweeps her further – and she screams as a hand grasps her ankle, pulling her underneath – and her lungs fill with it. . .
She wakes screaming on her armchair, her head laid awkwardly on her shoulder, her mouth tasting strongly of salt and blood. The sunlight through the window is blinding. No, haunting is not the right word. He is no ghost.
Darkness. The field is cold and black and static, without moon or stars or even cloud above. No smells or sounds, not even the pat of her bare feet touching the ground. She wanders (floats) the grass as if walking on space itself, or through some kind of dark matter. The darkness seems penetrable: she can see forever into all of space and time and matter, into that sheer blackness. It is like being the night. A kind of knowing.
But when she stops walking, she can hear someone calling.
Her name, polished as a marble. She turns, carrying the darkness with her, twirling it around herself like a cloak.
She turns again and sees only darkness, but the darkness rocks its own cradle and she sways. Nausea creeps into her stomach, up into her throat, like a seasickness as she walks (floats) forward, then back, trying to focus her eyes to see something – anything.
She stops, still dizzy. Who is here?
A hand cups over her mouth. The heat of a heaving chest meets her back. Lips touch her neck as another hand cradles her stomach, inches downward, and then the hot words trace her ear:
"Soon, Sarah, my broken-winged dove, my little angel lost --"
"No," Sarah gasps, waking in her bedroom, the sheets cocooned around her body like the darkness she remembers vividly – like a trap. Cold bites at her skin, and her teeth are chattering: The window has been opened wide. She tastes bile at the back of her throat, can still feel his hands inching across her, fingers tapping slowly on her abdomen. This is not right. This is not a game, this is not a dream, this is happening.
(Leave this room now, go go go)
Even awake she can feel his body circling her, the prick of his voice like a tiny crow pecking her eardrum. She feels some presence in the room, circling, preparing to swoop down and grab her. Perhaps he walked in through her sleep, or has been hiding under the bed like the boogeyman – she doesn't know – but she knows he is hunting her. That he's come for her.
She knows that even awake, she is not safe.
In a flash, she jumps from the bed and bolts into the hall of her apartment complex, down the flight of stairs, barefoot and still wearing her boxers and tank top because there's no time for dressing for the weather, for thinking, for worrying if someone thinks she's crazy. At twenty-four, she knows her own mind. A story is a story and this is no story, and she doesn't care if she has to run screaming it into the city streets.
Let me be crazy, she thinks. Please.
Down, down, down the stairs, each second feeling endless, and then she steps through the metal door, now feeling more cautious and careful. (Is he behind the door) Quietly now: one step, then another. It is sometime in the dead middle of the night, and the lobby lights are grimy yellow. One flickers.
From here she hears the elevator, a wisp of laughter. From a man? No. The creak of footsteps from behind her.
(What is that sound is it)
And Sarah takes one step out the lobby door, one step into the subzero wind, when suddenly her head aches and swells and blurs and she sees black spots rise in front of her like crystals floating in the air. . .
Under the blushing sky, its amethyst light. The trees dead and craning their many necks (branches) towards her bright body, which stands on the top of the world in jeans and a vest and white shirt. How familiar. She walks down the hill into the garden, seeing the fairy glow below, the iron doors and the murky water. I'm coming! The labyrinth lurches and groans like a coil of sleeping bodies. A child is crying (who?) and she needs to reach the center, and find him, before something terrible happens to him (to her). She is the hero of this story, floating with such grace. How easy this is! She holds out her arms and levitates. How bright she must look among all the crows, gliding past the forest, through the castle gates in what must be minutes. But the throne room is vacant and silent; the child is no longer crying. I need the child (there is no child). There is the empty throne carved roughly of stone, the tiny bones at her feet, rattling as she steps on them. But the child is gone.
The king lounges across his throne, a crystal twirling at his fingertips. He stares into its contents, grinning with teeth.
He looks up at her with hooded eyes, but still they shine. "How are you enjoying my labyrinth?"
The silence unsettles her. Where are the goblins in this city. Where is the child. Where is the song. The only sound in the room is her breathing, heavy and turbulent. Where is the monster, the dwarf, the fox, his dog. She notices her fists are clenched; she's shaking. She has been here before. Hasn't she?
"Where is the child? What have you done with the child?"
He looks her up and down, but there is no leer in his eyes. He has the face of an artist admiring his sculpture, a carpenter looking over a finished house for imperfections. Around his head Sarah sees, faintly, small bits of light circling – something behind his skin seems to glow – but the area around his eyes is almost dramatically dark. Almost black.
Now, suddenly self-conscious, she thinks to look down at herself. She wears a white cloth dress, a cut that stops well above the knee. How did that happen. She touches her head, where someone has placed a soft crown of clover. Around her neck, a string of thorn and red berries. Like a forest nymph. Like a fantasy. Where are her shoes?
"I believe that story has long been completed, my young heroine. You finished it."
His voice draws her from her bewilderment. The crystal spins on its axis.
She whispers: "What do you want?"
"Little Sarah," his smile widens, jagged and dark on his frosted face (beautiful, soft-lit). She finally sees his eyes fully, how they are time and water-polished: mismatched grey and hazel and cold, like the rocks one skips across a lake. They skip across her body.
"What would you give?"
The crystal looks planetary against his night-black cloak. It disappears in a small implosion of light.
She steps back toward the door (But where will you run).
The king laughs quietly. He leans forward on the stone throne, casting a long shadow.
"Do you remember me, Sarah?"
His words feel strangely powerful, as if they ripple through the air, as if the torch-lights flicker to their cadence. And suddenly she remembers: the words tumbling from her mouth. The world crumbling into her room. Everything comes flooding back into her.
"But I said the words and the platform fell" – she swallows – "You fell."
Laughing gently still, he stands from his chair, his lithe body unfurling elegantly, and steps towards her.
As he walks, his black cloak trails the floor, shining darkly (a constellation behind a thin layer of cloud) in the musky light. He draws his teeth into a jagged smile.
"Ah," he says, and pauses. "But I did not fall into nothing, child. I only transformed. Did you think I would perish so easily, at a mere six words from the mouth of a little girl?"
She shuts her eyes, holds them closed, opens them again.
"Is this a dream?"
"So it isn't real."
"Of course it is real." He smiles again, viciously. "You would not take your dreams, so I gave you mine. Do you like them?"
Her heart thumps so fast it hurts. Everything here certainly feels real – painfully so.
"What, exactly, do you want from me?"
"Oh, Sarah. You do not know?" His eyes are wide, almost joyful now. A cat toying with a mouse. "Surely my techniques are not so opaque."
The words somehow feel cold, and she warbles: "It's not fair – I ran your labyrinth, and nearly died, and beat your clock – and – "
But the king snickers and grins at her, tilts his head, bits of light falling from his bright hair to the filthy ground.
"Nearly died? On the contrary, my dear. That was your story to twist and turn; you were always going to live."
He circles her now, as if this were a dance and she were his partner, his eyes always on hers. His shadow – so dark below his bright skin – eclipses her body, seems to catch her fleshy brightness in its sack. She tugs at the thorns around her neck, feeling more aware of them now – a little prick, a little blood – yes, she is bleeding. The blood tickles her neck in its trail to her shoulder. He stares at it lustfully.
She falters: "What do you mean 'the story was mine to twist and turn'?"
And still he gleams and gleams at her, rolling the secret slowly over his tongue, rotating around her body like a dark star around a planet. His face – nebulous eyes, darkened – comes close to hers, his breath on her mouth for a moment.
"I mean that story was yours to tell, to weave and make as pretty and innocuous as your little heart desired. I mean you were a child."
He stops turning, runs his hand along the side of her neck. Cradles her face.
(What kind of game is this)
"But you were so careless," he sighs.
A moment of silence stretches between them. She hears her own breathing, but not his, as if he isn't breathing at all.
"I warned you."
His shadow seems to pull her closer.
He brushes her shoulder with his fingertips, lightly (it prickles), as he turns behind her. She turns to face him.
"'I have been generous,' but I am cruel, Sarah."
A kiss on her forehead (it burns).
He leaves her alone in the throne room, where she curls on the floor, among the dust and bones. She dreams herself into another body. Away (and above). In the dream someone puts a hand to her face. A man says, "She won't wake up. I found her lying on the sidewalk, out cold." A woman says, "Open your eyes, sweetheart." The lights of the city make strange patterns in the sky.
But her eyes are open (But I can see you).
In the back of her mind, the dream flashes, then fades. She still lies on the floor of the throne room – in the rancid smell the dust and bones – when he kneels down, and blows into her ear, and wraps her into his arms. She keeps her eyes closed, pretending to still be asleep, but slowly inhales his scent: snow, and cold. He truly smells of winter, of that kind of death. He puts a hand to her forehead, as if checking for fever, and inside her heart squirms. She can't face him now, disoriented and vulnerable, half-asleep and half-awake.
"Open your eyes for me."
She pushes him away. Her heart struggles to fly out of her flesh and she can't breathe.
"I won't," she says, not in the tone of a spoiled child, but calm.
He touches two fingers to her eyes and they fly open, the lids pulled up by magic. His eyes turn to slits, his pearl face glowing in the dim light of the room. Not a ghost, no. But not flesh. What is he made of?
(What tendrils beneath his skin)
"Do you remember my warning, Sarah?"
A hand cradles her head, and she shivers, a shadow (heavy and numbing) wrapping itself around her. What will happen, now that he has her here? What more does he need?
(What more to take)
"Take heed, Sarah. This is not a matter to treat lightly."
His grip around her tightens. The air around them turns thick and cold, and his voice turns thick and cold with it.
"Sarah. Will you agree to my terms?"
She sighs: "No."
He sighs: "As you wish."
And Sarah feels herself falling into sleep, drifting down through the stone. . .
. . .And then he is pulling her up onto a shore through clear water, up into half-light – her body wet and cold but clean, all the dust from the castle floor washed away – and he smirks as she coughs dizzily, then stumbles forward into his chest. Around them: a milk-blue lake, swirling like a galaxy, and dark trees with lit orbs for leaves that seem to sway back and forth (or is that her own vision?). The leaves cover the ground with a pale, soft light, but they feel cold and sharp against her bare feet. Where has he brought her?
Without a word he begins kissing her collarbone (it burns), up to her neck, her jaw. He scrapes his teeth against her ear, and she whimpers, still trying to push him away as he lays her down on the ground. He unlaces the back of her white cloth dress, and she closes her eyes, afraid to look at him, but still pushing with what parts of her body aren't held. . .
(No no no!)
He leans down, pressing his own body onto hers. He puts a finger to her lips (it tastes of fire), as if warning her not to speak, but. . .
The horror lurches in her stomach, up into her heart, which swings like a pendulum back and forth against her ribcage as he pulls the dress over her head, revealing her bare skin.
She croaks out, finally: "No – please."
He laughs gently, now tracing his finger gently over her collarbone, then pushes down firmly, and she trembles – the skin dissolving to lacework, to blood, to muscle, until a sliver of bone is exposed to the cold air – and then screams, because it hurts.
(What is he)
Then he touches her thigh (it burns). He kisses her throat softly, and yet she can feel her skin bruising. Now he kisses her mouth, bites her lip. She tastes blood. Now he runs his fingertip along her neck, as if marking her skin with the thinnest knife.
"See how fragile you are to the touch of gods," he breathes into her ear, "see how you fall away. Would you like to be divine, Sarah?" His face is luminous yet carved deeply with shadow, as if made of shadow and light itself. "Love me, fear me, give in and nothing will ever hurt again."
Her vision blurs with confused tears, which make her own face shimmer in the leaf-light, the sound of her breathing becoming louder and more erratic in the quiet space. "What have you done to me?"
His hands have left marks, traced thin roads up and down her skin, almost labyrinthine in their movements. Hesitantly, her hand finds her collarbone: smooth, polished, exposed. The horror forms a knot at the back of her throat. There is the kind of pain that comes from a dry wound in winter wind.
"Look at the power I have over you. I only need your words."
He sends her back into sleep, carries her to the castle, and leaves her alone again in the throne room. She dreams in white, dreams herself into her twin. Into a white room with a soft bed and bright, seraphic faces. There is a murmur of voices, the tink of hospital machinery beside her. The shuffle of footsteps around her bed. A child asks, "She'll get better, won't she?" And his mother replies, wearily, "Of course she will. She's just sleeping, but it's a very deep sleep, see, where she doesn't feel any pain."
"You are a thief," she spits, sitting on the stone floor with her head in her hands, caught under his gaze. His billowing shadow covers her. The thorn necklace digs into her throat, making her bleed lightly. Her white dress is covered in dust. Each place he's touched her burns.
"Ah, Sarah, I have not taken anything that doesn't belong to me. I merely ask for a trade."
The torch-flames on the walls quiver as he brushes by them, the force of his body almost snuffing them out, his whole form seeming to darken and brighten like the changing of day into night again and again. He kneels down in front of her as if she were a small child, and continues: "Would you like to move between the worlds? Would you like to move inside a star?"
"But all you do is take."
And he smiles with his voice, carefully shaping his words, as he leans forward to speak against her hair: "Look at what I'm offering you."
His magic cups her shoulders like cold hands (or are those his hands). Quickly, she pulls away. The hay-moon hair frames his face, his teeth bared as he stands straight, pulling on her arm to lift her up.
"Would you like to see yourself, Sarah?"
She doesn't answer, unsure.
"Come" – he slowly conjures a mirror out of the air, rimmed with bright tendrils that move and grow in light and shadow and dust – "Look."
And she finally sees the signature of his touch: where the bone lay exposed; where she bled down her neckline; where his palm rested, left a burnt island above her breast. The flame-licks where his lips brushed against her.
"Do you still think this body is yours?" he asks, holding her bare shoulders (even now it burns), his eyes in the mirror glowing like two black holes emitting light.
"Yes," she says.
"But I have signed my name across it again and again."
In the mirror, she watches his face smoothen as he finishes speaking, pale and sculpted from light and darkness by a meticulous hand.
"But only in magic, nothing more."
He smiles behind her, his teeth almost vampiric. "But Sarah – tell me again about your dreams."
That night, the dream is his: a hunter finds her lost in the woods (but it is not her body, not her voice, somehow different) and offers to walk her back into town. Instead they come to his secret house far off the road. He gives her a coarse smock. He keeps her in a cage. At night he comes and licks her earlobe and says horrible things as he lays her down in the filth.
"I can protect you from such fates," he says as she wakes from her nightmare, plucking a crystal from the darkness.
(But can you protect me from you?)
Today, he brings her out of the throne room, leads her through the torch-lit brownstone halls that curve intestinal through the castle. He drags her by the hand, saying nothing. She could be a ghost: pale-skinned and thin in a wispy white dress, now torn in places, now stained with dust as if she has been sleeping underground. Only she is not dead, not yet.
He stops before a door.
"What's in here?" she asks, feeling uneasy.
Still silent, he swings the door open. Inside, a cluster of ordinary sparrows frozen in flight. "Look," he says, and places one in her hand.
And he leads her onward through the castle halls, opening the doors one-by-one: In this room, huddles of fireflies. In this room, thunder and lightning. In this room, emptiness: only a sound like needles falling onto the floor.
"Don't you have any things?" she asks.
He doesn't answer again, but pulls her left, opens a heavy silver door. Inside: piles and piles of dusty books (encyclopedias and folk tales and illuminated manuscripts); oil paintings propped against the wall (haloed saints and fleshy gods and sacred animals); sculptures (pieta and centaur and little hoofed boy with his flute); cave paintings (horses and deer and women and men). All the art and words taken from a world Sarah can only vaguely remember.
He traces her collarbone with his fingertip from behind her, breaths against her ear. "Isn't it fascinating, isn't it beautiful, what humans create in their likeness?"
"Why do you keep all this? How did you get –"
But he leans forward, speaking louder now: "For the same reason I keep you."
The crystal slides down his arm, levitates, turns over his fingertips. Mesmerizes her. It shatters, a tiny supernova brightening all corners of the room, highlighting all the dust floating in the air. She shields her eyes, opens them to momentary blindness and to him – smiling (awfully) now – as he slinks down theatrically from his throne to the floor. He stands over her, his hair wild and seeming to make its own light.
"Beware, Sarah." She takes one step back from him.
"I could lock you in a cage and make you sing for my mercy. I could starve you until I see your red heart beating through your skin."
His voice is sharp, without warmth. The wind carries into the room through no window at all, as if flowing out from him, to tousle her hair. Tonight he smells of licorice and ice, the shadows playing like snakes over their bodies. She can almost hear them hissing over her skin, through her hair, into her ear: "I ask for so little."
She jerks away."You do not ask!"
He pauses, staring. His eyes wax and wane, and suddenly he gives her a gleeful smile. "Sarah, would you like to play a game?"
She means to say, "No." Instead she says: "What kind of game?"
But he's already gone.
In the castle halls, the torch-light licks her body gold. She walks alone, as she has been alone in the room for what seems like days, sleeping on the stone and silence and waiting for something to happen. He hasn't returned, and she is so hungry she might be floating in her lightness. How long has it been since she ate? It could be days. Could be weeks. Time seems to have disappeared, and so goes her sense of self – her knowledge of the person she was before coming here. . .
(I could starve you until I see your red heart beating through your skin. . .).
But one of these rooms must house a bit of stale bread, or even dry rice or moldy apples, she thinks. Lightheaded, she keeps walking, opening the doors one-by-one. But in this room: staircases upside down and sideways and – she slams the door. In this room: a garden of stalactites and ice, a cool whisper of invitation. In this room: only darkness.
But some invisible hand draws her inside.
Wary, she tiptoes into the pitch darkness, squinting and holding out her hands. "Hello?" she whispers. "Anybody here?"
Suddenly a mirror image of herself appears before her: brown-haired girl dressed lightly in white, looking weak and dead with her wounds and bruises and bits of her bones exposed.
"Don't I look terrible," she says. "What has he done to me?"
But the mouth in the mirror doesn't move with hers.
Instead the spectral girl answers – in her voice – "I'm frozen." She takes her hand, rasps: "You are so warm, I should like to live in you."
There is no mirror.
She whispers: "He will kill you."
When she returns to the throne room, breathless and aching and glistering with sweat, she finds him waiting for her there (he will kill you), smirking with his arms crossed over his chest. He looks up slowly at her entrance, his face wintry and sleek and almost blue in this light, and smiles wider – as if happy to see her.
"Sarah," he coos her name. "Would you like something to eat?"
She nods, ready to burst into tears.
"Of course you do. Poor thing."
He conjures a peach from the air, all rosy-glimmer, and throws it into her hands.
She shakes her head, hot with fever. "No. Give me something else." But her voice wavers, quiet and frail.
"Beggars can't be choosers, Sarah." How he loves saying her name, like moonlight uncoiling off his tongue. He steps towards her.
"But – please."
"Do you not like my gift?"
Her stomach roils at his words. She shakes her head, which sloshes with a dull ache that seems to worsen with each word he says. "I don't want it. Stop this."
He contorts his face in a mock-hurt, and steps closer again, smelling of electricity.
"This may be the story you began, my pretty one, my word-weaver, but it is no longer yours to tell." And he holds her chin in his hands, whispers: "What happens when the storyteller loses control of her story?"
Slowly, he takes the peach from her palm, holds it up to her mouth, kisses her above the eye. Runs a blunt thumb along her throat. He breathes: "What path will she choose to tread?"
She must eat something.
Here the people twist and gnarl like trees in the wind to the wordless music, to each other's voices. They bend to her in dance, wearing their fleshy demon masks; they kiss the back of her hand.
"Sarah," they croon (they know my name?). "How nice to see you here."
She blinks, and suddenly she stands in the middle of a silent forest, the old knotted trees bowing their branches towards her, as if she were a queen. The trees smell of rot and bones but how fluidly they bend their branches. . .
She blinks again, and she is back in the raucous ballroom, being twirled and twirled by the men and women, all of them dressed so elegantly in silver and gold and hideous masks. "Oh Sarah, beautiful," they coo, "come join us."
Then she realizes: she is naked.
And as she notices, so do the dancers. They stare at her body, they begin to touch her as she passes. They brush against her breasts. They kiss her neck, they breathe against her ear:
"How lovely you look tonight. You shine."
But their voices are all wrong, laced with darkness, and now they grab her in their dances: they cup their hands to her hips and pull her closer. "How delightful."
When she blinks she is in a forest, and when she blinks again she is in a ballroom. One gold-masked man licks her ear, runs his hand up and down her stomach. A silver-masked woman kneels down, begins to suck at her fingers, then runs her other hand up and down her thigh. Struggling to pull away, Sarah closes her eyes, counts to three, and opens them wide. . .
(Wake up wake up wake up)
The Goblin King stands in the center of the room (no no no), black-cloaked and gloved, smiling at her – wolf-teeth bared and glinting. She blinks and he's gone. Panicking, she moves to turn around – must keep her eye on him – but he comes up from behind, and slowly runs his fingers up and down her arms, hissing:
"If you will not give yourself over to me, perhaps you'd rather I give you to them."
His breath slides into her ear. She says nothing.
He kisses her neck: feathery, but poisoned. "How they love to play."
And she remembers: the chair. The chair through the glass. She looks and looks, but there is no chair – nothing but dancers (demons) –anywhere in the room. He calls from where he stands, his voice pricked with malice:
"Not this time."
And she turns and several dancers are already upon her, kissing her shoulders, licking her neck, brushing their bare hands along her skin and laughing and whispering and laughing into her ringing ears. From certain angles, they look like wolves prowling in the shadows, under the forest trees.
She opens her eyes, lightheaded and feverish.
"How nice to see you awake."
His shadow blankets her form as she rises from sleep. The black cloak spreads behind him like a parallel shadow, but glittering as if a piece of night. She says nothing, and stands from the floor clumsily, backing away from him as he takes slow and deliberate steps towards her.
(He'll find you)
"Why do you look so frightened?" he asks, his face finely-tuned into a mask of concern, a smile laced behind his thinned lips.
She looks down at the peach, still rocking on the stone where she dropped it. The worm wriggles out like a caressing finger and she shudders (I remember). Silent still, she presses her back against the wall, her spine scraping against stone with each heavy breath. Closes her eyes, hoping to wake up somewhere else.
"My Sarah." How he loves saying her name. His hand brushes against her breastbone, leaving a pale red trail.
"Has the story turned on you?"
She dreams: "So there's nothing you can do, doctor?" a man asks, sounding exasperated. His voice is a distant trail to its body, like a lighthouse beam spotted miles from shore. "Until we find the source, no. I'm sorry." The room is dimmer than she remembers. In her ear, a little boy whispers: "Sarah, I miss you." (Toby – why is it so dark and cold?)
The torch-lights flicker high and low, as if giggling. The room smells of dead things. Always the same scene, over and over, except she feels bits of herself falling away each time he comes to her. The dreams – dreams of white, and warm – keep her anchored, but they are not enough. She can't live in them forever. And so like the labyrinth, nothing seems to change, yet it does.
His eyes rimmed darkly, the Goblin King hovers over her – where she stands with fists clenched – and brushes the hair from her face, and smiles hideously. This time he says: "I am going to kill her."
(He's going to kill you).
Her heart spasms. "Who?"
"The girl you dream of."
Her eyes widen, and he stares into them, his body leaning toward hers. She chokes out a sob: "Don't." All the while, his eyes glitter.
"You will not see her again."
(You won't be her again).
"You can't!" She is so close to falling on her knees to the stone and begging like a slave, to grasping his ankles and letting the black cloak and shadow swallow her in their single rippling wave.
"Did you think you could run into her forever? Did you think I would allow it?"
The torches lick his face with shadow, highlight his teeth.
"No, I – please. I'll do anything to keep" – he tilts his head and smiles.
It is not her dream-self she wants to save, to feel and be again, but the little boy (Toby) whispering in her ear, and his mother, and her father laying his hand on her forehead. The dream is all she has left. Without it she is utterly alone. Whether or not it is real no longer matters. It is a place. It is warm.
He cradles her face in his hand (it burns), runs his other hand from her neck to the end of her shoulder like a trickle of scalding water.
"Sarah," he says. "Stay here, stay with me and I will leave her be." He hisses: "Yield to me, Sarah."
The tears – the sheer panic – light up her eyes and she looks down from his face to hide them (But he will kill her). Her breath clots in her throat (But he will kill). What if she's real?
She looks up – first to the taut line of his mouth, then to his eyes, and then to his fiery halo of hair – as the fear tugs at her pulse and the simple words slide like acid between her teeth. . .
When she opens her eyes, she lies naked on softness and air and light. Around her – on the ceiling and walls and floor (not walls, not a floor) – stars flicker from their places in seemingly infinite blackness. From the corner of her eye she sees small bursts of powder blue and white, streaks of silver. The bed (not a bed) is smeared with iridescence, like a slab of opal. Except the bed (not bed) is not a slab, but silky and supple, leaving her skin somehow glossed and incandescent. She runs her hand along her arm. Her skin feels flawless. As if not skin at all.
"Sarah," said softly, but it startles her. It is only now she realizes the unbelievable absence of other sounds.
The king comes to sit where she lies, his black cloak seeming to unfold from the walls (not walls), his skin as lustrous and flawless as hers.
"How are you feeling, my Sarah?"
She props herself up on her elbows, still looking around. "I'm not sure."
"Oh, Sarah," he breathes, warm. "You have been asleep for so long, I thought you would never wake." He leans over her, kisses her eye, smelling of rock dust and glass.
"Time is boundless, little one. Let us just say 'long.'" He kisses her other eye, and moves down to her throat.
"All I can remember is a white room. A white room, and people – but everything was so blurred – crowded around me. There was warm blood everywhere. My blood. And then everything went black, and I woke up here. Am I dead?"
(And who are you)
He smiles. "You are one of the lucky – the chosen – who has not died, but transformed."
"One body cannot survive in two worlds, and you have crossed into this one." He brushes hair from her face. "To be here with me."
Standing up (bits of light falling around his hair) he conjures a mirror out of dust and air, rimmed with bright tendrils that coil and uncurl and grow into the darkness. "Come, look at yourself."
She does, and gasps upon seeing her nude body: how each muscle seems lit from behind, as if the bones beneath were light itself. How her skin is milky and smeared with something bright. A thin necklace of thorns and berries looks so dark and earthy against her celestial throat, and around her hair, she notices a crown of clover, the tiny slivers of petals like many half-moons in a bouquet.
"See how you shine, Sarah, beautiful."
He moves to her front, kisses her throat again, presses his hand to her nape. "My angel, I am so glad to have found you again," he breathes against her skin, leaving a trail of luster around her neck. "To have rescued you."
Then he lays her down on the iridescent bed (not bed).
(Is this a dream)
"No, love. Not anymore." He kisses the top of her breast, cradling her head in his hand.
(Am I real)
"Of course you are." A tongue tracing up her throat, sliding between her lips.
Eyes closed, she does not notice that he has removed his starry cloak, his black boots. He places his hand on her belly, licks her ear. His touch feels so surreal, as if her body is floating through space, leaving bits and pieces of itself.
He presses his hand to her hip, rubs his other hand up and down her upper torso, then her thighs. He kisses her forehead. Suddenly, he moves into her sharply -- then harder, his mouth on hers – and they move together, breathing faint clouds of light, as it does in the cold (but it is warm where they are) – and her body trembles like water as he pushes forward, rubbing against her stomach and chest, saying things into her ear like, "You are divine," and "You taste of petals, and streams, and rain."
"Who am I?" she rustles, as he thrusts forward again, and he bites at her lip, and runs his tongue along her jaw to speak into her ear.
He breathes, "You are my earth, and I am your path between the stars."
He bites her shoulder, and the blood is not red but white and shining soft and metallic. It hurts, but not the way she would expect. He licks it from her skin.
"What am I?" she asks.
And he thrusts into her again, and scrapes his teeth along her breast, then her throat, and she can barely breathe (barely think) as he pushes as deep as her body will allow, then again, and exhales, his breath a faint luster in the black air. . .and she is so dizzy, and it feels as if she is falling. . .covered with his hands, and his mouth, and his breath. . .
It is over. He lies beside her, trailing his satin finger along her collarbone.
He moves close to hiss (harshly) into her ear: "You are mine, Sarah. And you are infinite."
THE END (ah, happily ever after!)
Just something short, based on a dream I had. Sorry if it's confusing, and sorry if my attempts at any semblance of realism (or smut) failed miserably. I'll finish up my other story at some point, hopefully soon. Also, if you got this far, PLEASE REVIEW: I am not averse to editing. Really. This is probably not as polished as it should be, but I don't technically have the time for this as it is. ;) Also, sorry for posting this three times (if you got three notification emails); my section breaks weren't working.


text:
We take great care of our animals and our land while raising beef from pasture to plate for our customers. During the summer months, summer pasture checks are a necessary and fun task that we do a regular basis. It is also one of my favourite jobs to do with my boys. Since we homeschool, it is a wonderful way to get outside and study nature. Some days we will even pack a lunch or snack and have a picnic with the cows.
It is extremely important to check pastures on a regular basis to ensure that the animals are healthy and have adequate water and salt. It is also necessary to check the condition of the pasture to help us determine when the cattle need to be moved to maintain and/or improve the land.
Healthy Animals are a Priority
First, we are checking to make sure that the cows, calves and bulls are all healthy. We can easily do this by walking through them quietly. Our cows are quiet enough that they will usually not be disturbed when we walk through them.
We watch to see if the bull is interested in any cows, also known as cycling. If a cow is cycling, we then watch to see if the bull is breeding her. As the summer proceeds, we want to ensure that we are seeing less, or preferably no, cows that are cycling.
Ranch Documentation During Summer Pasture Checks
While I am walking through the herd, I always use this opportunity to take photos of the pasture and the cattle. Photographs are an amazing method to document pasture conditions and cattle genetics. We strive to ensure that our cattle are utilizing the pastures in a way to maintain a healthy grassland ecosystem for many generations to come.
Clean, Fresh Water is a Neccessity
We check all the water sources on the pasture to ensure that they are clean, fresh and have an adequate supply. This is extremely important, as water sources can dry up very quickly in the summer. On many summer pastures, we have off-stream watering systems to avoid disturbance to the water source.
Supply of Salt
Cattle must have access to adequate salt and we provide this to our herd in the form of salt blocks on each summer pasture. We must check their salt supply each time and replace with new salt blocks when required. Salt can also be used to encourage cattle to graze different areas of a pasture. By moving the salt blocks to a different location, we can lower the grazing impact in one area while increasing the grazing in another.
Tasks to be Done at Home
When I get home, I upload any photos of individual animals and pasture photos into our herd management program. This helps to assist in documenting our pasture conditions and our cattle genetics. We can look past photos to see how the ecosystem has improved based on our grazing system and it in turn helps us to make grazing management decisions. By inputting photos of individual animals, it helps to us to recognize animals when analyzing cattle records.
Striving for Grazing Excellence
Cattle are excellent converters of grass into protein. On our ranch, we strive to ensure that our animals have an abundance of grass while taking care of the grassland ecosystems that we graze. We are continuously learning about modern technologies and grazing systems to help advance our operation while always considering the environment. Summer pasture checks are one example of the great amount of care that we take for our animals and our land.

domain: biology


Cybersecurity Experts Caution Congress About ‘Global Emergency’ from Hackers
WASHINGTON — Cybersecurity experts suggested to a congressional committee Wednesday that lawmakers act quickly to address growing threats from hackers.
They mentioned the SolarWinds computer infiltration by the Russians last year and a hacker’s attempt to poison a Florida municipal water supply last week as examples.
“These attacks in my opinion for all intents and purposes should be considered an attack on the United States,” said Rep. Lou Correa, D-Calif.
The cybersecurity witnesses told the House Homeland Security Committee there is no easy solution to cyberattacks.
“We keep hooking more and more devices up to the internet,” said Michael Daniel, president of the Cyber Threat Alliance, a non-profit advocacy organization for cybersecurity.
A few decades ago, internet connectivity consisted almost completely of computers. Now it includes cars, water systems and other equipment, he said.
As a result, hacking attacks can be more devastating, Daniel said.
SolarWinds refers to a 2020 cyber-attack backed by the Russian government that penetrated thousands of organizations globally, including U.S. government agencies that handle national security and financial issues.
The Russian hackers gained access to the agencies’ computers for about nine months, making it the most devastating cyberattack in U.S. history. Other organizations affected included NATO, the European Parliament and Microsoft Corp.
Last Friday, a hacker tapped remotely into the Oldsmar, Fla., water treatment plant to try to fill the city’s water supply with potentially deadly levels of sodium hydroxide, also known as lye. The unknown hacker briefly increased the level of lye but it was detected before it threatened anyone’s health.
About 54,000 water systems are operated in the United States by local governments or private contractors.
“I think we’re on the verge of a global emergency,” said Chris Krebs, former director of the U.S. Cybersecurity and Infrastructure Security Agency.
Sue Gordon, a former deputy director at the U.S. Office of the Director of National Intelligence, suggested a multi-layered approach to cybersecurity.
“There’s no technology magic bullet,” she said.
Instead, she suggested more public-private ventures dedicated to security. In addition, leadership of the effort should not be controlled by a single agency but spread among several organizations that can double-check each other, she said.
Dmitri Alperovitch, chairman of the Silverado Policy Accelerator, a non-profit organization for advancing economic prosperity, said a purely defensive posture against cyberattacks will offer only limited security.
“We need to go on the offense,” he said.
Only when the cost to hackers is so great that it acts as a deterrent will cybersecurity become more effective, he said. Disrupting the infrastructure of the hackers — such as launching computer viruses and attacks against the attackers — were examples Alperovitch and other experts mentioned.
He also recommended against overlooking the international threat against the United States.
“We do not have a cyber problem,” he said. “We have a China, Russia, Iran and North Korea problem.”
He added, “I really believe that SolarWinds is the new normal for the Russians.”
In The News
WASHINGTON -- A cybersecurity expert told a congressional panel Wednesday that private industry alone cannot be expected to effectively confront... Read More
WASHINGTON -- A cybersecurity expert told a congressional panel Wednesday that private industry alone cannot be expected to effectively confront the kinds of cyberattacks that have wreaked havoc on U.S. computer networks in recent years. He testified to a House Homeland Security subcommittee as it considers... Read More
WASHINGTON — The Federal Bureau of Investigation distributed a Flash report on Friday warning of indicators of compromise from the... Read More
WASHINGTON — The Federal Bureau of Investigation distributed a Flash report on Friday warning of indicators of compromise from the Hive ransomware known to have infiltrated business networks. The ransomware utilizes multiple mechanisms as attachments to gain access and “Remote Desktop Protocol” to operate once embedded,... Read More
U.S. Census Bureau computer servers were exploited last year during a cybersecurity attack, but it didn't involve the 2020 census,... Read More
U.S. Census Bureau computer servers were exploited last year during a cybersecurity attack, but it didn't involve the 2020 census, and hackers' attempts to keep access to the system were unsuccessful, according to a watchdog report released Wednesday. The attack took place in January 2020 on... Read More
WASHINGTON -- Congress took a stab Thursday at improving the nation’s cybersecurity as the federal government mobilizes more resources against... Read More
WASHINGTON -- Congress took a stab Thursday at improving the nation’s cybersecurity as the federal government mobilizes more resources against ransomware and hackers. Both President Joe Biden and members of a House Homeland Security subcommittee described threats to U.S. computer systems as a potentially devastating economic... Read More
RICHMOND, Va. (AP) — As a member of the secretive Senate Intelligence Committee, Sen. Angus King has reason to worry... Read More
RICHMOND, Va. (AP) — As a member of the secretive Senate Intelligence Committee, Sen. Angus King has reason to worry about hackers. At a briefing by security staff this year, he said he got some advice on how to help keep his cellphone secure. Step One:... Read More
WASHINGTON -- As the international blame game over ransomware heats up this week, the U.S. government is scrambling for solutions... Read More
WASHINGTON -- As the international blame game over ransomware heats up this week, the U.S. government is scrambling for solutions with increasingly combative strategies. Legislation that won tentative approval in Congress on Monday anticipates a bigger role for the U.S. government in overseeing cybersecurity of critical... Read More


text:
HANOI, Vietnam (Dec. 7, 2020) -- Luxury hospitality brand The Regent has announced the opening of its newest property and residence on the island of Phu Quoc in the first half of 2021.
The Regent Residences Phu Quoc will be located on Long Beach, 15 minutes from Phu Quoc International Airport. The resort will feature elegant suites and villas with private pools, picturesque views, and upmarket interiors in harmony with the surrounding landscape. On-site amenities will include a sky bar, deluxe gym, premier butler service, fine dining and a first-rate spa.
The Regent Residences Phu Quoc will be the first Regent property to open in Southeast Asia since InterContinental Hotels Group (IHG) acquired the Regent brand in 2018. The property is part of the Phu Quoc Marina, a multi-service luxury complex developed by BIM Group, which also includes the InterContinental Phu Quoc Long Beach and the Sailing Club Phu Quoc.
The Regent Phu Quoc is set to open April 2021. Visit the official website for more information: http://regentresidencesphuquoc.com/en/

domain: news


text:
Christi Reece and The Christi Reece Group are excited to help you with your real estate needs in the Grand Valley of Western Colorado, and provide you with the level of service you deserve. We have a team of professional Realtors who specialize in getting WOW-factor results for our clients. If you are looking to purchase, our Buyer Specialists will listen to your needs and make finding your ideal property their top priority. If you are looking to sell, we use innovation and technology to maximize your property’s exposure and attract qualified buyers. We know the Grand Valley – the neighborhoods, the real estate market and the trends. We’ll share our extensive knowledge and expertise with you to get you the best possible outcome on your real estate transactions.
Our unique combination of canyons, mountains, rivers and desert make the Grand Valley one of the most sought-after locales in the West. If you are new to our area, we’d love to be your tour guide to Grand Junction, Fruita, Palisade and the surrounding areas of Mesa County!
Whether buying, selling or investing, please call us for a no-obligation consultation. We would be honored to serve you.
NEWS & UPDATES:
Christi recently received the Living Legacy Award from the Community Impact Council of Mesa County, acknowledging the philanthropic contributions of The Christi Reece Group Circle Fund.
Did you know we now have a commercial division? Click HERE to check it out!
We’ve been ranked #2 for sides and #4 for residential sales volume in the state of Colorado in the 2023 America’s Best list, plus 59 overall in the country in the large team category for 2023 RealTrends + Tom Ferry The Thousand!
Have you visited our second location? Come check it out at 130 E Aspen Avenue in Downtown Fruita.
Interested in being part of one of the top performing real estate teams in the Grand Valley? Shoot us an email at email@example.com and let us know why YOU want to join our crew!


text:
Researchers have suggested that chronic stress in early life causes anxiety, aggression in adulthood.
A research team led by Associate Professor Grigori Enikolopov of Cold Spring Harbor Laboratory (CSHL) conducted experiments designed to assess the impacts of social stress upon adolescent mice, both at the time they are experienced and during adulthood.
The tests began with 1-month-old male mice – the equivalent, in human terms of adolescents – each placed for 2 weeks in a cage shared with an aggressive adult male.
The animals were separated by a transparent perforated partition, but the young males were exposed daily to short attacks by the adult males. This kind of chronic activity produces what neurobiologists call social-defeat stress in the young mice. These mice were then studied in a range of behavioral tests.
These experiments showed that in young mice chronic social defeat induced high levels of anxiety helplessness, diminished social interaction, and diminished ability to communicate with other young animals. Stressed mice also had less new nerve-cell growth (neurogenesis) in a portion of the hippocampus known to be affected in depression: the subgranular zone of the dentate gyrus.
Another group of young mice was also exposed to social stress, but was then placed for several weeks in an unstressful environment. Following this “rest” period, these mice, now old enough to be considered adults, were tested in the same manner as the other cohort.
In this second, now-adult group, most of the behaviors impacted by social defeat returned to normal, as did neurogenesis , which retuned to a level seen in healthy controls. “This shows that young mice, exposed to adult aggressors, were largely resilient biologically and behaviorally,” says Dr. Enikolopov.
However, in these resilient mice, the team measured two latent impacts on behavior. As adults they were abnormally anxious, and were observed to be more aggressive in their social interactions.
The study has been published online in the journal PLOS ONE.
Source: zee news


Scientists measure city air pollution in electric vehicles04 July 2014
Scientists from the University of Leicester will be taking to the streets today (4 July 2014) in electric vehicles fitted with air monitoring sensors, to measure air pollution in city environments.
In collaboration with Cenex – the Centre of Excellence for Low Carbon and Fuel Cell technologies – the University's Air Quality Group will be using Mercedes Smart electric vehicles (EVs) which are fitted with special sensors, designed and installed by the University.
"A mobile air quality monitoring platform, such as a specially designed electric car, is highly valuable to the scientific study of urban air quality," says Dr Roland Leigh from the University's department of physics and astronomy.
Zero-emission vehicles allow for a more accurate reading of data, he explains, since they don't emit nitrogen dioxide or other pollutants.
"By monitoring air quality as a seamless part of our daily transport system, we are providing a cost-effective way to help inform future policy and operational systems," says Leigh.
A charging point for the Cenex-branded EVs will be installed on the University's campus as a pilot study, to boost uptake of EVs by staff and students. More charging points will be installed on the campus in the future.
The University already has six EVs as part of its fleet and this number will grow, says Tim Yates, deputy director of estates at the University.
"The installation of these charging points will go a long way in encouraging the purchase and wider use of electric vehicles," he explains.
"When someone wants to charge their private vehicle, they will be issued with a card and PIN number, enabling them to access the charging point on campus and pay for the electricity used."
The air quality monitoring research is being funded by the Natural Environment Research Council.
Mercedes-Benz UK Ltd
University Of Leicester
This material is protected by MA Business copyright
See Terms and Conditions.
One-off usage is permitted but bulk copying is not.
For multiple copies
contact the sales team.


text:
East shore traffic plan topic of Monday meeting
North Lake Tahoe Bonanza
INCLINE VILLAGE – Monday’s citizen advisory board meeting will likely shed light on a controversial proposed East Shore traffic plan that officials say is needed to address a growing and dangerous summer safety concern.
According to a proposal by the Tahoe Transportation District, the idea is to operate a pilot shuttle program – dubbed the East Shore Express – the next two summers from mid-June until Labor Day. The shuttle service would run every 20 minutes between 9 a.m. and 6 p.m., seven days a week, and the parking area for those riding would be at lots near Diamond Peak Ski Resort.
According to TTD literature on the proposal, the shuttle program is needed to mitigate the major amount of traffic and parking issues – and subsequent dangers to pedestrians, cyclists and motorists – between Incline Village and Sand Harbor during the peak summer season.
The plan is opposed by local Realtors and representatives of various homeowner associations residing in the area of the ski resort and Country Club Drive. According to statements submitted to the Bonanza, as well as public entities, many argue the plan will have a negative impact on those neighborhoods due to noise from the shuttle buses and exhaust fumes emanating from them, among other concerns, and that home values will decline because of the plan.
The pilot program and the plan to park at Diamond Peak promises to be temporary for the next two summers, according to TTD, while various agencies work on a permanent park-and-ride program at still-to-be-determined venues on Lake Tahoe’s North and South shores.


text:
Myriad factors, including gentrification, immigration, sense of belonging, public spaces and crime rate, play a role in how these communities form and disperse, sometimes within a single day—for example, the communities of workers who commute into Manhattan from outer boroughs or the communities of children who come together to learn from educators and each other.
Helmreich argues that the dynamics behind these constantly evolving human choreographies make New York a city unparalleled in its historical and contemporary impact. This book is pure joy; even the most dyed-in-the-wool New Yorker will learn something new about this vibrant city. There was a problem adding your email address. Please try again. Be the first to discover new talent!
Each week, our editors select the one author and one book they believe to be most worthy of your attention and highlight them in our Pro Connect email alert. Sign up here to receive your FREE alerts.
The New York Nobody Knows: Walking 6000 Miles in the City
- About the author!
- Site Index.
- Problems Couple - Know and Solve?
Log In. Toggle navigation MENU. Email Address. Review Posted Online: Oct. Tweet NYNobodyKnows!
Chapter 1 [PDF]. Professor Helmreich, a sociologist at the Graduate Center of the City University of New York, invites readers on a romp through largely unexplored neighborhoods that is as entertaining as it is enlightening. The result: a magisterial work that examines how people live in this large, complex, and evolving urban landscape.
Highly recommended to sociologists, urban demographers, New York historians, and all walking enthusiasts in the city. This book is pure joy; even the most dyed-in-the-wool New Yorker will learn something new about this vibrant city. To truly know New York, you may have to walk 6, Or, you can just read Helmreich's account of visiting every inch of the city.
For me, the best bits are Helmreich's detailed descriptions of chance encounters. He gives a powerful depiction of the numbing dullness of some people's jobs, from the security guard in the museum to the man waving a flag outside a garage.
- The Forgotten Secret (Trip Mongomery Book 2).
- One Sociologist's Epic Quest: Walk New York City, All 120,000 Blocks.
- The New York Nobody Knows: Walking Miles in the City | The City College of New York!
These are described with tenderness and not a little wry humour. The book is not a guidebook, but a very accessible sociological study, full of color and anecdote.
Affordable Books For Everyone
His method is, in some ways, a throw back to a much earlier form of social criticism, when walking was curiously in vogue for the self-styled intellectuals and elites of 19th century Europe. And it's one that anyone can learn from. The book is a page sociological examination of New York through the eyes of a keen observer. It is segmented into parts on the city's ethnic composition, gentrification, environs and what the future may hold for America's melting pot.
And yes, there's a section on what makes New York fun, too. The New York Nobody Knows is gratifyingly deep with analysis on the city's history and demographics while also reading like a survival guide at times. It's refreshing to read a book that celebrates so unreservedly the ethnic diversity of a city and entirely fitting that it should be about a metropolis that has always been defined by its cosmopolitan culture. His observations--all touching on various aspects of the multifarious lives of the estimated 8.
The New York Nobody Knows Walking Miles In The City - Store - Shakespeare and Company
Helmreich's engaging account of how he logged 6, miles on foot through all the boroughs of NYC, accumulating many insights into the eternal, multi-ethnic metropolis. Sociologist Helmreich presents the city as a richly diverse place whose residents are eager to share insights and opinions. At its best, the volume reflects the author's willingness to listen, to observe, and to be amazed.

domain: library


text:
Two young African-American children wearing party clothes, or perhaps their Sunday best, stand frozen in time in a photograph taken in Alabama on a sunny day in 1929. The girl looks directly at the camera while the boy stands behind her, his right hand resting on her shoulder as he gazes into the distance. The photograph, taken by acclaimed photographer Prentice Herman Polk (1898-1985) and titled Young Love, is simple, arresting, and significant, as it was gifted to the University of Delaware by Donald Polk, his son, and the Polk Family.
The photograph became a treatment project for Winterthur/University of Delaware Program in Art Conservation (WUDPAC) Fellow Amber Kehoe this year after collection curators became concerned about signs of mold on the print, likely induced by past exposure to high humidity and temperature. Amber, a photograph conservation major, loves the way photographs make her feel connected to real people and places, and she was touched by the image of the young children, one of whom appears to be the photographer’s son, Donald, when he was young. Polk frequently photographed his family and community—people who were important to him—something we still do today.


We report the discovery of a second methanol maser in the Large Magellanic Cloud and we present the results of synthesis observations of this and the methanol maser detected previously. The second discovery was made using the Australia Telescope National Facility's 64-m Parkes radio telescope during an extensive maser search for 6.6-GHz maser emission from the 5_1_-6_0_ A^+^ transition in both Magellanic Clouds. Spectra were obtained towards 35 HII regions in the Large Magellanic Cloud and 13 regions in the Small Magellanic Cloud, and also on a 3-arcmin grid over an area 0.3^deg^ square, south of the 30 Doradus nebula. Parkes observations at 12.2 GHz towards the two maser sites yielded no detectable emission from the 2_0_-3_-1_, E methanol transition. The results suggest that methanol masers are less abundant in the Magellanic Clouds than in our Galaxy. Observations of the two masers with the Australia Telescope Compact Array showed one to be located near the continuum emission peak of the H II region MC18 (N11), while the other appeared to be centred near OH emission on the south-eastern boundary of MC23 (N105a).