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Saturday, 17 September 2016
Halloween Light Jars #Bostik Challenge
We also made some Halloween light jars to light up the room and give the party a spooky Halloween feel.
Making these Halloween Light jars are so easy and they really look very effective.The jars can be painted in any neon colour and they look super with battery powered T lights in them to light them up. The activity is fairly simple to do with children but supervision will be required. The painting part is the messy bit and I strongly advise that you cover your work space with lots of news paper and get your little ones to put on an apron or pinny.
For the Halloween light jars you will need:
Glass Jars
Acrylic Neon paint colour of your choice
Halloween themed ribbon to fit neck of glass jar.
Bostik glue
Black marker pen and pencil
Paint pot
Paint Brush
Battery powered T light
To see how to create these awesome Halloween Light Jars watch the video below:
Being part of the Bostik 2016 bloggers with Tots100 and Merrily Crafts, I was sent some craft items in a box to create this project.
24 comments:
That's such a great idea! I didn't really celebrate Halloween last year, but I think I want to put up some decoration this year. Will make this, looks so easy and fun!ReplyDelete
These look so amazing and also so easy and quick to make without needing a load of things! I am definitely going to make some with my niece - she will love them!ReplyDelete
Laura x
They look so pretty and perfect for the season.ReplyDelete
These look elegant - yet simple and easy to make - thanks for the instructions!ReplyDelete
These look really good and so easy to make what a great idea xReplyDelete
OOh wow these look just so good, what a fab idea!ReplyDelete
Oh wow these look awesome and so simple. I should do something like that for Halloween. xxReplyDelete
This is a fab idea for Halloween. Looks amazing.ReplyDelete
I love halloween styled things and have them in my flat all year round. These look so good xReplyDelete
What a brilliant idea my girls would love to do this as well. Better get some jars in.ReplyDelete
Wow these look lovely - sending this link over to my Halloween mad friend!ReplyDelete
These lights are so cool, we love celebrating Halloween here:-)ReplyDelete
ooo this is a great alternative to carving pumpkins!ReplyDelete
I like the look of these to decorate the front garden at Halloween.ReplyDelete
I am not in to decoration but this looks cute, maybe will try this Halloween.ReplyDelete
These are such great ideas and so festive - love it xReplyDelete
That looks brilliant - I might make some for our windowsill xReplyDelete
Great idea for Halloween! I can't believe it's next month already! :)ReplyDelete
This is such a great craft, ideal for making with kids and will be perfect decorations for halloween parties!ReplyDelete
These look so good, I can imagine the possibilities for each season are endless too!ReplyDelete
- Anonymous20 September 2016 at 14:25
I love DIY! Will need this guide soon! :) Pretty cool for a decoration.ReplyDelete
Omg these halloween jars are so freakin cute! xxReplyDelete
These look so fun to make and are super cute! My mums adores Halloween so I'm gonna ask her if she fancies giving them a try. :) xReplyDelete
Ashton | beautybooksandbabble.co.uk
I really like your Halloween crafts. Have you got any Halloween recipes planned? :)ReplyDelete
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Timber joists vs I-Joists
As well as providing virtually no shrinkage, eliminating the annoyance of squeaky floors, I-Joists are much easier and quicker to install – a great solution for those with time constraints.
But just how cost and time effective can it be to use I-Joists over traditional timber floor joists?
"The "Timber joist vs I-joist" infographic opposite shows the material and time saved by using I-joists based on example floor drawing. The number of joists required is less then half with no need for washers and bolts and a 75% reduction on the amount of hangers needed when compared with using timber joists. This then reflects in the install times, which goes a long way to showing why more and more builds are swaying towards using I-Joists." - Pat Vanderman
Below is an example of I-Joists being used during a build in 2016.
Have more questions about I-Joists? Check out our I-Joist FAQ.
Here at Elliotts, we can supply I-Joists bespoke to your requirements. Our dedicated team of timber engineering experts are on hand to provide a quote based on your drawings.
With the potential for greater monetary and time saving opportunities by using I-joists, why not speak to our team about using them in your next project?
Have more questions about I-Joists? Check out our I-Joist FAQ.

subset: commoncrawl


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Recently I posted that Google must have changed their algorithm and as a result introduced a lot of new articles to my profile automagically that were nothing to do with me. It took work to prune them off and hopefully they do not reappear. Tonight I went through the process of updating the past few months of publications to get my Mendeley profile up to date and, lo and behold, there were a whole series of new publications that were NOT there the last time that I checked Mendeley. Interestingly they were all articles about superconducting materials as many of those that had appeared on my Google profile were. Is it possible that Elsevier is somehow sourcing the information from Scholar? Or is Elsevier sourcing these articles from within its own library? Of course the articles all have an author "A. Williams" associated with them. I have already started the process of pruning them out. Not happy…
Where did all of these Articles Associated With Me Come From on Mendeley
05 Dec
About tonyAntony (Tony) J. Williams received his BSc in 1985 from the University of Liverpool (UK) and PhD in 1988 from the University of London (UK). His PhD research interests were in studying the effects of high pressure on molecular motions within lubricant related systems using Nuclear Magnetic Resonance. He moved to Ottawa, Canada to work for the National Research Council performing fundamental research on the electron paramagnetic resonance of radicals trapped in single crystals. Following his postdoctoral position he became the NMR Facility Manager for Ottawa University. Tony joined the Eastman Kodak Company in Rochester, New York as their NMR Technology Leader. He led the laboratory to develop quality control across multiple spectroscopy labs and helped establish walk-up laboratories providing NMR, LC-MS and other forms of spectroscopy to hundreds of chemists across multiple sites. This included the delivery of spectroscopic data to the desktop, automated processing and his initial interests in computer-assisted structure elucidation (CASE) systems. He also worked with a team to develop the worlds' first web-based LIMS system, WIMS, capable of allowing chemical structure searching and spectral display. With his developing cheminformatic skills and passion for data management he left corporate America to join a small start-up company working out of Toronto, Canada. He joined ACD/Labs as their NMR Product Manager and various roles, including Chief Science Officer, during his 10 years with the company. His responsibilities included managing over 50 products at one time prior to developing a product management team, managing sales, marketing, technical support and technical services. ACD/Labs was one of Canada's Fast 50 Tech Companies, and Forbes Fast 500 companies in 2001. His primary passions during his tenure with ACD/Labs was the continued adoption of web-based technologies and developing automated structure verification and elucidation platforms. While at ACD/Labs he suggested the possibility of developing a public resource for chemists attempting to integrate internet available chemical data. He finally pursued this vision with some close friends as a hobby project in the evenings and the result was the ChemSpider database (www.chemspider.com). Even while running out of a basement on hand built servers the website developed a large community following that eventually culminated in the acquisition of the website by the Royal Society of Chemistry (RSC) based in Cambridge, United Kingdom. Tony joined the organization, together with some of the other ChemSpider team, and became their Vice President of Strategic Development. At RSC he continued to develop cheminformatics tools, specifically ChemSpider, and was the technical lead for the chemistry aspects of the Open PHACTS project (http://www.openphacts.org), a project focused on the delivery of open data, open source and open systems to support the pharmaceutical sciences. He was also the technical lead for the UK National Chemical Database Service (http://cds.rsc.org/) and the RSC lead for the PharmaSea project (http://www.pharma-sea.eu/) attempting to identify novel natural products from the ocean. He left RSC in 2015 to become a Computational Chemist in the National Center of Computational Toxicology at the Environmental Protection Agency where he is bringing his skills to bear working with a team on the delivery of a new software architecture for the management and delivery of data, algorithms and visualization tools. The "Chemistry Dashboard" was released on April 1st, no fooling, at https://comptox.epa.gov, and provides access to over 700,000 chemicals, experimental and predicted properties and a developing link network to support the environmental sciences. Tony remains passionate about computer-assisted structure elucidation and verification approaches and continues to publish in this area. He is also passionate about teaching scientists to benefit from the developing array of social networking tools for scientists and is known as the ChemConnector on the networks. Over the years he has had adjunct roles at a number of institutions and presently enjoys working with scientists at both UNC Chapel Hill and NC State University. He is widely published with over 200 papers and book chapters and was the recipient of the Jim Gray Award for eScience in 2012. In 2016 he was awarded the North Carolina ACS Distinguished Speaker Award.
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The 2015 Honor Klopp Ranch marks the second year we have been able to work with this extraordinary site. Yields were down quite a bit from what we typically get which enhances grape quality. And the slightly cooler vintage provided an opportunity to create a wine of great finesse and profound complexity.
On the nose, lilacs, lavender and violets lead with cherries, cedar and a hint of smoke. Its palate is dense yet delicate with Cherries, Pomegranates, Cranberries and Raspberries unfolding slowly punctuated by notes of clove, violets and cedar. The finish is long with Klopp Ranch's signature minerality supporting the complex layers of berries.
Klopp Ranch is one of the most spectacular sources for Pinot Noir in the Russian River appellation with only California's most accomplished Pinot Noir masters sourcing the majority of the fruit which is grown each year. We use only the Pommard clone of Pinot Noir which has a thicker skin and is known for heightened aromatics. This gives our wine a bit more structure, weight and flavor density than the typical California Pinot Noir.
Enjoy this wine on its own or with any of your favorite grilled meats or hearty fish like salmon or Ahi tuna. We would recommend serving it slightly below room temperature for optimum enjoyment. For recipes and other serving ideas go to www.honorwinery.com.
|Wine Type:
|Red Wine
|Pinot Noir
|Russian River Valley
|Harvest Date:
|August 28
|14 Months in 20% New French Oak
|Wild Yeast, Wild Malolactic
|Alcohol %:


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The numbers aren't good.
At the city council's first budget retreat on Tuesday, October 14, city economist Drew Barton told the mayor and commissioners what they're facing as they start crafting next year's budget.
Business license revenues are slated to fall. They were originally forecasted to grow slightly, to just under $77 million in 2009. Now, it's more likely they'll come in around $66 million, if past recessions are any indication.
Similarly, the city's hotel-motel tax will likely fall about $2 million short of forecasts. Both revenue sources are currently forecasted to bottom out in 2010 before rising again.
Though the council hasn't made a final decision yet, bureaus will likely have to submit budget requests that are trimmed back by five percent.
But never fear! Mayor-elect Sam Adams has a plan to revamp the budget process, adding a "twist" so the council will be in a better position to analyze those budget requests next spring.
Adams indicated he'll be ditching the method current Mayor Tom Potter used to craft budgets. The committee-loving Potter broke the commissioners up into teams of two to dig through bureau's budgets. Adams says he'd rather see each commissioner pitching budget requests alongside a bureau's manager, while the other four council members act as the "ways and means committee, asking the tough questions," he explained. "The idea being that we own the requested budgets, and we own the conversation, and we act as advocates [for our bureaus]."
Adams gave another hint of how he'd be using the budget process to cement his authority: "I'm going to be looking to the engagement of the commissioner in charge [during the budget process] as one factor in future bureau assignments. The budget is not just how we spend money; it's the work plan, it's the template."
Meanwhile, Commissioner Randy Leonard jumped in with his own idea on how to help the city get through a recession: Keep spending on capital improvement projects.
He wants to send the message that "we're doing things to create jobs that are also addressing our infrastructure concerns." As he explained, it's a strategy "to avoid getting hurt worse than we are—that we're not contracting public works projects, but expanding them."
Adams added that it's about "being timely in how we spend our money, to keep people working" and suggested the city look into moving up some project schedules. The two discussed putting together a short list of projects to pitch to the federal government for funding, if a new New Deal-style plan gathers national interest. "Let's be thefirst in the door," Adams said.


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|Raising standards through creativity and the outdoor curriculum
|Číslo projektu:
|Popis projektu:
|na stránke Európskej komisie
|19870 €
|Sumár projektu:
|The aim of this project is to encourage and inspire pupils and teaching staff through positive outdoor experiences. By participating in engaging, motivating and achievable tasks and activities outside of the classroom each participant has an opportunity to develop intrinsic motivation, sound emotional and social skills. Due to changes in society and the rise in the use of technology, many children do not make the most of the world outside of their classrooms and homes. This project is a way to further develop these skills with our students, preparing them for the future career market but it also offers valuable opportunities to expand our pedagogical practice and our own professional competences. As part of a staff meeting and through discussion with our locality colleagues we have identified as a school that we are not using the outdoors to its fullest effect and that we want to develop staff confidence in using the outdoors more creatively across a range of subjects. Over the two years, training and job shadowing will be targeted so members of staff who will have most impact from their training and members of staff who would most benefit from the training will be selected. Groups of participating staff will be carefully selected so that there is a balance of experience and language skills. The selection process will be clear and transparent so that all members of staff are clear why and how successful staff are selected. The opportunity to collaborate and learn from our European partners, will help us improve our future cooperation both as teachers and as future workers, using our languages in a meaningful way and developing our understanding of the huge potential the outdoor curriculum can develop in children's lives. The project partners in England, Greece, Spain, Portugal, Slovakia, Romania and Italy are keen to develop our skills, knowledge and understanding together. All partners are new except for England and Greece. We would like to work together again as during our Comenius project together, which finished 2 years ago, we identified these skills as a priority for both of our schools. We are planning a 2 year project including teacher training and job shadowing. During the first year of the project (2017/2018) there will be a focus area each term. In the first year we will also participate in two 'Outdoor Curriculum' courses which will focus on different skills. On returning from the courses the teachers will develop 'Outdoor Curriculum' guides that can be used as a training tool with staff and that can be shared on our etwinning space. This can ultimately be shared with a wider audience when we publish the space as a website. In the first year we will also develop literacy skills during an 'Enchanted Woodland' project, develop a health and wellbeing project and there will also be a Science focus. During the second year of the project (2018/2019) we will review all the training we have received in the Spring and Summer term of the first year and ensure that we incorporate the skills and practices into our projects. Our focus areas will be Maths in the Outdoors, Art in the Outdoors and caring for our Environment. Assessment and dissemination are two of our main concerns whilst carrying out the project. All of the people involved, meaning parents, teachers and pupils will evaluate and disseminate what has been done through different media. We will also carry out a clear audit of current skills/expertise across staff and pupils before the project begins and complete the same audit at the end of the project so we have a clear measure for impact. The impact will also be visible on the work published on the etwinning space and the 'Outdoor Curriculum' guides produced for staff training. We will review our curriculum during the project to ensure skills acquired whilst we are collaborating with our partners are embedded as part of our ongoing curriculum. This will ensure that these skills continue to be taught and developed long after the project has finished. Longer term benefits are the increased confidence of staff and pupils to be creative and imaginative in their use of the 'Outdoor Curriculum'. There should be an increased use of the outdoors for teaching and learning and a tangible improvement in teachers' confidence levels. We should also see an improvement in the childrens' confidence when outdoors and a child centred approach to teaching the outdoor curriculum where pupil voice is strong.
|Základná škola Karloveská 61


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Master Advice From Experts About Website Marketing
Web marketing is undoubtedly an interesting and ever-changing way to improve your income. There are a great many techniques you may use that may be customized to fit your own specific business. It may be tough to decide steps to start the initial project. You can be ready for anything after reading the ideas here.
A subscriber list of your respective clients is vital. Post notification on your website to collect emails. However, in order to be a little more aggressive, request it for customers to buy items off your blog. You will find this info at a later time to talk any deals you might have, or get in touch with them.
Put a web link aimed at your website in every single signature area it is possible to. Should you be a member of online message boards and forums, you need to put the link to your website in the signature. All emails ought to have your website's address within your signature. In this way you will end up passively promoting your internet site whenever you talk to someone online. Additionally, you will also be building quality backlinks to your web page which can have a positive affect on your website's SERP ranking. Put a neat slogan or catchphrase above the connect to draw attention to the hyperlink.
Consider the various methods accessible for advertising your internet site. Good ways to market your site at no cost or cheap would be doing stuff like posting on blogs, placing posters in local business owners, or employing a social media site. These are the ways that you can improve your visitors to improve sales. You need to be creative, and strive.
Ask others to check your web marketing content. This particular factor can prove really critical to your overall success, since your perspective of the site appearance and pricing structure may not match the perspective of others. Ask peers, relatives plus your potential clients for feedback. Provide the feedback you get consideration to make the changes which you see necessary.
Be ready to answer their questions.
When a visitor comes to your website, they may have questions you have to be willing and able to respond to them. Providing more information satisfied their curiosity and also increasing the likelihood they are going to purchase something from the site.
Usually do not overlook the power of direct marketing also. Use many different methods, such as e-mail, fax or phone, to connect with your customers and make sure they know about promotions. Also, check out your classifieds and phone books to obtain available information.
Help make your site smaller to commence with and grow it following that. This method for you to focus on making it of really high-quality. Search engines may well be more more likely to overlook your blog when it comes with a million or two indexed pages, than whenever it has only ten to twenty thousand.
With the different strategies and concepts included in Web marketing, you can actually lose focus and stray off path. It is a great thing that there is lots of room for customization, but that means it can be tough to create your choices. The following tips will make it simpler so that you can profit from Internet marketing pay per lead marketing.


text: Unable to make CAT work with Kenwood TS-570S(G). PTT using COM3 and DTS, no problem. Computer with RigBlaster interface will key radio to transmit. However, CAT will not change radio to TX frequency. THe PTT/COM 3 works fine with DigiPan, MTTY, ChromaPix, etc., and works fine with WSPR. The CAT set up is COM4, 9600 baud, 8 data bits, 1 stop bit, and handshaking set to NONE. This works fine with WinEQF, all radio functions available via the logging program. Radio is also set to 9600 baud. I can do a work around, set the radio for split operation and when PTT is activated by COM3 it will switch to TX frequency. Not a good work around however as the split much be set any time a band change is made. I have looked through the forums with not much luck. Have tried various ideas others have posted, useing 7 data bits and 2 stop bits, no help. Tried using Hardware for handshaking, no help. Also tried a few other Kenwood rigs, no help. So, if someone is running a TS-570S and has it working would be interested in your settings. Thanks in advance.


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Chefchaouen or Chaouen also knows as "the blue town" is located in the Rif Mountains in the northern Morocco. It's about two hours from the coastal town of Ceuta or the city of Tangier.
It is the chief town of the province of the same name, and is known for its buildings in shades of blue. It's a small charming city of about 40,000 inhabitants, and it's a good place to take a few days to relax. Some travelers describe the blue town as the most relaxing town in the entire country of Morocco.
The town of Chefchaouen was founded in 1471 and was painted blue by the Jewish refugees who lived there during the 1930's.
Read also: Marrakech – The magic of Orient
The Chefchaouen region is one of the main producers of cannabis in Morocco. Tourism in the blue town is also driven by its reputation as centre of the marijuana plantations region in Morocco. Drugs are widespread and somehow tolerated.
Read also: Taxi Fares in Morocco
The blue town of Chefchaouen
Chefchaouen is a popular shopping destination as well, as it offers many native handicrafts that are not available elsewhere in Morocco, such as wool garments and woven blankets. The main attraction of the city is the medina, which is the old quarter and is completely walled. You can use many hours by just walking around in the Medina. If you have time for it, put your map in your pocket and get lost!.
If you liked this article, please share with your network in the left side and hit FOLLOW US up at the top right corner of the page to catch our future articles.


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Another one of those effects that has been around for donkeys years, but still worth while seeing how it will turn out on one of your images. You will find loads of different ways of doing this, this is the way I choose to do it. So lets get started, you can borrow my image below to practise on if you like ….. copyright is mine etc.,
Because you can use this effect on a colour and a B&W image, we may as well set this up right from the start. Firstly, you need to make a new file from the one you have open – so go to Image>Duplicate in the top tool bar and when the dialogue appears, either name the new file or leave the default name. Click Ok to accept and then click back on the original file and duplicate the background layer. Open a B&W adjustment layer and click OK to the default.
Click back on the copy file … the one without the B&W adjustment layer, and go to Image>Mode and choose LAB and then the Don't Flatten option. Click on the top layer and then click on the Channels Palette. Click on the A channel and then go to Image>Adjustments>Equalize, then click on the layer that says LAB (you might have to put a pair of sunglasses on LOL) and then click on the Layers tab at the top of the layers palette.
You are now going to drag this layer over to the other image. Make sure you have the move tool selected, press V on the keyboard. Hold down the Shift key on the keyboard (this will centre the image) and then drag the other to the other image. Your layer stack should look like the image below. I have the B&W adjustment layer turned off for now.
Change the blend mode of the layer to Colour and drop the opacity of the layer to around 30%. The percentage will vary depending on what size image you are working on. You will also need to add a blur to this, because as you can see, it is a bit bitty. Go to Filter>Blur>Gaussian Blur and I used a Radius of 5 pixels.
You could also add a mask at this stage if you wanted to hide some of the effect. So, on to the next part. Go back to the copy layer where you did the edit on the A channel and step back so that you just have the 2 layers ago. Click on the Channel tab at the top of the layers palette and then click on the B channel. Go to Image>Adjustments>Equalize click on the LAB layer and then click on the Layers tab at the top of the layers palette. Take the layer over to the other image in the same way as you did before and do the same adjustments, you should now a layer stack that looks like the image below.
This is where the fun begins for you. Try different blend modes on the 2 layers, add the B&W layer into the mix ……. play and have fun 🙂
I have merged the 2 layers together and changed the blend mode to Overlay. Added a mask to the layer and used a 50% gray over the grass area. Added a selective colour layer set to Absolute and Whites – added 10% Yellow. And that's it. You could have used the B&W adjustment layer if you wanted, I chose not to. Remember that you don't have to use both the A and B channels you can just use one of them. Below is a comparison image and then the single image.


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People come to amusement parks because they want to have a great time. Unfortunately, not every trip to a theme park is fun. If you are injured at an amusement park, there are a number of challenges that you are going to have to deal with.
Dealing with your injury will be difficult, but you should be able to get some sort of settlement. However, you won't be able to get things to court unless you learn what you are doing.
Suing The Park
In most cases, you will be filing the lawsuit against the park itself. When a company owns and operates an amusement park, they need to provide a safe environment for their guests.
With that said, you may not have to stop at suing the park. There are other parties that you could sue as well.
Suing The Ride Operator
If you were injured on an amusement park ride, it is possible that the ride operator is responsible for your injuries. If, for example, the operator failed to make sure you were secure before the ride began, they could be held responsible.
With that said, suing a ride operator may not be worthwhile. In most cases, the person that is operating the ride won't have many assets. You'll be able to get far more from the park than you would be able to get from them.
Suing Other Guests
If you were injured by someone else at the park, you may be able to sue them. In some rare cases, the guest may be the only person responsible for the accident.
A prime example of this is assault cases. If someone assaults you at an amusement park, you should file criminal charges against them. You should also file a civil suit to cover the cost of your medical bills.
If someone else accidentally injured you, you may still have a case. However, you should talk to a lawyer before taking any steps.
Talk To A Lawyer
You need to explain your situation to a lawyer before you do anything else. You should describe the incident that resulted in your injury in a great deal. Provide them with all of the information regarding your case.
After you have spoken to a lawyer, they will be able to help you determine what you should do next. They will help you to figure out who you should sue, and they will be able to help you get your lawsuit filed. They will fight to get you your settlement quickly, and they will make sure you get every last penny that you are entitled to.
If you have been injured at an amusement park, you deserve to get some sort of settlement. Amusement parks are designed for entertainment, but that doesn't mean that park owners can't be sued. You may be able to get a large settlement at the end of all this. Your medical bills will be covered, and your pain and suffering will be covered as well.


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Registration (optional but recommended) :
eventbrite.ca/e/avalanche-awareness-event-registration-74222803403 :
Date and Time :
Sat, 9 November 2019
Location :
North Shore Alliance Church
201 23rd Street East
North Vancouver, BC V7L 3E4
Two sessions of avalanche safety, speakers, science, and education. Morning (advanced) : 10:30 am - noon. Afternoon (beginner) : 2 pm - 4 pm.
About this Event
New to the backcountry ? Want to up your game ? No matter your level of outdoor experience, these sessions will boost your awareness of avalanche safety, equipment and resources.
- Admission by donation
- Prizes ! (Including a pair of Atlas snowshoes, donated by K2)
- Free parking !
- Registration not required, but is appreciated so we can estimate attendance
- Join and share the Avalanche Awareness Facebook event for the latest updates
The event is broken into two parts. Attend one or both !
Morning session : 10:30 am – noon (Advanced)
For more experienced outdoor enthusiasts looking to build upon their knowledge. This session will feature in-depth avalanche safety presentations from an Avalanche Canada Forecaster.
Afternoon session : Doors open at 1:30 pm. Presentations run 2:00 pm – 4 pm (may run slightly longer to accommodate questions)
For those new to the backcountry and avalanche safety, or those looking for a refresher. This session is an introduction to the basics of recreational avalanche safety, with plenty of time for questions and discussion.
Presenters :
- Mark Bender, Avalanche Canada forecaster, speaking on Basic Avalanche Awareness (looking at terrain, avalanche activity, triggers, etc.)
- North Shore SAR volunteer, Peter Marshall, will present a case study of the Runner Peak incident from February 2019
- Brent Loewen, snowshoe ambassador and guide in the N. Shore mountains, will present on his personal journey and education in the backcountry
- AdventureSmart will have a presentation on Trip Planning


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1. Spatial Hypertext Evolution
In early hypertext programs such as Intermedia and Note Cards, a visual display showed the items linked to the current node. Each item appeared as a box linked to other boxes. The items were not independently movable, though selecting one might re-center the display and show more linked nodes.
Fig. 1: A screen from Note Cards showing both a global and a local link map.
A new kind of spatial representation appeared in Storyspace, where the boxes representing text nodes could be moved about independently, forming spatial groupings that might or might not correspond to the link structure shown by lines connecting the boxes.
Fig. 2: A Storyspace map showing movable boxes connected by link arrows.
A further step was made by Aquanet and its descendants (VIKI, VKB). Aquanet facilitated spatial manipulations and visually indicated links, but tests showed that users were not using the links when working with the program. So Aquanet's successors, VIKI and VKB, dispensed with visible link structure and made spatial manipulation and grouping the central action provided to the user. Working in the background, an algorithmic spatial parser highlighted incipient groupings.
Fig. 3: A VKB screen showing spatial groupings highlighted by the spatial parser.
Spatial manipulation had come into its own as a way of organizing that could avoid premature definitions and allow "incremental formalization". In terms of spatial manipulation, VKB remains the purest spatial hypertext system currently available.
The Visual Knowledge Builder (VKB) is a hypertext information collection system. This means that it allows you to collect and sort information in a very natural, visual environment. The goal is to allow users to input, organize, and access large amounts of information without having to commit to any particular convention of organization or structure. . . . What is VKB for? To organize, and interpret information from a variety of sources. Examples of uses include: Writing a related work section of a thesis, dissertation, paper, etc. Making decisions that involve grouping or categorizing items. Scheduling or organizing tasks. What to do. . . Start by dragging and dropping items from the desktop, web pages, and images into your personal or group information space. Then move the visual symbols into clusters, lists, or other structures. Categorize symbols by changing visual attributes like color, border color, border width, font, etc. As your information space enlarges, put symbols into a hierarchy of collections. (VKB Primer)
2. Space and Spaces
The parts of an automobile engine, the houses in a suburb, the people in a crowd stand outside and alongside one another. Space surrounds them and lets them be both separate and related. Non-spatial things, such as a set of ideas or mathematical theorems, are not outside one another in the same way. The metaphors and the rhythm of a poem are not spatially separated. The words stating the steps of an argument may be spatially separated on a page but as ideas the argumentative steps have complex internal connections that form a whole which is not spatial. Meanings provide internal non-spatial relations.
Spatial hypertext lives in the interplay of spatial and non-spatial relations. Spatial relations can be used to suggest internal connections, likenesses, separations, and so on; these relations can be ambivalent and vague and tentative in ways that a definite hypertext link cannot express. Either a link is there or it is not, but a spatial hypertext can use adjacency and separation to suggest possible or tentative connections. Spatial hypertexts thus can support vague and incrementally discerned structures and categories that provide very flexible tools for information triage and idea organization.
On the display screen, blank space opens a field of external relations for where-is and next-to and over-there and near-here relations among items that may represent all sorts of complex inner relations, or none at all. The space on the screen spreads out open and receptive. It offers dimensions for movement and location. It is serenely indifferent to what orderings and classifyings we make within it. It behaves as a a blank, geometrical, receptive passivity, flat and open. Is that the only kind of space that might be useful for spatial hypertext? In science and in philosophy there have been many kinds of space, and modeling some of them might enrich the abilities of spatial hypertext.
3. Newtonian and Leibnizian Spaces
As modern science was beginning, two of its giants -- Gottfried Wilhelm Leibniz (1646-1716) and Isaac Newton (1643-1727), who both invented the calculus -- clashed over their rival theories of the nature of space. That conflict can be read in a famous set of letters between Leibniz and Newton's friend Samuel Clarke. It is likely that Newton either wrote or advised Clarke's letters (see Alexander 1956). The differences between the two scientist-philosophers ran deep, and many issues converged on the nature of space. Put in current terms, the disagreement was between an absolute and a relational conception of space.
Newton's conception of absolute space is the more familiar. For Newton, space (and time) is an entity on its own, with its own properties, independent of whatever it might contain. It extends neutrally and without limits, offering an open field within which atoms, Newton's basic physical entities, move and rearrange themselves under the influence of gravity. It is at least conceivable that there could be a perfectly empty space, since space is a separate entity unaffected by what moves within it.
Newton's absolute space resembles the expectant window of spatial hypertext, flat and ready to receive, neutral and passive, offering empty extension for the arrangements created within it.
Leibniz's relational conception of space is almost the exact reverse. For him, space has no independent reality. Spatial relations are a derived perceptual effect brought about by the prior relations of the entities that make up the world. What primarily exists are what Leibniz calls "monads". These are not in their deepest nature spatial. They are centers of force and perception. They have complex relations to one another, relations of influence and clarity of perception. These mutual influences and relations are qualitative and causal, and they define an ordering of the monads in terms of closeness of influence and clarity of perception. Space and spatial ordering are consequent phenomena that summarize and present the deeper relations of objects by spreading them out in spatial connections and distances, near and far and next-to. When space is conceived this way, a perfectly empty space is inconceivable, since space is only an expression of the relations among what fills it.
Despite the strangeness of his notion of monadic entities, Leibniz's relational space has become quite familiar to us. It behaves like a pure node-and-link hypertext. It is the spatiality of web pages relating to one another. The spatiality of the web is created by the prior relations between the items that fill it. The web's link structure is not located in any other space. There is no prior space locating web pages externally; their relations are created by their links. They generate a spatiality of near and far, with perspectives from a given node toward other nodes. No web page is close or far from another except as the link structure dictates. The "distance" between web pages depends on the number of link jumps required to get from the first to the second. This is the space shown in the early Intermedia maps and other diagrams of link structure.
The vagaries of linking make the web's connectivity more contorted than Leibniz had in mind. Author-created links can reach in many directions. Search engines can make any web page at most two jumps away from any other: one to the search engine, and one from it to the new page. Algorithmic links after the fashion of Google's ads can make a page one jump away from what the computer thinks might be related. The complex network of author-created links is short-circuited, giving the connectivity of the web odd topological features.
Leibnizian relational space is the nearness and distance created by link structures and visualized in the Note Cards tree diagram above that showed links radiating out from a given center. This can be mixed with Newtonian space in hybrid presentations that map link structure onto spatially mobile objects. The maps in Storyspace and its cousin Tinderbox allow Newtonian spatial manipulations of their nodes but also show and can follow links that jump across distances, creating a Leibnizian set of relations. The link structure defines next-to and far-from differently than the visual closeness of the map view, while the map offers nearness and association that work independent of linkage.
Fig. 4: A Storyspace showing a Newtonian open space for spatial manipulations
overlaid with Leibnizian link relations.
In a Leibnizian relational space nothing is near anything else unless it is linked to it. There are no unexpected adjacencies. In Newtonian space and everyday physical space, there are unintended effects from adjacent but otherwise unrelated items. My restaurant's trade can be affected by your opening an separate noxious business down the block. A book may be read ironically in the light of the book shelved next to it. Such adjacency becomes a powerful tool in spatial hypertext, allowing the creation of half-way relations, tentative connections, and all manner and degrees of overlap and separation.
So it would seem that in spatial hypertext Newton wins over Leibniz. At most Leibnizian relational space can provide a useful add-on, but spatial hypertext needs Newtonian absolute open receptivity and freedom of movement.
4. Spaces with Different Topologies
However, these are other spaces. Newtonian space, flat and extending, has been replaced in science by Einsteinian space, which can be curved on its own and is shaped by the masses within it. Gravitational movement follows the shape of the space, and the space-time can possess intrinsic structure and odd topologies. Would Einsteinian space be useful for spatial hypertext?
We might envision a spatial hypertext that possessed intrinsic curvature and topological twists. There's not much to be done about the flatness of display screens, but they do not have to represent flat spaces. What if the spatial hypertext items resided on a curved surface? This could happen in two ways. One would be to curve the surface visually around a three-dimensional object pictured on the screen, perhaps a sphere or saddle-surface or a wave. This would, though, weaken the appeal of spatial hypertext that depends on immediate visibility and intuitive manipulation. Such complex surfaces would require a good deal of training and would diminish the usefulness of spatial hypertext for tentative and flexible classification.
The other way to change the space's topology would be to treat the edges of the screen differently. Spatial hypertext usually works with an unbounded flat space. If you approach the edge, more screen real estate is created beyond it, and a zooming interface can allow large-scale overviews. It is also possible to have absolute edges that keep spatial manipulations within a limited area. The alternative I am suggesting would connect the edges. In some early video games, when an enemy spaceship wandered off the left edge of the screen it reappeared on the right edge. The visible portion had been mapped onto a cylinder, though it was presented flattened out. If a similar connectivity were applied to the top and bottom of the screen, then the mapping would resemble a doughnut shape or torus. The connected space might be no larger than the screen, or it might be larger, perhaps with a hand or scroll bars that would move the screen window about in the larger space. Scrolling down or to the right would ultimately bring you back to where you had started from. The topology could also be wilder, with spatial hypertext mapped onto a Moebius strip or other strange manifolds.
Fig. 5: Topological diagrams: glue the opposite sides together, aligned as directed by the arrows.
The figure on the left becomes a torus:
items moved off the side or top of the screen will reappear at the other side or the bottom.
The figure on the right becomes a Moebius strip:
the top and bottom are not permeable but items moved off to one side appear reversed on the other side.
It is not clear whether such new topologies would provide any better affordances for spatial hypertext than does a large or indefinitely extensible flat space. But there is one kind of complex topology already included in many spatial hypertexts: the ability to assemble components into groupings that can be manipulated as single units. VKB keeps its hierarchical groupings, which it calls "collections", on the same level as other individual items, so they remain tentative. Storyspace and Tinderbox represents collections as sub-spaces "on a deeper level". This simplifies the display of the top level, though it interrupts the smoothness of manipulations and visually segregates some items from others, so those collections are less useful for representing tentative relations.
Fig. 6: A screen from the early Storyspace version of George Landow's Victorian Web,
showing one page together with a map indicating subordinate spaces below the map level.
5. Outlines in Complex Spaces
There are many programs dedicated to creating and manipulating outlines. As a hierarchical arrangement of text on a page, an outline has a spatial dimension when indentation shows subordination. Unlike spatial hypertext, an outline does not allow half-way or tentative relations, but the software makes it easy to move blocks of text around. (See the ongoing discussion of outline programs by Ted Goranson.) The tree structure created by an outline can be mapped into a Leibnizian linked spatiality (as in the chart view in Storyspace and Tinderbox). Outline subordination can be represented by nested spatial groupings, either on one level as in VKB collections or on multiple levels as in Storyspace and Tinderbox. When the linked items are then made independently movable, the outline adds the flexibility of spatial hypertext (as in Inspiration or the combination of OmniOutliner and OmniGraffle.) Similarly, some programs devoted to "mind mapping" or concept generation (for instance ConceptDraw or NovaMind) start out with a Newtonian space and create a flexible spatial representation of the outline tree.
Fig. 7: An outline showing spatial indentation of text blocks (OmniOutliner),
and an idea map with movable nodes radiating from a central concept (Nova Mind).
My investigation of alternate notions of space was stimulated by comparing Tinderbox with VKB. Tinderbox had learned from VKB to offer more visual attributes for each item, allowing variation in color, size, edges, and color gradients for increased spatial expressiveness. Unlike VKB, Tinderbox provides several spatial representations. One is a familiar outliner window with indentation. Another is a Newtonian spatial hypertext showing outline subordination as containment on a lower level. This map also includes arrows showing any user-created links that are independent of the outline relations. A third is a chart of the levels of the outline structure shown as a tree of boxes. Finally there is a view that compresses the outline structure into nested boxes all on one level. Interestingly, there is no way to represent only on the link structure that is independent of the outline.
Fig. 8: Different spatialities: (a) outline view with indentation,
(b) Newtonian map view with subordinate collections,
(c) Leibnizian map of outline structure,
(d) map of outline as nested boxes on one level. (All from Tinderbox)
Despite these many representations, Tinderbox (and Storyspace) demands priority for the relations of subordination created by outline manipulations. Subordinations in the outline are automatically reflected on the map, and vice versa. Spatial groupings on one level do not have to follow the outline order, but the subordination of levels does.
This limitation is partially offset in Tinderbox because it allows aliases, so that items can appear in multiple locations. Aliases can be created by hand for freeform use and be spatially arranged as the user wishes, though changes other than position affect the originals as well. So alternative spatial arrangements can be tried and compared. There are restrictions, however, since while manually created aliases can be moved about freely on the map and can be made children of substantive items, aliases cannot have children, whether substantive items or other aliases. Aliases can also be created by software agents according to user-chosen criteria. Automatically created aliases are gathered as children of their agent on outline and spatial sub-levels. The priority of outline order asserts itself again in that aliases collected by agents cannot be rearranged either spatially or in the outline. So while multiple spatial arrangements can be made and compared in Tinderbox, it is not easy to create multiple or alternative outlines except by creating duplicate items. These are copies, not aliases, so any additions or modifications to the contents need to be made separately to both the original and its copy.
Fig. 9: (a) Aliases collected by agents remain immobile within subordinate collections.
(b) The hand-created Tinderbox aliases at the top have been grouped differently than the originals below, while a color change applied to the aliases has affected the originals.
Collections in VKB can be copied and pasted to experiment with different arrangements, with the same restriction that internal changes would need to be made on both of the two copies of an item. VKB also includes a "history slider" that allows regress to earlier spatial arrangements; this can be used to compare alternatives, though not side by side. (The next version of VKB will allow aliases, thus facilitating side by side comparison of different spatial arrangements of the same materials.)
Fig. 10: VKB allows temporary reversion to previous states of the spatial array,
in the first hand image, by date, in the second image, by specific event.
Part way through the development of Tinderbox the dominance of the outline began to change when the program introduced what it calls "adornments". At first these did not seem to add much; they are rectangles that can be placed on the spatial background. They can be named and differentiated by color. They can overlap one another. Items can be put on them, or near them, or half on them. They can be moved independently, and later they acquired the ability to hold items placed on them so that the group moves as a whole. (However, they and their contents cannot be sent to a lower level.) The adornments that started out as simple labels have thus become a new kind of container that escapes the hierarchy set up by the ruling outline. Adornments keep their contents on the same spatial level as the surrounding items, as do collections in VKB. A single Tinderbox screen can now contain the outline hierarchy expressed visually by containers with sublevels, the spatial relations of near and far and grouping in flat Newtonian space, the Leibnizian node-and-link arrow connections, internal relations indicated by the color and shape of items, and now the new spatial containers outside the outline hierarchy. This can lead to visually quite complex screens.
Fig. 11: A complex Tinderbox screen showing spatial groupings, nodes and aliases collected on sublevels, adornments as collections, color differences, and link arrows.
6. Aristotelian Spaces
Thinking about this increasingly complex set of spatial tools, I began to wonder what would happen if instead of seeing adornments as a kind of container, they were seen as features of the background space. With their location, overlap and transparency, this would make the space seem Aristotelian. This suggested yet another kind of space for spatial hypertext.
There were two main conceptions of space in ancient Greek philosophy. The minority view was expressed by the Leucippus, Democritus, and later Epicurus: space was an infinite void in which little atoms moved and combined to make a multiplicity of worlds. The Greek conception of the atoms and their motions was not the same as Newton's, because all connections were due to the interlocking shape of the atoms; there were no long-distance forces. Still, the Atomist flat neutral void is very similar to Newtonian absolute space. This remained a minority view because of difficulties in the physics but also because ordinary perception seemed to favor the Aristotelian view. For Aristotle's space is not relational the way it is for Leibniz, but neither is it the neutral container favored by Newton and the Atomists. Taken on its own, Aristotelian space includes polarities, privileged locations, and absolute directions and gradients.
Strictly speaking, Aristotle (1941) did not believe in space as a separate entity. In his cosmology there is no vacuum, only different kinds of extended substances touching and blending with one another, each with its natural motions and mixtures. Space is the name we give to the place created by the extension of objects and their locations and movements in and by one another. (Similarly, for Aristotle there is no separate entity called time, there are only objects and their changes. In some ways Einsteinian space-time is closer to Aristotle than to Newton.) But despite the lack of space as a separate entity, Aristotle talks about different regions of the cosmos as distinct goals for natural motion. Space, in this sense, possesses textures and gradients.
To understand Aristotelian space one needs his theory of natural motion. In the Aristotelian cosmos, things have an innate tendency to go to their natural locations. For instance, the weight we experience as gravity is not due to any pull from the earth but is due to the effort of our bodies and other items containing the earth element to get as close as possible to the center of the cosmos. There is no pull but rather a push downward by the earth element in rocks and in our bodies, meeting resistance from the earth element already there below us. (As the earth element struggles to get as close as possible to the center it produces a spherical shape for what we, but not Aristotle, would call our planet. In Greek planetos means wanderer; it names those objects that move among the stars.) Given its natural tendency, our earth does not move, though Aristotle suggested that if by some means you were able to push the Earth away from the center of the cosmos, it would move back, because that is where the stuff of which it is made wants to be.
Different kinds of matter (the four elements,earth, air, fire, water, plus a fifth celestial element) naturally want to move in different directions. The earth element tends to move toward the center of the cosmos. The other four elements naturally move away from the center toward their own regions. Springs flow up and over the earth, air escapes and hovers, fire rises, the fifth element moves circularly around the center. If unmixed and left to go their way undisturbed, the elements would form concentric spheres with earth at the center, surrounded consecutively by water, air, fire, and the fifth element. Even now the elements are more or less in those locations, but the four lower elements mix and move, through processes brought about by the rotation of the heavens and the inclined course of the sun. Aristotle also thinks that under causal influences the four elements may transform into one another, so there is no danger of stasis and total separation.
Fig. 12: The Aristotelian cosmos, with its "natural" areas for earth, water, air, fire, and the fifth element.
The four terrestrial elements are mostly in their natural places
but also get mixed with each other to create familiar objects.
The effect of this theory of natural motion is to distinguish the space of the cosmos into different regions. Aristotle has no notion of pure geometrical space. His regions and zones are not superimposed upon a flat Euclidean space. By observing the motions of the elements we can see that space is not neutral; it contains gradients and polarities. This could be incorporated into spatial hypertext.
Another feature is Aristotle's distinction between natural and forced ("violent") motions. Forced motion is a motion different from the natural motion of an element. Such motion always has an outside cause. Stones naturally move toward the center of the cosmos, but I can pick up a stone and throw it into the air. This motion is "unnatural" in the sense that it is not what the stone would do if left to itself, but the motion is still part of the "natural" course of the cosmos, as when plants raise up water or birds fly off with seeds or humans build stones up into walls and houses.
Current spatial hypertexts present a neutral Euclidean window onto flat Newtonian absolute space. In that space items are arranged in spatial orders of classifications and containments. An Aristotelian space would offer two additional features: a structuring of space itself and a distinction between natural and forced behaviors of items. These features would influence the motion and location of items within the space.
Much of the research that inspired spatial hypertext programs (Aquanet, VIKI, VKB) came from observing people dealing with piles of paper by separating items into different stacks put in place on real physical desktops. (See, for example, Marshall and Shipman 1997.) Performing information triage, people create spatial groupings that express vague and changing classifications and relations. But real physical desktops are Aristotelian spaces. They offer built in gradients and polarities due to the ratio of their size to people's reach, variations in lighting, zones of accessibility, and position relative to significant objects near the desk. These gradients influence what kinds of meaning can emerge in different zones of the desktop. It is not likely that a stack in a far dark corner of the desk will be as significant or as manipulable as a stack in a central well-lit location.
Fig. 13: A desk as an Aristotelian space with regions "natural" for different kinds of piles and actions.
In a different way, a piece of blank white paper offers an Aristotelian space when it interacts with habits of reading that suggest starting at the top left. Seldom do people making notes or diagrams on blank paper start two thirds of the way down and a bit in from the right margin. Not all regions of the paper are the same; some are more "natural" for writing than others. The same is true for a display screen presenting spatial hypertext, where spatial structures tend to be created either from the top left or from the center of the screen.
We could increase these Aristotelian tendencies by making the background space more evidently textured and polarized. Imagine, for instance, a gradient color that was used as a background to influence emergent structure.
Fig. 14: Gradients and textures in a space encouraging different kinds of "natural" classification.
Or a patterned spatial background that suggested directions and modes of classification.
Fig. 15: A patterned spatial background creating distinct regions
that will encourage some kinds of arrangement over others.
Or a set of poles or sinks putting directions into the space.
Fig. 16: Poles and sinks in an Aristotelian space suggesting movements.
Or imagine an image used to texture a whole space.
Fig. 17: An aerial view of Denmark, and a map of the San Antonio Riverwalk,
used as backgrounds to create regions in a spatial hypertext.
Or a photo background used as a memory palace, an architectural image in which items can be placed to store or recall their meaning or sequence. This was a device used by classical and Renaissance orators.
Fig. 18: The National Building Museum in Washington used as a memory palace.
An Aristotelian spatial hypertext could also include sub-spaces with different spatial textures. A container in one kind of space might open into a space with different spatial textures, zones, or gradients.
Fig. 19: An Aristotelian space with its own gradient,
opening into differently textured subordinate spaces.
If a hypertext space contained gradients and directions, then it would be possible, with the assistance of software agents, to give items "natural" tendencies to move or cluster in certain directions or regions. Analyzing semantic content, agents could make items could naturally move in certain ways. Also, as in Aristotle's world, items could be set in unnatural places while retaining a trace of their natural motion or tendencies -- as stones can be set on but walls but remain liable to fall off. Items might show some graphic effects of being moved in unnatural directions, or change in visible ways as they entered different zones.
Fig. 20: Items changing color when moved out of their "natural" area toward other semantic poles.
Or a compound object could, because it is made of different semantic elements, produce several aliases that move naturally along different gradients or toward different poles. This would go beyond Aristotle by allowing items to be in more than one place. The aliases could cluster in their natural locations while the items themselves were freely positioned elsewhere.
Fig. 21: An item being moved to a chosen location
while leaving behind aliases at its "natural" semantic poles.
The semantic parameters that determined what was "natural" could be variable, providing another tools for creativity and classification. People could work on the structure of the space, embellishing or altering it and what was natural there. In addition, algorithms could analyze user-created groupings and create spatial-semantic gradients and attractions. Incremental and emergent structurings could be algorithmically suggested while remaining open to flexible revision. (At one point during the development of VIKI there was a plan to have collections exert a "gravitational force" on newly imported information; the influence could have been overridden by the user with a joystick interface.)
7. Conclusion
We might ask whether Aristotelian spaces are really different or just the arrangement of landmarks and agents in a Newtonian space. On the screen there is no obvious difference between an Aristotelian space and a suitably furnished Newtonian space. It is true, too, that once the concept of a pure geometrical space has been developed, it cannot be forgotten and space read only as concrete Aristotelian zones. Aristotelian textures and gradients can be represented by the placement of selective attractors in a flat space. We should remember, though, that experientially the concept of purely geometrical space is an abstraction from a more primal experience of space as textured and zoned (Casey 1993). There is a psychological contrast between creating movable labels and attractors versus working in a space with textures and poles. Aristotelian spaces are easier to implement than the more radical Einsteinian curved and other odd topologies. They are also closer to our daily experience, so they bring more affordances to aid spatial information triage and structure building.
The sharpest contrast, however, remains the one between a continuous background space, whatever its nature, and a discontinuous Leibnizian network of links. Spatial hypertext systems need a continuous background for free motion, over which a link network may or may not be represented. Combining the two increases the useful possibilities available, and varying the nature of the background space may increase them yet again. Spatial hypertext could then benefit from the interaction of semantic and spatial parsers assisting users with large scale textures and structures.


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Guide To Enjoy Quality Home Appliance Repair Services
Home appliances make life more enjoyable and pleasant since they ease home chores. With all the appliances that you need, you can keep up with the home demands even if you are a busy working mum or dad. They can however break down or face minor issues that might reduce their efficiency. Instead of suffering or incurring expenses, replacing the appliances, you can try repairing services which are more affordable and will get your appliances functioning as effectively as they did before. You however must find quality repair services to enjoy the repair advantages.
Choosing the Right Repair Professionals
This is what will make a difference with the repairs. Quality repairs are only possible to enjoy when working with professionals and you must make considerations before hiring the right repair services for your home appliances.
Training and experience
The professionals that you settle for should be trained to handle different home appliances. It is what will make a difference between reviving your appliance and worsening the issues it already has. Untrained inexperienced repairers can damage your appliances further. So, be sure to choose a company with certified employees to handle the repairs.
The service range
It can determine how helpful your service provider will be for the current repair needs you have as well as those that might arise in the future. When selecting a provider, look at the list of services he offers. This can include the appliances the company can comfortably handle. Considering that the appliances are from different brands and come in different models, consider which brands the company handles. A repair company handling all appliance brands and models is best since you can trust it with different appliances as well as brands you have at home and still expect high quality results.
Still under service, consider how fast the repairs will take to complete. You want to have your appliances functioning as soon as possible so choose a provider who can come to your assistance fast. It is also important for a good company to offer maintenance services besides the repairs. This way, you can have your appliances checked every once in a while to keep damages and breakdown risks at bay. The maintenance services can save you from costly repairs. home appliances nelamangala
Company location
The location can determine how fast you access repair services. It is advisable to choose a repair company with a strong presence in your locality. This can make it easier for you to also access emergency repair services, especially where there are power issues and risks involved. The fast service delivery can save you and your home from potential fire risks with faulty appliances or wiring.


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The Intel logo is projected on the face of Intel Executive Vice President Dadi Perlmutter as he speaks during a news conference about the 3-D Tri-Gate transistors called "Ivy Bridge" on May 4, 2011 in San Francisco, California. Intel announced a technical breakthrough in the microprocessors with the world's first Tri-Gate transistors, that will increase speed and consume less energy. (Photo by Justin Sullivan/Getty Images)
05 May 2011 07:25:00,post received 0 comments


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By Tina Sharesky
CCC Journalism Program
BLACKWOOD – On April 25, Camden County College held its annual Spring Fling and while most students moved from table to table to get free samples of food, sign up for clubs or gather more information on banking, many seniors searched for a very specific table that held the garb that would signal a new chapter in their lives.
Among the throngs of students and the lineup of tables was one very special station where students ready to graduate this semester were signing up to receive their graduation regalia. Close by were additional tables where a soon-to-be graduate could purchase a class ring or schedule their opportunity to document this momentous occasion with official graduate portraits.
The decision to take part in the actual graduation ceremony is one that is left up to the student. Caitlin Midgette is one of the students who has decided to take part in walking across the stage, "I really didn't want to because it is only my associate's and I am going on to get my bachelor's, but it means a lot to my parents so I've decided to do it for them," Midgette said. After graduation, Midgette will be attending Richard Stockton College in the fall in hopes of one day becoming an activist for human rights.
While this year's number of graduates has gone down, it is in no way disheartening. "There are potentially 1,470 graduates but that number is most likely to grow. We say potential because final grades have not come in yet," said the director of student system records Bunny Kohl.
This year's graduation ceremony marks the 44th of its kind. It will take place at 10 a.m. on May 19, 2012 in the Truman courtyard of the Blackwood campus. A graduation dinner is scheduled for that evening. There are no tickets for graduation and seating is on a first come first serve basis but to attend the graduation dinner students must purchases tickets.
If you are a senior graduating this semester and would like to participate in the graduation ceremony but missed the opportunity to get the required cap and gown at this year's Spring Fling, then have no fear. All you must do is visit the bookstore with any form of picture identification. If you would like to purchase tickets for the graduation dinner, then contact the Office of Student Life and Activities at 856-227-7200, ext. 4284.


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Well, the summer is here. And that means more summer party and get-togethers. Few things are better than a summer party with a group of friends you love to hang out.
Friends are the base of any summer party. But you also need area where you can hang. And summer cocktails. Today, I will show you several backyard projects that will give you space where you can relax in the afternoon and throw some parties during the summer. Let's go.
1. Build A Frugal Pergola
We start with the most basic ingredient, and that is a pergola. I want to keep things simple and basic. That is why this one is just a simple pergola with come candles. I want you to have relaxing time, and candles are perfect for that spa-like ambience. All of the lights make it romantic. So, you can enjoy the pergola with your friends, or with your loved one.
2. String Light Poles
During the summer, you want a backyard that is quiet. You do not need much illumination. But you need some subtle lighting here and there. These lights strike the perfect balance. Not too much, and not too little.
3. Ultimate Outdoor Kitchen – Grill Cart
Nothing screams a summer party like a grill party. Barbecue, friends, some beer, and you have everything you need for pure enjoyment. You cannot go wrong with a barbecue party. And the best part is this kart is mobile. You can move it in and out of your garage at any time.
4. Monogram Planter
The goal here is to improve the visual appeal of your house. On first glance, this planter has no purpose. You cannot sit on the planter or anything like that. But I am sure your friends will enjoy spending time surrounded by flowers and plants. When you want to relax, you go to the nature. And, you bring that nature touch in your home.
5. Slide On Wire Hung Canopy
Yes, we enjoy spending time out on the sun in the summer. But we are always looking for some shades. We want to escape those harmful sun rays. To do that in your home, a canopy is a perfect solution. You can be sure that you and your friends can chat for hours protected from the sun. You no longer need to wait for the sunset to chat.
6. Light Rope For Pathways, Wall Or Porch
Speaking of the summer nights, I talked previously that you definitely need some illumination. You cannot spend the entire evening in dark. I am sure you are not as creepy. This rope is very easy to make, and you can place it in any part of your backyard.
7. Two-In-One Bench And Table
Who doesn't love multifunctional and multi-purpose furniture? I know I love it. And by the looks of what furniture companies are selling, we all do. Multi-purpose furniture is the biggest hit in interior design in the past few years. And that applies for outdoor design as well. With some pillows, you can even lie down and relax on the bench. And if you need more space for serving, turn it into a table.
8. DIY Pillow Lounger
Speaking of pillows, here is one that you can easily make. You can never have enough pillows. And I mean that.
9. PVC Pipe Outdoor Theater
We are long pass the days when you absolutely had to have a big screen TV. Nowadays, you can turn everything into a big screen TV. That is the beauty of technology. And we are reaping all the benefits. I am sure all of you have some pipes at home. Turn them into an outdoor theater, and enjoy the latest movies with your friends.
10. Outdoor Movie Theater Seats
For your movie theater, I also have some cozy and comfortable seats. You want to enjoy the movie IMAX style. If you've ever been to an IMAX cinema, you know how comfortable the seats are. I want to help you experience that same comfort at the convenience of your home.
11. Hexagonal Tree Bench
Who doesn't want a place to sit and just relax? You can get a book, and read it in peace and quiet. Or you just can let your mind wander. Whatever the case, the bench is perfect for a backyard.
12. Wood Hose Holder And Planter
I talked previously about multifunctional and multi-purpose furniture. This one is extremely practical. Anyone who has a garden will tell you that the water hose is a clutter they would love to eliminate. So, I have something you can use.
13. Upcycled Spool To Kids Play Table
Most of the items on the list so far were adult-oriented. Well, it is time that we change that. Our kids deserve some love and attention as well. Get them this table, and you can enjoy your day while they are playing. Isn't that the dream?
14. One Hour recycled Fire Pit
Why is it called one-hour? Well, because you can make this fire kit in just one hour. Just think of all the marshmallows you can roast here. Call your friends, and you have a campfire in your backyard. Not many people can say that.
15. Three Summer Hacks With Giant Flower Pots
Flower pots are a great DIY ingredient. I should probably write something about all the things you can do with a flower pot. But for now, let's take a look at three uses for summer enjoyment. Of course, one is for cooling down your drinks. You have to cool your drinks in the summer hot days and nights.
16. Backyard Hammock
Being that summer party and backyard are synonym for enjoyment, it is only fitting that we finish off the list with a hammock. Is there a better way to enjoy your days in the summer than a hammock in the shades? I don't think so.
Hope you all have a wonderful summer. And I hope I can contribute just little to that.


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The Turkish team didn't have a good season but Dominika Sobolska seems to be a bright spot of this team, since she was one of the best blockers in the league.
How would you rate the season in Canakkale?
"Of course, we had other ambitions and goals before the season. We couldn't make it."
Are you satisfied with your personal performances and are there some segments you need to work on during summer?
"It's hard to be satisfied personally when the team doesn't win. Sure, I was a little happy to be one of the top blockers in the league. In my opinion, there's always room for improvements. But for sure this season taught me a lot and I'm happy that I worked with Dragan Nesic."
It was your first season in Turkey. How would you describe it?
"When I decided to go to Turkey I didn't exactly know what to expect. The first half of the season I was the only foreigner in the team. But the way the girls and club welcomed me was great. I could count on my teammates in all situations, they were so open and made me feel like a member of their family. In general, Canakkale is a really nice place, the people are always friendly and are trying to speak with me. For sure I will leave Canakkale with a little pain in my heart."
Since you played in Poland, Italy and Turkey, which one is the strongest league in your opinion?
"In my opinion, Poland's women league needs some change. The level isn't as high as before. The Champions League also confirms this. The leagues in Turkey and Italy are different. It's hard to say which one is stronger, for sure the Italian league has more equal teams."
Which things from Poland you missed the most while being in Turkey?
"The food, of course. Turkish cuisine is so different from the Polish one."
What are your plans for the upcoming summer?
"I will go to the Belgian national team this summer. But luckily, I will also have some time to rest and spend some time with my family and friends."
Any plans for 2019/2020 season?
"No concrete plans yet. Let's see what the future will bring, my agent Tunc Afsar takes care about it" says Dominika Sobolska for WorldofVolley.
Check out more interviews.
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Daniel Point
(Area a: Egmont/Pender harbour)
4190 Orca Road
This trail is all about the magnificent views of the Pender Harbour area and the Strait of Georgia. It is a fairly steep trail with a high level of difficulty.
Location: North of Pender Harbour turn left off Highway 101 onto Garden Bay Road. Continue onto Irvines Landing Rd. Turn right onto Lee Rd at 800 m turn left onto Orca Rd. The access to the park is on Orca Road.
Area: 1.4 hectares (3.6 acres)
Amenities: Undeveloped beach access, 2.5 km trail. Approximately 1 hour up hill.
Map: Daniel Point


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Despite a disco nap overrunning by 2 whole hours - which as it turned out was something of a blessing in disguise - I was there in plenty of time to draw this conclusion from the event: this night is an instant classic. From chatting to a few people (shouting at them, rather - the sound system, though moderately loud, certainly left a lot to be desired in terms of tuning) it seemed there was quite a variety of people here - students, deserting their more usual Monday night staple Trash at The End to check out something potentially "even hipper" (they said), to people whose jobs didn't start till Tuesday afternoon, to the pension fund administrator who had taken the next day off to recover, to a group of girls who had been birthday partying all weekend and somehow hadn't quite finished yet ... but the people had one thing in common - they all knew precisely why they were there: Michael, Damian, and a wild party at a time when you wouldn't expect one. Nobody shows up at a frumpy old ex-commercial building on a deserted corner of Shoreditch High Street in their party clothes on a cold Monday night just on spec.
Michael Mayer was still on the decks when I arrived - just in time to chat for 10 minutes with a West London acquaintance who had been watching the clock tick down on the start of his long journey home from out east central location. I needn't have given it a second thought - minutes later I had bumped into a a couple of groups of what can only be termed - the usual suspects. And Michael was very definitely in the process of whipping the crowd of 200+ - in what is not that large a venue - into something of a techno-fuelled frenzy. He was laying down hard infectious basslines that were shaking a lot of bodies on the dance floor - dirtier, rougher, chunkier tracks than I was expecting given his own production output and the more minimal style that his Kompakt label is so well known for.
Deck control passed to Damian at about 1.30am - I think it was at this point that Detroit classic "Shari Vari" (a remix of this having featured in numerous techno sets around Ibiza this summer, and having become something of an anthem for this crowd many of whom had been out to the White Isle in the last 2 months) raised a small cheer form the crowd. The hour that Damian then spent on the decks reminded me strongly of the set I had heard at Space in Ibiza from him - quality, compulsive groove-laden techno replete with trademarks from washed-out distorted subliminal vocals to galloping hold-onto-your-hats (insert Lazarus hat joke here) here-we-go pounding double drum-lines that kept the dance-floor heaving - and quite, quite hot - despite the increasingly infeasible hour.
The rest of the night saw me by now bouncing around the room alternating with quick trips to the cold staircase to cool down. Somewhere towards the start of that last half hour Michael Mayer had taken over the decks once again, and proceeded to guide proceedings down a more synth-oriented route. He finally wound up proceedings pretty much on the dot of 3am with the Abba-sampling single "Hung Up" from the Stuart Price-produced new Madonna album "Confessions On a Dancefloor", the hook giving the remaining 60 or so hardcore faithful something to cheer about and have a final shake on the dance floor to before vanishing into the cold London night.
Verdict: as I said above - the night is an instant classic - stand back and watch it grow into a Monday night juggernaught.
Rating: 8 / 10." />
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Thursday, December 16, 2010
Another Day In Paradise - A classic video
If you like this presentation, please share this video with your friends and family. I welocme your question, suggestion and comment. Feel free to leave me a comment here and I welcome your friendship! Before viewing this video, I would like to wish you Happy Holiday and Happy Birding! See you in 2011! -- Linda
21 comments:
- AnonymousThursday, December 16, 2010
Thank you Linda! I always enjoy your projects. Merry Christmas!ReplyDelete
- macrogearsThursday, December 16, 2010
feel warm n i love them all....thumbs up :)))ReplyDelete
Thanks Donna. Merry Christmas to you too!ReplyDelete
Thanks Macro! Glad you enjoyed it :-)ReplyDelete
Wonderful movie and other posts. I so enjoyed them. Our birding season has wound down here with blizzard conditions but I'm still enjoying my new hobby watching the "regulars."ReplyDelete
Thanks for your comment! Since the cold weather we have here in Georgia, I got a lot unusual birds and I keep finding them! So, keep your eyes open, you just never know :)
Happy Birding and stay warm!
Stunning pictures very well put together I enjoyed itReplyDelete
Thanks, John!ReplyDelete
Happy birding!
It is great.
I love the hummingbird very much.
Thanks so much! Myslef also enjoy reading your blog very much and knowing you have a beautiful family and a successful career. Keep in touch!
great job with this presentation Linda. :)ReplyDelete
Thanks NatureFootstep! Can you hear sound at your side? Youtube may not allow sound in certian countries. If not, you can go to my Facebook link (just copy n paste)ReplyDelete
Pls let me know. I've some one told me they can not hear sound! Have a great day!
- AnonymousSaturday, December 18, 2010
Yung-fang's family said,ReplyDelete
We enjoy the video very much.
We also like your forest and Simorgh garden.
Merry Christmas and Happy New Year
Beautifully well done video, Linda! Hope you are enjoying our little warm-up.ReplyDelete
Thanks Jean and Yung-fang's family. I am glad you guys like this video. Happy Holidays and Merry Christmas!ReplyDelete
- AnonymousMonday, January 31, 2011
Linda, this wonderful video gives me a peace of mind every time I see it. Thank you so very much, you are very very talented.ReplyDelete
This is the whole purpose I made this video: to make people happy, think a little and feel love that nature and wildlife bring to us!
It took me over one year to prepare all the images and short clips and "stitch" them together and then the correct songs and music just flow inside me...I try to do more ....and did you see my latest video I posted yesterday (2011-1-30)? It is titled "You are Amazing"! I hope you will like it!
- AnonymousTuesday, February 01, 2011
I have seen it now, Linda! It is very good too and it makes my day! :))ReplyDelete
Glad you like it...sorry I should check my email more often >.<... I have just add a new label called "Garden", I hope you will like that too :)
- AnonymousMonday, July 16, 2012
My mother and I love reading your posts. From watching this video, I feel you are kind, sweet, nature-loving and very talented:)...Thanks for making this video and keep up the good work! JoyceReplyDelete
Thanks Joyce and I'm glad you and your mum enjoyed my work.ReplyDelete


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Isabella Tiger Moth eggs, etc
Hello Bugman.
I just found your egg page and I absolutely love it! I thought you might like these photos of Isabella Tiger Moth laying eggs and the resulting larve, otherwise known as Wooly Bear Caterpillar. She laid the eggs on my door jam, and I am rearing them, at least until fall. They overwinter as caterpillars so I won't try to keep them all winter. They are eating nettles.
Hi Betsy,
We hope you will continue to provide us with Isabella Tiger Moth, Pyrrharctia isabella, metamorphosis images as the caterpillars grow and pupate.


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Timing is Everything
It doesn't take a lot of time to make a difference. But time does make a difference.
All of the paradoxes and conundrums of time are magnified when we consider how time operates in cyberspace. Our tools work away quite happily in infinitesimally small slivers of seconds, yet time seems to stand still when a song (being streamed from a satellite in outer space) takes more than a few seconds to load. But that's because as humans, we are unique, as far as we know, in our experience of time as relative. As such, we are also creatures who can look at time both backwards, and less successfully, forward. This allows us to learn from our mistakes and to use that knowledge to perhaps avoid similar misadventures in the future.
The phenomenon of preemption — anticipating something bad and taking steps ahead of time to prevent it from happening — is precisely how we've survived as long as we have.
We use preemption as a matter of course in our daily lives so often, so pervasively, and so automatically, we don't even realize it. We look both ways before we cross the street. When we're in the car, most of us buckle up. We check the label on that pill bottle before popping more than one. We cover our mouths when we sneeze or cough. We cautiously blow on a spoonful of steaming soup. What's puzzling is how slow we have been to translate our nearly constant preemptive posture from the physical world to the virtual world.
It's not as though we don't know we're being attacked in cyberspace. Nor is it a case of having complete faith in the solutions we've already deployed; we know they're incomplete. This reticence produces even more head-scratching when you consider how effective a little preemption could be. For instance, the actual time from when a phishing e-mail is sent to when a user clicks on a link is less than 90 seconds. But the time paradox here is that it takes a nearly a year or more of planning and probing before that e-mail can be crafted and sent, and another year afterwards before the attack is recognized.
Which gives us plenty of time for preemption to work its magic.
Only action changes outcomes and early action changes outcomes sooner. If we want to have a different outcome from these attacks, we need to stop them before they penetrate and cause damage within our organizations, not after. So how might we go about that?
To begin with, we must think about cybersecurity differently. It is not what is used to be ten, five, or even one year ago. That means we need a different kind of approach — a preemptive one — that deals with the reality of how the world has changed.
First, phishing bypasses the isolate, detect, and respond forensics-oriented defenses we already have in place. Second, our current crop of defenses focus on detecting the payload and insulating the victim from it. But that's proven to be not very effective when the targeted victim is always different and payloads are enabled by the very targets they're sent to and the time to detect payloads is too late. Third, phishing really, really works. Studies show that 9 out of 10 people, even those who've been trained not to do so, can't resist clicking on a compelling but phony email. So is it any wonder why upwards of 97% of all attacks are now targeted and socially engineered? Essentially, attackers are using our own trusting human natures against us. And they're winning. Finally, phishing is economical. Once attackers find something that works, they'll use it over and over and over, sending the same piece of malicious code to thousands of organizations until it doesn't work anymore.
All of which presents us with opportunities to change how we look at cybersecurity and reconsider what is effective. If we know that phishing is so effective, we can stop trying to change our human behavior and take advantage of the attackers human patterns.
Want to keep up to date with the latest phishing trends?
Subscribe to our newsletter here!


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KAYA (Kerstin Brätsch and Debo Eilers)
Informationen über KAYA (Kerstin Brätsch and Debo Eilers)
is a collaborative project, combining the independent practices of
painter Kerstin Bratsch (*1969, Hamburg, Germany) and sculptor Debo
Eilers (*1974, Texas, USA), both living and working in New York. The
project refers to Kaya Serene, a young Texan who serves the artists
as a focal and departure point for numerous exhibitions,
performances, interventions, events, and publications. KAYA's work
has been shown around the world within exhibitions at Fridericianum
in Kassel, MWoods
in Beijing, Museum Brandhorst in Munich, KUB Kunsthaus Bregenz,
Schamoni in Munich, Galerie Meyer Kainer in Vienna, and 47 Canal in
New York, among others, and the works were included in the recent
Whitney Biennial 2017, New York. In May 2018 KAYA will have a solo
exhibition at the Fondazione Memmo in Rome.


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ICED EARTH's STU BLOCK Interviewed On 'The Metal Factory' (Audio)January 30, 2014
On January 28, Jack Antonio of "The Metal Factory" conducted an interview with vocalist Stu Block of North American metallers ICED EARTH. You can now listen to the chat using the Mixcloud widget below.
"Plagues Of Babylon", the new album from ICED EARTH, sold around 6,300 copies in the United States in its first week of release to land at position No. 49 on The Billboard 200 chart.
The band's previous CD, "Dystopia", opened with around 6,100 units back in October 2011 to enter the chart at No. 67.
ICED EARTH's 2008 effort, "The Crucible of Man (Something Wicked Part II)", registered a first-week tally of 6,700 to debut at No. 79.
"Plagues Of Babylon" was recorded at Principal Studios (KREATOR, IN EXTREMO, GRAVE DIGGER) in Senden, Germany and was mixed at NHow Studios in Berlin, Germany. Guest vocals on "Highwayman" were laid down by VOLBEAT frontman Michael Poulsen and SYMPHONY X/ADRENALINE MOB singer Russell Allen. Guest vocals on "Plagues Of Babylon", "Among The Living Dead", "Democide", "Resistance" and "If I Could See You" are by BLIND GUARDIAN vocalist Hansi Kürsch. The cover and additional artwork was created by Eliran Kantor (TESTAMENT, ATHEIST, HATEBREED).
"Plagues Of Babylon" track listing:
01. Plagues Of Babylon
02. Democide
03. The Culling
04. Among The Living Dead
05. Resistance
06. The End?
07. If I Could See You
08. Cthulhu
09. Peacemaker
10. Parasite
11. Spirit Of The Times
12. Highwayman
Songs 1-6 form the "Plagues Of Babylon" story line, part of the ongoing "Something Wicked" Universe
ICED EARTH will promote the new CD in its North American homeland with the headlining "Worldwide Plagues Tour", which kicks off April 4 for a six-week run with SABATON and REVAMP in support.
"This is a seriously heavy album with a seriously brutal album cover," says ICED EARTH mainman/guitarist Jon Schaffer of "Plagues Of Babylon". "I'm sure it will go down as a classic in the epic ICED EARTH catalog.
"We feel that the package with SABATON and REVAMP is very strong and we are very excited to tour the U.S. and Canada again and kick some major ass!"
Jon Dette (SLAYER, TESTAMENT, ANTHRAX) is sitting behind the drums for ICED EARTH's current European headlining tour, taking over for Raphael Saini, who filled in during the summer 2013 festivals, the recording of ICED EARTH's new album, and the club leg of the VOLBEAT tour.
Dette made his live debut with ICED EARTH on November 6, 2013 at O2 World in Berlin, Germany.
ICED EARTH last year parted ways with drummer Brent Smedley for "personal family reasons."


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Broiling is a healthy cooking method, letting you prepare pork loin without added fat and calories from oil or butter. It's also quick and relatively hand-off, so even novice cooks can pull it off successfully with little opportunity for error. Your most important job is simply making sure you don't overcook the meat, which dries it out and toughens it. Broiling is best suited to naturally tender loin cuts, like pork tenderloin or loin chops.
Video of the Day
Step 1
Season the pork tenderloin, loin chops or other pork loin cut to taste with desired herbs, spices and aromatics. Use salt and pepper, along with other ingredients such as thyme, rosemary, tarragon, basil, paprika, minced garlic, garlic and onion powder, allspice, a spicy pepper powder, Cajun seasonings, Italian seasoning, herbs de Provence or a ready-made dry rub. Cover the seasoned pork and refrigerate it for half an hour to 24 hours.
Step 2
Turn on the oven's broiler function and let it preheat for 10 minutes. Grease the top of your broiler tray lightly with nonstick spray or cooking oil.
Step 3
Center the pork loin on the broiler pan. Position thin chops or tenderloin slices around 1 inch thick 4 inches directly below the broiler; position thicker chops or medallions 5 inches beneath it; position whole pork tenderloin or other thicker roast-style cuts 8 inches below the broiler.
Step 4
Broil thin pork loin cuts for approximately 3 minutes per side; cook thicker chops or slices for about 4 to 5 minutes per side; broil whole tenderloin or other roast-style cuts for about 8 to 10 minutes per side.
Step 5
Cook the pork loin to an internal temperature of 145 degrees Fahrenheit. Read the temperature at center with a meat thermometer. Transfer it off the broiler tray right away to prevent overcooking and let the meat rest for at least 3 to 5 minutes before cutting or serving it.
Things You'll Need
Broiler tray
Nonstick spray or cooking oil
Meat thermometer