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Postcards are a cheap and widely available resource. A postcard collection can become an invaluable tool for a teacher, because the same cards can be used in endless different ways. The teaching ideas here are aimed at catching students' interest before, during or after a museum visit, but most can also be adapted to form part of normal classroom teaching, for any age group or ability.
Some of these activities involve the teacher choosing certain sorts of postcards relevant to the subject being worked on. Others are to do with developing skills, so any sort of postcard can be used. If the activity requires the caption to be hidden, use masking tape rather than felt-tip pen, which can 'bleed' through. If multiples of the same card are needed, try asking around museums to see if they have any surplus or old stock they can give you.
Preparing for a museum visit
1 Card games
Play variations on card games to get students thinking about the defining characteristics of the objects you want to explore.
Pelmanism: can be played by any number of players. Spread out the cards face down so that they are not touching. The first player turns over two cards so that the others can see them. If the cards have the same image, the player picks them up and keeps them, then turns over two more. The player continues to do this until the two cards do not match, in which case they are replaced, face down, in the position from which they were picked up. The next player has a turn. If a card is turned up which is the same as one that has already been turned and replaced, the player must try to remember where the match was, hoping to make a pair. When all of the cards have been taken, the player with most pairs is the winner.
A. Assemble a collection of pairs of postcards; about 12 pairs for two to three players are sufficient. Mask the captions on the back with identical masking tape. Play pelmanism.
B. Assemble a collection of postcards, each different. Play pelmanism. When it becomes apparent that no two cards are alike, explain that they are paired but do not look the same. Players can only keep the pairs if they can explain what it is that links the cards. This can be made more stretching if there is a rule stating that any reason for linking cards can only be used once, or that two reasons must be given.
C. Cut postcards in half and play pelmanism by matching the halves.
D. Collect cards that are different but have some common features, such as subject, materials (natural or manmade), period, artist or culture. Play pelmanism using common features as the matching criteria.
Snap: Each player (more than two, less than six) has an equal number of cards, face down. Each player in turn adds a card, face up, onto a central pile. If a player adds a card which is identical (or has same value, e.g. two fives) to the previous one, the first person to shout 'Snap' takes all the central pile. The winner is the player who acquires all the cards. You will need a large collection of postcards made up in sets of two or four identical cards, or you could cut postcards in half.
2 Sorting
Supply about 15 postcards to sort into categories (e.g. colour, materials, function, period, manufacture, size). students can work in groups, sorting cards into at least three different categories, then comparing their choices with other groups. Or put students into the role of a curator selecting just five of the objects on the cards to create a new display. Ask for their reasons for the choice.
3 Puzzle
Cut several postcards into jigsaw pieces and mix them all up together. Ask students to reassemble the postcards.
4 Focus
Look at just one part in detail. Define the area by using a viewing frame, made by cutting a window into a larger piece of card.
5 Lateral thinking
Give out postcards from which you have cut a hole (use a 5p coin as a template). The task is to push a larger coin (10p) through the hole without tearing the card. When ideas are exhausted, insert a pencil or straw through the hole and push a coin on the other side. Use this as a springboard to talk about use of specific language and unambiguous instructions.
6 Comparing
Cut up a postcard and give out one piece only. From clues in the fragment, let students describe or draw what they think the complete object looks like. Feed out pieces one by one, letting them amend their perceptions with each piece. Find the correct fragments in the archaeologist's game
7 Symmetry
Cut a postcard showing a symmetrical object or pattern in half. Hand it out and ask students to draw in the other half, or hold up a mirror to show the missing half. Look for rotational symmetry in patterns by pinning the card in the centre and turning it.
8 Personal choice
Ask students to choose their own card from your collection and then explain their choice to everyone else.
9 Sharpen up accuracy in describing things
Group students in pairs back to back: give one a postcard of a costumed figure, then ask him or her to describe it so that the other is able to draw it. This can be made easier if you trace an outline of the figure first, to help the second student.
Find five postcards of yellow things, preferably all similar objects. Ask students to choose one secretly, and describe it to the rest of the group. How easy is it to identity the correct postcard from the description? Can the description be refined? Turn this exercise on its head by asking for statements which do not help to distinguish the object. The student who can give out most statements before the object is identified is the winner!
10 Nouns & adjectives
Ask for ten nouns and ten adjectives to describe what a card depicts.
11 Miming
Stick a postcard onto a student's forehead (use a band with the card tucked into it) without the student seeing what it depicts. Others need to mime clues to help the student identify it.
12 Who? What? Why?
Ask students to supply a speech balloon. If it were a car, what would it be? Why? Ask them to write down their reasons.
13 Text and image
Collect postcards that have both images and writing on them. Make a note of all the different writing and then photocopy the cards and blank out the writing. Give out the photocopies and the writing separately and ask students to pair them up. Ask them what influenced them - context, amount of space, tone of language? How does tone - formality, homeliness, ease, vigour or references ( to the language of the Bible, or of childhood) - match the style of the artist or the object depicted?
Art & design
14 Perspective
Make a three-dimensional version of a landscape. This activity works with cards where there is a clear foreground, middle ground and background. You will need three copies of the same card. From the first card, cut out the foreground and set aside the rest. Using the second card, cut across the line which separates the middle ground from the background and set aside the background. Using some of the discarded card to make a stand, recreate the picture fixing the three parts about a centimetre apart from each other.
15 Portraits
Find three portrait postcards (painted or photographs) and ask what information can be deduced about each sitter, from facial expression, clothes, body language, background or the items with which they are pictured. Read example descriptions of people from postcards
16 Categories
Find 24 cards about two different artists or craftspeople or schools of work. Give each a number and then display in no set order. Ask students to work in pairs and establish which category each card belongs to and why. Ask for reasons, and whether others agree with them. As each card is categorised, redisplay it so that eventually they are all grouped like with like.
17 Patterns & repetition
Use postcards to stimulate work on patterns. Use a photocopier to make repeats for wallpapering the inside of a shoe box. Or cut out a motif along a stem and join it to the stem of another design to create a new pattern.
18 Details
If you are going to explore a large object or artwork, prepare students by showing a postcard which depicts a detail first. Discuss what the whole might be like, or what it may be trying to achieve, before looking at the complete object (in the museum or on another postcard). Are students' views changed? Are there disadvantages in looking at large objects?
19 Changing perceptions
Cut a postcard into vertical strips and reassemble with spaces in between. Ask students to join up the strips. How is the picture distorted? Can they draw an outline of what they think the picture should look like? Was it easier if the thing depicted was familiar to them?
20 Timeline
Sequence postcards to show change over time, or to create a timeline.
21 Research & investigation
Supply a postcard of an object and find out everything you can about it. Include size and appearance; function; how it was made; style; and value. What is revealed about the times or people who made or used it? Does the manufacturing process say anything about the technology and labour organisation, or trade and transport networks?
22 V&A architecture
Find postcards showing different parts of one building. Ask what information is revealed about the structure itself, and about its builders, its occupiers and the people who worked there.
During a visit to the V&A
23 Find your object
Use postcards to ensure students are looking at the right thing: Give out a card to each student and ask them to find the object. To ensure KS1 students do not lose their postcard, they can cut round the object and make a badge or pendant to wear. Remove bits from the postcard, reassemble them and enlarge them on the photocopier. Ask students to find the object and fill in the missing parts. Photocopy a postcard in black and white, and ask students to fill in the colour. Find the backdrop to which the object on the postcard belongs, for example a teapot on the table in a period room.
24 Matching up
Supply a selection of postcards. Supply the captions separately. Match them up at the museum.
25 Up and down
Acquire postcards showing the downmarket equivalent of objects you will see in the museum you are visiting (e.g. pewter plate/porcelain plate) and ask students to find the upmarket one.
26 Outline
Ask students to draw round the outline of an object with biro so that the indent shows on reverse. Find the back of the object and draw it in onto the back of the card.
27 Missing link
Give out three postcards and ask what the link is (all owned by Henry VIII; or all for storing food; or all part of a soldier's equipment).
28 Accessories
Find portrait or costume postcards, where the shoes or hats do not show. At the museum, find suitable shoes or hats. Alternatively, give out postcards of shoes or hats, and find the costumes.
29 Labels
Start students writing by adding labels to postcards of the objects that they see.
30 Captions
Ask for two new captions for a postcard: one for someone of a similar age, one for someone younger, a five-year old for example.
31 Panels
Make interpretation panels for people of the same age. You will need to supply sheets of A3 paper, which you have already cut in half lengthwise to form narrow strips.
Suggest that students stick a postcard at the top of the strip, along with a title. Then at the museum they can gather information, drawings and more postcards to complete their interpretation.
Assess the panels on how clearly students have been able to sort and communicate the information in ways appropriate to the audience.
32 Key card
Make a postcard the key to a story. Give out a card to groups of two or three. Ask them to find the object depicted, then to include relevant information, or descriptions of other associated objects, into a story featuring the object.
Art & Design
33 You're invited!
Design a new postcard for the museum or an invitation postcard to the opening of a new display.
34 Make a match
Give each student a postcard, then ask them to find something else with the same design or pattern.
35 Six-pack
Collect six postcards of artworks to form a pack, then ask students for an information sheet to accompany it. Different groups could write about different aspects, like symbolism, gesture, feeling or composition.
36 Treasured possessions
Build up an understanding of an artist or historical character by giving out postcards of containers - boxes, chests, or cupboards - then asking for a selection of objects that the character would most value, to put in them.
37 Well suited
Give out postcards of people in period costume. Find the furniture or room interiors to which they belong.
For example, if the dolls on the right had been real, what would they have found to sit on?
38 'Feely' card
Make a costume 'feely' card. You will need scraps of fabric cut into squares, small pieces of trimmings (fake fur, lace, ribbon) and some buttons and sequins. When students find the exhibit on their postcard, let them choose similar fabric and trimmings to stick on the backs of their postcards.
After the museum visit
39 Present information in an interesting way by making a booklet (instructions below)
40 Drawing from memory
Save two postcards of something you spent a long time looking at as a group. Cut up one card into pieces and remove some of them. Use the rest to partially re-create the image on a piece of paper, then enlarge it on the photocopier. Make enough for everyone to have a copy. Ask students to fill in the missing bits and then use the uncut postcard to see how much they have remembered.
41 Writing a letter
Find a character in a postcard and write a letter to them. Or use a collection of postcards about a topic to include in a letter purportedly from a character living at that time, e.g. use Second World War postcards to compose a letter from a land girl.
42 Storytelling
Give out postcards of paintings in which some sort of action is taking place. In groups, ask students to retell the action in story form, with a beginning, middle and ending. Mount the postcards on a storyboard (instructions below)
Re-tell a story, eg, the life of a saint or a Greek myth, by cutting out characters and objects from postcards and making a shadow theatre.
Art & Design
44 Self-portrait and collage
Use a postcard as a reminder of the style of an artist. Ask students to develop a self-portrait using a similar style, eg, Chagall or Freud. Or cut up a card of an abstract work and ask students to use some or all of the pieces in a collage, or as a starting point for their own work.
45 Framing
Ask students to choose a postcard of an object they particularly liked on their visit, then to design a frame to suit the image. Let the imagination run free.
46 Message
Give each student a postcard by an artist whose life or interests they know something about. Ask students to write a message on the back of the postcard either from the artist saying something about his or her current thoughts, or to them. Messages can be frivolous or friendly or concerned or whatever. For instance: 'Dear Vincent, how is your poor ear?' Read out some of the results. Look for evidence that students have tried to include something that relates to the individual artist.
47 Techniques and styles
Collect cards from the same artist which illustrate different techniques or periods of work. Ask students to spot the differences.
48 Peep box
Objects, furniture and people from other times or countries are exotic. They carry a flavour of the strange and mysterious. Scenes painted by artists carry some of that individual's imagination to the viewer.Make a miniature garden or room. Postcards are an accessible way of catching this exciting mixture, and of using it to create a fantasy of one's own. One way of doing this is to make a peep box. Cut around postcard figures of people, furniture and objects from the same period and arrange as a room or garden setting within a shoebox. (instructions below)
49 Annotation
To show how one piece of historical evidence can be used in a variety of ways, give each student a postcard and a piece of transparent acetate of the same size. Ask them to hinge the acetate over the card (use Sellotape down one side) and, using fine felt-tip pens, to annotate the picture to explain what it tells us about the past.
Make sure that you have at least six postcards of each object.Display the results and compare what different students have done with the same image.
50 Mobile
Make a dynasty mobile, eg, of royalty. Use the whole postcard or cut out the figures.
More ideas
More lateral thinking
Lateral thinking is about looking at all possible interpretations or explanations. The examples here are both concerned with how we use language. They can be a starting point to talk about specific language and unambiguous instructions.
Through the postcard
Use the postcard with the hole in it again, and the coin, and ask for another way of pushing the coin through the postcard. This time the answer is to fold the card over to make a tube, then push the coin through it.
Into the postcard
Find a postcard of an artwork and ask students to 'step into the postcard'. When they have come up with as many suggestions as possible, give them a copy of the postcard, some scissors and the instructions below, which are split into making the grid and cutting the lines. At the end, the postcard will open up into a continuous ribbon, which they can literally step through.
Making the grid
If you want students to draw the grid onto their postcards, it is easiest to start by drawing in a framework, into which the cutting lines fit. It is a good idea to do this framework in pencil, which can be erased later to leave just the cutting lines.
1. In pencil, draw an inner box, about one centimetre from the edge of the postcard. Draw a centre line lengthways within the box. (See 1 above)
2. Still in pencil, draw a line on each side of the centre line, about one centimetre away and parallel to it. (See 2 above).
3. Using a ballpoint or felt-tip pen, draw straight lines parallel to the short edges of the box. These should be evenly spaced, about one centimetre apart. Do not go beyond the edges of the box. (See 3 above).
4. Still using ballpoint or felt-tip pen, draw straight lines halfway between the lines you have just drawn in the box. Start at the edge of the postcard (ie outside the box) and stop at the line you drew in about a centimetre from the centre line. (See 4 above)
5. Lastly, rub out all the pencil lines.
Cutting the lines
6. Cut the card along the grid lines to make the step-through postcard. (See 6 above)
7. Use a photocopier to produce a copy which is the exact size of the card that is being cut up, so that students can paste the grid on the back of the card before they start cutting. It is best to start by folding the card in half lengthways and cutting along the centre line, leaving a centimetre at each end uncut, as indicated. (see 7 above)
8. While the card is still folded, cut the lines going out to the outer edge next. Again, make sure to stop about a centimetre in from the edge. (See 8 above)
9. Then open the card and cut the lines going in from the edges. Take care not to cut all the way to the centre line. (See 9 above)
More comparing
Archaeologists are experts at looking very closely at objects. They do not often find complete objects, so they usually have to work with small fragments instead. They look at other objects of a similar nature that are complete, to see if their fragment has any common features.
The Archaeologist's Game
This game replicates the archaeologist's process. A complete outline of an object is shown below. Beneath it, there are a number of fragments from both this object and other similar objects, all mixed up. Which fragments belong to the complete object? Choose the fragments you think make up this object and click on them to see if you are correct.
More words
Adding words to postcards can be sentimental or subversive. They can also reinforce the mood. Encourage students to think about what the mood of the card and how it is created.
Experiment with different forms of type or writing to complement, or disrupt, the overall atmosphere. Have fun by adding a proverb or saying, or adapting one to suit your purposes.
Use a piece of acetate over the card to play around with the position and size until you decide on the final appearance.
More perspective
Perspective is used in representing three-dimensional objects, or scenes, on a two-dimensional surface, like an artist's canvas.
Things appear to get smaller the further away they are, and artists have developed their own guidelines to help them represent distance accurately.
Single-point perspective is based on the fact that parallel lines appear to converge on the horizon. Postcards are a manageable way of learning to recognise and trace these lines (a ruler helps!).
See if students can work out where the vanishing point is in the postcard of Queen Victoria and her family at the Great Exhibition. The vanishing point lies behind her, but she appears to block it from view, which serves to make her the focal point of the picture. These lines serve to draw us into the picture, leading our eye automatically towards the vanishing point.
More portraits
Dolly Varden
The girl's face is the most striking part: she is smiling with her head thrown back so that she is looking down her nose, very confident, self-assured and lively. The girl's face, skin, and pert features look groomed and aided by cosmetics, which indicates she takes care of, and is presumably proud of, her appearance.
She is wearing a velvet coat, with black, possibly fur, trimmings and black silk at the sleeves. She has matching pink stockings and dainty high-heeled shoes with showy buckles, and is carrying a fur muff. The outer clothes seem to indicate cool weather, but the white dress and straw contradict that. The dress has a complicated arrangement at the side, as if the creamy embroidered material suggests an overdress and the white filmy part at the front is a petticoat - an echo of Little Bo Peep. It isb fanciful, contrived, impractical and showy, but her confidence and enjoyment balance this out.
Her body is tilted to one side with her top half thrust forward and her hand on her waist, to draw attention to its narrowness. It is a theatrical, flirtatious pose, but with an element of fun in it.
The background is indistinct, except that the brown suggests trees, and there appears to be a trailing branch. There is a view of a misty distance to the left. It gives the impression of being unreal, a fantasy, which fits in with the Little Bo Peep dress.
Dolly Varden was a fictional character in Barnaby Rudge, by Charles Dickens. Her main characteristic was her flirtatiousness, together with her liking for pretty clothes.
Isambard Kingdom Brunel
The man is staring into the middle distance, as if he is doing some serious thinking, and not at all interested in the camera. He has not bothered to remove his cigar, and he obviously feels in control, or on his own territory. His face is neat, with well-kept sideburns, but his hair at the back is curly and unruly. He looks as if he is someone who takes care of his appearance to keep up the social niceties, but is not vain about it.
This impression is reinforced by his clothes, which are all conventional and good quality, but his trousers and shoes are caked with mud, as if he has just stopped and got involved in some messy task. He is not at all self-conscious about it, as if it is something that happens fairly regularly. His top hat, watch chain and cravat put him in the gentleman, not workman, class.
His pose is comfortable. He has his hands in his pockets, and his weight on one leg, a common relaxed position. He looks at home, almost arrogantly unconcerned about anyone else.
Taking up nearly all the background is a roll of chain made from massive links. A visitor would notice it, but he doesn't appear to, so it must be something with which he is familiar.
The overall impression is of self-containment, intelligence, determination and a lack of pretentiousness.
Isambard Kingdom Brunel was a pioneering engineer who attempted new constructions that other people said were not possible, including The Great Eastern, the biggest iron ship of its day.
Francis Williams, the Jamaican Scholar
The most noticeable feature about the man's face is the eyes. He is looking straight at the artist, and us, in an intense, challenging way. The mouth is unsmiling and pinched. He looks serious, dignified and stern.
It was not usual for black people to be painted in this conventional western way, so he may be making a point that he, as a rich person, has as much right as anyone else to take his place in society.
He is richly and tastefully dressed in a dark blue velvet coat, matching trousers and a grey silky waistcoat. The coat and waistcoat are trimmed with gold. He has a cravat and wig.
Everything is correct and neat. It gives the appearance of a wealthy person with a comfortable lifestyle.He is standing, despite a chair being nearby, so he is being deliberately formal. He has his hand on a book on the table, which draws our attention to it. He is saying that he is an educated, bookish person. This is emphasised by the fact that his other hand is pointing to the heavily laden bookshelves.
The painter has not got the figure in proportion (he has the same trouble with the furniture). The fact that the head is larger than it should be, and the hands, legs and feet smaller, may just be a quirk of the artist, but it may also be saying that here is a scholarly man who does not need big, workingman's hands and legs.
By his feet and on the table are globes, showing that Francis Williams has an interest in the natural world. On the table are quills and compasses, which again point to his interest in things to do with the intellect. The room has fine, decorated furniture, but is dominated by the bookshelves. Hanging in front of the books is a dark blue velvet curtain tied back with the gold cord. This gives a visual link between the man and his books.
To the left is a picture or a window. The scene is a hot sunny landscape, so Francis Williams is either living somewhere exotic (if it is a window), or wishes he were (if it is a picture).
The whole effect is slightly uncomfortable. The links to the man's love of books are too many and laboured, as if he is proving a point. The sitter looks challenging rather than at ease with himself.
Francis Williams was a poet and scholar. He was born into a rich family in Jamaica, at a time when most black people there were either slaves or very poor. Few black people were painted in this formal way.
More stencils
Stencils are an alternative to printing when making a pattern or decorating objects, but they take time to prepare. Cutting an image out of a postcard is a fast track to making a stencil. Choose an image with a simple outline and few inner details. Craft knives are normally used to cut stencils, but scissors are easier. Cut in from the edge and tape up the join later.
If you want to use more than one colour, you will need to leave a little bridge of card to separate that part from the main body. This then gives distinct areas, which you colour separately. Details can be added by using a second stencil, or by hand.
Making a flick book
Use a postcard stencil to make a flick book. A flick book has an image on each page. These are the 'stills' of a figure caught in action. The pages show the consecutive 'stills' and when you turn the pages quickly, your eye cannot keep up with each image, but sees them blurred into each other. The result is that the image appears to move.
Choose a postcard with a simple image to make into a stencil. The flick book will be made from plain postcards, so the image should be less than half the size of a normal postcard. Think up a simple movement for the figure to perform. Then make a composite sketch of the action, so you know how much space you are going to need.
- 10 plain postcards
- Scissors
- Tape
- Stencil
- Brush and paint (or felt tip pens to draw just the outline)
- Ruler
- Pencil
- Eraser
- Heavy duty stapler, otherwise hole punch and cord
This flick book is based on the simplest possible movement: a butterfly which lands on a cat's nose, with movement in the cat's eyes and tail.
1. Draw in a vertical and an horizontal line which cross at the centre of the image.
2Cut out the image, leaving bridges of card to allow changes of colour when stencilling. The stencil is the postcard with the image removed.
3.If there is an interior detail (e.g. the face) that you want to include, cut round it and cut out details you want to appear in your flick image (eg, the eyes). Treat it as another stencil to use with the main one.
4. Draw a vertical and horizontal line on the right-hand side of the plain postcards, to cross at the centre of the image. This is the guide for applying the stencil in exactly the same place on each card.
5. Stencil in the main image, or draw in the outline.
6.Use the second stencil to fill in details if necessary.
7. Draw in additional details. Rub out the horizontal and vertical guidelines.
8-12. Add the action details.
13. Add a thick back cover (several postcards glued together).
14. Secure the postcards at the left-hand side with a heavy-duty stapler or punched holes and some cord (you will need to use one punch hole at a time).
15. Flick!
More changing perceptions
Cutting up and reassembling postcards gives an insight into how shapes can be stretched, compressed, and turned around, and how they change in response. It is also an easy first step to pulling away from realism and playing with shapes that still contain references to actual objects, people or scenes, but are no longer a wholly naturalistic portrayal of them.
Below are some ideas. It is best to number each piece of the back before cutting, then to mark the top of each with a T. Arrange the pieces into the image you want before beginning to glue them onto a sheet of card.
Making waves
Cut a postcard into strips vertically and reassemble.
Create a wavy image by pulling down and pushing up individual strips. Narrow strips are best, but fiddly to handle and keep track of.
Double vision
Cut two postcards into two centimetre strips, then alternate the strips to make both images in one picture.
To begin with, use two cards that contrast in colour and form, then move onto cards which are less contrasting.
Make variations on this by cutting one card into narrower (one centimetre) strips.
Spaced out
Cut out a shape, e.g. a person or an animal, and cut it into thin strips.
Glue it onto another postcard, spaced out.
Mosaic medley
Cut a postcard into equal squares, then rearrange them.
Or turn all the squares upside down or through a half turn.
Or turn just a few squares.
Cut a postcard into a fan shape, or cut along curved lines (use a large bowl, turned upside down), or draw freehand lines.
Trim and cut out pieces as you reassemble the card.
Vary the space between each piece.
Making a display booklet
Concertina book
Sellotape the cards edge to edge, leaving just enough space to allow flexibility.
Fan-fold spine book
This is a different way to display postcards. When closed, the book is compact, but it opens up to reveal six or more cards, with space for information.
A3 sheet of thin card
Two small circles of card
Two paper fasteners
Wool or thin string for the fastening
1. Take two postcards and position one in the top left-hand corner and one in the bottom right.
Mark their positions and remove.
2.The central space between the two postcards will form the fan. (for standard-sized postcards this is 12 cm)
Mark off the remaining central space into four equal parts (three cm) and draw lines down from the top to the bottom edge.
3. Fold along the first line by bringing the left-hand side of the card over to the right.
Turn the card over and fold along the next line. Continue folding along the marked lines from each side in turn to make a concertina effect.
4.Pull the card out flat and position a postcard at the top with its right side edge along the central crease.
Glue this edge onto the concertina strip which makes up the right side of the central crease.
5.Do the same again with another postcard along the last crease to the right, so that it partly lies over the first postcard.
6.A) Position a postcard at the bottom of the central crease, but this time align its left-hand edge against the central crease. Glue as before.
B) Repeat with a postcard positioned with its left-hand edge touching the first crease (ie, to the left of the preceding card).
7. Push the folds of the concertina together and close the card like a book.
Press the folds hard to help the glue to stick and to reinforce the folds.
8. Open up the card and the postcards will fan out in a line over each other.
Use the flat parts of the card to glue in more postcards or for writing explanatory text.
9. Make a fastener for the fan book, by cutting out two circles.
Thread a paper pin through the centre of each.
Make a hole with the tip with a sharp pencil half way down each side of the card, so that they line up with each other when the book is closed.
Fix in the circles with the paper clips on the outer cover.
Use thread wound round each circle to keep the book closed shut.
10. Add more cards and a title to the outer covers.
Hole punch booklet
Tie together with string or ribbon. If many cards are used, careful measuring is needed to align the holes
Spiral bound booklet
Make a series of regular punch holes and use plastic-covered wire. Thread the wire round a pencil to keep the binding loose enough for the pages to turn.
Writing a story and making a storyboard
Stories need a beginning, middle and end. The beginning sets the scene or introduces the characters. It needs to be clear or the reader loses interest. The middle contains the action. The end can either resolve the action cleanly, or pose questions for the reader to think about.
Here is an idea for building up storytelling skills, using the postcard the students had at the museum, or one which is new to them. (Use a figure or figures, human or animal, or a scene from a painting.)
Ask students for a story in six or eight sentences or short paragraphs, based on a postcard. The story must include a beginning, middle and end. Leave a big space between paragraphs so that it is easy to cut the sheet into pieces, each containing a separate paragraph.
Example story
Based on the figure in the image on the right.
Mr Green lived at Number 15 Pinfold Lane, with Rocky the Rooster.
The people next door hated Rocky because he crowed very loudly at 5am every morning, every day.
One day Mr Green took Rocky to see a wise old man.
He had been told that he could talk to animals.
'Please tell Rocky not to crow so loudly', said Mr Green to the old man.
So the old man asked Rocky, in perfect Rooster-rap, to croon his crow in future.
Rocky looked at the old man with narrowed, beady eyes, but agreed to do as he was asked.
Now Rocky has the sweetest crow ever heard, but he feels the need, at 5am every morning, every day, to beat out the tune of Jingle Bells with his beak, hard, on the bedroom window of the people living next door.
Making the storyboard
- Rigid card, A3 size
- Hole punch
- String - about a metre, with a bead or button tied to one end
- Glue
- Scissors
- Thick felt tip pen
1.Paste the postcard at the top of the board, which should be used in portrait format.
Lay out the story pieces, in order, on a flat surface - eventually these pieces will form two equal columns, one down each side of the board.
Place the first piece of the story about two-thirds down the left-hand side of the board.
2.Place the next piece of the story anywhere on the opposite, right-hand side.
4.Neaten up the columns of story pieces so that they line up with each other.Glue them in place.
5. Use a hole punch to make a hole next to the start of the story.
Thread the piece of string through the hole (opposite end to the bead).
Secure the string by tying it round the edge of the board.
6. Use the hole punch to make a neat, semi-circular notch in the edge of the board against each of the other story pieces.
7. Find the second piece of the storyline.
Pull the string over the front of the board and slot it into the notch next to it.
8. Take the string round the back of the board to come up at the left side again.
9. Find the next piece of the storyline and repeat the process until you have reached the end of the story and the string is wound entirely around the board.
10. Mark on the back of the board the path of each section of string.
Unwind the string and invite a different group to read the story.
First, they need to read all the disjointed sections.
Then ask them to sequence the pieces, winding the string through each successive notch.If they have got it right, the string will lie over the lines marked on the back of the board.
You may want to make a board which can be used more than once. Use Velcro to stick down the postcard and the story pieces. Then attach a clean sheet of paper on the reverse (use Blu-Tac). This can be replaced each time the board is used.
Making a peepbox
Selection of postcards to use whole, or to cut images from
Shoe box
Tracing paper or coloured tissue paper
1. Remove the lid and cut a peephole to look through at one end of the box. Cut one or two small windows out of each side (about three cm square), not directly opposite each other.
2. Cut three windows out of the lid, one very near one end.
3. Place a postcard at the end of the box opposite the peephole.
4. Cut shapes out of other cards to add at the sides. When cutting, include a margin at one side, to fold at right angles and glue to the peep box side.
5. Cut out figures to add interest. Fix an extra strip of card onto the back, with a base tab that folds at right angles to stick to the bottom of the box.
6. When everything is in place, place the lid on top, with the end window farthest away from the peephole. Adjust the lighting by covering the lid and side windows with a book or hand to find the right level. Block windows that you are not using with black sugar paper. Then cover the rest with tracing paper, which will diffuse the light. To create different atmospheres, use coloured tissue paper over the windows.
To create a feeling of distance, insert a spyglass, normally used for security on front doors, into the peephole.


text:
Do you love to run? Check out these amazing running routes in some of New York's most iconic neighborhoods!
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Studio Apartment in Union Square (NY-14881)
Studio Apartment in Union Square (NY-14881)
This is a model apartment. It reflects both the quality and the style of the apartments we offer at this location. The individual apartments are a variation of this one with some differences in layout and exposure.
The studio apartment is situated in a five-story walk-up building constructed in the early 1900s in the Gramercy – Union Square area of Manhattan in New York located at Third Avenue and 14th Street. This furnished space has several features: two double beds to share the apartment with a friend, a TV with cable to watch your favorite shows, Internet access to surf online, and an air-conditioning unit to cool the space during warm days.
The kitchenette area of the studio is equipped with a mini-fridge, a microwave, electric hot plates (no oven), a coffee maker and a toaster where you prepare your breakfast, lunch and dinner. The ensuite bathroom has a shower, a toilet and a sink.
Please note that the speed of the Internet connection may be slowed down at times.
The closest subway stations are a short walk away (3rd Avenue station where you can access the L train or the Union Square station where you can find the 4, 5, 6, N, Q and R lines). There is not always a need to use the extensive NYC underground system since Union Square itself is home to a wide array of activities. In the park, you can participate in walking tours and outdoor fitness classes, or conclude your day by listening to a concert. There are many schools in the neighborhood such as the New York Film Academy, the New School, as well as NYU student residences.
There is a multitude of restaurants close to the apartment. You can explore the neighborhood and find any types of places to eat from a simple pizzeria to an Asian fusion diner. Bars and lounges are all around like Pete's Tavern established in 1864 and the trendy Coffee Shop on Union Square West.
Overall Apartment Rating (1)
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Map : New York Furnished Rental - 14th street and 3rd Avenue New York, NY 10003
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subset: commoncrawl


text:
Hargeisa (Alshahid) — At least four people were killed and one injured in skirmishes after militia supporting the neighbouring Puntland raided a voting station in a disputed area and seized several ballot boxes, the Somaliland Election officials said.
Officials said the disturbance forced them to close 34 stations early in that area.
"There was no voting in 34 stations in Buhoodle and Sool regions," said Essa Yusuf Mohammed, National Electoral Commission (NEC) chairman.
The two regions, Buhoodle and Sool, are claimed by both Somaliland and Puntland.
Several days before the Somaliland elections, Al Shabab's top leader Ahmed Abdi Godane, also known as Sheik Mukhtar Abdirahman Abu Zubeyr, urged Muslims in Somalia to reject "the Devil's principles" of elective democracy.
AlShabab hit Somaliland and the other semi-autonomous Puntland region with synchronised suicide blasts that killed at least 24 people in October 2008.
Despite the threat of violence, most Somaliland citizens are united in their desire for recognition as a separate state.
"I call on them to respect the basic human rights of the people of Somaliland. We have a map and I hope that we will realize this (recognition) within one year," said Feisal Ali Warabe, presidential candidate for the opposition Justice and Welfare party.
Three men are vying to become president of the internationally unrecognized region, a haven of relative peace in northwest Somalia.
Somaliland has its own security and police forces, justice system and currency, but is not recognized by any other state.
The International Republican Institute, a U.S. observer group, said Sunday their observers found few voting irregularities in the region.


text:
Click the link for daily surf reports presented by Nichols Surf Shop, 411 Flagler Ave., New Smyrna Beach
Video and photos by Henry Frederick / Ray Catheline, who works at Kokomo's Salon, 521 Canal St., New Smyrna Beach, washes and styles customer Kim Poole's hair during the wildly successful Sunday Cudas Unhooked hair-a-thon fundraiser, which he organized.
NEW SMYRNA BEACH -- Nobody was more blown away by today's Cudas Unhooked hair-a-thon fundraiser than the organizer himself -- KokoMo's Salon hair stylist Ray Catheline.
Please click attachment to read NSB police patrols report:
March 27, 1918 - June 3, 2010
Funeral service for Leon Leroy Reed, age 92, of New Smyrna Beach, who passed away peacefully at Hospice Care Center, Edgewater, on June 3, will be 7:00 p.m. Friday(today) June 4, at Settle-Wilder Funeral Home, New Smyrna Beach. The Reverend Laura Walters Baskett will officiate the service. Friends may call from 6:00 p.m. until service time at the funeral home.


text:
SALEM - A Salem woman known for her creativity as a cake decorator was being mourned Wednesday by her family, friends, co-workers and neighbors.
Samantha Shasteen, 32, of 2107 Oak St., never showed up for work at Clarencedale Cake as scheduled at 6 a.m. after spending all day Tuesday on the job as kitchen manager and head decorator.
She was found dead in her bathroom Wednesday morning and her estranged boyfriend, Mason Feisel, 34, of Boardman, was later charged with murder for allegedly purposely causing her death.
"We just couldn't believe what we were hearing," Clarencedale Cake owner Ellen Harvischak said.
Harvischak and her husband, Devin Bennett, started the Boardman business where Shasteen had worked the past three years. She said they and the employees in the shop all work closely together and share their lives and they're all devastated by the loss.
When she didn't arrive for work and had not texted them, they started calling around, calling both the Boardman Police and Salem Police and then learned of her death.
She said Sam was funny, joking and laughing all the time, but she was serious about her work. She was described as extremely hardworking and conscientious and took pride in her work and took pride in her 4-year-old daughter.
"She did an amazing job," Harvischak said.
The business will be closed to the public this week as they try to cope with her death and meet the orders they already have.
"She loved being a cake decorator," she said.
The Facebook page for the business was filled with comments about how much she would be missed and offering condolences to the family, both at work and at home.
The investigation into her death brought sirens to her quiet neighborhood early Wednesday. One neighbor who went to school with Shasteen at Salem didn't want to be identified, but said "she was awesome. A real nice girl."
Another neighbor, John Catlos, was in his living room in the back of his house when he looked outside and saw four police officers and two ambulance crew members in his back yard, where they handcuffed a man and put him in an ambulance. The man was later identified as Feisel.
"You just never know," Catlos said.
He said they were kind of quiet, always out back playing with the little girl and taking her to the park. Shasteen's daughter had spent the night with her grandparents and had not been home.
"The family's devastated right now," Salem Police Chief J.T. Panezott said, adding "They ask that people respect their privacy."


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Nice work if you can get it! Just another day at the office for the Cabrinha team.Read More »
Yearly Archives: 2009
The Man Behind the Scenes: The Story of Naish Kiteboarding
Mention Naish Kiteboarding and most people immediately think of Robby Naish, the man who basically put windsurfing on the map and has been killing it as a kiteboarder since the beginning of the sport. Most have never heard of Andy Church, the brawn on the business side of the company, who has been working behind the scenes at Naish for years.Read More »
TOP 10 QUESTIONS About Kiting in the Surf
For kiteboarders who have already been surfing for years before they picked up a kite, the progression into the surf is a natural and relatively easy one. However, not every new kiteboarder is an experienced waterman. For some riders, kiteboarding is their first ocean sport. The surf can be an intimidating place for those who do not have any experience there, but the fun that can be had is well worth the effort.Read More »
Liquid Force/DeCosse Alliance: The Ultimate Kite Snowboard
For the past few years Canadian custom snowboard maker Sheldon DeCosse has used his skills and custom manufacturing facilities to design and produce the ultimate snow kiteboard. Working with top athletes from all over the world, specifically with the top names in Norway, Sheldon has been able to design a board that serves the specific needs of progressive snowkiters, while also making the board fun to ride downhill.Read More »
NEW 2010 Ruben Lenten Video
Follow Ruben Lenten as he owns the infamous gusty high powered winds of the Columbia Gorge showcasing the SLINGSHOT Fuel alongside his pro model LUNACY and DARKSIDE boards. The LUNACY is made for the aggressive expert freestyle rider and the DARKSIDE is Ruben's weapon of choice when riding boots.Read More »
Born & Bred in the USA: The Story of Slingshot
Slingshot was one of the first companies who was strictly a kiteboarding company in an emerging market of manufacturers who produced both windsurfing and kiteboarding gear. Their cool graphics and unique approach turned heads quickly.Read More »
TKB Podcast with Chris Cousins from Eclipse Kiteboarding
Eclipse Kiteboarding was founded in 2006 and experience a few years of rapid growth. 2009 has marked a lot of changes for the company, with the company being the subject of a number of forum threads over the past few months. Chris Cousins calls in to give us the inside scoop on Eclipse.Read More »
Load and Pop: Intro to Wakestyle Kiteboarding
Learning a few unhooked load and pop tricks adds a whole new realm of possibilities to your riding. Unhooking is not just for young riders and is actually a lot easier than you think.Read More »
New brand: Mutiny Kites
Henry Rebbeck is an industry name for anyone that is passionate about kites.Read More »
I'm Faster than You! KITEBOARING COURSE RACING BASICS
As simple as it might seem initially, course racing is actually very technical and involves much more than just being able to handle your kite and board.Read More »
GUMBALL SPEAKS: Interview with Best Kiteboarding Co-Founder Alex Shogren
Best Kiteboarding is one of the most controversial brands in the history of our sport. In their first year of business, they were blackballed from certain magazines, banned from a demo testing event and often criticized for their aggressive marketing strategies. Under mountains of opposition, Best has matured into a major player in our sport.Read More »
The Bearded BANDITOS: The Story of Caution Kiteboarding
If you kitesurf at any beach near Santa Cruz, California, there is something that will jump out at you immediately. An overwhelming number of people ride gear from one company: Caution Kites.Read More »
PKRA Teri Kite Pro Highlight Video
Check out the highlights from the last day of the 2009 Teri Kite Pro. Congratulations to new Kiteboarding World Champion Kevin Langeree!Read More »
TKB Beginner to Advanced Kiteboarding Instructional Guide
Rather than bore you with the same regurgitated newbie beginner information, we enlisted the help of many of the top instructional coaches in the country to share their expertise with you and also added some new sections to ensure The Kiteboarder Instructional Guide is both up-to-date and useful to every level of kiteboarder.Read More »
Kevin Langeree is the New PKRA World Champion!
Today would go down in kiteboarding history as the day the PKRA World Championship crown is passed on to two of the most promising kiteboarders in the world.Read More »


text:
[QUOTE=canio6;1071812]Yeah, but I am only 5'7" so perhaps I am fooling myself into thinking I look good at 200 and thin at 180. Bleh.[/QUOTE]
Hard to say, really. People have such different body types, I'd be loathe to make generalizations. When you get to 200#, you can always decide to tweak the goals, right?


text:
LMAO that is weird
Ben and Jerrys
Just something random.
I will recommend Cart d'or greek yoghurt and honey as it works well together imo and it has almond flakes sprinkled over the top.
What ice cream do you like?
Last edited by smartypants; 03-30-2007 at 01:35 PM.
LMAO that is weird
Ben and Jerrys
No Longer Have A Wii
By 'armond' I assume you mean Almond?
I like Ben and Jerry's, Phish food's great, but the double chocolate brownies good aswell.
My all time favourite is just plain vanilla ice cream. And not the whippy stuff, i mean, proper vanilla ice cream, from the few remaining old fashioned English sea sides.
Enoch was right.
i love italian ices over ice cream-
over the summer when i was 16 i worked at a local ralphs italian ices. i dont know who has them around where you live but its a popular franchise up here. everyday i would eat vanilla chip and pepperment patty ices and i LOVED them! my aunt used to make me come home with quarts of the stuff. her favorite was jelly ring (which was chocolate ices with jelly ring pieces in it)
i do like chocolate chip cookie dough though that is the best ever
yes blizzard chocolate chip dough!\
i like the original haigin daiz vanillia the most! and its so cheap!
iMac 2.4ghz Aluminum, 4GB iPhone, 12 iPods!
when i used to live in TN, they had dairy queens and i had this brownie mocha thing blizzard (it was next to a fireworks store lmfao i was on my way back home on 9-11 and i was tempted to bring back home fireworks for sheer ammusement since its legal but i didnt since its illegal in NY LMAO i didnt break the law go me but temptation was strong) and it was the best icecream i ever had!!!Originally Posted by ericlewis91
- i also love 7-11 coke slurpees- those are the sh*t!!!
i LOVE cookies and cream...
damn, now i want ice cream...
Hellz yes!
Bwii FC : 317 942 875 882Originally Posted by Arauna
MOH: AoWTank
X-Box Live GT: IronLionZion87
Originally Posted by tank
I want it sooooooo bad!!!!!!
Currently own:Wii,wii sports,Legend of Zelda,
wii play,2 nunchucks,2 wiimotes
Wii username:Gary Wii friend code:3762-5070-6059-6438 PM if you add me and i'll add you


text:
While I had them, the SPL Phonitor + HD800 sounded pretty darn neutral to me (with crossover disabled on SPL)
Neutral and natural sounding headphones in the High-end world?? - Page 2
Head-Fi's Best Sellers
- 2,245 Posts. Joined 5/2012
- Location: Utah
- Select All Posts By This User
No one's going to mention the Senn HD 600 ? I know it wasn't in your list but 'natural' and 'neutral' are definitely two buzzwords used to describe the 600s. They definitely sound neutral and natural to me. Then again I don't have a whole lot to compare them to. They would also save you quite a bit of cash.
Edit - I'm not an 'experienced member'... my bad. ignore me. ;)
Edited by devhen - 6/8/12 at 12:12pm
The Grado HP1000 I recently bought is probably the most neutral sound I've heard. (after the foam lining mod inside the cups to remove some ringing at 2 kHz). No part of the frequency spectrum shouts for attention but there is a slight richness to the lower midrange that may be a little over accentuated (still sounds amazing with it).
just below that is the Stax O2 mk1 (was a a little darker but I wasn't running it on the best available amps so that would be affecting it)
Then HD800. slightly tipped in the treble but not aggressively so, in my opinion. thinner mids compared to the HP1000.
then LCD2 (only briefly owned this but I thought the treble was shelved down way too much to be realistic)
then PS1000. I loved how these sounded but they had some increased treble response and a kick in the mid bass to make them sound more speaker-like in the lows.
- 1,202 Posts. Joined 12/2006
- Location: rural upstate New York State
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Yes, HD600 for sure.
- 3,260 Posts. Joined 5/2006
- Location: Northeast US
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From further listening, the Fostex TH900s are the king of natural. I just posted on this subject in the big thread on these phones.
- 3,063 Posts. Joined 12/2009
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I'd like to throw a slightly lesser known (but certainly deserving of mention) phone in the ring : LFF's beautifully modded T50RP: The Paradox. Admittedly, I haven't spent a lot of time with Stax gear being bandied about.. but I've heard the likes of the LCD-2, HE-6, HD800, etc. with amps and sources worthy of their fantastic potential.. of them, the Paradox is the most neutral phone I've ever heard.
Purrin's measured it and came away pretty amazed at the neutrality.. and it took second in Tyll's competition (I want a recount! lol).
Yes the Paradox measures beautifully. The old Aiwas that beat them were flatter in certain parts of Tyll's FR measurement, but they also had fairly high levels of THD throughout the spectrum which was not present on the Paradox. Tyll also didn't say that the modded Aiwa was the best sounding headphone ever, just that its frequency response was very well balanced. There's a lot more to it than that.
The PS1000's "most neutral evar!!!" comments just make me laugh. Just buckets of distortion in the bass region, very high distortion in the treble, and that 300Hz wave, yuck. You could make a headphone that measures worse than the PS1000, but it wouldn't be easy.
- 7,757 Posts. Joined 8/2011
- Location: Chicago!
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but ps1000s are awesome, i think once i buy them, my headphone search will be over.
they where the funnest headphone to listen to ive ever heard. i just never bought them because of the price.
maybe not most neutral, but most speaker like and dynamic, yes
Tubes also distort.
People are the ones who listen to music, not machines, and 90 dB pure tones and 300 Hz square waves do not compare too well with music at general listening volumes. PS-1000 are preferred by many people over just every other better measuring headphones.
Edited by devouringone3 - 6/11/12 at 4:20am
Well, the HP1000 measure very well at FR and the CSD waterfall. Maybe not so much at distortion with very low bass frequencies (just my assumption based on my listening)
no nasty peaks and clean, fast decay throughout the frequency response. the one broad ridge at ~2k − 3k is smoothed out by the foam mod (and possibly by Joe's i upgrade that adds the oil inside the cups)
I'd say those results are impressive, even comparing them to the HD800 and the Stax O2.
- 3,423 Posts. Joined 7/2011
- Location: Melbourne, Australia
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+1 Dubstep :-)
Bass across a wide range of material is a funny one with the PS1000 - sometimes they render bass so beautifully like on the opening of 'Hotel California'
by the Eagles - at other times they sound glassy like on Dr Dre's compilation, namely the track 'Still Dre'
Go figure, as noted in the Grado and all over - the PS1000 is a not a perfect can in many respects but it does gel very well with some recordings.
it makes you smile - you cannot ask for more than that. Measurements or not.
Complete that flagship line-up of yours and you'll have an incredible palette. If you still have money swap the LCD-2 for a -3 and the D7000 for a TH900 and you'll be deadly :P
I don't want to implant new desires into your brain and cost you money, though... like a certain Head-Fi phantom.
- 1,794 Posts. Joined 10/2003
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hp1000i are probably as close to neutral as i've ever heard. Couple of the flagship monitors are also very impressive.
- 3,910 Posts. Joined 7/2005
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+1 Dubstep :-)
Bass across a wide range of material is a funny one with the PS1000 - sometimes they render bass so beautifully like on the opening of 'Hotel California'
by the Eagles - at other times they sound glassy like on Dr Dre's compilation, namely the track 'Still Dre'
Go figure, as noted in the Grado and all over - the PS1000 is a not a perfect can in many respects but it does gel very well with some recordings.
it makes you smile - you cannot ask for more than that. Measurements or not.
Yes... the only thing the matters is how they sound to the listener's ear - measurement curves / plots are almost totally meaningless... except to those who "plot."
I wouldn't take it quite that far - such measurements are useless if they exist out in space, but if you can personally/subjectively correlate them, they can be useful. In other words, you can't look at a graph and say "this is going to sound good" but you can listen to something and decide "this DOES sound good" and then look at a graph of it, and go "okay and that's what it LOOKS like - now let's go find other stuff that LOOKS similar and try it out!" At least, that tends to work sort of well IME.


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Remarks by Ambassador Sallai MeridorIsrael's Ambassador to the United StatesTo the Anti-Defamation LeagueNational Leadership ConferenceWashington, DC, April 20, 2009
Boker tov.
Very, very good friends, future leadership of ADL, as always, I am very happy to be here with you.
But as always, I kind of wish you did not have to be here today, because I assume that everybody in this room would have preferred that ADL could go out of business. But in a morning where, in Europe, they start the Durban II conference, where the guest of honor is the denier of the Holocaust, on the eve of Holocaust Memorial Day for the Jewish people, it tells you and tells everybody in the world why you cannot go out of business.
Because when hypocrisy is alive and, unfortunately, kicking, and discrimination against the Jewish state and demonization of the Jewish state and double standards applied against the Jewish state are alive and kicking, it's important that the world knows that as long as anti- Semitism is not going out of business, ADL is staying in business, alive and thriving.
And in the name of the state of Israel, I would like to say to all of you leaders of ADL, thank you very, very much.
I want to use the opportunity to express our appreciation to President Obama and the American people, to other countries in the world -- and I'll name them -- to Canada, which was the first, to Italy, to Holland, to Australia, to Germany and to New Zealand and whoever may join during the day for deciding to make the right choice and not go to Durban II and maybe open a chance for a real conference to fight racism and address discrimination in this world.
As I said, tonight is the beginning, a few hours from now, of Holocaust Memorial Day in Israel. This is, for all of us, the saddest day in the year, where we remember the six million who were murdered, in days where the tears of parents and the cries of babies did not matter, in times where we did not have Israel, and Jews had nowhere to go, in years when the world chose to be indifferent, after years when the world refused to read the writings on the wall.
But this very day cannot be only a day for remembrance. It must be a day for taking lessons or soul-searching or future-looking. What will we do? What will I do? When I see racism, will I ignore it? Or will I act?
What will I do when I see genocide taking place in another continent? Will I suffice by expressing sympathy, or will it be important enough for me to take action? And when again a fanatic regime is at the same time threatening world peace and world order and threatens to destroy the Jewish people, will I -- will we -- will the world act, or will we again act too late?
And that takes me to one of the two issues I wanted to share some thoughts with you about today, which is the growing threat from Iran. This is, by the way, another issue I wish we did not have to discuss today. Why it is a threat to Israel I'd say is self-explanatory. You have a regime that is denying the Holocaust, threatening to pursue another one, and busy developing the capabilities to make it possible for it to at least threaten with another one.
You can see why it is a threat to Israel.
It is not only a threat to Israel; it is a threat to the entire region and world interests in the region. And for that, you don't need me here. You should just read Arab press, listen to Arab leaders, more of whom today are going public on these issues.
And it's a threat to world peace, as President Obama said, that Iran's pursuit of nuclear weapons is contrary to U.S. interests and to international peace. And there is nothing more serious coming at us in the 21st century than the nightmare of the merger between nuclear and terror.
And there is no time. And while we are talking … they continue spinning. And they would like to talk and spin at the same time, or, as somebody told me yesterday, they would like to at the same time both spin the talks and the centrifuges.
And the time is running out, and the time for the world to act is now. And there may be a possibility to still stop them without the need to take actions that none of us prefers. But it takes determination, that they understand that the world is serious about not allowing them to get those capabilities. It takes seriousness in applying the current sanctions. Maybe it could be a good advice to the U.N. to divert some attention from Durban II to implementing their own decisions that are being clearly, openly violated by Iran.
More pressure needs to be built on areas of interest for Iran. It is now too much time that there is talk, important talk, on Iran's vulnerability and dependence on importing gasoline; it is time for action. Because while we are talking, they are driving to the nuclear facilities on imported gasoline.
If there is engagement with Iran, it should be with clear goals, time-sensitive and with clear consequences.
And the other options should be well-prepared on the table, for the Iranians to understand that the world is not playing with them, that this is for real.
This is maybe the most defining threat for the 21st century. And if the world fails to act now, we may end up, 10 years from now, 20 years from now, 30 years from now -- still -- in our lives, our children's lives, our grandchildren's lives, with -- God forbid -- a potential nuclear September 11th.
And as I told you last year, it's true for old people like me; it's true for the young people here. Our children will look back at us and challenge us or judge us or praise us for what we've done in 2009, with regard to this extremely dangerous threat.
Now, Iran's influence in the region goes beyond the nuclear. Together with the nuclear, they are building terror bases in the region. Israel is covered today with 40,000 rockets, from the north and from the south.
Just think about it. Think about living, wherever you live, in every town, in every city, with 40,000 rockets targeted at your children every day.
The same IEDs we find next to our borders, the U.S. and its allies find in Iraq and in Afghanistan -- no surprise -- same manufacturer; same distribution channel. They're terrorizing the neighbors. Just listen. You don't need anymore to listen too carefully.
And if they are not stopped, peacemaking in the region will become that much more difficult, which leads me to the second and last point I want to make this morning, which is about peacemaking. You know Israel. You know Israelis. You know that there is nothing we want more, there is nothing we pray for more, there is nothing we wish more for our children than peace.
Our parents had to participate in wars. We served in the army. I can say that myself. My children already served in the army. And I already have four grandchildren. And you may guess that what I wish for them is nothing but peace.
It is for Israel a core value. It's in every page of our prayer books. It's in our educational textbooks, and it's a vital national interest.
And this is why, with all the frustrations, we've kept and will continue to keep efforts, hard efforts, to advance towards peace.
This is why we continued after the frustrations following Oslo. This is why, after Ehud Barak's very unprecedented generous offers in Camp David II were rejected, we continued. This is why, after four years of bloody -- of the bloodiest terror attack on civilian population, in the second intifada, we tried the disengagement to see if this could move things in a more positive direction. And after we were answered with thousands of rockets on our civilians, with an election of a terrorist organization by the Palestinians, with a coup d'etat in Gaza, we did not look for an excuse; that could have been easy.
We were saying, let's try even more. And we started the process which had a positive element to it which I don't want us to overlook. Positive things happened in the West Bank over the last year, and the Palestinian leadership in the West Bank should be commended for it.
And at the same time, we were trying again to make the extra mile -- I'd say the very extra, extra mile -- in order to try and reach an agreement. And I won't get into details, but you can read indirectly how far Prime Minister Olmert went in his discussions with -- with President Abbas -- unfortunately, not to be met with -- with readiness to reach an agreement.
And today, too, as we review our policies, our government is looking for ways to advance us and our neighbors towards peace, but it takes more than one to this tango, and the Palestinians need to be willing and capable for a compromise.
They have to educate their children against terror and for peace and for recognition of the right of the Jewish people to have a state of their own living next to them. They should be ready for a very difficult compromise, for us and for them, but the only -- the only -- good solution for their children and for our children.
We have tried the same with the Syrians. And not everybody was enthusiastic about it. But we've tried to explore, against many odds, whether we can convince the Syrians to change strategically their positioning, from being in a camp of radicalism and hate and terror to a camp of moderation and peace.
And the Syrians again need to make a choice: whether they want to stay in this camp, whether they prefer terror or whether they chose peace, whether they want to continue with hate or whether they want to give their people hope.
And I deeply hope that the moderate Arab states will join us in an effort for peace.
There's a lot at stake for them and for us. It's clear that we share the same threat coming from the Iranian pursuit of nuclear weapons and ambitions in the region, which are against hope and against peace. Let's share in effort not only to stop Iran, but to promote peace, to advance peace. And there is a lot the Arabs can contribute to that in supporting the Palestinian moderate leadership, in supporting a spirit of compromise and in supporting an environment of peace by moving towards normalization with Israel.
It is not a time to sit on the fence. Too much is at stake. It is time to make a choice, a choice against those who want to destroy our future and a choice for peace and hope for our children.
Let me close, my very dear friends, with a personal comment. As I assume all of you have heard in the news, I'm on the way back home, after having had the privilege of serving our country, little Israel, in the great country of the United States of America.
And this has been an unbelievable experience of finding so much -- so much care and love and outpouring support by the American people to the tiny state of Israel. And you cannot even start to understand how important that is for us in Israel and how deeply we appreciate it.
So it was an out-of-this-world experience, but there is nothing like going home. And it took us 2,000 years, that a Jew can say -- or when a Jew says, "I am going home," he is not just going to a physical place where he lives, but the home is the Jewish homeland.
So before I go home, I want to again express my deep appreciation to all of you for your friendship, care and love for the state of Israel.
Thank you very much.
� 2009 Anti-Defamation League


text:
Anton Persson A wrote:
> I've been trying to figure out a couple of details during
> the last few days concerning NTP/ntpd. I now have the
> following unanswered questions.
> * The ntpdc -> kerninfo -> status bits, are these set
> by NTP when it considers itself "synchronized"?
> * If so, what are ntp:s criteria for setting it to 0001 (pll)?
The time source is not a special one (specifically modem clocks) for
which PLL mode is not appropriate, and the measured offset is
consistently within 128ms of the system time.
> * How long should it take for ntpd to reach "synchronized"/pll?
No more than about 20 minutes, and as little as under a minute,
depending on whether this is a cold start and how far off the clock was
on startup. This can be compromised by trying to prevent the time being
> * Is three (3) days acceptable?
No. If it thinks it is doing a warm start, but the saved frequency data
is wrong (e.g. because someone, incorrectly, created /etc/ntp.drift
manually, it may go through the 20 minute cycle several times, but it
should lock up stably in minutes to hours, not days, unless something is
As I asked you before, the output of ntpq peers and ntpq rv 0 and rv for
each association, is much more useful than ntpdc kerninfo.
> * Can this time be improved in any way, if so, how?
Fix what is broken. If you don't get your first synchronise within
about 20 minutes, something is broken.
Don't use -x, or otherwise inhibit stepping.
Make sure that /etc/ntp.drift does not exist on the first start.
Make sure that the time is accurate to about a millisecond, or out by
more than 128 ms, before you start ntpd.
Use of iburst can reduce the best case from about 5 minutes to under 1
minute, but you should understand the sever load implications, and
beware of any multiplexing due to NATting.
Note that these get you to a synchronized state fairly quickly, but it
can still take some time for the residual error to converge to the noise
level, but generally less than three days.


text:
The Henry Mayo Newhall Foundation of San Francisco offers 12 new high school scholarships for Junior State of America summer programs.
High school students in the Santa Clarita Valley are encouraged to apply.
Recipients will have the opportunity to attend Junior Statesmen Summer School at Yale, Princeton, Stanford or Georgetown universities or Symposia held in San Francisco and Los Angeles.
Thanks to a $25,000 grant from the Foundation, three high school students will be awarded scholarships to Junior Statesmen summer programs. Junior Statesmen programs offer an academic opportunity to students who are passionate about politics and government
Nine other eligible L.A. County high school students will be able attend Junior Statesmen Symposia. Symposium programs are three to four day events focusing on such issues as leadership, politics, media, the green economy, national security and globalization.
Henry Mayo Newhall scholarships are available for students to attend the California symposium on politics and the green economy, and the Gene A. Burd Symposium on Los Angeles media and politics.
Those interested in applying for these and other scholarships can visit the Junior State of America/Junior Statesmen Foundation Web site at www.jsa.org.


text:
Revealing Full Email Headers In Outlook 2003
We encourage all Law Center community members to forward all spam to firstname.lastname@example.com. However, in order for the IST Department to do anything about the spam you have received, you must include the full email headers in the email that you forward. Follow the instructions below to forward full email headers in Outlook 2003.
- Open the offending email.
- Click on the word View in the menu bar.
- Select the option Options.
- The Message Options dialog will appear.
- Right-click on the text in the Internet Headers section.
- A submenu will appear.
- Choose the option Select All.
- The text will appear in inverse video, indicating that it is selected.
- Right-click on the selected text.
- A submenu will appear.
- Choose the option Copy.
- Click on the Close button.
- The Message Options will disappear and you will return to the offending email.
- Click on its Forward button.
- Type email@example.com in the To field.
- Right-click once in the body of the message.
- A submenu will appear.
- Choose the option Paste.
- The text that you selected from the Internet Headers section of the Message Options dialog (the full email headers) will be pasted into the email.
- Click on the Send button.
Click HERE to return to the LawMail Information page.


text:
Most well-known for her boisterous bounty-hunter leading lady, Stephanie Plum, this isn't Janet's first rodeo when it comes to New York Times-bestselling stories, nor will it be her last. She's the writer who makes you want to cross on over to the other side: romance readers, prepare for adventure; you're going to love it.
JANET'S MOTTO: "Eat cake." (This also happens to be that of Miss Plum…)
With the 20th book in the Stephanie Plum series out today—Takedown Twenty—we celebrate twenty classic Janet quotes that keep us coming back for more.
"I had an alarm, I had nerve gas, I had a yogurt. What more could anyone want?" —One for the Money
"My professional aspirations were simple—I wanted to be an intergalactic princess." —Janet Evanovich
"Stop the planet. I want to get off." ―Janet Evanovich
"Only men you can count on these days are Ben and Jerry." ―Janet Evanovich
"No point to overdoing this exercise junk." —Two for the Dough
"I need to look like an idiot at least twice a day to keep myself humble." —Twelve Sharp
"Some men go a lifetime and never have their kid blow up a car, but I have a daughter who's knocked off three cars and burned down a funeral home. Maybe that's some kind of record." —Four to Score
"Almost everybody I know has died," Grandma said. "Bunch of wimps." —High Five
"Last time you called me late at night you were naked and chained to your shower curtain rod. I hope this isn't going to be disappointing." ―High Five
"Cracker Jacks don't count as junk food because they're corn and peanuts, which we know to be high in nutrition. And they have a prize inside." ―Hard Eight
"Honey, a man can't keep his gun in a cookie jar. It just isn't done." ―Janet Evanovich
"Has it ever occurred to you that you might be delusional?' 'That's what the psychiatrist said, but I think he's wrong. There's an evil flying pizza out there, and it's got Brenda's name on it.'" —Fearless Fourteen
"And when I was in the trunk, I saw Jesus. And the Virgin Mary. And Ozzy Osbourne." ―Motor Mouth
"Life is about survival of the fittest, and Jersey is producing the master race." ―Four to Score
"Your life isn't out of control. It's expanded." ―Wicked Appetite
"When I was six years old I sprinkled sugar on my head, convinced myself it was pixie dust, wished myself invisible, and walked into the boys' bathroom at school." ―Lean Mean Thirteen
"I'm done with men. I have a hamster. That's all I need." ―Janet Evanovich
"My body is not designed to run. My body was designed to sit in an expensive care and drive." ―One for the Money
"Respect and love your readers. Write for the reader." ―Janet Evanovich
AUTHOR PICKS: Janet's picks her five favorite RomCom reads


text:
We are a friendly, welcoming and imaginative congregation open to everyone of every age.
In our 250th Anniversary year we hope our Christian life and witness will flourish as we live out Jesus' command to "love God and to love our neighbour."
Pastoral support is provided by the Minister and Elders and our worship includes both traditional and contemporary praise with a choir and a praise band.
There are activities for every age including a Sunday School, a Parent and Toddler Group, a Walking Group, a Boy's and Girl's Brigade (shared with our neighbouring congregation), youth club, the Shine youth and children's drama group, Presbyterian Women, Indoor Bowls, Badminton and Choir.
The congregation was established in 1763 at Rashee, close to the present building, moving to the current site in 1768. In 1880 it became known as The Second Ballyeaston Presbyterian Church. Today the congregation continues to serve our mixed rural and developing urban community.
All our organisations are beginning again. Please check the
calendar for the latest information.
It is now possible to view the Order of Service for some previous services and to listen to previous services. Just click here to find out more.
|Bookmark This Site
© Copyright Second Ballyeaston Presbyterian
Church 2016 ©
Registered Charity in Northern Ireland (NIC104913)


text:
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text:
- Full Description
The purpose of this book is to show that the formal specification of kernels is not only possible but also necessary if operating systems are to achieve the levels of reliability and security that is demanded of them today. Specifications of a sequence of kernels of increasing complexity are included, acting as models to enable the designer to identify and reason about the properties of the design – thus making explicit that which is too often left implicit or even unknown. A considerable amount of reasoning is included, showing what can be inferred about a design; and in addition, essential properties of data structures and mechanisms are discussed and the properties of these proved. Also included as an essential aspect of the activity, are the interfaces to the hardware and the processes running on them. It is very easy to get bogged down in complexity issues when considering kernels, but this book's prescriptive rather than descriptive approach shows how the kernel of an operating system can affect both the reliability and performance of these systems in a clear and concise style.
- Table of Contents
Table of Contents
- Introduction.
- Standard and Generic Components.
- A Simple Kernel.
- A Swapping Kernel.
- Using Messages in the Swapping Kernel.
- Virtual Storage.
- Final Remarks.
- References.
- List of Definitions.
- Index.
- Errata
If you think that you've found an error in this book, please let us know by emailing to email@example.com . You will find any confirmed erratum below, so you can check if your concern has already been addressed. No errata are currently published


text:
Central News Agency
Page 3
Deputy CGS Director Chiang Chung-jung told the media that the center in 2003 studied the activity of Datun Mountain, which is a group of volcanic peaks, in an attempt to determine whether the volcano was active or dormant.
It was found that although there was a magma chamber in the base of the mountain, there was almost no seismic activity there, which means that the volcano's most recent eruption may have been its last before it enters the state where it could be classified as dormant, Chiang said.
Although Datun Mountain might not be a dormant volcano based on the finding that it might still have a magma supply, the lack of siesmic movement prompted the center to conclude that it is almost dormant, Chiang reiterated.
He agreed that it was a big breakthrough for researchers from Academia Sinica to determine recently that Datun last erupted some 5,000 years ago, instead of 200,000 years ago, as was previously thought.
After a 10-month analysis of the surface materials formed from volcanic ash and mudflow residues, the Academia Sinica scholars and two Russian professors concluded that Datun Mountain was an active volcano.
The scholars said that according to international classification, an active volcano is one that has erupted within the last 12,000 years. A dormant volcano is one that is not classified as active but could feasibly erupt again.
A previous study had stated that the last eruption of Datun Mountain occurred 200,000 years ago and classified it as a dormant volcano.
On concerns that Datun Mountain has now been reclassified as an active volcano that could threaten the lives of the six million people in the greater Taipei area, Chiang said that the possibility of the mountain erupting again is "extremely low."
"Besides, volcanic eruptions can be predicted, " he said, urging that there is no need for people to panic over the matter.


text:
Tenmile Range > Quandary Peak > Climber's Log
Quandary Peak Climber's Log
[ Sign the Climber's Log ]
Date Climbed: May 26, 2007
|Wonderful views of the snow-covered peaks!
|Posted Aug 9, 2007 8:19 pm
|winter summit
Date Climbed: Feb 21, 1998
|this was tough, but not too bad in the winter.
|Posted Aug 1, 2007 7:05 pm
|I like it on top
|Standard Route
Date Climbed: Aug 4, 2003
|Great day for climbing. Very busy on trail and summit, as usual.
|Posted Aug 1, 2007 2:09 pm
|East Ridge
Date Climbed: Jul 29, 2007
|Great starter 14er. Get there early because this route gets packed on the weekends. It was a traffic jam as we were coming down. A number of mountain goats in the area.
|Posted Jul 31, 2007 12:42 am
|via standard route
Date Climbed: Aug 7, 1988
|Nice weather, many people on the trail and summit.
|Posted Jul 26, 2007 11:49 pm
|people, dogs, on the airl
Date Climbed: Aug 25, 1996
|I was successful along with 40 other hikers, lots of dogs, some fighting each other, and an array of ham radio operators talking to other hams on other 14ers. East Ridge Route.
|Posted Jul 26, 2007 11:22 pm
|East Ridge
Date Climbed: Jul 14, 2007
|First fourteener. Summited with my son, Colin (age 8). What a great experience. I'm so proud of him. He was a real trooper. We met some really great people on our climb. All of them encouraging Colin and congratulating him on the summit. Our summit celebration was cut short when he began to show signs of altitude sickness. He snapped back once we got to the tree line and I even had to ask him to slow down so I could keep up.
|Posted Jul 18, 2007 11:00 am
Date Climbed: Jul 14, 2007
|Finally enjoyed a PBR on the summit, my fifth attempt! Crazy weather on this mountain, though Saturday's weather was near perfect.
|Posted Jul 16, 2007 5:38 pm
|Scott Rogers
|Fun Climb
|I've done this one several times in varying conditions.
|Posted Jul 11, 2007 10:30 pm
|Good times with a crew of 8
Date Climbed: Jul 4, 2007
|As my 5th repeater on the summer, I enjoyed a pleasant easy sloping hike up the standard route with 7 others. For 3, it was their first 14er. We carried little flags to the summit for an American celebration. A great day in all!
|Posted Jul 10, 2007 2:03 am
|West Ridge
Date Climbed: Jul 7, 2007
|We tackled most of the towers head on, making this a solid class 4 climb. I would recommend this climb to anyone interested in a nice ridge climb.
|Posted Jul 8, 2007 6:52 pm
|Great intro 14er
Date Climbed: Jul 4, 2007
|This was a great introduction to 14ers for two in our group...short, gentle, and great views from the summit!
|Posted Jul 5, 2007 11:15 am
|A Great Day
Date Climbed: Jun 24, 2007
|The weather was awesome on the summit!
|Posted Jul 3, 2007 11:05 pm
|Perfect Day
Date Climbed: Jul 3, 2007
|The weather was perfect, clear sky, cool breeze...if only I didn't have to go to work after the hike I would have done another hike in the afternoon!!
|Posted Jul 3, 2007 8:40 pm
|1st 14er
Date Climbed: Sep 2, 2006
|Great 1st 14er experience. Totally got me hooked on climbing these things - and climbing in general. Perfect day - saw lots of cute little Pika's! Would suggest this peak to anyone!
|Posted Jul 3, 2007 8:27 pm
|Sarah Simon
|East Ridge
Date Climbed: Jun 24, 2007
|Beautiful, sunny day, if a bit on the hot side. Loved all the deep snow still at the summit. I never cease to be amazed by all the people leaving the parking lot to hit the trail at 2:00 pm, hiking into the thunderheads. Whatever puts the wind in your sails, I guess. Climbing partner: Tom
|Posted Jun 25, 2007 9:09 am
|Lots of snow
Date Climbed: Apr 9, 2006
|Fun climb, snowshoes are necessary. Wish I had skis for the way down.
|Posted Jun 19, 2007 12:52 pm
Date Climbed: Aug 26, 2004
|A great 2nd 14er!
|Posted Jun 18, 2007 1:29 pm
|Panthera uncia
|Standard route
Date Climbed: Jul 28, 2004
|Hailed on the climb up but turned out to be a very nice hike.
|Posted Jun 17, 2007 6:50 pm
|Fun, But Long...
Date Climbed: Sep 7, 2005
|Climbed from the Hwy 9 trailhead right after the first winter snows. Snow deep in spots. Beautiful... I wish I could stay in that Tenmile range area for a week straight. Just climb from peak to peak, and camp at those gosh darn purdy alpine lakes.
|Posted Jun 7, 2007 12:07 am


text: ACCESSION NUMBER:00000 FILE ID:95091911.WWE DATE:09/19/95 TITLE:19-09-95 UNITED KINGDOM REQUESTS PURCHASE OF MISSILES FROM U.S. TEXT: (Text: Department of Defense press memo) (270) (The Department of Defense released the following Memorandum for Correspondents September 19.) Washington -- The Department of Defense informed the Congress today that the Government of the United Kingdom has requested the purchase of 65 conventionally armed Tomahawk Land Attack Missiles with related systems and equipment, system flight tests, support and test equipment, spare and repair parts, personnel training and training equipment and other related elements of logistics support. The estimated cost is $142 million. This sale would contribute to the foreign policy and national security objectives of the United States by improving the military capabilities of the United Kingdom while enhancing weapon system standardization and interoperability. The United Kingdom is undertaking the implementation of a new stand-off, long-range capability with the Tomahawk missile which will enhance United kingdom operational effectiveness in support of NATO. The United Kingdom would have no difficulty absorbing the missile into its armed forces, and there would be no adverse impact on U.S. defense readiness as a result of this sale. The principal contractors would be Hughes Missile System Co., Tucson, Ariz. (Tomahawk land attack missile); Lockheed-Martin Corp., Austin, Texas (Tomahawk weapon control system); and Science Applications International Corp., Arlington, Va., (mission planning). It is estimated that during implementation of this proposed sale approximately 15 U.S. Government personnel and 10 contractor representatives would be required in country for periods ranging from three months to two years. The Department of the Navy would be responsible for all actions relating to this proposed sale. NNNN .


text:
6th Floor Auditorium
Woodrow Wilson Center
25 October 2011
4:30 -6:00 pm
The centerpiece of this event will be newly available evidence from Saddam Hussein's regime stored digitally at the Conflict Records Research Center and available to academic researchers at the National Defense University. These new materials, including high-level Iraqi government documents and recorded conversations between Saddam Hussein and his top deputies, provide a new and unique perspective on the war.
Participating in this panel discussion are Prince Turki al-Faisal, former ambassador of the Kingdom of Saudi Arabia to the United States and former director general of Saudi Arabia's General Intelligence Directorate, Mansour Farhang, former Iranian ambassador to the United Nations, and David Newton, former United States Ambassador to Iraq.
Hans Binnendijk, director of the National Defense University's Institute for National Strategic Studies, will chair the event. Michael Van Dusen, the Wilson Center's executive vice president and COO, will offer introductory remarks.


text:
Sigrid Astrup
User Stats
Profile Images
User Bio
I was born in a fjord in northern Norway, and grew up on Tromsø island with my mother Marianne. My father Jostein is an author / painter and lives in the Philipines.
I now live and work freelance in Copenhagen, Denmark, with animations, illustrations and graphics for film, tv, printed matter and new media.
See more of my work here:


text:
Avantika Boutique Hotel
Star :
Price :   4,360 - 21,720 THB
Address : 4/1 Thaweewong Rd,Patong Beach,T.Patong,Kathu,Phuket 83150 Location : Patong Beach
For these others we offer an exclusive hideaway of 31 sea-view rooms and the only boutique property right on Patong Beach. If the idea of having your mind tuned in to the rhythm of peace and tranquility appeals to you...if you're looking for a place where you can simply close your eyes and let the worries of life seep out of you...and if you're ready to enjoy some simple Thai hospitality.
Just an hour flight from Bangkok and 40 minutes from Phuket International Airport, Avantika Resort is the newest boutique hotel features extra degree of luxury for the most discerning guests, a choice of thirteen ocean-front deluxe, sixteen grand deluxe and three superior Andaman Suites.
All room are overlooking beautiful Patong Beach and the Andaman Sea where the sunsets inviting you to an unforgettable and breathtaking evening.
- approximate 200 metres from the sea
- Swimming pools
- Cars parking
- Internet / WIFI
Room Overview,Avantika Boutique Hotel
Even in paradise there is always room for more calm and romance.
As you enter one of our specially designed guestrooms,you'll enjoy an exciting blend of modern hospitality and an elegant touch of exotic Thai culture.
Each floor is decorated differently with design color based on the elements of water, air ,earth and fire.
All 31 rooms of the resort come complete with their very own spectacular ocean view complemented by a private balcony to enhance your viewing pleasure.
Amenities include:
- Individually controlled Air conditioning
- Mini-bar
- Cable TV
- In-room safe
- 24-hour room service
- IDD/STD telephone
- Tea and coffee maker
Facilities Overview,Avantika Boutique Hotel
Even though Avantika is an intimate boutique hotel,we offer a wide range of facilities and activities to keep you busy.
Hotel facilities include
- Outdoor Pool
- Pool Bar
- Amrita Restaurant
- Serving both Thai and International cuisine
- Tantalizing Avantika Spa offers…
- Indoor Treament
- Outdoor Treatment
- Couples packages for all your romantics
- Additionally,the hotel provides guest with
- Laundry service
- Mail service
- Personal safe
- Car park
- Car rental
- Internet counter
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Not available comments for this hotel
View all Avantika Boutique Hotel's Reviews
Signature Services
- complimentary welcome drink and cold towel upon arrival.
- complimentary seasoning fruit basket upon arrival
- complimentary daily signature breakfast at Amrita Resturant
- complimentary wireless internet usage 24 hours
Special Arrangement for Honeymoon : Flower decoration in room upon arrival and complimentary a bottle of sparkling wine per stay.
Summer Promotion (Valid :1 Nov 11 - 30 Nov 11 and 01 May 12 - 31 Oct 12)
- Stay 4 Pay 3 nights, Stay 5 Pay 4 nights, Stay 6 Pay 5 nights, Stay 7 Pay 5 nights, Stay 8 Pay 6 nights, Stay 9 Pay 7 nights, Stay 10 Pay 8 nights, Stay 11 Pay 9 nights, Stay 12 Pay 9 nights, Stay 13 Pay 10 nights, Stay 14 Pay 10 nights.
- Buffet breakfasts are included on free nights.
Child Policy
- No charge for child under 12 years sharing room with parents without extra bed (exclusive ABF).
- Maximum 1 child per room.
- ABF for child age 2-12 years will be chage at THB 225 ( if required).
Not available Last viewed Hotels
- Baan Boa Resort
- Seaview Patong Hotel
- Absolute Sea Pearl Beach Resort & Spa
- Duangjitt Resort & Spa
- Metadee Resort
- Katathani Phuket Beach Resort
- Manathai Resort, Phuket
- Absolute Bangla Suites
- Absolute Nakalay Beach Resort
Q. Are the rates per person or per room? The rates are per room NOT per person.
Q. Are the rates net? Our rates are inclusive of government tax and service charge.
Q. Do I have to pay a fee to atThailandhotel.com? No. We do not charge any reservation fees.
Q. Can I know available rooms without giving credit card details? As with many bookings with hotels direct, pre-payment can guarantee your booking. You must submit your credit card details in order to request your booking. Your credit card will NOT be charged until your booking is confirmed
Q. How can I book more than one hotel or period? You need to make bookings separately.
Q. Can I make a reservation for someone else? Yes. Make sure you enter customer details match to the guests.
Q. Can I book a hotel for day use? No. We only allow booking for nights.We cannot guarantee any booking made less than 2 working days before the planned stay (not include Sundays and Public holidays).
Q. What happens when I made a reservation? We will check the availability as soon as possible. You can check your status from our website.
Q. Cancellation and Amendment Policy


text: Which Tom Cruise Ex Would You Rather?! 1 12/10/2009 2:30 PM PST BY TMZ STAFF While neither is still bound to Tom Cruise, Penelope Cruz and Nicole Kidman compared notes at the premiere of their new film "Nine" in L.A. last night.Question is ... See Also Taylor vs. Rihanna: Who'd You Rather? Sharon vs. Madge: Who'd You Rather?


text:
Devils goalie Cory Schneider and captain Bryce Salvador were both put on injured reserve today.
Schneider is sidelined with a lower body injury aggravated in the home loss to the Canucks and was put on iR retroactive to that game. He is eligible to come off IR on the weekend.
An MRI on Salvador, hit by a third period shot in Columbus, revealed a non-displaced fracture in his foot.
Rookie Keith Kinkaid had been returned to Albany (AHL), but will be recalled for Tuesday night's game against the Lightning. Goalie coach Chris Terreri wore his gear and stepped in as the second goalie in practice today.
Salvador returned from a personal matter (death in his family) but isn't ready to play.
"An MRI showed a non-displaced fracture. It's going to be time. It could be a week, or 10 days," general manager Lou Lamoriello said.
"Cory is still a little sore. We will be recalling Kinkaid tomorrow. We pit Schneider on IR retroactive to his last game."
Defenseman Eric Gelinas remains with the Devils.
Patrik Elias-Andrei Loktionov-Jaromir Jagr
Rostislav Olesz-Adam Henrique-Michel Ryder
Dainius Zubrus-Travis Zajac-Damien Brunner
Ryan Carter-Stephen Gionta-Steve Bernier
Mattias Tedenby-Jacob Josefson
Andy Greene-Mark Fayne
Eric Gelinas-Adam Larsson
Anton Volchenkov-Marek Zidlicky
Peter Harrold
Martin Brodeur
Goalie coach Chris Terreri