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What is Clinical Psychology? (Oxford Medical Publications)
Clinical psychology is one of the fastest-growing health-care professions in the world. This book explains what clinical psychology is for a non-specialist but informed readership interested in the field's conceptual framework. The book uses detailed case studies and examples, and offers suggestions for further reading and a glossary of terms. The authors are all leading clinicians and researchers. This second edition has been fully revised to take into account the ways in which the profession has developed, and how health care services are being organized and delivered. Two new chapters cover psychological work with offenders and with substance misusers. Other new material relates to child abuse and learning disabilities. The coverage reflects a wide range of current practice, both in Europe and the United States.
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She had given up trying to ban him from Tanzie's bedroom. When Tanzie woke up in the morning he was always stretched across three-quarters of the bed, hairy legs across her mattress, leaving her shivering under a tiny corner of duvet. Mum used to mutter about hairs and hygiene but Tanzie didn't mind. She and Norman had a special bond. She knew that one day he would show it.
They'd got Nicky when she was two. Tanzie went to bed one night and when she woke he was in the spare room and Mum just said he would be staying and he was her brother. She didn't know if they had a special bond, even though they were actually 50 per cent related. Tanzie had once asked him what he thought their shared genetic material was, and he'd said, 'The weird loser gene.' She thought he might have been joking, but she didn't know enough about genetics to check.
She was rinsing her hands under the outside tap when she heard them talking. Nicky's window was open and their voices floated out into the garden.
'Did you pay that water bill?' Nicky said.
'No. I haven't had a chance to get to the post office.'
'It says it's a final reminder.'
'I know it's a final reminder.' Mum was snappy, like she always was when she talked about money. There was a pause. Norman picked up the ball and dropped it near her feet. It lay there, slimy and disgusting.
'Sorry, Nicky. I … just need to get this conversation out of the way. I'll sort it out tomorrow morning. I promise. You want to speak to your dad?'
Tanzie knew what the answer would be. Nicky never wanted to talk to Dad any more.
She moved right under the window and stood really still. She could hear Dad's voice.
'Everything all right?' Dad sounded tense. She wondered if he thought that something bad had happened. Perhaps if he thought Tanzie had leukaemia he might come back. She had watched a TV film once where the girl's parents divorced and then got back together because she got leukaemia. She didn't actually want leukaemia though because needles made her pass out and she had quite nice hair.
'Everything's fine,' Mum said. She didn't tell him about Nicky getting battered.
'What's going on?'
A pause.
'Has your mum decorated?' Mum asked.
'New wallpaper.'
'Oh. That.'
Grandma's house had new wallpaper? Tanzie felt weird. Dad and Grandma were living in a house that she might not recognize any more. It had been 348 days since she last saw Dad. It was 433 days since she'd seen Grandma.
'I need to talk to you about Tanzie's schooling.'
'Why – is she playing up?'
'Nothing like that, Marty. She's been offered a scholarship to St Anne's.'
'St Anne's?'
'They think her maths is off the scale.'
'St Anne's.' He said it like he couldn't believe it. 'I mean I knew she was bright, but …'
He sounded really pleased. She pressed her back against the wall and went up on tippy-toes to hear better. Perhaps he'd come back if she was going to St Anne's.
'Our little girl at the posh school, eh?' His voice had puffed up with pride. Tanzie could imagine him already working out what to tell his mates at the pub. Except he couldn't go to the pub. Because he always told Mum he had no money to enjoy himself. 'So what's the problem?'
'Well … it's a big scholarship. But it doesn't cover everything.'
'Meaning what?'
'Meaning we'd still have to find five hundred pounds a term. And the uniform. And the registration fee of five hundred pounds.'
The silence went on for so long Tanzie wondered if the computer had crashed.
'They said once we've been there a year we can apply for a hardship fee. Some bursary or something where, if you're a deserving case, they can give you extra. But basically we need to find the best part of two grand to get her through the first year.'
And then Dad laughed. He actually laughed. 'You're having me on, right?'
'No, I am not having you on.'
'How am I meant to find two grand, Jess?'
'I just thought I'd –'
'I've not even got a proper job yet. There's nothing going on round here. I'm … I'm only just getting back on my feet. I'm sorry, babe, but there's no way.'
'Can't your mum help? She might have some savings. Can I talk to her?'
'No. She's … out. And I don't want you tapping her for money. She's got worries enough as it is.'
'I'm not tapping her for money, Marty. I thought she might want to help her only grandchildren.'
'They're not her only grandchildren any more. Elena had a little boy.'
Tanzie stood very still.
'I didn't even know she was pregnant.'
'Yeah, I meant to tell you.'
Tanzie had a baby cousin. And she hadn't even known. Norman flopped down at her feet. He looked at her with his big brown eyes, then rolled over slowly with a groan, as if it was really, really hard work just lying on the floor. He kept looking at her, waiting for her to rub his tummy, but she was trying too hard to listen.
'Well … what if we sell the Rolls?'

subset: commoncrawl


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Into the woods with creative intent
Found materials were adopted as a starting point for a day of mono printing in the woods and studios of The Rodd
News from residency artists, learning programme participants, workshop and masterclass students charting their experiences and responses to time spent at The Rodd. Please do revisit - and make sure you are signed up to our mailing list to get updates direct to your inbox.
Found materials were adopted as a starting point for a day of mono printing in the woods and studios of The Rodd
Walking away from the Rodd on Thursday evening, I wondered "Is it enough?" The Sidney Nolan Trust had hosted a fantastic happening. In our grain barn. For 2 hours. On a weekday; early doors. How to describe it, if you missed it? It shouldn't have been missed. In a big city this event would have attracted hoards. Our faithful following turned out and witnessed the sounds, the films, the performance, detailed work, all unpicking elements of Sidney Nolan's chosen land and building scape. Eight PhD research students, brought together, funded through the Arts and Humanities Research Council, North West Consortium Doctoral Training Partnership. They had just 3 days to make a response from their own focal point. And how they reacted. They worked solidly. An intense period of looking, wondering and making. I worried about the vacant audience's missed opportunity. However, Pavel Prokopic, one of the artists, outlined how he saw this event as a vision of a utopia. He described how in the future, where capitalist work is no longer the driving machination, how all folk will make work, and all folk will be artists. He saw that artists/makers will attend each other's events, like this one, and enjoy. This was a lovely vision. But for now I wondered if it was enough that this happening was witnessed by so few? It seemed a shame that this marvelous experience was not had by more people. I wondered how we can we do more at the Trust to draw more people to this wonderful work going on, on site? There was a brilliant performance from Sara Davies, treading carefully along and among the large Sidney Nolan frames, making one think of bodies and borders, vulnerability and portraits, and memories that we ease ourselves in and around.
Guides Visit 10th June 2017 I met eight very excited girl guides and their guide leaders half way down the drive, arms filled with bags and coats and all wearing big smiles - no apprehension here! After getting to know each other we set off – with Jo who would be running the pond dipping session to let out the chickens and collect the eggs. "Are they supposed to be flying out of the field?" "Yes – they are very free range!" "Does this egg have a baby chick in it?" Followed by a long explanation by me about fertilisation! "Can I catch a chicken" Lauren called as she chased one into the trees. The guides were clearly very happy to be here! Down in the shallow stretch of the River Hindwell, where for many years the cattle have frequented it as a drinking hole and crossing place – we hunted for water creatures – and we discovered fresh water shrimps, water boatmen, may flies, stone flies, caddis flies and snails. Wellies filled with water, clothes got wet, wellies stuck in ankle deep mud. Nets were used to search the beautiful flower covered stretches of the shallows. Guides laughed and whooped and shouted –loving the freedom and the excitement of exploring. After lunch and goodbye and thanks to Jo, we visited the gallery and Nolan's studio where masses of questions were asked as the girls made sense of the paintings. Our painting workshop that followed was certainly inspired by what they had seen and a new found love of mud. Earth pigment paints, that I had made up earlier, were smeared on paper and hands and arms – the guides were truly embracing this new found creative freedom! This is the most exciting part of my work in learning - seeing how people respond to the opportunity to create. The group settled and began their own separate paintings on the boards I had provided. They painted, stencilled, flicked and splashed the paint, they moved it around with their fingers, talking about colour and patterns and composition. It was magic. Ready for home and the girls talked about how they loved the river and the painting. "How much does it cost to come here? I want my school to raise money to bring us here again". "Can we take a chicken home?"
Tony Hall's Earth Weekend May 2017
New Art West Midlands Residency Winner: Her residency at The Rodd will be 9th-17th September 2017
Words and sentences collected from conversations taken place at The Rodd: April - May 2017
16 &17 May 2017
8th May 2017
7th May 2017
Visiting MA student from Bath Spa University. Blog post: 22nd April 2017
28th April 2017
In residence 7th - 9th April 2017
In residence 7th -9th April 2017
Thoughts after Lines in the Landscape residency
During Lines in the Landscape residency
Young people relished working with clay and created a large scale work that brightens up the Grain Barn
In residence 7th - 9th April 2017
Reflections of walk: 16th March 2017
Reflections on Walk: 24th February 2017
Blog entry 8th April 2017
Blog entry 6th April 2017
2nd April 2017
Words and sentences collected from conversations taken place at The Rodd: April 2017
Lines in the Landscape 6th April 2017
During Lines in the Landscape : 3rd - 6th April 2017
Blog entry 5th April 2017
Blog entry 4th April 2017
Blog entry 5th April 2017
Blog entry 3rd April 2017
Blog entry 2nd April 2017
Blog entry: 2nd April 2017
Blog entry 1st April 2017
Walk 31st March 2017
Blog entry for 31st March 2017.
Blog entry for 31st March 2017
Walk 31st March 2017
Blog entry for 30th March 2017.
Blog entry before arrival. 30th March 2017.
Blog entry for 29th March 2017.
Blog entry for 28th March 2017. Arrival day.
Blog entry 27th March. Thoughts before my arrival.
Blog entry: 22nd March. Thoughts before my arrival.
Summerisle Revisited: The Artist's Cut Prologue Crossing borders: facts and fictions The artist David Ferry has consistently worked with collage throughout his printmaking practice and advocates the application of a 'collage mentality' to printmaking as a way of enabling ideas to infuse process. His visual re-scripting of the 1970s cult film the 'The Wicker Man' (Hardy, 1973) is an example of this approach. This paper will explore how a 'collage mentality' can be used to analyse a film narrative, and its relationship to other graphic, sociological and geographic contexts. The following dialogue has been constructed from several conversations that took place in March 2013 between David Ferry and writer Stephen Clarke. The setting for this constructed dialogue is a walk around Rodd Farm, location of the Sidney Nolan Trust - a centre for printmaking in Powys on the Welsh border. The Rodd was chosen by Ferry as an evocative landscape that had inspired the twentieth century Australian artist Sidney Nolan and which, for Ferry, has resonances with the film 'The Wicker Man'. The dialogue takes the form of a script for a film attempting to map out a fiction of time and place. This approach investigates how a 'collage mentality' can also be applied to collaborative writing. Scene One Breakfast at The Rodd: looking over the script Stephen Clarke: How did you arrive at working with 'The Wicker Man'? David Ferry: The film came out in 1973 when I was still at school. I don't think I saw it until 1983 after I had finished my postgraduate studies. It became more noteworthy and significant as one understood more about ones socio-political standings and leanings. What is interesting is that the film for me increased in value. I think that an artist is somebody who thinks via dawning realisations. My project 'May Day in the Centre of England' is a thirty-two panel montage of the script of 'The Wicker Man', taking you through an idea of the film rather than a literal illustration of it. It's in two parts, 'Day' and 'Night', with the Maypole as midday (figure 1). SC: How were these panels made? DF: I look at: pageantry, folklores and customs; pictures of the Maypole; pictures of knitting patterns; pictures of social interaction. And somehow within the collage mentality they begin to bear witness to images. The sketchbook is a classic bridge between the idea and reality. We have selection, rejection, suspicion and intuition. Developing a grand scheme I put a schema up on paper, the scale of what the work would be. SC: So this becomes the film's storyboard? DF: It does. It becomes my script from the script, visually. I re-edit it using simple tools of the trade. The images are cut out of magazines and then attacked with spray varnishes and graffiti paint. Spraying through things to make backcloths or whatever. And then the operating table when the fragments then become built to be something else. SC: A film is constructed from chopped up parcels of time that seem to have continuity. Likewise your montages are chopped up parcels that produce a kind of artist's cut that mirrors the director's cut. Montage reconfigures material and if you reconfigure you end up with a different understanding. DF: The actual novel of the film by Anthony Shaffer (screenwriter), in collaboration with Robin Hardy (the film's director), wasn't published until after the film was released in 1973! So, in short, we have a screenplay, and a novel, the actual film itself - a cinema release and a 'Director's Cut' - and an artist's interpretation influenced through the suggestive 'travel' of the film and personal experiences of social stereotypes in location. Scene Two Setting the scene: The Rodd is an island SC: Although labelled a cult horror film, 'The Wicker Man' uses imagery that could be in a tourist board guide to the Highlands. The film uses folk music alongside images of bright sunny skies and blossom on the trees. It sells Summerisle as a destination that you want to go to. DF: That has encapsulated our imagination even before there is any sense of scenario, screenplay, narrative or other kinds of human interaction. The interesting thing about the fictional isle of Summerisle is that we are kind of landing anywhere. Summerisle is totally fictitious; it didn't exist. To us, because we circled it like a bird in the aeroplane, we were absolutely convinced it was an island. A colour enhanced photographic souvenir postcard of a selected location provides us with a similar changed reality. The interesting thing about souvenir postcards is that colour enhancement effectively conjures the fact that this is possibly in the Mediterranean, but it isn't. For example, a postcard of the fountains and children's paddling pool at Lytham St. Annes alludes to a perfectness, and rather like Summerisle in Northern Scotland, supposedly, looks rather more like La Palma. What we have is an image, which actually tests the fact that Summerisle and La Palma are the same. On our walk we will look at The Rodd as an island created by Sidney Nolan. We can see that there are specific parallels in looking at things that on one level of our understanding we can construe as real but through an imaginative understanding are transformed. We can be in either Summerisle or in the Island of the Rodd here in Presteigne (figure 2). Scene Three Our hero the detective SC: This dialogue is a montage in itself and our walk is a metaphor for the process of moving through the script. DF: Apart from his aeroplane by which he descends, Sergeant Howie walks everywhere. He has no other means of getting to a point faster or quicker than his own self frame. This is why I had this idea of going to a type of island setting (The Rodd) and walking through it as a great deal of the action in 'The Wicker Man' takes place with Howie walking through things. SC: We are pathfinders. Although we have maps we don't go everywhere on the map. We are constructing a particular path or narrative. DF: Sergeant Howie goes with his briefcase. He could be in Glasgow or Edinburgh but he isn't. He is in this supposedly real place which we know is fictional but in the context of the scenario is a very, very real place called Summerisle. SC: You can see the narrative of the film through Howie's eyes and be shocked at these despicable acts, such as putting a frog in a child's mouth to cure a sore throat. DF: That happened in the sweet shop-cum-post office. It was a sweet shop but the sweets weren't Mars bars, Bountys or Aeros; they were in the shape of animals and things. The similarity was enough to convince one that it was the sweet shop. Howie would have felt a level of knowledge in that context, would he not? SC: At one point in the film Lord Summerisle turns to Sergeant Howie and he says 'You're the detective here'. Obviously, Howie is the detective because he is the police sergeant and he is trying to make sense of this experience. This is a direct appeal to the viewer to make sense of the film. DF: A significant scene that was in the novel (Hardy and Shaffer, 1978) and not the original theatrical version (Hardy, 1973) is the fact that the person that drove Howie to Lord Summerisle is the one lesbian on the island who is absolutely aware and conscious of the prevailing religious rites but is removed from it because the fertility concept of the lesbian is clearly not going to issue forth fruit. So, both of them, travelling in the cart to the castle are absolute outsiders: one of them within a context and the other thinking that he commands a context and is absolutely completely misguided. His belief in his righteousness and the prevailing good of the police was so incredible that even in his Punch's outfit, where he seemingly thinks that he has rescued the girl, he is trapped on an island. The villagers have taken the spark plugs out of his aircraft so that it is not going to go anywhere. He is almost nihilistic in his last stand to control the narrative. He went that far and he couldn't go back. Scene Four Lunchtime in the village [The artist and the writer head to the local village of Presteigne to look around the town] SC: Does context frame our way of seeing? There are actually no monsters in the film. They are all ordinary people living life within a particular structure that mirrors feudal Scottish society. DF: When Howie is on the rampage looking for the missing child he goes on a massive walkabout turning the village upside down. He visits all the shops. In 'The Director's Cut' (Hardy, 1979) there is a scene that shows ladies having their hair done in the hairdressers. They are sat under the heaters, their animal masks are just by their side and it is absolutely as normal. Howie goes to the fishmonger who is as proud as anybody to show him his own mask. What initially excited me about this film was the fact that endemic in the ordinary was something just left of centre. It is neither extraordinary in the context of ultra surrealism or ultra carnival it was just simply a mask, a fish mask, a salmon mask, a bull, a reindeer or whatever. These were neither overtly theatrical nor were they overtly comic. The mask was just simply an object, a curiosity, placed within a greater 90% of reality. The misplacing of an object can sometimes be extraordinary. I am thinking of that iconic surrealist sculpture where we have got the Bakelite black telephone with a lobster on the top of it or the production still from 'Dr Who' of Daleks on the Westminster Bridge. What I feel about this particular film 'The Wicker Man' is the fact that it is 90% reasonable, and the other little percentage fragment is that bit that makes the ordinary remarkable. SC: I wonder if you personally had the reverse experience of what you are saying about 'The Wicker Man'? You say 90% of 'The Wicker Man' is ordinary and understandable and 10% is bizarre. You grew up in Blackpool of which 90% is bizarre and only 10% ordinary. DF: In Blackpool you could see elephants on the beach, trunk to tail walking across a tram track. At night the tram itself would be encrusted in lights in the shape of an American cowboy train or a rocket. You put those two things together and you've got a remarkable scenario of strangeness acted out in real time and space dimensions. SC: You say that 'The Wicker Man' is a modern day pagan adventure that explores social structures. DF: I think that that period of time is salient in respect of a type of both graphic and sociological mindset. This film is not isolated. It is within both graphic and social constraint of a particular way of looking at something. There were already prevalent social stereotypical options operating in British Cinema that belied a truth but relied on stereotypes. 'Carry on Camping' (Thomas, 1969) is a significant film of its time, which portrayed a tragedy of sociological order and a fear of a new order. 'Get Carter' (Hodges, 1971), shot on Tyneside entirely, is a fictional realist cinema presenting the narrative in location which is both the backdrop and a geo-social interaction. Scene Five Afternoon at the Rodd: a strange field SC: You mentioned that a particular view on The Rodd reminded Nolan of Australia. DF: We chose to do our walk around the fictional Summerisle on Rodd Farm because it reminded Sidney Nolan of something that wasn't there: a track of land in Australia. There is a map of the Burren in Ireland made by the artist/cartographer Tim Robinson (Robinson, 1977) and underlined on this map there is an area simply called 'a strange field'. In this field are odd shaped things. The original function and purpose of these apparent anomalies of dry stone walling is lost. They present an opportunity for contemporary interpretation based on archaeological research or, what I think is a more viable, imaginative speculation not based on any credible archaeological knowledge at all. SC: Can we build our understanding from fragments? DF: We circumnavigate our surroundings based on early recollections of our growing consciousness in relation to how people interacted; what architecture was surrounding you; what social dimension surrounded you. I am very clear in my mind that those aspects of the self never leave you despite new adventures and experiences. They are the pertinent bottom of the structure and rather like veins coming up through a structure they can be readily tapped into. You can put a main line in a vein and be, lets say, in Adelaide or Melbourne, and see immediately aspects of Torquay, Eastbourne, or Lytham St Annes because the vernacular architecture is similar to that which was your structural starting point. Even though it is remarkable that Nolan came to The Rodd, there was a semblance that connected to his understanding of why he was here. He never lost sight of those initial atmospheric and character driven memories that were still pertinent to him in later age. What I am arguing is that those early understandings of oneself, and the characters and the situations, shape our viewpoint. We are not looking at something so completely new and remarkable. When I look at this film 'The Wicker Man' and make work surrounding it, I am not illustrating the text as such, I am fuelling what the text is giving me via those reminisces, memories, contexts, social interactions, that are parallel to the constructed script. We are looking at where this is not simply process, it is a collage mentality able to grapple with time and space. Scene Six May Day Parade SC: Popular culture has its stereotypes but 'The Wicker Man' has its own. DF: I am not setting myself up here as an expert on fertility symbols, rites, and rituals. What I am receiving from the film is the reiteration of those things as they have gone through umpteen filters before they have even got to us: they have gone through set designers, directors, writers, costume designers. Everybody who is, in a sense, involved in the production had a hand in reiterating those facets which were once extremely important to some villages' pagan rites. They have become rounded hybrids where the overt sharp edges of the particularity have all but gone. Rather like little Ken and Barbie you can still see the aspects of female and manhood but only just. There is no longer any need for it, you just sort of know that is what it means. These characters are not from the gravel pit of 'Star Trek' or 'Dr Who'. They are regular guys - the hairdresser, the butcher, the harbour master, the chemist, the doctor – who put on an animal mask. The May Day parade is the devout of the village going about their daily business on that particular day: the Teaser (the head of the community), the Obby Oss (Hobby Horse), and the complex Punch, fool and King-for-a-day character (figure 3). Scene Seven Around the Aga: the sacrifice in the kitchen SC: At the end of the film the missing girl leads Howie through a cave. She effectively leads him through a vagina. DF: There is a point where the May Queen ditches her crown into the water, which is a very little detail but it is quite significant: throwing something away, a sort of innocence lost. The villagers did take a chance on Howie not being tempted by Willow MacGregor's charms [the landlord's daughter] but he was not allowed to by his own faith and the villagers took a gamble on his faith being resolute right to the end. SC: He did actually do what he set out to do which was to save the missing girl. DF: He did and he didn't. He rescued the girl because he was lured into a position where he could do so but ultimately he was completely controlled from the first moment he set foot on the island. SC: Similar to this dialogue and our walk, Howie has been scripted. But unlike the film your edit ends at night. DF: In my edit there is an orgy in a nightclub, which is the end of the May Day because that is where the fertility symbol absolutely takes fire (figure 4). SC: Our walk through the landscape of 'The Wicker Man' has considered montage as a form of editing. DF: My point of view is that there is a difference between the technical and the visual in printmaking. There is a need to infuse idea into process. Montage is in my view a reason why printmaking hasn't capitulated into pure craft. You need the mental framework of the collagist to relook at 'The Wicker Man', as a compass to your understandings of the developments of ideas and sociological orders. I can read it in a particular way and as an artist I am able to reiterate it, I hope, in another visual sense. Scene Eight Night-time at The Rodd SC: In your version of 'The Wicker Man' Howie's investigation starts at the beginning of the day and finishes with the end of day. At the close of the film version there is a fantastic picture postcard sunset. DF: That sunset actually happened in real time and space. They weren't expecting it. The film-makers thought they would have to special effect that. It was almost as though Nature itself wanted the film to be completed. SC: Whereas our walk around The Rodd has been thwarted because of Nature's intervention. DF: 'The Wicker Man' was meant to take place on May Day. The actual film itself was shot in October/November when it was particularly cold. All the blossoms were falsified. The fact that we were walking in Spring and that we had to dig ourselves out of snow, maybe this is where we erstwhile cultural travellers get stuck by our own time and space petard! Epilogue The artist explored This paper has taken the form of a script that runs through a fictitious single day in Presteigne. This conceit holds a mirror to David Ferry's 'May Day in the Centre of England', a printmaker's storyboard that re-interprets the iconography and narrative of the film 'The Wicker Man' taking the viewer from Day to Night in a thirty-two panel work. At the centre of this discussion of 'The Wicker Man' is David Ferry's observation that our upbringing and early memories form the way that we negotiate our understanding of the world. Things that we encounter run parallel to this understanding. For Ferry 'The Wicker Man' resonates with previous memories, contexts, and social interactions. The film's significance has increased in value for him as he explores its imagery and narrative through printmaking. A film is constructed from edited fragments that seem to have continuity; a film's cut reconfigures material into a believable narrative. Such a narrative uses a combination of stereotypes and location. In 'The Wicker Man' stereotypes are heightened with the conflation of pagan characters from folklore, such as Punch, the Teaser and the Hobby Horse, with the well defined village roles, such as the fishmonger, the baker, the school teacher, and the landlord's daughter. Location provides the backdrop against which these characters interact. Places themselves are transformed through an imaginative understanding and this was considered by Ferry in his choice of Rodd Farm as the setting for our narrative. Ferry draws upon these stereotypes and their location to construct his own Artist's Cut of the film. In contrast to an illustrative approach in printmaking the application of what has been referred to in this paper as a 'collage mentality' allows for a rich variety of visual readings. Using the tactics of layering, colliding, and the intrusion of the misplaced fragment, the extraordinary and the remarkable can be drawn to the fore. The contention of this paper is that the mental framework of the collagist may allow printmaking to explore beyond the known and start to map out the unknown.
Anthony Plant: Walk #5 From King's to Australia House in 37 years. From Australia House to King's in 101 seconds.
Kate Green's walk in Devon holds deep personal significance....
When I knew that I would be attending a lecture about walking at Tate Modern in London, I decided that walking from Paddington station to Tate Modern could help me in understanding the act of walking better. As this walk was a walk intended as an artist's walk, my experience of walking had shifted. Just knowing that my intention was to observe, experience and absorb my perceptions seemed so much more open. I had wondered about the fact that this walk would be in an urban landscape, one so different to the rural agricultural landscape here at The Rodd. I wondered whether, through memory, if the experiences would connect in my mind whilst walking; if I would carry the landscape of The Rodd with me in my mind- therefore having a personal imagined experience of a hybrid landscape. As I walked the streets of London I thought about how Sidney Nolan painted Australian landscapes whilst being surrounded by the lush green land of the English / Welsh borders. In a sense, Sidney carried the Australian landscape with him- in his mind and I thought about how this is the case with not only artists, but with all of us. These landscapes we hold in our mind as a point of recollection, comparison and comfort (or discomfort maybe) are with us always- so can we ever be completely present in a landscape? Can we ever just experience 'it' without any other landscape creeping in? Is the landscape that which we walk upon and move across, or does it exist purely within our perceptions? As I moved through the streets I realized how controlled we are when we walk. We learn to walk when we are toddlers, and we don't tend to question this movement until it is challenged or taken from us through injury or illness. This repetitive one foot in front of the other action just seems to happen! We just do it. Walks are often contained within routes with invisible boundaries- like imaginary tubes. We occupy space within; not above or below our bodies- but within; moving through space, along predetermined/ influenced paths. A to B. Start to finish. Beginnings and ends. Even a wander that is seemingly unplanned is controlled or navigated through environmental tracks; along pavements, tunnels, stairways. I started to think about how we don't ever challenge how we walk. We walk forwards and upright. A sidestep only to avoid collision / contact with another. I wonder- Is it possible to navigate a town completely without those learnt / imposed rules of walking? Can we reject all that society says about how journey happens and why? How can I dismantle the act of walking, and if I did manage to dismantle it, how would I move through space? What would that walk look like? What would my body look like? How would it sound? There are recognisable walks that happen when we walk. The rhythmic repetitive sounds of my footsteps and the insides of my thighs rubbing. The tonal mumble and too-ing and fro-ing of conversation. The in and out gasping of breath as I rush up steps and I try to catch my breath. Despite all these sounds I feel silent. If I were to reject this 'standard' of walking- what would I sound like and would this disruption mean that I would become more physically aware- physically present? I suppose the first rule to break is the rule that says a journey's purpose is to get from A to B…. so what would happen if I navigated space with no destination? My pre-programmed mind can't help but wonder where I would end up and what would influence my path- but I know that I'd need to 'not think' / not predetermine. Is that even possible? Isn't our inbuilt 'sat nav' instinctive? Is it part of our basic nomadic DNA? I now see that the urban space has made me realise how we are conditioned- and that these rules apply even when navigating rural spaces. We are still upright, forward facing and following paths. I feel that I am returning to The Rodd with a desire to disrupt, dismantle and question the very act of walking.
It takes about 15 minutes for me to drive from my present home, a bungalow named Fairview, to The Firs. My studio is roughly mid-way, in a farmyard opposite 1 Buckton, a cottage that was my home for 4 years. During that time I worked at The Firs as a personal assistant. At 3pm on 25th January I was to attend a meeting there, in my role as participating artist and programme consultant, concerning the proposed walking event at The Rodd. Warning: clichéd walking metaphor ahead. My path to being an artist is like a zig zag on a scree slope; running downhill I send shards tumbling and have to trust that the mini-terraces created by my feet will prevent me from falling and when I plod uphill I slip backwards and progress is slow. But, I embarrass myself, writing about walking is far trickier and more exhausting than walking (note to self for response to next walk). I have already spent many more hours writing, and re-writing, this account than I did actually walking the route; and I haven't even left the house yet. It was 1.40 and the sun was shining. I had decided to drive to the Firs via my studio and do some work for an hour, but then I thought, 'Why drive to a meeting about walking?' On previous occasions, I had walked to my studio from home and I had walked to The Firs from Buckton; so why not combine the two walks. I clipped the lead on little Dot and we cut through the diagonal lane at the back of the council houses down to the main road. I always feel there should be a more direct route to The Firs. You can look across from the Wigmore Rolls and see the oak trees that pour down, like sand in an egg timer, to the bank on which the Colliers' house sits, but the line is blocked by rivers and hills. I could have chosen to walk past Court Farm and down to Walford; or skirt the fields to Stonybridge; or walk the back road via Letton and cross the Teme at Brampton Bryan. As I walked, these floating tendrils searched for anchorage across the topography in my head and I wondered why on earth I had chosen to walk on the busy main road. Now, I realise I wanted to walk the same route I would have travelled in the car. That's the great thing about walking; you feel the solution in the soles of your feet. We have all driven along and almost clipped a walker with a wing mirror and thought, 'Why would anyone choose to walk on a road?' I was in that walker's boots as Dot trotted along on the lead, cowering slightly as traffic sped by. A red car was approaching us on the opposite side of the road and, hearing the heat of braking behind us, I looked back to see a large stock lorry brought to halt as there was no room to pass us without crossing the white lines. We stepped up from the tarmac, balanced on the high sliver of a muddy grass and the driver nodded before he drove on. We crossed the Knighton road at Walford and I let Dot off the lead. This was the prone-to-flooding single track lane to my previous home and old neighbour Henry drove by and waved. We crossed the river and called by at the studio. I stuffed a blanket in my bag for Dot to lie down on, as she would have to be tied up outside when we reached The Firs. We walked fast towards Bucknell and met Ali and Alan walking past the turning for Adley Moor. 'I can't stop,' I said, 'I'm walking to a meeting about walking at The Firs.' They told me they were going up there later with a Burns' Night supper. By this time I knew I would not arrive for 3pm so I emailed ahead. I knew this road so well from driving, cycling and walking and there were no surprises. No surprises; what I mean to say is that I think I may have stopped looking. I admit that I was hardly more aware of my surroundings than if I had been in the car. Was that because I was following the same route I would have driven; or was it because I was so over familiar with this little stretch of territory? I had been walking on autopilot and, with no need to navigate the external landscape, I had turned to my internal landscape for interest. The local landscape had become all about me and I pondered how it was inhabited by 20 years of versions of me; spirits that had the potential to be released as I stepped on the ground, like spores from an old puffball. It is difficult to look afresh at the familiar; so much easier to concentrate on what is new and exciting, but only now do I realise how introspective I was on this walk. We kept up our brisk pace along Oil Mill Lane and crossed the Heart of Wales railway line in Bucknell, said hello to Lance Phillips the butcher who was putting screenwash in his van and turned left into Dog Kennel Lane. They were tidying an oak tree at Florence's and I saw the tail end of Anthony Plant's car waiting as they cleared branches from the road. He was late too, so I would only be 15 minutes behind him. I was propelled up Mynd hill by a surge of energy. It always amazes me; these moments on walks when you are thrown forward as if you have stepped on a landmine charged with positive energy. Dot trotted on ahead to say hello to a black Labrador on a lead and I felt light and hopeful and cheery. I was being given an artistic licence to be myself and realising that acknowledging my strengths is not arrogance for there is plenty I admit I cannot do, such as dancing at parties or driving in cities. Dot and I walked up the drive to The Firs and Penny was weeding between the granite sets as I tied the little dog to the porch upright and went into the meeting.
20th January 2017. Kate Green reflects on her first walk of 'Lines in the Landscape' residency.
Collaborative Sound Installation wit Rie Nakajima and Pierre Berthet
Straw Castles, maggoty marks and tales of the riverbed.
Elpida Hadzi-Vasileva works with print maker and zoologist Michael Hancock
Anne Bean's river drawings overseen by The Rodd's herd of cattle
Ciarrai McShane
Harriet Carter
Tess E. McKenzie
Yuyu Wang
Residency artists gained a fresh perspective to the beautiful landscape of The Rodd and its environs.
David Noonan, Shaun Gladwell and Vanley Burke don the iconic armour of Ned Kelly (costume from the 1970's film tracing Kelly's life and starring Mick Jagger).
Artists in conversation share their working themes and experiences at The Rodd
Masterclass with Vanley Burke
Vanley Burke Meets The Rodd
Blog post #6 by Caroline Horton
Blog post #5 by Caroline Horton
Blog post #4 by Caroline Horton
Blog post #3 by Caroline Horton
Blog #2 by Caroline Horton
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Blog #1 by Caroline Horton


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A DMK Production
A DMK Production
Marlon is your twelve year old son. Marlon has a fascination for small creatures and insects and enjoys studying them. Sadly, Marlon has been careless in his study of creatures in the past and, after a small toad died while Marlon had it in captivity, you told Marlon he could no longer capture his subjects but needed to study them in their natural surroundings. That was last week.
Today Marlon found a type of lizard he had not seen before and couldn't resist.
Here is Marlon with the lizard:
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You were not aware at the time what Marlon was doing. Marlon has since gone off to hang out with some friends and you go out to the patio and find the lizard in the jar. The poor creature isn't looking good but you are able to release it and it seems to recover and scamper off.
Marlon is now home.
What do you do?


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Question: Briefly describe how IFRS guidelines for recognizing revenue fro
Briefly describe how IFRS guidelines for recognizing revenue from multiple-deliverable arrangements differ from U.S. GAAP guidelines.
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Answer to relevant QuestionsBriefly describe the guidelines provided by GAAP for the recognition of revenue by a franchisor for an initial franchise fee.On July 1, 2011, Apache Company sold a parcel of undeveloped land to a construction company for $3,000,000. The book value of the land on Apache's books was $1,200,000. Terms of the sale required a down payment of $150,000 ...Refer to the situation described in BE 5-6. The building was completed during the second year. Construction costs incurred during the second year were $10 million. How much gross profit will the company recognize in the ...Refer to the facts described in BE 5-15. Show the DuPont framework's calculation of the three components of the 2011 return on shareholders' equity for Anderson TV and Appliance.In BE 5-15, the 2011 income statement for ...On April 1, 2011, the Apex Corporation sold a parcel of underdeveloped land to the Applegate Construction Company for $2,400,000. The book value of the land on Apex's books was $480,000. Terms of the sale required a down ...
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This issue was sponsored by the Roswell Convention & Visitors Bureau and their new Ambassador Program! Click here to read more about it in the digital version of Roswell Magazine.
Area 51 Family Entertainment and Summer Fun
Area 51: A fabulous, locally owned Cineplex and Mini-Golf complex is located in the heart of Roswell. There is no reason to be bored with the kids this summer because the latest hot movies are showing every day of the week at Aurora Cineplex. Step inside the cinema and feast your eyes on one of … Continue reading Area 51 Family Entertainment and Summer Fun
Where to Golf in Roswell?
COUNTRY CLUB OF ROSWELL 2500 Club Springs Drive•770-475-7800•ccroswell.com The 18-hole course is a private golf course that opened in 1973. Designed by Randy Nicholls, Country Club of Roswell measures 6570 yards from the longest tees and has a slope rating of 133 and a 71 USGA rating. BROOKFIELD COUNTRY CLUB 100 Willow Run•770-992-9230•brookfieldcountryclub.com Best known … Continue reading Where to Golf in Roswell?
Roswell's Alliance Francaise d'Atlanta
Ohlala! Same Alliance Francaise d'Atlanta-Roswell (AFA-Roswell), better location? Je dis oui! Your French connection has officially moved and has started offering languages classes in its new location. Vraiment? AFA-Roswell has found just the perfect place to call home, we could not be plus excited. The Alliance Francaise promotes and develops French language in the US … Continue reading Roswell's Alliance Francaise d'Atlanta
Welcome Aboard! Expedia Cruise in Roswell
The world of cruising is constantly innovating and revolutionizing the travel experience! Getting to each exciting port of call is only part of the journey, as the ships themselves are now destinations. Cruising offers travelers the chance to unwind in modern amenities and luxurious spaces and to explore the best of their dream destinations; combining … Continue reading Welcome Aboard! Expedia Cruise in Roswell
Roswell Real Estate Market Update
Thank you Tracy Coles of The Hernandez Group/Keller Williams Realty Roswell for this snapshot real estate market up date! Address/Subdivision/Sales Price/Days on the Market 11287 Bowen Rd N/A 1,300,000 /64 5015 Riverside Park Dr Riverside Park 1,173,500 /209 170 Ansley Way Lakeside at Ansley 1,100,000 /27 1270 Canton St Historic Roswell 950,000 /36 12902 Etris … Continue reading Roswell Real Estate Market Update
Happy Feet
By Dr. Brian S. Harley Board-certified reconstructive foot and ankle surgeon at Alpharetta Foot and Ankle Specialists It's great to set running goals, but when off the bat you want to run a marathon (26.2-miles) — it's wiser to take a few steps back. Foot stress fractures are one of the most common conditions foot … Continue reading Happy Feet
Moe's Original BBQ a Southern Food Revival
Owning several other locations in Northern Alabama, Chris Clowers and Mike Ellis partnered with Roswell native Kyle McCarter and Andrew Justin to open a Moe's Original Bar B Que for us here in Roswell. Moe's Original Bar B Que features award-winning Bama-style pulled pork, ribs, wings, turkey and chicken smoked over hardwood served with two … Continue reading Moe's Original BBQ a Southern Food Revival
Queen of Angels Catholic School Students Win Multi-Media Contest
Two students at Queen of Angels Catholic School in Roswell, submitted entries to the Catholic Campaign for Human Development's (CCHD) annual multi-media contest. The students placed 1st and 2nd out of 40+ entrants in the 7-9th grade category. Eighth grade student, Charlotte Mixon, was selected as the 1st place winner and will represent the Archdiocese … Continue reading Queen of Angels Catholic School Students Win Multi-Media Contest
Fulton Science Academy Blazes and Impressive Path
Brake lights illuminate Roswell on a brisk spring morning as commuters head into work. But many cars are making a stop before they reach their final destination at a location that more and more people are learning about every day. Fulton Science Academy Private School. Since becoming a private school nearly six years ago, Fulton … Continue reading Fulton Science Academy Blazes and Impressive Path


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Vegetarian diets for children
- Authors
- Debby Demory-Luce, PhD, RD, LD
Debby Demory-Luce, PhD, RD, LD
- Adjunct Professor
- North Harris College
- Kathleen J Motil, MD, PhD
Kathleen J Motil, MD, PhD
- Section Editor — Pediatric Nutrition
- Professor of Pediatric Nutrition
- Baylor College of Medicine
Topic Outline
- Section Editors
- Jan E Drutz, MD
Jan E Drutz, MD
- Section Editor — General Pediatrics
- Professor of Pediatrics
- Baylor College of Medicine
- Amy B Middleman, MD, MPH, MS Ed
Amy B Middleman, MD, MPH, MS Ed
- Section Editor — Adolescent Medicine
- Professor of Pediatrics, Chief of Adolescent Medicine
- University of Oklahoma Health Sciences Center
- Deputy Editor
- Alison G Hoppin, MD
Alison G Hoppin, MD
- Deputy Editor — Pediatrics
- Assistant Professor of Pediatrics, Part-time
- Harvard Medical School
Vegetarian diets are becoming increasingly popular [1-5]. A nationally representative study conducted in the United States in 2008 estimated that 10 percent (22.8 million) of Americans aged 18 and older follow a "vegetarian-inclined" diet, 3.2 percent (7.3 million) indicated that they follow a vegetarian diet, and 0.5 percent (1 million) follow a vegan diet [6]. A poll conducted in the United States in 2012 estimated that 7 percent (17 million) of Americans aged 18 or older eat at least one meal a week that does not include meat, fish or poultry, 4 percent (9 million) do not eat meat, fish, or poultry, and 1 to 2 percent (2 million) do not eat meat, fish, poultry, dairy products, or eggs [7]. Approximately 5 percent of individuals in the United Kingdom, Germany, and Australia describe themselves as vegetarian [8-10].
An increasing number of families are choosing to rear their children on a vegetarian eating style [11,12]. An estimated 8 percent of adolescents in the United Kingdom [13] and 6 percent of public middle- and high-school students surveyed in the midwestern United States [14] consume a vegetarian diet. A poll conducted in 2010 estimated that 7 percent of American youth aged 8 to 18 years do not eat meat, 3 percent do not eat meat, fish, or poultry, and 1 percent do not eat meat, fish, poultry, dairy or eggs [15].
Studies of vegetarian diets are complicated by variations in definitions for the term "vegetarian." Definitions range from whether the individual considers himself or herself as vegetarian ("self-defined" vegetarians), avoids meat only, or lives by the strict definition (never consuming meat, fish, and poultry). As an example, one review of dietary patterns and nutrient intakes of self-defined vegetarians (aged six years and older) found that patterns ranged from those who consumed reduced amounts of red meat but included poultry and fish, to those who excluded all animal foods [16].
Reasons for choosing a vegetarian diet are varied and include potential health benefits and sociopolitical, ecological, and ethical issues related to allocation of resources and animal rights [2,6,17-23]. Adolescents pose a particular challenge because it may be difficult to determine if an adolescent's choice to become a vegetarian is related to dietary restriction [24,25]. The types and composition of vegetarian diets also are varied and have important implications for the growth and development of children and adolescents.
The nutritional quality of vegetarian diets and strategies to prevent nutritional deficiencies while consuming vegetarian diets are reviewed here. Nutrition requirements, deficiencies, and supplementation of specific nutrients are discussed separately. (See appropriate topic reviews).
Subscribers log in hereTo continue reading this article, you must log in with your personal, hospital, or group practice subscription. For more information or to purchase a personal subscription, click below on the option that best describes you:Literature review current through: Jul 2017. | This topic last updated: Nov 03, 2015.The content on the UpToDate website is not intended nor recommended as a substitute for medical advice, diagnosis, or treatment. Always seek the advice of your own physician or other qualified health care professional regarding any medical questions or conditions. The use of this website is governed by the UpToDate Terms of Use ©2017 UpToDate, Inc.References
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- Institute of Medicine, Food and Nutrition Board. Dietary reference intakes for vitamin A, vitamin K, arsenic, boron, chromium, copper, iodine, iron, manganese, molybdenum, nickel, silicon, vanadium, and zinc. Available at: http://www.nap.edu/catalog.php?record_id=10026 (Accessed on December 02, 2010).
- Fairweather-Tait S, Hurrell RF. Bioavailability of minerals and trace elements. Nutr Res Rev 1996; 9:295.
- Roughead ZK, Hunt JR. Adaptation in iron absorption: iron supplementation reduces nonheme-iron but not heme-iron absorption from food. Am J Clin Nutr 2000; 72:982.
- Disler PB, Lynch SR, Charlton RW, et al. The effect of tea on iron absorption. Gut 1975; 16:193.
- Hallberg L, Hulthén L. Prediction of dietary iron absorption: an algorithm for calculating absorption and bioavailability of dietary iron. Am J Clin Nutr 2000; 71:1147.
- Hallberg L, Rossander L, Skånberg AB. Phytates and the inhibitory effect of bran on iron absorption in man. Am J Clin Nutr 1987; 45:988.
- Hunt JR. Bioavailability of iron, zinc, and other trace minerals from vegetarian diets. Am J Clin Nutr 2003; 78:633S.
- Craig WJ. Iron status of vegetarians. Am J Clin Nutr 1994; 59:1233S.
- Donovan UM, Gibson RS. Iron and zinc status of young women aged 14 to 19 years consuming vegetarian and omnivorous diets. J Am Coll Nutr 1995; 14:463.
- Dwyer JT, Dietz WH Jr, Andrews EM, Suskind RM. Nutritional status of vegetarian children. Am J Clin Nutr 1982; 35:204.
- Lynch SR. Interaction of iron with other nutrients. Nutr Rev 1997; 55:102.
- Gibson SA. Iron intake and iron status of preschool children: associations with breakfast cereals, vitamin C and meat. Public Health Nutr 1999; 2:521.
- Soh P, Ferguson EL, McKenzie JE, et al. Dietary intakes of 6-24-month-old urban South Island New Zealand children in relation to biochemical iron status. Public Health Nutr 2002; 5:339.
- Chiplonkar SA, Tupe R. Development of a diet quality index with special reference to micronutrient adequacy for adolescent girls consuming a lacto-vegetarian diet. J Am Diet Assoc 2010; 110:926.
- Hallberg L, Brune M, Rossander L. Effect of ascorbic acid on iron absorption from different types of meals. Studies with ascorbic-acid-rich foods and synthetic ascorbic acid given in different amounts with different meals. Hum Nutr Appl Nutr 1986; 40:97.
- Siegenberg D, Baynes RD, Bothwell TH, et al. Ascorbic acid prevents the dose-dependent inhibitory effects of polyphenols and phytates on nonheme-iron absorption. Am J Clin Nutr 1991; 53:537.
- Sandström B. Micronutrient interactions: effects on absorption and bioavailability. Br J Nutr 2001; 85 Suppl 2:S181.
- Anderson GH, Zlotkin SH. Developing and implementing food-based dietary guidance for fat in the diets of children. Am J Clin Nutr 2000; 72:1404S.
- Harland BF, Morris ER. Phytate: a good or a bad food component? Nutr Res 1995; 15:733.
- Gibson RS, Hotz C. Dietary diversification/modification strategies to enhance micronutrient content and bioavailability of diets in developing countries. Br J Nutr 2001; 85 Suppl 2:S159.
- Hunt JR. Moving toward a plant-based diet: are iron and zinc at risk? Nutr Rev 2002; 60:127.
- Foster M, Samman S. Vegetarian diets across the lifecycle: impact on zinc intake and status. Adv Food Nutr Res 2015; 74:93.
- Haddad EH. Development of a vegetarian food guide. Am J Clin Nutr 1994; 59:1248S.
- Matkovic V, Fontana D, Tominac C, et al. Factors that influence peak bone mass formation: a study of calcium balance and the inheritance of bone mass in adolescent females. Am J Clin Nutr 1990; 52:878.
- Matkovic V, Heaney RP. Calcium balance during human growth: evidence for threshold behavior. Am J Clin Nutr 1992; 55:992.
- Weaver CM, Proulx WR, Heaney R. Choices for achieving adequate dietary calcium with a vegetarian diet. Am J Clin Nutr 1999; 70:543S.
- Greer FR, Krebs NF, American Academy of Pediatrics Committee on Nutrition. Optimizing bone health and calcium intakes of infants, children, and adolescents. Pediatrics 2006; 117:578.
- Heaney RP. Protein intake and the calcium economy. J Am Diet Assoc 1993; 93:1259.
- Breslau NA, Brinkley L, Hill KD, Pak CY. Relationship of animal protein-rich diet to kidney stone formation and calcium metabolism. J Clin Endocrinol Metab 1988; 66:140.
- Tayter M, Stanek KL. Anthropometric and dietary assessment of omnivore and lacto-ovo-vegetarian children. J Am Diet Assoc 1989; 89:1661.
- Donovan UM, Gibson RS. Dietary intakes of adolescent females consuming vegetarian, semi-vegetarian, and omnivorous diets. J Adolesc Health 1996; 18:292.
- Sanders TA. Vegetarian diets and children. Pediatr Clin North Am 1995; 42:955.
- Tesar R, Notelovitz M, Shim E, et al. Axial and peripheral bone density and nutrient intakes of postmenopausal vegetarian and omnivorous women. Am J Clin Nutr 1992; 56:699.
- Dagnelie PC, van Dusseldorp M, van Staveren WA, Hautvast JG. Effects of macrobiotic diets on linear growth in infants and children until 10 years of age. Eur J Clin Nutr 1994; 48 Suppl 1:S103.
- Haddad EH. Meeting the RDAs with a vegetarian diet. Top Clin Nutr 1995; 10:7.
- Heaney RP, Dowell MS, Rafferty K, Bierman J. Bioavailability of the calcium in fortified soy imitation milk, with some observations on method. Am J Clin Nutr 2000; 71:1166.
- Bonjour JP, Carrie AL, Ferrari S, et al. Calcium-enriched foods and bone mass growth in prepubertal girls: a randomized, double-blind, placebo-controlled trial. J Clin Invest 1997; 99:1287.
- Dietary supplement fact sheet: vitamin D. Office of Dietary Supplements, National Institute of Health, Bethesda, MD, 2008 http://ods.od.nih.gov/factsheets/vitamind.asp (Accessed on October 10, 2015).
- Institute of Medicine, Food and Nutrition Board. Dietary reference intakes for calcium and vitamin D. National Academy Press, Washington DC, 2010. Available at: http://books.nap.edu/openbook.php?record_id=13050 (Accessed on December 02, 2010).
- Hollis BW. Circulating 25-hydroxyvitamin D levels indicative of vitamin D sufficiency: implications for establishing a new effective dietary intake recommendation for vitamin D. J Nutr 2005; 135:317.
- Bergstrom WH. When you see rickets, consider calcium deficiency. J Pediatr 1998; 133:722.
- Dwyer JT, Dietz WH Jr, Hass G, Suskind R. Risk of nutritional rickets among vegetarian children. Am J Dis Child 1979; 133:134.
- Hellebostad M, Markestad T, Seeger Halvorsen K. Vitamin D deficiency rickets and vitamin B12 deficiency in vegetarian children. Acta Paediatr Scand 1985; 74:191.
- Parsons TJ, van Dusseldorp M, van der Vliet M, et al. Reduced bone mass in Dutch adolescents fed a macrobiotic diet in early life. J Bone Miner Res 1997; 12:1486.
- Dagnelie PC, Vergote FJ, van Staveren WA, et al. High prevalence of rickets in infants on macrobiotic diets. Am J Clin Nutr 1990; 51:202.
- Herrmann W, Geisel J. Vegetarian lifestyle and monitoring of vitamin B-12 status. Clin Chim Acta 2002; 326:47.
- Institute of Medicine, Food and Nutrition Board. Dietary reference intakes for thiamin, riboflavin, niacin, vitamin B6, folate, vitamin B12, pantothenic acid, biotin, and choline, National Academy Press, Washington DC, 1998. Available at: http://www.nap.edu/catalog.php?record_id=6015 (Accessed on December 02, 2010).
- Allen LH. Causes of vitamin B12 and folate deficiency. Food Nutr Bull 2008; 29:S20.
- Pawlak R, Lester SE, Babatunde T. The prevalence of cobalamin deficiency among vegetarians assessed by serum vitamin B12: a review of literature. Eur J Clin Nutr 2014; 68:541.
- Haddad EH, Berk LS, Kettering JD, et al. Dietary intake and biochemical, hematologic, and immune status of vegans compared with nonvegetarians. Am J Clin Nutr 1999; 70:586S.
- Dong A, Scott SC. Serum vitamin B12 and blood cell values in vegetarians. Ann Nutr Metab 1982; 26:209.
- Dagnelie PC, van Staveren WA, van den Berg H. Vitamin B-12 from algae appears not to be bioavailable. Am J Clin Nutr 1991; 53:695.
- Burke KI. The use of soy foods in a vegetarian diet. Top Clin Nutr 1995; 10:37.
- Davies GJ, Crowder M, Dickerson JW. Dietary fibre intakes of individuals with different eating patterns. Hum Nutr Appl Nutr 1985; 39:139.
- Dagnelie PC, van Staveren WA, Hautvast JG. Stunting and nutrient deficiencies in children on alternative diets. Acta Paediatr Scand Suppl 1991; 374:111.
- Williams CL, Bollella M. Is a high-fiber diet safe for children? Pediatrics 1995; 96:1014.
- Agostoni C, Riva E, Giovannini M. Dietary fiber in weaning foods of young children. Pediatrics 1995; 96:1002.
- Davidsson L, Mackenzie J, Kastenmayer P, et al. Dietary fiber in weaning cereals: a study of the effect on stool characteristics and absorption of energy, nitrogen, and minerals in healthy infants. J Pediatr Gastroenterol Nutr 1996; 22:167.
- Dagnelie PC, van Staveren WA. Macrobiotic nutrition and child health: results of a population-based, mixed-longitudinal cohort study in The Netherlands. Am J Clin Nutr 1994; 59:1187S.
- Amit M. Vegetarian diets in children and adolescents. Paediatr Child Health 2010; 15:303.
- Eating disorders
- Energy
- - Implications
- Omega-3 fatty acids
- - Implications
- Protein
- - Amino acid composition
- - Digestibility
- - Implications
- Iron
- - Implications
- Zinc
- Calcium
- Vitamin D
- Vitamin B12
- Fiber


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Имя актрисы: Jenny Hamilton
Название ролика: Nice Spread
Подсайт и сайт: MILFHunter.com / RealityKings.com
Жанр: All Sex
Дата релиза: May 3, 2010
Продолжительность: 00:41:05
Описание: A friend of mine decided to hook me up with Jeny. She called Ash and I and asked us to meet them for lunch. I met Jeny and we hit it off right away. She didnt want to beat around the bush and I just wanted to beat the bush, or in her case, a bushless puss. She said she appreciated people who were blunt, to the point and honest so I told her I wanted to fuck her straight out. No strings attached. Just a good time. After dealing with her ex for so long, she was more than thrilled to finally unwind and just have some fun. I think this is the first time in many, many moons I actually used my workout equipment. We didnt really exercise but we sure as hell worked out.
Формат видео: WMV
Видео кодек: Windows Media
Аудио кодек: WMA
Видео: Windows Media Video 9, 720x404, 29.97 fps, 1400 Kbps
Аудио: Windows Media Audio, 44100 Hz, stereo, 48 Kbps
Размер: 427 Mb


text:
What would you like to do now?
Bedrooms: 2
Bathrooms: 2.5
Sq Feet: 1,493
City: Tempe
Zip: 85281
Sub Division: 525 Town Lake Condominium Amd
To start a new search please click: Start New Search
Property Description
High-end contemporary Tri-Level Condo in a luxurious gated community. Resort style living - enjoy sparkling pool with spa/jacuzzi, or lounge in the cabannas while BBQ using the community gas grills. This 3 rooms (2 Bedroom plus office boast upgraded spacious kitchen with granite counter-tops, kitchen island, S/S appliances, gorgeous hardwood flooring throughout. All Appliances included (plus water softener and R/O system) !! Master bedroom features a spacious walk-in closet.Each floor has its own AC unit. This property has everything for move-in ready and is in 'like NEW' condition !! The location is across from Tempe Town Lake & Tempe Center for the Arts; walk to lake or walk/bike to ASU and downtown Tempe. and easy access to all major freeways and light rail. Great property for investor
General Information
School Information
Community Information
Lot Information
- Directions:
- From Rio Salado, turn onto Lakeside Dr, curve to left and enter gate.
- Cross-Streets:
- Rio Salado Parkway & Lakeside Drive


text:
This charming, lovely riad is beautiful decorated, has 7 rooms, a central space with soft couches and a little fountain and a roof terrace with a small pool, sun beds and breakfast facilities. The staff is very helpful, and very concerned, that their guests are pleased. The road is placed very centrally close to the main square Jamaa el Fna, but you hear no other sounds from the city than when there is call for prayer. The riad might consider having changed the doors to the rooms as every sound from the rest of the house can be heard very vividly. Not good when people are returning during the night, coming to work early in the morning or sitting in the central room talking. The riad offers also dinner, but stay with the very fine breakfast, as dinner is not worth while having (the cook is not a very skilled on).
Be aware that if you do not pay cash at check out, there will be a fee of 3,5% (!) We did not know....
- Official Description (provided by the hotel):
- Riad Abracadabra is the most recent opening in Marrakech. Perfect location: only a two minute walk from the burning Jemaa el Fna square. Traditional housing transformed into an exclusive, singular and pleasant hotel. Its 8 rooms make this flirtatious hotel into a familiar place. The devestations of modernity are not felt yet and local life is perceived in its entire simple charm. Hotel looking style: the whole wise combination of Moroccan tradition and colonial comfort combines with immaculate white surroundings. ... more less
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Laughing, sneezing, coughing – these are all typical daily occurrences. But for many people, these everyday instances can be a big inconvenience.
"Many patients experience urinary leakage that may disrupt their lives," said Victor Casiano, M.D., an obstetrician-gynecologist with the Institute for Women's Health. "The good news is there's a simple solution."
November is Bladder Health Awareness Month, and it's a perfect time to talk about this trying condition. If you suffer from urinary incontinence, here's what you need to know.
Urinary incontinence takes several forms. Many surgical options treat stress incontinence, but other low-risk surgical alternatives include surgery on an overactive bladder or other bladder problems.
Before considering surgery, patients should get an accurate diagnosis. Your primary care physician can recommend you to a qualified OB-GYN such as Dr. Casiano. After a consultation, your OB-GYN will advise you about which surgical option may be right for you.
"Eighty percent of the patients I see are able to schedule a 20 – 30 minute outpatient procedure," Dr. Casiano said. "It's minimally invasive with a very quick recovery, which suits our patients' busy lives."
As with any surgical procedure, urinary incontinence surgery has its risks. Although rare, complications can include urinary tract infections or temporary difficulty urinating. But many patients agree the benefits far outweigh the risks.
"The procedure is a safe and effective way to treat common urinary incontinence," Dr. Casiano stressed. "I encourage anyone struggling to manage this condition to schedule an appointment and learn more about their options."
Victor Casiano, M.D., is an OB-GYN at the Institute for Women's Health, the largest women's health care practice in San Antonio. To schedule an appointment with Dr. Casiano, please call 210.494.2000 or click here.


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This timeline explores a world where the Russian Revolution was not instigated by the Bolsheviks, but by a race of subservient machines built by the Russian republic to serve as workers. This ATL covers not only what occurred in Russia, but also the rest of the world.
The point of divergence takes place in the mid-1850's, where Nikolai Tesla is born in Moscow, rather than the Austrian empire. Russia in this world is as technologically advanced as the United States, but suffers from a labor-shortage, as a virus spreads through the country. When he is about 52, Tesla travels to the outskirts of Siberia to test his latest invention: The Particle Beam, better known as the Death Ray. The weapon proves to be quite successful, flattening an estimated 80 million trees over thousands of square miles. Upon hearing of his success, Tesla is called to Moscow to by Czar Nicholas II, who instructs him to find a solution to the labor crisis. Tesla creates an a legion of robots to perform manual labor. They prove very successful and are integrated into almost every part of Russian society.
However, robot sympathizers protest that the machines should be released from servitude. The Czar ignores them, instead focusing on sending robot support to his allies in World War I. Then, on November 7th, 1917, a robot sympathizer named Vladimir Lenin infiltrates a warehouse in St Petersburg containing 10,000 robots and hacks them one by one, leading to them all gaining sentience. Lenin leads them across the city, the countryside, all the way to Moscow. Lenin and the robots bring down Nicholas II and Tesla flees to America. Much later, the robots turned their attention to the rest of the world, especially the politically unstable United States.
- 1856- Nikolai Tesla is born in Moscow.
- 1894- Czar Nicholas II becomes leader of Russia.
- 1899- The Ysoev Plague spreads through the country, killing over 500,000 Russian Men, Women and Children. This leads to a shortage of man power for the next decade.
- 1900-1908- Tesla Develops his Death Ray weapon and later tests it in the distant Tunguska region of Siberia. Czar Nicholas II instructs him to find a solution to the labor-shortage.
- 1909- Tesla creates a legion of robots built for Farming, Mining, Construction, and Labor.
- 1910-1917- The robots are integrated into every part of Russian society, including warfare against the Triple Alliance. Robot Sympathizers protest that they should be freed
- 1917- Robot sympathizer Vladimir Lenin infiltrates a St Petersburg warehouse filled with 50,000 robots and hacks them, allowing them to become sentient. He leads them to Moscow, bringing down Czar Nicholas II. Tesla flees to America as Russia pulls out of World War I.
- 1922- Lenin's mind is removed and becomes integrated with a supercomputer called the Strategic Artificial Logistics Intelligence, or STALIN. His body is preserved in a glass case.
- 1923- The robots create a new society in Russia, cutting off all traffic and communications in and out of the country for the next two decades.
- 1933- Hitler comes to power in Germany, but is assassinated by an unknown individual. He is replaced by a more effective general only known as The Führer, who defies the Treaty of Versailles and rebuilds Germany's military
- 1939- The Führer leads surprise invasions on Poland, Czechoslovakia, Denmark and Luxembourg simultaneously, easily defeating and annexing the countries. Britain and France declare war immediately after.
- 1943- 20 years after conquering Russia, the robots break through the borders and begin a rapid conquest of Europe. The robots reach Portugal after less than two weeks. Britain remains safe from the robots across the English Channel.
- 1944- The robots create large airships to fly to London and begin bombing the city, killing 35,000 people.
- 1945- Europe is completely dominated by the robots, lead by the Stalin-Lenin hybrid. Nikolai Tesla dies.
- 1950- The robots construct massive factories across Europe and Asia to build more of themselves
- 1957- The robots launch the Kintups satellite into orbit to monitor the Earth
- 1960- Richard Nixon is elected President. Later that year, Georgia declares independence from the US.
- 1963- Nixon is assassinated by Lee Harvey Oswald in Dallas. Riots persist in Kansas, Nebraska, and Oklahoma. JFK is inaugurated as President later that year.
- 1967- The robots begin placing monitoring stations on Cuba. The U.S. Government begins to take notice.
- 1968- A war between the United States and Machine empire begins.
- 1970- The robots conquer most the United States east of the Rockies, as well as Canada and Mexico
- 1975- The robots conquer the rest of the United States. The remaining governments flee to Hawaii.
- 1979- The Hawaiian islands become the last refuge from the machines as they consume and conquer most of the planet.


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The perfect gift for any animal lover, this necklace features a pendant made in the shape of a deer with antlers in silver! Simple, pretty and elegant!
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text:
CPE Self-Study
Form 990: Mastering Its Unique Characteristics - Tax Staff Essentials
Enhance your understanding of basic tax information and not-for-profit organization issues you need to prepare the current Form 990. This CPE course covers the numerous tax reporting demands the 990 imposes, including how to respond to its inquiries. You will gain the knowledge necessary to complete Form 990s properly and advise exempt clients on the Form's complexities and demands.
Key Topics:
- Program Service Accomplishments and Reporting Changes
- Reporting on Managers and Their Compensation
- Reporting on Governance
- Further Disclosures Specific to an Entity's Circumstances (Core Form 990 Part IV Delineating Additional Schedules Required)
- Financial Information Reporting
- Sequencing and Completing the Return
- Board of Directors Discussion of Form 990
- Related Organizations
- Transactions With Interested Persons
- Form 990's Common Schedules
- Other IRS Filings and Tax Compliance
Learning Objectives:
This course will prepare you to:
- Recognize instances in which an organization is required to file a Form 990 instead of a Form 990-EZ, or 990-N
- Recognize the detail sought by the IRS in reporting on program service accomplishments in Part III of the Core Form 990
- Recall the accounting conventions (and methods) required for reporting financial information on Parts VIII through X of the Core Form
- Recognize the impact that Schedule L reporting has on the independence of a filer's voting board members.
- Identify where to access data necessary for completion of the Form 990
- Identify the principle by which control vests when determining parent-subsidiary or brother-sister status between the filer and another incorporated entity
- Recognize the three triggers that lead to the Schedule J filing requirement
- Identify when compensation provided to contractors is reportable on the Core Form, Part VII, Section B
- Distinguish where the filing organization's financial information is to be properly reported on Parts VIII, IX, X, XI, and XII of the 990 Core Form
- Identify when a change in conduct of program services is considered significant and must be disclosed on Line 2, Part III of the Core Form
- Identify the four types of transactions that require reporting on Schedule L
- Describe the definitions of interested person (IP) applied to each Part of Schedule L
- Recognize the importance of making expanded disclosures via narration on Schedule O for many of the various governance disclosures required on Part VI of the Core Form
Who Will Benefit?
CPAs, attorneys, and non-profit managers
Prerequisite: None
Advance Preparation: None
Tax Section Members Receive Additional Savings!
When you log into this website with your AICPA member user account, the section/credential discount will be automatically applied during checkout. Should you have any questions or encounter any issues, please contact the AICPA Service Center at 888-777-7077 or firstname.lastname@example.com.
Find out more information on the Tax Section.
Table of Contents
System Requirements
About the Publisher


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16 Cattle Drop Dead Near Mysterious Fluid at Gas Drilling Site
ProPublica has been reporting for months about how natural gas drilling is affecting the environment, but of all the causes for concern we've reported, here's a doozy.
Sixteen cattle dropped dead in a northwestern Louisiana field this week after apparently drinking from a mysterious fluid adjacent to a natural gas drilling rig, according to Louisiana's Department of Environmental Quality and a report in the Shreveport Times. At least one worker told the newspaper that the fluids, which witnesses described as green and spewing into the air near the drilling derrick, were used for a drilling process called hydraulic fracturing. But the company, Chesapeake Energy, has not identified exactly what chemicals are in those fluids and is insisting to state regulators that no spill occurred.
The problem is that both Chesapeake and its contractor doing the work Schlumberger, say that a lot of these fluids are proprietary, said Otis Randle, regional manager for the DEQ. "It can be an obstacle, but we try to be fair to everybody," he said. "We try to remember that the products they use are theirs and they need them to make a living."
Hydraulic fracturing -- a process in which water, sand and chemicals are pumped deep underground at high pressure to break rock and release natural gas -- is controversial because of the secrecy surrounding the fluids and because the process is exempted from protections of the Safe Drinking Water Act and thus from regulation by the Environmental Protection Agency. Congress is currently considering legislation to address these issues out of concern that fracturing, and the fluids and waste that are part of the process, may be contaminating drinking water in several states.
Hydraulic fracturing has made drilling more efficient and economical and has helped make vast new reserves of natural gas available across the country, including in New York, Pennsylvania, Texas, Wyoming, Colorado and Louisiana.
Scientists at the EPA and the U.S. Geological Survey have told ProPublica that it's difficult for them to assess the environmental risks posed by hydraulic fracturing chemicals because the companies that use them won't release the exact names and amounts of the chemicals. The energy service companies, including Halliburton and Schlumberger, say that disclosing that information would put them at a competitive disadvantage, and they insist the fluids are safe. Some information about the materials is made available through Material Safety Data Sheets, which can provide cursory medical advice for workers exposed to the chemicals.
The drilling companies have given Louisiana's DEQ a large stack of these sheets. Randle said they contain some helpful information, but it will take the agency some time to weed through them. In the field where the cattle died on Tuesday, the DEQ reports finding a white milky substance on the ground, with cattle tracks leading away to the dead animals. Randle said he is almost certain the substance is a drill fluid or fracturing fluid.
A Chesapeake Energy spokesman told ProPublica that the company is cooperating with the state and is waiting for test results to determine how the cows died. Schlumberger did not immediately return calls for comment. If we hear from the company, we'll let you know.
4 comments
So glad you are covering this ongoing issue. It's got some upstate local residents in NYS upset, rightly so. On WBAI http://www.wbai.org this week, Hugh Hamilton "Talk Back" had a segment, with guest as a result of a caller who had mentioned it in a few call-ins over time. Serious. For people, too.
Thank you so much for your excellent, ongoing coverage of this issue. I live in upstate NY, above the Marcellus Shale, and I am extremely concerned about the potential negative effects of shale gas drilling.
If it turns out that these poor animals were poisoned by some drilling-related substance, then can we look forward to more animal poisonings here in NY? These fluids can enter the environment via spills. They can leak from storage containers at the drilling site. And contaminated wastewater generated by the drilling process is often stored in open pits at the drilling sites. It does not take much imagination to come up with a variety of ways in which these fluids could be ingested by animals. The harm to the animals is disturbing in and of itself, but suppose a dairy cow or a meat animal ingests something that does not produce immediate symptoms in the animal, but which would be harmful to humans drinking the milk or eating the meat?
To further complicate the matter, as the article notes, the gas industry is reluctant to disclose exactly what substances they are using—a situation that greatly complicates and delays the diagnosis of any problems that may be due to the ingestion of drilling fluids.
This is just one more problem in a long, long list of problems associated with this very poorly regulated industry.
No industry should be allowed to "make a living" at the expense of a VITAL resource like water.
Thank you Pro Publica!
Oil and gas has broad exemptions from many of our federal environmental laws.
If you watched 60 minutes last Sunday, you saw how they have polluted the Amazon and you heard the reporter say that it can't happen here. Actually the same EXACT thing is happening all over America. http://txsharon.blogspot.com/2009/05/how-is-wise-county-like-amazon-rain.html
Commenting on this story is closed.
Fracking: Gas Drilling's Environmental Threat
The promise of abundant natural gas is colliding with fears about water contamination.
The Story So Far
The country's push to find clean domestic energy has zeroed in on natural gas, but cases of water contamination have raised serious questions about the primary drilling method being used. Vast deposits of natural gas, large enough to supply the country for decades, have brought a drilling boom stretching across 31 states. The drilling technique being used, called hydraulic fracturing, shoots water, sand and toxic chemicals into the ground to break up rock and release the gas.