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Victoria's research is exploring different approaches to assessment without levels in schools, comparing them with assessment for Key Stage 1 and 2 SATs.
Victoria's research is exploring different approaches to assessment without levels in schools, comparing them with assessment for Key Stage 1 and 2 SATs.
Written by By Sam Clements, Birmingham City University HELS PhD Student and Senior Lecturer at London South Bank University. (also read My experiments with Adapted Repertory Grid (ARG) Technique for more info)
This academic year (my first year as a 'proper' PhD student!) I have been carrying out my main data collection (using the 'evolved method' developed through the control group pilot study) with a group of nested case study participants. Adopting a nested approach to my selection of six case study participants by selecting individual participants who are at different stages in their training and experience will provide the opportunity for a more comprehensive analysis of the data than if they were all at the same stage.
The virtual worlds activity using CC3 gaming software and associated adapted repertory grids are now completed for all participants and my electronic 'perception survey' for the wider teaching community is underway. The purpose of this survey is to infer from my nested case study participants to a larger population. Hammersley (1992) argues that such comparisons with a larger population may allow us to establish some of the representativeness of our single cases. In addition, non-participatory observations of classroom music teaching will be carried out with the nested case study participants. The focus of each observed lesson will be Music Teaching Phenomena (MTP) agreed in advance by the participant and myself, the observer. Observation notes will only describe evidence of teaching and children's learning in relation to the identified MTP. All findings and constructive feedback will be verbally shared with the participant at the time, and subsequently discussed in the form of ongoing blog via a participant Wiki. Observation notes will be coded and analysed using grounded theory.
The schedule for observations will be event driven as I will be bound by the school timetable and the frequency of opportunities to teach music will vary by participant. In addition I am expecting my first baby at the start of May so we shall see how I manage my research schedule with or (hopefully) without too much interruption!
Addressing my Final Research Aim
The final part of my research will utilise the idea of teaching through learning, which means that the lens will be on the participant as a learner as opposed to the university or CPD tutor as a teacher of the learner. This variation on the 'usual' lens falls within Folkestad's summary (1998) of a general relocation of focus from teaching to learning. The focus on the learner necessitates a revision of teaching methods, from 'How to Teach' (with the 'results' of teaching witnessed from the teacher's point of view), to 'How to Learn', and 'What to Learn', so for example in this study how different Music Teaching Phenomena (MTP) are perceived, experienced and expressed in activities by the learner (nested case study participant).
Participants' planned individualised learning will be informed by the grounded theory, co constructed by the researcher and participant, and will be supported by the participant Wiki.
Written by Sam Clements, Birmingham City University HELS PhD Student and Senior Lecturer at London South Bank University. (15th February, 2016)
My research interests are music education, the performing arts, creativity, creative partnerships and teacher identity. The working title of my PhD thesis is 'Defining the X Factors: Enablers and Inhibitors of effective music teaching'.
What is a Repertory Grid?
The type of repertory grid used in my study is an adapted one, where the participant identifies their own elements and is then supplied with a limited choice of suggested constructs from which to select. In a 'true' repertory grid the participant would elicit both their own elements and their own constructs. The constructs presented to the control group for their selection were examples of Music Teaching Phenomena (MTP). Participants were required to choose only constructs (MTP) with which they have experience.
Elicitation of the Elements
The elements for each participant were the codes which were generated through their map making activity. Poles of the elements were elicited by the participant to represent the element and its opposite, or contrast (where more appropriate). Young et al (2005) explain that it is sometimes better to ask participants to generate a contrast rather than simply use a literal opposite because it provides more information about how they perceive it in regards to the stimulus.
Selection of Constructs
The MTP with which participants were presented for selection were divided into two categories, initially entitled:
Critical Reflection
The questions; 'What is 'ability'?', and 'Aren't skills just knowledge in action?' have long been the subjects of debate amongst educationists. Schulman (1986) and his colleagues in the 'Knowledge Growth in Teaching Project' built a model of pedagogical reasoning and action, and a professional knowledge base for teaching that clearly places the emphasis on the intellectual basis for teaching and on the transformation of subject matter knowledge by teachers. They proposed a model of the components of the professional knowledge base for teaching that includes three major categories of content knowledge: subject matter content knowledge, pedagogical content knowledge and curricular knowledge. A key component of the knowledge base for teaching that gives it its special identity according to Shulman and his colleagues, is pedagogical content knowledge, and this component laid the groundwork for the evolving categories of constructs in this current study.
Within pedagogical content knowledge Shulman includes 'demonstrations, examples, illustrations, explanations, analogies', and 'the most useful forms of representation of these ideas'. In my current study, 'demonstrations, examples, illustrations' could relate to constructs around the Musical and the Professional. 'Illustrations, explanations, analogies and representations' could relate to constructs around the Pedagogical. What is being measured through my repertory grids is how participants' aptitude for these constructs is related to their elements.
I consequently revised the construct categories to become:
The Musical and Professional Aptitudes were selected and then adapted (for appropriate relevance to themselves) by each participant. The source for these constructs was a model of outcomes of music education introduced by David Hargreaves (2007). The Pedagogical Aptitudes were selected by each participant from requirements listed within the programmes of study of the 2013 National Curriculum for Music for Key Stages 1 and 2.
Each participant completed their repertory grid, rating their elements (X Factors) against their constructs (Music Teaching Phenomena). The elements were rated from 1 to 9 where 1 represents concordance with the element and 9 represents concordance with its contrast.
Critical Reflection
I observed that the success of the repertory grid activity was dependent to a degree on the rapport developed between myself as the researcher, and the participant. The importance of a careful management of my own subjectivity became apparent, particularly following the repertory grid activity undertaken with participant 1. Peshkin (1988) claims that to identify one's own subjectivity the researcher must undertake self-monitoring to note and address areas of concern. Peshkin's own self-monitoring involved identifying six discretely characterized 'I's' which were aspects of the whole that constitutes him (the researcher) in his particular research context. I therefore began to consider the 'Situational I's' present in the context of this pilot of method.
Following the completion of the repertory grid with the first control group participant, the following principles were applied to the subsequent repertory grid activities with the remainder of the control group: In relation to the 'Justice-seeking I' any musical and life events in the participants' pasts which have had a positive or negative impact upon them cannot be met with judgement (either of the participant or any other individuals involved). The aim of these exercises is not to 'fix' the past. In relation to the 'Non-human research I', self-monitoring is necessary to ensure that whilst a good rapport is established whilst the appropriate boundaries are observed. The use of 'leading questions', or intentionally driving the activity towards the pursuit of rich data must be avoided.
My rationale for the planned method centred on the idea of utilising research exercises which were situated within the participant's life, rather than the participant being situated within the research project, in order to create a non-agenda-biased context where rich data was elicited on the participant's terms. Initially that was a failed rationale, as the first version of the mapping exercise failed to elicit any rich data at all. Critical reflection revealed a fundamental flaw in approach; there were barriers to successful execution in terms of the practical aspects of making the map (for example drawing, space awareness, 'thinking in layers') and a lack of opportunity for participants to reflect, revise and return to their maps in an on-going way. The evolution of this activity to experiment with fantasy gaming software to create 'virtual worlds' not only intrigued and engaged the participants and researcher with the possibilities, but ultimately removed the barriers obstructing their success with the task.
The second round of reflection and evolution emphasised to me the importance of using discriminate terminology related to method. Shulman's (1986) 'pedagogical content knowledge' offered a lens through which I could closely analyse 'abilities', 'skills' and 'knowledge' and re-interpret these for greater meaning in my study.
Finally I reflected upon the importance of monitoring my 'researcher subjectivity' in the early stages of Adapted Repertory Grid (ARG) interviews. With help from Peshkin (1988), I identified my own 'Situational I's' resonating with this method monitored my own subjectivity during ARG interviews with subsequent participants.
Undertaking the pilot study enabled me to test my method through a three stage process; of implementation, critical reflection, and evolution. The experience provided significant 'prior preparation to entering the field' (Sampson, 2004) and the outcome is an 'evolved method' which has grown to become a more effective, reliable and valid version of itself.
Thanks for reading! I hope it's been interesting (if a little long..) I'll send an update hopefully with some findings, post baby!
A number of BCU staff and research students write their own blogs which are full of interesting reflections and ideas. Here are some
Written by Sam Clements, Birmingham City University HELS PhD Student and Senior Lecturer at London South Bank University. (15th January, 2016)
Research Background: The National Plan for Music, and the trial ITT modules
In September 2010, Darren Henley, Managing Director of Classic FM, was commissioned by the Secretary of State for Education of the coalition government, Michael Gove, to undertake a review of Music Education in England. The Henley Review lays down recommendations for minimum expectations of what any child going through the system should receive in terms of an education in music.
The purpose of developing a 'National Plan for Music' was introduced by Henley as the means to 'tackle the patchiness' in the quantity and quality of music education available across the country. My interest lies with the implications for the 'core workforce'; that is the primary school teachers, and primary teacher trainees in the classroom. The part of the plan to 'boost new teachers' confidence and skill in teaching music' included the trialling of new primary music Initial Teacher Training (ITT) modules during the Summer break of 2012 following the completion of trainees' one-year Post Graduate training (PGCE) courses, and before they took up their first posts as newly qualified teachers. These trial modules were delivered by selected ITT providers who successfully bid for funding from the Teaching Agency (now the National College for Teaching and Leadership (NCTL)) to devise, implement and evaluate their modules.
21 institutions were awarded various amounts of funding each; of which London South Bank University was one. My paper presented at the Teacher Education Advancement Network (TEAN) Aston Conference of May, 2013, entitled, 'How can we improve training in music within primary ITT programmes to best meet and develop the competence and confidence of teacher trainees?' (Clements, 2013) evaluates the short and medium term impact of the music module we carried out at London South Bank University with PGCE students in July 2012, who were then tracked as newly qualified teachers over their first term in school, to January 2013. The paper discusses the implications for the development of training programmes arising from our module, which in turn led to the preparation and validation in March 2013 of a new optional Performing Arts Education module (worth 30 Masters level credits) within our PGCE course.
Incidental Themes arising from the trial modules
My current research investigates themes from the trial music module. What emerged from this module very clearly was the apparent influence of individual musical or other background factors (for the purposes of this study I have called them the X Factors (XF)) on Student Teachers' ability to engage with and teach different aspects of classroom music effectively. For the purposes of this study I have used the term Music Teaching Phenomena (MTP) to mean different aspects of primary classroom music teaching. It was not possible to investigate these emerging themes during the music module due to the pre-set aims and restrictions of that study, thus leaving me with 'incidental questions', which have inspired this current piece of PhD research.
During the music module a number of student teachers appeared to challenge common stereotypes; here are some examples: Those with the XF: High level of formal musical training, were not always 'the best' at teaching all aspects of music; issues arose around the following MTP: Ability to improvise with children and The use of freer (and less musically accurate) forms of notation such as picture scores. Student teachers with the XF: No formal training but with a family or cultural musical background, were often found to be the most musically creative in a classroom context (MTP); however psychological barriers arose around issues of musical self efficacy (MTP) and use of tools such as staff notation (MTP).
The aims of my research therefore are to identify and analyse the underlying 'X Factors (XF)' influencing aptitude for Music Teaching Phenomena (MTP), to catch the interplay between them, and to devise an effective framework for developing individualised training strategies for teachers at different stages in their experience.
Pilot of Method
I carried out a pilot of my method using a control group to test the planned method for collecting data related to the following research objectives:
The method involved two exercises, both related to personal construct theory:
The control group consisted of four participants all of whom were trainee teachers at the time.
The two exercises worked in conjunction as tools to uncover what was present, in terms of internal X Factors, and look at them closely – whatever they might turn out to be – rather than having a pre-determined agenda such as those agendas which permeate traditional interviews or questionnaires. Charmaz (2006) describes methods which are too agenda biased as being incapable of generating 'rich data'. With this method, there are no questions. The participant sets the agenda right from the start, deciding what topics are, or are not, important to be represented and/or discussed.
Participants code their own data, in a way that is meaningful to them.
They elicit their own elements from those codes, generating poles for those elements and their contrasts. This enables the research activities to be situated within the participant's life, rather than the participant being situated within the research project.
In this method the outcomes of exercise 1 inform exercise 2. Therefore exercise 1 must be successfully completed before exercise 2 can take place.
The method was a little experimental and a pilot was most definitely necessary, as the outcomes proved!
Exercise 1: Map Making (critical incident charting)
The control group was introduced to the idea of mapping an individual's 'musical journey' from birth to date using their own words and pictures/diagrams around a journey line, by showing them an example map. Following this,
participants were invited to make their own maps, representing their own journey in any way they chose, from a straight and smooth pathway to a traumatic path with twists and turns.
The critical incidents shown in their map could include for example, musical experiences in their lives as children, adult music makers and teachers of music. Participants were encouraged to include core life events and personality/identity development within the map. Large poster paper and coloured pens were made available for the participants, who completed this exercise independently. All four participants completed the exercise at the same time, in the same place (a university classroom). It was intended that the X Factors which the map exercise uncovers for each participant would subsequently be analysed to generate codes which would become the unique, personalised elements for the participant's Adapted Repertory Grid (ARG). These elements would then be rated by that participant against their personally selected constructs (Music Teaching Phenomena (MTP)) in order to uncover connections between them.
Critical Reflection
The control group found the map making exercise difficult – not to comprehend, but to execute. Some participants claimed to be inhibited by their artistic ability (their perceived lack of it) and found managing the space on the poster paper a challenge. They had ideas but struggled to convey these on paper, some started well but then reverted to 'writing lists'. They felt their outcomes lacked depth, almost as though they were trying to represent in a 2D way 3D concepts, or layers of meaning. All the participants expressed a desire to 'do the task well' – two participants requested that they re-draft their journey maps after they had finished them. Two participants stated that they felt they had used too much writing on their map, that it strayed from the main points they wished to portray, and that they needed time and tools to re-focus their work.
The maps produced by the control group had not effectively uncovered X Factors for which any effective coding could be undertaken. The maps were descriptive rather than analytical and stated 'what happened' rather than telling the story behind 'what happened'. It became clear that participants needed the opportunity to reflect, revise and return to their maps in an on-going way. There were barriers to successful execution in terms of the practical aspects of making the map (for example drawing, space awareness) and critical analysis or 'thinking in layers'.
Evolution of Method
The United States television series CSI: New York broadcast an episode entitled 'Kill Screen' (2014), set within the world of competitive gaming. The main character in the episode creates a virtual world for his avatar (his virtual self), complete with physical and human geographical features which interconnect different aspects of his life. In the episode, the features of this virtual world were selected by the gamer; he selected ideas and icons which had meaning for him and would represent his world, whether that be in the realm of reality or the world of fantasy.
Inspired by this idea I began to investigate software designed to enable gamers to create their own virtual worlds. Campaign Cartographer 3 (CC3), (2014), created by Pro Fantasy Software is a map making programme which enables users to create simple maps and worlds for campaigns and games. The software includes a wide choice of fantasy mapping symbols, styles and types so that users can set their 'world parameters' such as size and geographical features (terrain type, % of water to land), and introduce features to represent critical incidents, how they are situated within a journey map, and how they are interconnected.
The software was introduced individually to each participant of the control group. Through the medium of this software the mapping exercise evolved into something which could be executed with relative ease.
Participants were able to successfully import into their virtual world physical icons to represent their musical and life critical incidents, and plot a route to join the icons together to show connections.
They were able to review and revise their worlds in an on-going way over the course of the exercise.
Data Coding
Burnard (2012) makes much use of Bourdieu's 'Thinking Tools' of field, habitus, capital and practice to understand the creative musical practices of the musicians participating in her project. She uses these thinking tools to structure her analysis of how these musicians think, act and create; to understand what their practices are grounded in; and on what capital rests the processes and principles of their practices. These same thinking tools were used as a conceptual framework to aid the participants and I to collaboratively extract and make sense of the X Factors present within their virtual worlds. The answers to the question; 'How did/does this participant think about, act about, and create (this performance, this composition, this music lesson, this experience)?' and the question; 'On what capital rests the processes and principles of this particular practice?' helped to generate the codes which were elicited from the dense virtual worlds data.
Once their virtual world had been created participants were asked to narrate their journey around it. The significant underlying musical and non-musical X Factors influencing their journeys were uncovered in detail as these narrations were transcribed. After the narration stage the X Factors which had been identified were discussed and the participants organised these into codes. Their codes became the elements (of the self)/X factors which were then used in their Adapted Repertory Grids (ARGs).
Thanks for reading! I think that's more than enough for now – but I'll write more, about the ARGS and their outcomes in due course!
Written by Sam Clements, Birmingham City University HELS PhD Student and Senior Lecturer at London South Bank University.
My research interests are music education, the performing arts, creativity, creative partnerships and teacher identity. The working title of my PhD thesis is 'Defining the X Factors: Enablers and Inhibitors of effective music teaching'.
My long route to full time PhD Study…
I made the decision to begin a PhD in September 2013 having worked for 13 years in education after qualifying as a teacher in the year 2000. My first two years as a PhD student were subsequently undertaken in a (very) part time capacity! I had a full time post as a Senior Lecturer in Education within the Department of Education at London South Bank University (LSBU), where I was course director of two different undergraduate Education degree courses. In addition I was teaching and leading modules on the primary PGCE course (with all the school supervision that entails) which allowed me very little time left to carry out the reading and research required for my PhD studies. To compound things, having moved to Oxford for my husband's work I had been travelling up to 6 hours each day into London to work and back since February 2014.
Eventually, in the Summer of 2015, it became clear that things could not continue as they were, and I finally decided to give up my job in order to concentrate on my PhD full time from September 2015. A scary decision! I have retained a small portion of my teaching at LSBU, in particular the Masters level module in Performing Arts Education which is an optional part of the primary PGCE course. The subject area of this module is my main area of interest and having written and validated the module in March 2013, I was feeling far too possessive to give it up! However, I have not missed the managerial side of my former job for even one second.
It is a real shame that the culture and way of working within HE often makes it virtually impossible for full time academic staff to carry out any research.
A lecturer in education who does not actively research education makes no sense to me.
I spent two years as Primary Music Consultant for Hertfordshire Advisory Service before arriving at LSBU in September 2011. Prior to this I had accumulated ten years of experience in a wide range of primary education contexts, specialising in music and the performing arts, including teaching posts in the UK and Australia.


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Yesterday this site announced the next concert that MUSA would be giving in the Noontime Concerts series. Another offering worth considering will take place this coming Tuesday in this regular offering of events that calls itself "San Francisco's Musical Lunch Break." The occasion will be the latest visit to the Bay Area by Hungarian pianist Péter Tóth. Tóth has been a frequent visitor and has given several recitals in the Old First Concerts series since 2007.
Hungarian pianist Péter Tóth (from the Noontime Concerts event page)
He has prepared a program that will be divided between Frédéric Chopin and Franz Liszt. His Chopin selections will be the first (in C-sharp minor) of the two Opus 26 polonaises followed by the three Opus 15 nocturnes, in the keys of F major, F-sharp major, and G minor, respectively. The Liszt portion will begin with the B minor ballade and the second Hungarian rhapsody. They will be followed by the first (Swiss) "year" from the Années de pèlerinage (years of pilgrimage) collection.
This performance will begin at 12:30 p.m. on Tuesday, March 13. As always, these concerts will take place at Old Saint Mary's Cathedral in Chinatown. The cathedral is located at 660 California Street, on the northeast corner of Grant Street. There is no charge for admission, but this concert series relies heavily on donations to continue offering its weekly programs.

subset: commoncrawl


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Today, Rick lead the service by presenting information about how the historical man Jesus came to be considered to be God. That is to say how did an itinerant Jewish rabbi in Palestine who taught people to praise God end up being considered to be God himself (equal in every way with the Father and the Holy Spirit) by people who started a new religion which was dedicated to the proposition that the founder of the movement was an equal to God. Its a lot to take in. (Spoiler alert! We are a Unitarian Church and the one thing that Unitarians agree on it is that Jesus and the Holy Spirit are not co-equal with God.)
This is a difficult topic to summarize. In the early church (First Century) the followers of Jesus began to think of him as the son of god after he died. Some in the early church believed that Jesus became divine at the crucifiction. Some thought that he became God at is baptism. Some thought he became divine at birth. And some thought he was God with God (Yahweh) from the beginning of time.
Then the Romans got involved in the person of the Emperor Constantine. Constantine wanted the Christian Theologians to agree on one answer. He did not care particularly what the answer was, so long as they agreed on something. This was the Council of Nicea held in about 325 A.D. Their answer is found in the Nicene Creed which has been adopted by all the major sects of Christianity. And that answer is that God and Jesus co-existed from the beginning of time, both are the same "true-god."
If you find the Council of Niceas' answer troubling, you just may be a Unitarian. Unitarians do not believe in multiple gods. Come visit and give us a try.


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Honeysuckle bushes are sweet-smelling, pretty and create a rich-tasting nectar that may be sucked right out of the flower. But honeysuckle bushes are also incredibly invasive; honeysuckle's dense undergrowth prevents other plants from growing around the bush, even grass. Honeysuckle must be carefully controlled, if not removed entirely, to protect the health of nearby plants. Learn how to identify honeysuckle bushes and distinguish them from other types of shrubs, to save your garden from this plant predator.
Notice the plant's overall characteristics. Bush honeysuckle grows up to 15 feet in height, growing with an upright, shrublike appearance. Many spreading branches form at the base of the plant.
Wait until mid-spring, when the identifying characteristics of the honeysuckle bush will be most recognisable.
Observe the leaf growth. Bush honeysuckle leaves grow in an opposite pattern, which means that they will not line up on either side of the stem but grow in a staggered pattern instead.
Look at the leaves. Bush honeysuckle leaves end with a sharp, tapered point.
Examine the flowers. Bush honeysuckle will bloom very small, aromatic white flowers that blossom after the leaves have unfurled.
Look to the ground for the dense undergrowth that is common with bush honeysuckle. The undergrowth will grow so thickly it almost completely shades the ground beneath the plant, making it all but impossible for other types of plants to grow.
Observe the flowers in summer and fall. The white flowers of the honeysuckle bush become red berries during fall months.
Most recent
- Jupiterimages/Photos.com/Getty Images


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Gwyneth Paltrow in a film adaptation of Emma, written by Jane Austen
Fashion has always proved to be an indicator of the times. It's whims mirror the populations' take on political, social, and religious matters. Like waves, it will go from flashy extravagance in times of blind prosperity, to toned down modest frocks in times of political unrest.
A great example is the short period after the French Revolution, in which great scrutiny came to lavish styles. As the political field turned into more democratic ways, so did the fashions. Women took a note from the Roman classics, and brought back the "empire" waist, allowing the female to rid herself of the binding corsets, and to enjoy the ease of breezy styles.
During this time, roughly the mid 1790's to 1820's, the Regency fashions reigned and women embraced their natural figures. Here is a collection of the beautiful romanticism that came from that time.


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6.2 Processing and transformation of the separate goods is made for us as manufacturer ("Hersteller") in the sense of sec. 950 German Civil Code (BGB), without obligation to us. Processed and trans-formed goods are deemed to be separate goods within the meaning of clause 6.1 above. In case of processing and transformation, combining and intermixture of the separate goods by the Cus-tomer with goods of other origin to a new product or to an intermixed stock, respectively, we be-come co-owner of it, namely in the ratio of the invoiced amount of the separate goods at the time of delivery to the value of the other processed or the intermixed goods, respectively. The co-ownership share is held as separate goods within the meaning of clause 6.1 above.
6.3 If separate goods are connected with other goods and if goods belonging to the Customer are to be regarded as the principal good within the meaning of sec.947 German Civil Code, it is hereby agreed that the co-ownership share is transferred to us in the ratio of the invoiced amount of the separate goods to the value of the principal good and that the Customer holds the goods in safe custody for us free of charge. The co-ownership share is held as separate good within the meaning of clause 6.1 above.
6.4 The Customer shall hold the separate goods in safe custody. At any time and upon our request the opportunity of stocktaking and stock marking at the warehouse must be given. The Customer shall notify us immediately of any seizure or other interference of third parties in respect to our property rights and will provide us with all documents and information necessary to oppose such interfer-ence with all legal means.
6.5 The Customer is entitled to resell the separate goods exclusively within the ordinary course of business according to his usual conditions provided that he also ensures retention of title as stipulated above and if it is ensured that his claims arising from the resale pursuant to clauses 6.6 through 6.8 below are transferred to us.
6.6 The Customer hereby assigns to us all claims he acquires against his buyers through the resale of separate goods, also within the scope of contracts for work and contracts for delivery of work, with all subsidiary rights. The assigned claims shall function as security for our claims to the same extent as the separate goods. The Customer is only authorised to assign claims to third parties with our prior written consent.
6.7 If the Customer sells the separate goods together with other goods not supplied by us, the claim following from such sale shall only be assigned to us up to the amount invoiced by us for the respective separate goods at the time of delivery. For the resale of goods, for which we become co-owners pursuant to clause 6.2 or clause 6.3, respectively, the assignment of claims is valid up to the amount of the co-ownership share.
6.8 If the assigned claim is taken into a current account, the Customer hereby assigns to us a corresponding part of the balance of such account, including a deficit balance.
6.9 The Customer is authorised to collect the claims assigned to us pursuant to clauses 6.5 through 6.7 above on our behalf until revocation of this right by us.
6.10 If the Customer does not fulfil his obligations under this or any other contract entered into with us or if circumstances making the creditworthiness of the Customer doubtful become known to us, - we are entitled to prohibit the resale, the processing and transformation of the separate goods as well as the combination and intermixture with other goods; - we are entitled to rescind the contract; in this event, the Customer's right of possession of the separate goods terminates and we are entitled to demand surrender of the separate goods; the claim for surrender is deemed as rescission only if the rescission is expressly declared by us; we are then entitled to enter the Customer's business premises and take possession of the separate goods at the expense of the Customer and to sell it by private sale or public auction at the highest price possible, notwithstanding the Customer's financial obligations and other duties; after deduction of the costs of such sale the proceeds thereof shall be used to reduce the Customer's debt; any remaining surplus shall be made available to the Customer; - upon our request the Customer shall provide us with the names of the debtors of all claims assigned to us to enable us to disclose the assignments and collect these claims; the Cus-tomer shall forward to us any payments he receives on claims assigned to us immediately upon receipt if and as soon as our claims against the Customer become due; - we are entitled to revoke the Customer's right to collect the claims assigned to us on our behalf.
6.11 If the value of the security provided to us exceeds the aggregate of our secured claims by more than 20 %, we are under an obligation to release security of our choice to this extent at the request of the Customer.
7. Warranty/Liability
7.1 Any documents, article information, photographs, and items, such as drawings, texts, logos, images, visual / audio-visual recordings, samples, or models (subsequently also referred to indi-vidually and jointly as "materials") that we provide to the customer in the context of our services, shall remain our property. We hold trademark rights, copyrights, and other related rights – as de-fined by the copyright act – to these documents and items. The customer may only disclose the provided materials to third parties or to publish them, subject to item 7.2, or to our prior written approval.
7.2 Our customer has the right to use the materials that we provide them with for presenting and advertising individual products, from the time they have ordered the goods in question, and for the sole purpose of selling and advertising the respective products purchased from us. Under these conditions, the customer may also provide the materials to sales platforms (such as Amazon) for use. Unless otherwise arranged for in an individual written contract, the customer's right to use the materials shall expire 3 months after the last products were sold, or after they ceased to offer the products for sale. The product photos and logos provided for download must only be modified subject to our prior ap-proval.
8. Documents, advertising material / rights of use
8.1 The Customer shall diligently examine the goods immediately upon receipt at the place of destination, also if models or samples were delivered in advance. The goods are to be particularly examined with respect to their external quality. If boxes, cartons or other containers are delivered, samples have to be taken at random. The goods shall be deemed to have been accepted without any defects, unless the Customer notifies us of any defect within ten (10) days after receipt of the goods at the place of destination or, in case of hidden defects, within ten (10) days after the defect was discovered. The notification must be made in writing or by telefax and has to specify the defect. All such notifica-tions of defects of goods must be addressed to us directly.
8.2 Any damages to goods in transit and incomplete delivery have to be notified immediately to the forwarding agent; the notification obligations pursuant to the German General Conditions for Forwarders (Allgemeine Deutschen Speditionsbedingungen) shall apply.
8.3 If a notification of defects is justified and has been made in due time we shall subsequently perform through remedying the defect or replacing the delivered goods according to our choice.
8.4 If subsequent performance or replacement of the goods does not remedy the defect, the Customer may demand a reduction in the purchase price or rescission of contract. In the case of minor de-fects, the Customer is not entitled to rescission of contract. If the Customer chooses rescission of contract after such unsuccessful subsequent performance, he is not entitled to any additional damage compensation.
8.5 In case the Customer receives a defective instruction sheet, we are obliged to deliver a sufficient instruction sheet only and only if the defect of the instruction sheet prevents a proper installation.
8.6 The provisions above contain the final and complete warranty for our goods. For any further claims for damages caused by the delivery of defective goods, we can only be held liable pursuant to clauses 7.7 and 7.8 below, irrespective of their legal basis.
8.7 For any claims based on misconduct, irrespective of their legal basis, e.g. default, delivery of defective goods, violation of contractual duties, violation of duties during contractual negotia-tions, torts, product liability (with the exception of the liability under the German Product Liability Act, "Produkthaftungsgesetz"), we can be held liable for damages in case of a wilful act or gross negligence only. We are not liable for negligent conduct of a minor degree, unless the contractual purpose is thereby substantially endangered. In any event, our liability shall be limited to fore-seeable and typical damages. This restriction does not apply to injuries suffered by the Customer to his life, body or health. Personal liability on the part of our statutory representatives, persons engaged in performance of our contractual obligations or employees for damage caused by them by negligent conduct of a minor degree is excluded.
8.8 Warranty claims of a Customer shall become time-barred one year after delivery of the goods. The Customer's rights to replacement shall become time-barred one year after delivery of the goods. This shall not apply where we can be accused of fraudulent intent.
8.9 Agreements between the Customer and his Customers beyond the statutory warranty claims shall have no affect to our disadvantage.
9. Applicable Law/Jurisdiction
9.1 The relations between us and the Customer are governed by the laws of the Federal Republic of Germany. Neither the UN-treaty (CISG) nor any other existing or future bilateral or international treaties, even if implemented into German law, shall be applicable.
9.2 Place of jurisdiction for all disputes arising from or in connection with the contract shall be at our choice either Reinbek or the company seat of the Customer; for lawsuits filed by the Customer, exclusively Reinbek. Any statutory provisions regarding exclusive jurisdiction remain unaffected.
10. Concluding Provisions
10.1 Any alterations and amendments to the contract, including this clause, must be made in writing and signed in order to be valid. This shall also apply to any supplementary and additional agree-ments. 10.2 Contracts with legal persons constituted under public law and public separate estates shall be treated as contracts with commercial businessmen.
10.3 If a provision herein is or becomes partly or completely invalid, the invalidity of this provision shall not affect the validity of the remaining provisions of this contract. The invalid provision shall be replaced by a valid provision reflecting in an economic respect as closely as legally possible the objectives of the invalid provision. This applies also to issues the parties intended but failed to address.
Boltze Gruppe GmbH • Alte Landstr. 42• 22145 Braak June 2019


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I'm starting to understand what true love really means. It's an involuntary act of genuine concern. When you love someone, you are in love with their entire being. You care about their feelings, their level of contentment, their state of happiness, their personal well-being, their endeavors, ambitions, goals and desires. You are attracted to their very essence of life. You are compassionate towards them and consider them when making decisions. They have the ability to alter your behaviors because of how much you care about them. You are influenced by
My uncle once told me no man will ever leave a woman alone until she leaves him alone. I was in a miserable relationship at the time in which we broke up, made up and broke up again. He did so many horrible things to me that I am literally too embarrassed to share. I was too weak to break the relationship on my own and prayed my crazy ex would just leave me first, but that never happened. My family was extremely annoyed that I would allow a man
Today is my Mother's Birthday and I wanted to do something great for her. Usually I purchase something extremely nice that I wouldn't even buy for myself, not to make myself look good, but because I genuinely enjoy making her feel special. But the way my finances are set up right now, my budget is too low. Not sure if I should put my finances on blast, but I'm just like everyone else my age who is a middle-class American with an education, career and no children living paycheck to
Trust me I'm no expert when it comes to dating and have had my fair share of broken hearts on the battlefield. However, I'm no idiot either and finally learned a few lessons from my mistakes. Since then I have developed my own philosophy of dating that I especially wrote for my ladies, but feel any gender can benefit. It's not that God chooses who He will and will not bless with a good partner, it's up to you to understand what kind of person you are as well as


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It's the most wonderful time of the year – Auto Show season! It's started with The North American Auto Show in Detroit. For the next two weeks (Jan. 13-28 to be exact), you can learn and exp...Read More
Tag: Canadian Auto Show
Markham Infiniti | Canadian Auto Show
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This retreat has been cancelled due to Coronavirus. We will plan to hold this retreat in Amsterdam in 2021. More information will be available soon.
Advanced Clinical Hypnosis
Milton Erickson and Healing Trance
June 17 & 18, 2020
Amsterdam, the Netherlands
A two-day retreat designed for all helping professionals.
Advanced techniques, including Ericksonian methods. Milton Erickson, a psychiatrist and hypnotist, revolutionized the understanding of utilizing the unconscious in the service of change and is considered the greatest therapist of the twentieth century. His use of rapport and various inductions will be demonstrated and all participants will have practice time with feedback for inducing healing trances.
This time will deepen your own insight and give you valuable interventions for dealing with both ego-strengthening and ego-transcendence.
€ 275
Centrum De Roos
P.C. Hooftstraat 183
1071 BW Amsterdam
Meeting Schedule:
Wednesday June 17th and Thursday June 18th (Both Days)-
Check in starting at 9am
Video BBC Hypnosis: 10am – 11am
Session with Eli: 11am – 12:30pm
Session with Jared and Lisa: 2pm – 4pm
Session with Eli: 5pm – 6:30pm


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Women's Footwear
Like the Late Oscar De La Renta said, "Walk like you have three men walking behind you." Footwear's are a thing that can completely give a makeover to your ensemble. You can never consider yourself badly dresses if you are wearing the right kind of shoes.
Knowing what footwear to wear when is something that needs to be learnt. Like how you cannot wear jewel-studded footwear to office, simple plain ballerina's can pull down your look when worn to a party. Women's footwear has a whole list by itself that even the women herself could get confused. A question often asked, "What footwear should I wear with jeans?", "What footwear should I wear with jewellery?" has again a whole set of answers. For e.g. If it's a slim fit jeans, then high heels is a smart choice and if it's a boot – cut, wedges do well. Ballerinas are good for long days while kitten heels can keep you standing for 2-3 hours.
Although every woman wants to own all the footwear trends, it takes time to understand the event, the style and the occasion it needs to be worn to. While there are plenty of options for the common girls and women, one must be careful while selecting footwear while pregnant. While the weight of the woman's body increases, she needs to know what type of shoes to wear. Pregnant women are mostly expected to wear only flats or at the most wedges while they are pregnant. But these days, women follow celebrities and wear high – heels too.
Ladies, whatever you wish to wear, it's your call. But always remember that safety is the utmost priority for all and next comes comfort. If you feel uncomfortable in a particular style of footwear, just let it go, wear something better and more adaptable for your style.
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text: |Use of this website is conditioned upon your acceptance of the Terms and Conditions of its use. Homefindinginfo.com is intended for informational purposes only, and does not take responsibility for the performance or non-performance of any entities you find within its website. Be advised to do your own research regarding the competency of any entity with which you may do business. Re: Home Value Requests - Our online Find Home Value service not available everywhere. The service is designed to assist you to find your home's value by using local home prices and recent sales of comparative properties to yours. Always consult a licensed real estate agent or appraiser to find the most accurate home value.


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A bit gory this week. ENJOY!
Chopping all the way through the neck, muscle, bone, and all with only one finger? He is stronger than he looks…
Ohhhhh yeeessss ><
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Entry price: € 3.00
€ 1.50 up to 15 years. Free: disabled people and carers, teachers accompanying journalists. Taste of Ham: € 3.00 - Red: € 1.80 (for children under 15 years), tasting of typical wines with € 9
Always open
Tuesday-Friday and by appointment for groups of 15 people min. Saturday, Sunday and public holidays 10-18 (reservations required for groups)
Telephone: +39 0521 355009
An ancient origin
The museum of Parma Ham is the second step of a project dedicated by the Province of Parma to worldwide famous gastronomic products of this land: Parmigiano-Reggiano cheese, Ham and Tomato.
Located in the former Foro Boario of Langhirano, built in 1928, the museum covers an area of more than 500 square metres and is divided into several sections illustrating the history, techniques and recepes from the origins to the present days.
In the shop, annexed to the museum, are on sale books, kitchen wares and typical products.
The name Prosciutto derives from the Latin prae exuctus, meaning dried. The secret of Parma ham is salt, the most natural and genuine of curing methods.
History and production: since Roman times the unique air of this land, dry and sweet-smelling with aromatic breezes from the Apennines, have created the perfect conditions for a natural drying of high quality hams.
For centuries hams have been patiently salted and lovingly cured by experts on the softly rolling hills around Parma. Cured with air, salt and nothing else, rosy-hued and fragrant Parma ham is widely considered the world's best prosciutto.
Nothing is added to Parma ham except salt and the curing is carefully controlled and measured by trained experts, the Master Salters, giving the distinct sweet flavour for which Parma ham is famous world over.
Only the stamp of the five-pointed Ducal Crown qualifies the true Prosciutto di Parma.
The fire branding is the final certification that all the processing stages have been carried out correctly and rewards the commitment and patience of the Parma ham producers.
Guided tours for groups of maximum 25 people are available. The tour lasts approximately one hour at the cost of € 20,00 plus entrance tickets. On request tasting of typical food.
Source: local Staff Parma


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NCAA Division II, Intramurals, and Club Sports: Play for the Paw! We offer athletic opportunities ranging from 13 NCAA Division II programs to club sports such as rugby, curling, and wrestling, and intramurals.
Rugby Club President right here.
Are you?
Yeah, I am.
There you go.
So I'm doing OK.
All the experiences I have on the Rugby Club been very positive. There's just so many things you can do with rugby, like games, and going and traveling and seeing everywhere. Like the three national championships that I've been at, we've seen so much of the country already, and just met so many people through it.
The school does provide us with numerous amounts of things that we need for training. We have two fields to train on. One of them is meant just for us, and it's our soccer facility. We have our own trainer. And every day after practice, and especially after games, we're expected to go in to ice bath for 10 minutes, which is a little cold, but it helps a lot.
Another thing that's really cool about Wayne State College is that it prides itself on having its athletes maintain an average GPA of 3.0 or higher, and that includes Division 2, and club sports.
A lot of the intramural leagues that we have on campus include like sand volleyball and coed sand volleyball, soccer. Sometimes they're really fun to get involved in. I think I've even played basketball. And there might even be like a kick ball league. So there are so many intramurals that you can do here on campus.


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Enduring miscarriages can be one of the most painful experiences for a couple. When this happens, how can friends and family comfort those who mourn? And how can the church come around a grieving couple? Jessalyn Hutto, who experienced her own miscarriages, joins the podcast to give pastors and church leaders helpful advice.
Podcast: Play in new window | Download
Subscribe: Apple Podcasts | Android | Google Podcasts | RSS | Stitcher
Show Notes
- Book: Inheritance of Tears: Trusting the Lord of Life When Death Visits the Womb
- Twitter: @jessalynhutto
- Website: jhutto.com


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Designing a room might be inspiring but there is also a great deal of challenge involved. There are so many ways to fill a room and adorn it with wall arts and design furniture. But how do you start? What is the best way to put all of these decorative pieces together? How do you know that you are using just enough décor? Or are you cramping the room? There are several questions to think about in order to produce a beautiful and functional design for your home.
To be specific, furniture arrangement remains as one of the trickiest parts of home decorating. Some furniture pieces are too bulky that they take up a lot of space. It is therefore a challenge to incorporate them into your room design without overwhelming the entire space. Hence, you need to check into some guidelines when designing your home using modern design furniture.
Think about function first. It is easy to get overwhelmed with your design ideas and theme. However, do not lose sight of the furniture's functionality when trying to arrange them in a specific room in your home. Consider who uses the room and how many people are expected to use it. The answer will determine the size of furniture you need and how to arrange them together.
Establish a focal point. The best home décor ideas revolve around a focal point. This will ensure harmony and balance with all of the other design elements. Using this focal point, you will be able to easily orient how the furniture will be arranged in a room. This approach also enables you to make better use of space because the décor pieces are placed strategically.
Go for symmetry. This is somewhat related to choosing a focal point; however, symmetry is something to give more focus on when you arrange a design furniture. This is recommended when you want to give a formal look and feel into a room. Meanwhile, an asymmetrical design works best for casual spaces.
Contrasting pieces. One of the distinctive features of contemporary and modern home design is the contrast of textures and pieces. For instance, if your furniture is solid colored, try to break it up by adding abstract or vibrantly colored painting on the wall. Meanwhile, you can pair a linear style of sofa with a leggy or round table. There are no hard and fast rules to follow on this one – you create your own rules! This is where the fun and creativity begin!
Consider the traffic. Avoid the urge to put too many furniture and furnishings within a room that they become a distraction to foot traffic. If a specific room in the house gets a lot of foot traffic, try to strategically place your furniture so they do not get in the way of traffic.
Are you ready to start re-decorating your home? You can now shop for design furniture online at http://www.risenn.com.au/ using these decorating guidelines. Hence, you can not only enjoy a beautiful living space but one that provides a cozy and warm retreat for you and your family. Check out Risenn's website to get more options for furniture, furnishings and accents to help you create your dream home.


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Looking for one way taxi from Ajmer to Kekri, then Bookcab is the answer for this. Bookcab provides Ajmer to Kekri one way car hire services at affordable rates. Taxi fare for Ajmer to Kekri one way car rental starts from INR 2575. Ajmer to Kekri route is spread over a distance of 78 Km. Ajmer to Kekri cabs can cover the distnance in 1 hour 18 mins. Hire a cab from Ajmer to Kekri one way drop with Bookcab's reliable online cab booking services. You can chose from a wide variety of cars including a/c and non a/c, from Hatch back, Sedan and SUV's for your Ajmer to Kekri one way taxi.
For more options on Ajmer to Kekri taxi, check our car rentals page.
(0)92 4100 4100


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So, you have gone through the back-breaking task of packing up your home. Your removalist are on-route to your new house. Think you're already done? Nuh-uh! Once your movers have delivered your boxes and furniture to your new residence, then it will be time to unpack them. Other people find this step stressful since you don't only unpack, but you also inspect your stuff and account if everything has arrived safely. Unpacking as soon as you arrive will allow you to immediately spot damaged or lost goods, which will in turn allow you to notify your removalist about reimbursements.
The following are unpacking tips you might find helpful.
#1 Clean Your New Home
Before moving your items into the storage units of your new house, you must clean the areas first for bedbugs or cobwebs. Even if you're done cleaning your entire abode before the move, you must conduct still another inspection just to be on the safe side. But if you aren't done preparing your house, then you have to store the boxes in a safe area first and start cleaning your new abode.
#2 Prepare Your Unpacking Equipment
The next step is to prepare the equipment to be used in unpacking. You'll need a utility knife to open the boxes. You will also need other tools including a screwdriver and a hammer to take care of the other stuff (for example, a nailed down wooden storage unit might require that you pry off several nails). A recycle bin where your cardboard boxes will be stored will also be useful too.
#3 Room Planning
You have to make area estimates where a number of items can fit in. This will help you decide in determining which items go where (except of course for the obvious cases like the cutlery, et cetera). Doing so will give you an idea about each room's item capacity.
#4 Make Your Inventory List Your Reference
Before the move, you are expected to have a copy of the inventory list either provided by your expert movers or one that you made yourself. Do not lose this and always keep it at hand. You'll need it to account for everything that had been moved when you arrive at your new house or apartment.
#5 Start with the Essentials
Hopefully, you've classified your stuff according to purpose and know which box contains what items. Start with unpacking the box that contains the bare essentials (the cutlery, chairs and tables, etc). You'll need these things immediately, even as you continue unpacking in the following days.
#6 Unpack Kitchen, Bedroom and Bathroom Items
It will be easier to unpack these items if you labeled their boxes properly beforehand. If you are lacking time, you can then unpack only the items you really need for the meantime. Essential kitchen items include pots, pans, and small appliances. For bedroom, unpack linens first and get your bed ready. Bathroom essentials may include medication, curtains, and towels.
#7 Arrange Furniture
Arranging your furniture can be difficult if you aren't able to make room plans before the move. Before setting up your furniture, you have to decide first the location where they shall be placed. If you have not made any yet, then it's time to create those plans.
#8 Unpack Garage and Patio Items
Ideally, these should be unpacked last since most of these items aren't that essential. Start with organizing shelves or spaces first for your tools and equipment before doing the job.
Happy unpacking!


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Clutier Bohemian Plum Festival
— Barefoot Becky, Bohemian Plum Festival, clutier, funnel cakes, Indian Tacos, Iowa, kettle corn, Richie Lee, Starwalker, Storm Seymour, Tama County, Tama County Cattlemen
Clutier will be having its annual Bohemian Plum Festival this Friday and Saturday, July 31, 2015 and August 1, 2015. Barefoot Becky will be performing live at 7:00 p.m. on Friday. Saturday is packed with fun events, including a 5k run and walk, a flea market, kiddie parade, grand parade, library auction, street cruise, and kids activities. Storm Seymour and Starwalker will be performing at 12:00 p.m.; and Richie Lee will be performing at 6:30 p.m. There will be plenty of Czech bakery to buy, as well as funnel cakes and kettle corn, and Indian Tacos. The Tama County Cattlemen will be grilling as well. For more details, go to their Facebook page, "Bohemian Plum Festival Clutier, Iowa".


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Our case studies highlight how our members benefit from the variety of different services and support that we offer.
John Dean explains how the connection's the Chamber provides adds real value to their business "The Chamber helps us communicate our business messages to a wide audience in a friendly, unpressurised way which is important to us as we aren't a hard sales type of organisation."
Malcolm Briggs explains what he hopes to get from his membership with the Chamber "I'd like to get involved with local businesses and help them raise their profiles and become highly recognised businesses. I know that many people I have met at Chamber events have been interested to learn of the photographic option's I am proposing..."
David Chandler explains how KT Hydraulics, formally the UK division of Kracht, have been members of the Chamber for years. "We have always found networking in the local area useful for establishing and maintaining relationships with local businesses as we want to work with Yorkshire suppliers wherever possible."
Veronica tells us how she gets the most out of Mid Yorkshire Chamber membership "It is vital that local businesses support each other and the Chamber connects businesses, giving us a stronger voice as a collective unit. If you want to be part of the business community you should be part of your local Chamber and you need to invest effort to reap rewards."
Gemma described the importance of Chamber membership and the advice and expertise on offer through MY Export Hub "it's definitely important to us with the export documents that we do, and it also lets us access the information that we need for each country. There are always people that we can call to provide us with all the information we need to be able to help and advise our customers as well."
Gordon told us how he benefits from the Chamber's MY Export Hub in various ways "the Chamber plays a significant role in helping us with documentation, and with advice and expertise on new markets we may pursue' he went on to explain that 'there is a variety of useful events and training sessions on offer and we are able to cherry pick the necessary ones significant to our needs."
The Hospice has been a Chamber member for three years and Jason described the benefits. "We are part of the community that the Chamber serves; we mirror the same areas of contact throughout Mid Yorkshire, supporting us in getting known within the business community. The areas I've been mostly successful in are the Chamber events; 60 Useful Minutes, MY Network and Last Friday Club have all been a great help to the charity."
The British Chambers of Commerce
Here at the Mid Yorkshire Chamber, your local accredited Chamber of Commerce, we make sure you're always well connected and supported to keep your business growing.
We work together with the wider Chamber network to give you a local voice on a national level.
View the BCC video below showing how being a member of your local Chamber keeps you well connected.
Find out how you can become a member of your local Chamber and get well connected.


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These types of email articles are very funny but they speak to a deeper tension in relationships and home life, truth wrapped up as humour can be a powerful learning tool but it can also cause hurt and distresss.
So for my part I will be mindful of how thoughtless people can be how different we all are and how a single word or act can create unnecessary tension and pain. And so it is true of the same that one word, one act, one thought can create great joy and happiness, i will leave you to decide on this one
It all began with an iPhone…
March was when our son celebrated his 17th birthday, and we got him an iPhone. He just loved it.
Who wouldn't?
Our daughter's birthday was in August so we got her an iPod Touch.
It was around then that the fight started..
What my wife failed to recognize is that the iRon can be integrated into the home network with the iWash, iCook and iClean.
This inevitably activated the iNag reminder service.
I should be out of the hospital next week!!


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Stricter Penalties Sought For Boating While Intoxicated
Arizona is trying to strengthen its laws against people who operate a boat or jet ski while under the influence of alcohol or drugs. A bill in the legislature would automatically fine boaters who refuse to take a blood or breath test.
Right now, anyone suspected of operating a boat while drunk can refuse a breath or blood test without a penalty. But, the measure would require sheriff's deputies and Game and Fish wardens to fine boaters more than $1,200 if they refuse to take the tests in the future.
Alberto Calderon is with the Maricopa County Sheriff's lake patrol unit. He said it's a good deterrent.
"They're probably going to think twice about it if this does go into effect. $1,250, that's almost twice as much as a first offense OUI, $1,300 plus $1,200, so that's double if you refuse," said Calderon. "And that's a lot of money."
Last year, 130 people received citations in Maricopa County for "Operating Under the Influence." Calderon said nearly a quarter of all boating accidents in the county are alcohol related.
The bill has been approved in the Arizona House. It goes to the Senate next for a vote.


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In 2012, the number of motorcycle accidents, as reported to the U.S. National Highway Traffic Safety Administration (NHTSA) was 112,000. The number of accidents that caused injuries was 93,000, while fatal accidents totaled to 4,957. Over the coming years, the possibility of motorcycle accidents increasing is more likely as the number of Americans acquiring and riding motorcycles also continues to multiply.
Analysis of motorcycle crash data show that those who usually get involved in motorcycle accidents are riders who never received formal riding education. These are people who believed that learning from friends or kin how to ride, rather than enrolling in a riding school, was enough. Thus, they never realize that motorcycling is not just learning how to maneuver a motorbike through traffic, it is rather learning how to ride safely.
Motorcycle accidents are classified under two categories: single vehicle motorcycle accidents and multiple-vehicle accidents. Single vehicle motorcycle accidents are more common motorcycle crashes than multiple-vehicle accidents. Its causes include riding with a high blood alcohol level, riding too fast even during poor weather conditions, and failure to brake and maneuver properly, especially when approaching a bend. A rider committing any of these mistakes often result to him/her losing his/her balance and crashing into road fixtures or getting thrown off from his/her bike.
Though less common, multiple-vehicle crashes are, however, causes of more serious injuries. This type of accident involves another vehicle. One example of multiple-vehicle crash, which also happens to be the most dangerous and the most injurious, is head-on collision, which often occurs in undivided rural highways or when one vehicle, either the motorbike or the other vehicle, travels on the wrong side of the road.
Majority of multiple-vehicle crashes occur due to drivers failing to notice approaching motorcyclists or drivers denying motorcyclists their right of way (in these situations drivers are the ones at fault during accidents, though fault is not too easy to prove). Often, rather than accepting fault, most drivers rather blame on motorcycle riders, saying that riders careen in and out of traffic, putting their own and other lives at risk.
The National Highway Traffic Safety Administration (NHTSA) says that motorcycle riders, especially in multiple-vehicle crashes, are more susceptible to injuries or death due to the absence of whatever may protect them from the force of impact created during collision.
Wausau personal injury lawyers, likewise, says that motorcycle accidents account for a significant number of serious or fatal automotive accidents in the United States each year. Because motorcyclists are not able to rely on the types of protections that other motorists enjoy, even a relatively minor accident can have devastating consequences for the victims, potentially resulting in costly medical treatment and lost income that victims and their families may not be able to afford. As such, a victim of a motorcycle accident that is due to someone else's reckless or irresponsible behavior may require significant compensation in order to deal with the challenges ahead. Fortunately, it is often possible for an injury victim to file a motorcycle accident claim to pursue this compensation.


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In this day and age it's a given that the performance of IT systems — networks and applications — can have a significant impact on business performance, but putting numbers to the nexus of network and application performance and business performance is no small undertaking. Citrix commissioned research firm Tech Research Asia to do just that. Here's what they found.
In a nutshell: "Poor network connectivity costs Australian companies an average of 71 hours of lost productivity per employee per year. For a 50-person company, this equates to $144,563 per year. New Zealand fared a little better, experiencing an average loss of productivity of 52 hours per employee per year…the equivalent of $NZ66,399 per year for a 50-person organisation."
Tech Research Asia said 35 percent of Australian organisations surveyed said they measured the financial impact of network problems, and that, on average outages affected 23 percent of their company's revenue source. In New Zealand, 47 percent of companies said they measured the financial impact of network problems and that these impacted 14 percent of revenue streams.
The risks of underperforming networks
The report went on to say: "The data suggests there are three key areas that are at risk from underperforming networks and applications:
-staff performance and collaboration – time to undertake activities increases and the ability to collaborate/innovate with colleagues is adversely impacted;
-data gathering and access – namely the inability to capture data, find data and access data for insights and analysis (and in some cases can also bring about the loss of data – a potential minefield all of its own);
-customer engagement and interaction – lost sales revenue and the inability to contact or respond to staff in a timely manner."
So it's no surprise that the research found poor network performance to be a concern for organisations in both Australia and New Zealand with over 50 percent of organisations surveyed saying they would need to upgrade and optimise their network environment to be in a position to deliver their short to mid-term business imperatives.
The key emerging technologies
Tech Research Asia also asked respondents what emerging technologies they expected would bring their companies the greatest benefit over the next two years. For Australian respondents the top five were 3D printing, wearable technology, virtual reality, artificial intelligence and robots. Those across the Tasman had a slightly different view, ranking virtual reality, wearable technology, augmented reality, artificial intelligence and robotics as the top five.
Virtual reality and augmented reality will both be bandwidth intensive and depending on how they are used these technologies and robotics could require low latency communications – for example to exercise real-time control over a machine, or to interact with a virtual or augmented reality environment delivered over a network.
So it's hardly surprising that more than half the respondents in both countries said their networks would require upgrading to allow their companies to take advantage of these emerging technologies.
But as Tech Research Asia observed, it is all to easy focus on these exciting, and potentially rewarding new technologies at the expense of the mundane, but essential ones.
Respondents reported that mundane technologies, email, voice, video and office productivity workloads as those that still have the greatest impact on network performance. "Their pervasiveness and criticality to day-to-day internal and external business operations dictate that their optimal performance is a must have before embarking on large, strategic transformation projects.," Tech Research Asia said.
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Press and Media
The Monterey Bay Half Marathon is one of the world's most beautiful races and is popular with not only runners, but journalists and photographers.
The Seventeenth Presentation of the Monterey Bay Half Marathon will be held on Sunday, November 10, 2019. The Pacific Grove Lighthouse 5K and the By-the-Bay 3K will be held on Saturday, November 9th. The two-day Health & Fitness Expo will begin on Friday, November 8th at 12 noon.
If you would like to be placed on the Big Sur Marathon Foundation's media list for notifications and race-related information, or if you are a member of the media and would like to obtain credentials for our races, please contact Hillary Fujii, firstname.lastname@example.com or call 831.625.6226.
2019 Race Information:
Photo and video assets are available upon request. We also have a robust photo library of images available for publication. If you are looking for a selection of race images to use in your publication, please contact firstname.lastname@example.com. While we provide these free of charge, we ask that photo credit is given to the photographer listed.