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Written by Anatoli on March 6th, 2015 at Anatoli's Game Room
My Kickstarter package arrived this week and I've spent some time browsing the new rulebook called "Deluge: Northern war 1655-1660". This new tome is made up of 248 pages and filled to the brim with news. There are new scenarios, new nations to be played, new takes on core-rules, new additional effects, new recon effects and a major overhaul for the Polish-Lithuanian army as well as replacement lists for the Swedes.
It is easy to be overwhelmed by the new content but let's stick with the major rule changes firsts:
The rules for charging have been rewritten to be more clear. Much effort has been put into guiding the player through each step of the charging process with all the different situations and options that may occur. These rules are covered on 4 pages.
Rules for ploughed fields, wheat fields and roads have been added – a much welcome addition (and they play pretty much like the guys at my club have been playing using house rules.
Rifled weapons fire mode now have a 20cm short range! Better representing the accuracy of these weapons and making them even deadlier than before.
A major change has been written into the "Elite cavalry", which is now a hybrid formation that if formed like normal cavalry in closed order and moves like cavalry in open order. This will definitely speed up gameplay when using forces that have a ton of Elite Cavalry units, but also reduce the cheesy tactics available up to this point where you could exploit the insane maneuverability of saids units to envelope enemy units with a charge.
A completely new addition is the "Battalion rule" for Pike & Shot formations, in which you get a more coherent mixed arms formations of pikes, muskets and artillery that work together with great defensive bonuses. The Pike & Shot rules from the core rulebook have been re-written in such a way that troops have an easier time to pull off defensive pike walls against charging units with musketeers running behind the pikes. Artillery crews may now also benefit from the protection of pikemen should their gun be charged. All in all this rule will make Pike & Shot regiments and battles against them much more dynamic and interesting imo. Other additions is that the "Robbers" rule now comes into effect even at skirmish level, making the previously pointless rule play out in a much more direct fashion and impact the game.
Musket regiments may detach a company of musketeers to act as skirmishers with the ability of a free face up "Defend" order and skirmisher rules.
Another new rule clarification in the Deluge talks about withdrawing from battle, and troops being forced off the table in various situations. The most important new addition here is that you are not forced to move units off the table should they be forced to "withdraw" – the unit may stop at the table edge as long as it is outside of 2cm from the enemy unit.
Deluge also provides a fix for the sometimes over the top "flight" of units through friendly units which have a fleeing unit move across half the table. Flight through friendly units is now limited to x1.5 of the original move (30cm for cavalry and 15 for infantry), being forced to move beyond that results in a destroyed unit.
Commanders have also received a major overhaul in the book, they now no longer count as another base from the unit they join, but only provide morale and the additional dice in combat. There are 4 pages talking about various situations where commanders join units, moving with friendly units, flight, combat etc and how it affects your commander. Much of the text explains and builds upon the core rules found in the main rulebook.
And finally medium artillery may get additional crew bases if you have enough guns in your force and the book talks about artillery fortifications which can be used in Division sized games.
Moving on to the new scenarios, additional effects and reconnaissance changes:
Deluge introduces "control markers" which are used in some scenarios to mark the owner of a victory location, but you also use markers to remind yourself about many of the new effects that can be chosen/inflicted upon the opponent.
A big change about the scenarios is that you now have 5 scenarios (instead of playing only Patrol) to choose from if you are playing two forces that have equal FSP strength, and 10 scenarios to pick from if you are unequal in strength! Furthermore the book introduces something called "defensive skirmish force" which has its own limited set of scenarios. There are also some lists that qualify as "small skirmish force" which are army lists below 7FSP and this has impact on tournament gameplay (in a positive way imo as it allows the opponent to always replace his proposed army choice with his smallest army list instead).
Finally, there are also rules for Numerical Superiority, so far there have only been penalties for having the strongest army list, but now you get certain benefits depending by how much you outrank your opponent in FSP value.
The scenarios are variants, new spins or completely new additions. They now offer a wider selection of tactical choices depending on your force/playing style than the original scenarios did. Some scenarios that were quickly becoming a pain to play repeatedly have been heavily rewritten, such as capture the crossing and attack on the village (the latter is now divided into two scenarios attack/defend the village). Beyond the 10 skirmish level scenarios there is one more that is not listed as a choice for tournament/competitive games – and that is "The Convoy". The convoy of the owning player must escape off the table, while the opponent wants to plunder it, the scenario also last 8 instead of 6 turns and requires the defending player to use special army lists specifically written for the scenario and which are provided in the rulebook.
The expanded scenario list is accompanied by a more fleshed out and in depth list of additional effects and reconnaissance benefits. There are now 10 additional effects to pick from. Furthermore the reconnaissance effects are limited in number to the command ability of your commanding officer, regardless of your recon points (for instance a commander with 2 command points can only pick a maximum of two recon effects even if he could afford more). The recon effects are also spread out so that you can get more effects with a lower recon advantage as well as having the effects divided into "Standard" and "Affecting the enemy". The latter is limited depending on the opposing FSP strength and limits how much chaos you can wreck in the enemy lines prior to the first turn. I find this to be a welcome addition as well, as it balances the negative and positive effect choices.
Finally, the new armies and skirmish forces:
Apart from convoy army lists for the Brandenburg, Swedish, Tartar and Ottoman armies there are a couple of "stray lists" that made it into the book. These are replacement lists for the Muscovite Zasieczna guard, a "Garrison Sortie" for the Ottomans and an Elite Tartar skirmish force for the Crimean Khanate. We are also presented with a list of alliances, and how you can mix different nationalities at a division level depending on period. This allows you to field such things as a Cossack Regiment (without rabble) in a Polish division of 1667-70 or Brandenburg troops in a Swedish army.
Alliances are presented and restricted with units/regiments for all the available nations in the game released to date (core rulebook + Deluge expansion).
The biggest change to any army is for the Polish-Lithuanian commonwealth which has been completely revamped with a much more thematic and period specific division of organisation depending on the year. These period specific rules affect both skirmish lists and division armies, and the impact of those rules alter such things as the quality of your troops, the quality of leadership, provides limits to regiment sizes and weapon of choice for your cavalry. The Polish-Lithuanian faction specific special rules have new additions to cover partisan warfare and also overhauls any existing faction specific special rule of the core rulebook. Sometimes the changes are minor or just provide clarification, some changes have a bigger impact such as Noble Brothers. At the end of the day, the amount of rules may be huge, but you are only using part of the new rules at any given moment so they are manageable. Their main purpose are to force the Polish-Lithuanian players to play more historically accurate lists and offer more flavor. I don't think that the new additions will "break" current Polish-Lithuanian collections unless you have "min/maxed" a lot for a power gaming playstyle… Considering that the Polish-Lithuanian army is for By Fire & Sword what WW2 Germans are for any WW2 ruleset I am happy to see that there are as many options as possible to allow you customize the force depending on theater and opponent to match more historically.
The Swedish army lists have been tweaked mostly, some changes have been made in how and what youc an swap etc but the general army structure remains the same. A third division has been added, which is the "cavalry division". This force lacks any regular infantry (only includes Dragoons and Reiters) and has almost no artillery support but you can max out on Elite Reiter regiments into it making it a very tough opponent to face in close combat!
The Brandenburg/Prussian army is interesting in that it provides the player with the option to field a very tiny and cheap division made up of Western style troop formations at a division level, but also allows you to field an infantry heavy division that will make any "Pike & Shot" fan drool.
The Holy Roman Empire provides cheap troops that have very low motivation to participate in the campaign in Poland at skirmish and division level of the game. To make up for this the troops are fairly cheap while the regiments are strong in numbers. This is another option for the fan of "Pike & Shot" armies with the possibility to field crazy amounts of musketeers and artillery.
Finally Transylvania, which I think will be one of the more popular armies (and a reason why I chose not to buy into it at this point since I think everyone at the Kickstarter did). It's a very interesting force that mixes really good with so-so troops at both skirmish and division level. I really think that their cavalry is awesome. The drawback is that their regiments are fairly small (especially infantry regiments) and the regiments have low motivation value (30-40% on everything). But if you want me to point out the one new force that truly adds something new to the game it would be this army. It will be very interesting to see how it plays at tournaments and in division battles.
The Deluge is a well crafted tome, the quality of the binding is perfect. Art and photos are great and the presentation very appealing and though initially overwhelming everything is indeed divided into its own chapters. The new rules and tweaks were in all honesty needed, clarifications made in the Deluge solve many head-scratching moments that we've had at my club. My criticism would be that the red text in the "Rules section" at the beginning of the book,in some paragraphs, appears to be "shadowed". This is a bit hard on the eye, though not impossible to read and does thankfully not occur on all red text.
The Deluge is mainly an "add-on" in that it brings new nations into the game, and not so much an "expansion" since there is little new content for the Muscovites, Cossacks, Ottoman and Crimean Khanate in this book. I was hoping that these nations would receive a few more skirmish lists. As such, I hope that the upcoming "Armies of By Fire & Sword" will add all the PDF's available in Polish and translate them to English, as well as add new content for the core nations that did not get as much/anything this time around.
The book is still useful to all players, considering the scenario part and the rules section but I can understand if some players feel that they got less applicable content than others. And we are still waiting for the Danish army to be published as a free PDF….
Don't let this put you off however, the Deluge makes a great game even better all around!


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"These violent delights have violent ends. And in their triumph die, like fire and powder, Which, as they kiss, consume." (Romeo and Juliet, Act II, Scene VI), New Moon, p.0
"'Not unless you want to die—-or whatever it is that we do.'" Chapter 1, p.20
"Could a world really exist where ancient legends went wandering around the borders of tiny, insignificant towns, facing down mythical monsters?" Chapter 12, p. 294
"Death, that hath sucked the honey of they breath, hath had no power yet upon thy beauty." (from Romeo and Juliet) Chapter 20, p. 452
"Here in his arms, it was easy to fantasize that he wanted me." Chapter 22, p. 490
"The odds are always stacked against us. Mistake after mistake. I'll never criticize Romeo again." Chapter 23, p. 508
"Before you, Bella, my life was like a moonless night." Chapter 23, p. 514
"They fight. Paris falls." (from Romeo and Juliet) Epilogue, p. 552
This section contains 203 words
(approx. 1 page at 400 words per page)

subset: commoncrawl


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Afghanistan: The local and international media were still waiting for the National Unity Government (NUG) and the Ministry of Defence to release details on the exact casualty toll of Friday afternoon's deadly attack on the Afghan National Army's 209 Shaheen Corps Headquarters in Balkh province even more than 24 hours after the incident.
Leaked numbers indicated the toll was between 135 and 180, while some even said the number of soldiers killed could be in the hundreds, TOLO News reports.
Shortly after the siege on the military base ended, government said eight soldiers were dead and then raised this figure to 11. On Saturday morning, the Ministry of Defence issued a statement that said at least 100 dead and wounded, without any specifics.
The lack of real details caused a barrage of posts on social media, especially among the journalist community in Afghanistan, with many taking to Twitter and Facebook and slamming government for its silence.
One Twitter user refused to mince his words and said: "CONFIRMED: Afghan Army lying about its losses in the latest Taliban attack. Real number of losses suffered by Afghan Army likely over 100."
Another journalist called it a massacre and stated simply government "has refused to confirm the death toll."


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Genres :
Genres :
Go to the other side of the counter with Doner Kebab. Take control of your restaurant and make a maximum of meal as fast as you can while following your clients's demands in this arcade-like game.
Doner Kebab is an amusing game for the whole family! Only recommended for... everyone!
- 100 levels
- 300 stars to collect
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- Touch the screen to prepare ingredients
You are finally your own boss and you own your restaurant but now, you must do better! Prepare as much meal as you can for your clients with the good ingredients. Finish each level to earn stars, get more ingredients and become the king of kebab!
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Junior Brown = one part humor, one part music
House of Blues, Cambridge, Mass., Oct. 26, 1997
By Jeffrey B. Remz
CAMBRIDGE, MA - For starters, there is that awfully strange looking instrument country musician Junior Brown plays. He calls it the guit-steel, one part guitar and one part pedal steel.
Add to Brown's ability to fluidly change from guitar to pedal and back plus quite humorous songs featuring humorous wordplay, and you get a sense of what makes Brown tick.
Brown, at the House of Blues for the first of two shows Sunday, ably showed his shtick clicks.
Brown, touring in between albums with a one due in early 1998, offers songs with a "wink wink" kind of feeling. In fact, he gained his greatest fame from such a song, "My Wife Thinks You're Dead," for which he won awards for the video.
He serves up the tongue-in-check "Darlin' I'll Do Anything You Say," supposedly about a man's total devotion. The kicker - "Well almost anything anyway" - comes up at the very end.
The Austin, Texas-area resident writes songs containing marvelous strings of word play. "Venom Wearin' Denim' weaves snake references into the song about a woman.
While Brown could be accused of poking fun at the musical genre and mining the same field once too often, he should be found innocent. Brown just seems to adopt and pursue a skewed perspective about love and relationships.
He even has fun with the music where he is clearly the focal point , although he does have a strong backing trio of wife Tanya Rae on acoustic and more importantly backing vocals, Steve Layne on upright bass and Mike Middleton on drums.
On "Highway Patrol," Brown evokes the sound of a siren on his pedal steel. "Hillbilly Hula Gal" possesses a Hawaiian feel.
Brown not only was humorous in song, but also looks. He has big droopy, expressive eyes and wore a huge white hat and cream-colored suit.
Despite the humorous aspects of lyric and music, the music, in reality, was the meat of Brown's message. This guy can play whether guitar or pedal. (The guit-steel actually is one instrument with the top neck being the guitar and the bottom the pedal. Both join an elongated head of the instrument.) Song after song was infused with his seemingly "no big deal" licks.
He closed the regular set with the ultra hot "Surf Medley," which includes "Secret Agent Man" and "Walk Don't Run." No, this part wasn't country, but Brown made classics his own.
The one negative was the length of the show. While 70 minutes could not be considered puny, Brown made it clear during the two-song encore he had to end the show to make way for fans waiting outside for the night cap. And that meant no "Sugarfoot Rag" or "My Baby Don't Dance to Nothing But Ernest Tubb."
Of course, the flip side is that the lyrically quirky, musically majestic Brown left the crowd wanting more.
©Country Standard Time • Jeffrey B. Remz, editor & publisher • email@example.com
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I am an artist, writer and yoga teacher. My recent practice involves performance, film, dance, photography and text, and my work has been performed, exhibited and published in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx's footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute. I have worked with many renowned choreographers and companies (Including Michael Clark, Natasha Gilmore and Janice Parker). I am an Ashtanga Yoga and Pranayama teacher and practice most days. With Ian Macbeth, I founded the Dialectical Materialist Book Group. My book 'Make Me Yours: How Art Seduces' (Cambridge Scholars, 2016) investigates psychoanalytic approaches to understanding objects of seduction. I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric.
- 2018: Professorship, Research and Interdisciplinary Work, Royal Conservatoire of Scotland.
- 2017–Present: Athenaeum Research Fellow at the Royal Conservatoire of Scotland.
- 2017–Present: Freelance Ashtanga Yoga and Pranayama teacher.
- 2016: Reader in Contemporary Art and Performance Practice by the University of Glasgow.
- 2015–2018: Co-director (together with Penny Chivas), @TheGlasgowJam, an organisation providing a creative space to explore multidisciplinary arts.
- 2005–2017: Academic Coordinator (PGR), The Glasgow School of Art. Read about my job in the 2010-2011 GSA Postgraduate Prospectus (pp. 38–39. PDF 510KB) and Flow Magazine, Issue 11, Autumn/Winter 2007 (p. 5. PDF 919KB).
- 2010–present: Summer faculty member, advisor and supervisor, MFA and PhD residency program. Transart Institute.
- 2009–2015: Course tutor, 'Analysis and Self-Analysis' and 'Psychoanalysis in Art and Culture' postgraduate electives (30 week course), The Glasgow School of Art.
- 2010–2012: Associate Lecturer, MRes Arts Practice, Chelsea College of Art.
- 2002–2005: Student Adviser, Postgraduate Students, University of the Arts London.
- 2001–2005: Research Degrees Coordinator, Wimbledon School of Art.
- 1999–2000: Researcher, Arts about Manchester.
- 1998–1999:Education Programme Officer, Guggenheim Bilbao Museum.
- 2005–2010: Degree of Doctor of Philosophy (PhD), Cultural Communication and Computing Research Institute (C3RI), Art and Design Research Centre, Sheffield Hallam University – Title: Make me yours: the psychodynamics of seduction through works of art. Supervisory team: Dr Sharon Kivland, Professor Tom Fisher, Professor Steve Dutton. Examiners: Professor Jane Rendell (Bartlett School of Architecture, UCL), Dr Peter Jones (SHU)2004–2005: Postgraduate Certificate in Learning and Teaching in Art, Design and Communication,Centre for Learning and Teaching in Art and Design.
- 2000–2001: Master of Fine Art: Drawing, Wimbledon School of Art. Read my dissertation on Precarious Art.
1995–2000: Licenciada en Bellas Artes (BA (Hons) Fine Art equivalent), Universidad del Pais Vasco, Spain.
Professional development
- 2018: Gob Squad Super Night Shot process workshop, National Theatre of Scotland, 05.08.2018
- 2018: 50-hr Yin Yoga Foundations Teacher Training
- 2017: In-Depth Development Training, Kia Naddermier, Mysore Yoga Paris, 60hrs.
- 2016–2017: Classical Yoga School, 200RYS Teacher Training programme, accredited by Yoga Alliance.
- 2015: New Jammers 2015 programme, with Penny Chivas and Tom Pritchard, funded by Creative Scotland. Read Penny's article about the programme in Contact Quarterly, Summer/Fall 2015 Vol. 40.2. Read Article 19's feature on the programme. Read a summary after our completion in Contact Quarterly, Winter/Spring 2016 Vol. 41.1.
- 2012: Standing Stones Professional Development intensive week with Tom Pritchard, supported by Creative Scotland, Conflux and Dance House.
- 2002–2003: Supervising Research Degrees in Art, Design and Communication (SEDA accredited), Centre for Learning and Teaching in Art and Design.
Exhibitions and performances
- Beautiful Materials, a performance and screening as part of the Beautiful Materials typeface launch by Nicola Atkinson, 01.02.2019
- Showgirl Manifesto, Group exhibition, Market Gallery, Huddersfield, as part of temporary Contemporary, 11-27.10.2018
- Warmed Air, Anatomical Museum, University of Edinburgh, as part of the Edinburgh Arts Festival, 10.08.2018
- Os Voy a Contar mi Vida [I'm Going To Tell You About My Life] by Esther Ferrer, as part of Glasgow International Festival of Visual Art, The Pearce Institute, 22.04.18.
- I gladly strained my eyes to follow you, by Shauna McMullan, in Cabinet Interventions, group exhibition and performances as part of Glasgow International Festival of Visual Art, Pollok House, 20.04-07.05.18
- Body Building [group exhibition], Market Gallery 10.11.17
- 'Jam', an exhibition of works by Dominic Snyder [curator], Glad Cafe, Glasgow, 05-29.10.17
- 'Walking:holding', devised by Rosana Cade. Forest Fringe, Edinburgh, 17–20.08.16. Read Rosana's piece in The Guardian here. Read Lyn Gardner's review of the Forest Fringe here. Read Billy Barrett's review here. Read Ian Abbott's review here.
- 'The End', choreographed by Jack Webb, Tramway, Glasgow, 10-11.06.16
- 'Ida', Buzzcut, Pearce Institute, Glasgow, 6-10.04.16
- 'Don't Say Anything', Hysteria #6 Eruption, Hackney Attic, 28.08.15.
- 'What do you want from me?', performative lecture, UNFIX Festival of Performance and Ecology, 12.07.15.
- 'It was Spring when I was in Athens', performance with Jetties (Birthe Jørgensen and Madeleine Campbell) as part of Birthe Jørgensen's solo exhibition Riotous Exuberant Green and the Dutiful Beating of One's Heart, 1 Royal Terrace, Glasgow, 22.06.15
- 'This house has been far out at sea', group exhibition, Glasgow Open House Festival, Laurieston Arches, Glasgow, 02-04.05.2015
- Alternative Maternals [Curator], artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 01–08.06.15, London South Bank University, London, as part of Motherhood and Creative Practice conference, with Bracha Ettinger, Mary Kelly and Faith Wilding as keynote speakers.
- Dark Days, a socially engaged artwork by Ellie Harrison, Gallery of Modern Art, Glasgow, 13.02.15
- March of Women, a participatory work by Anna Birch, Glasgow Women's Library, 07.03.15
- Alternative Maternals [Curator], artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 03–09 August 2014, Lindner Project Space, Berlin. Read PDF [1MB].
- The River, choreographed by Natasha Gilmore and performed with the Barrowland Ballet, The Briggait, Glasgow, 20 and 21 July 2014.
- SisGo, choreographed by Fleur Darkin and performed with Scottish Dance Theatre, Tramway, Glasgow, 9 and 10 May 2014.
- Reading hysteria between laughter and crying, performance as part of the Acts Re-Acts festival, Wimbledon Space, London, 19 March 2014. Read a review.
- Glory, Choreographed by Janice Parker. Performed at Tramway, Glasgow, 5–10 March 2014.
- The Unreliable Reader, performance as part of 'Reading as Art: turning the Pages of Psychology', Bloomsbury Festival, Senate House Library, London, 15 October 2013. Download Programme [1.3MB]
- Standing Stones, development opportunity and performance with Tom Pritchard and Victoria Evans. The Briggait, Glasgow. 21 June 2013.
- A Conversation with Carmel, Barrowland Ballet, Tramway, Glasgow, 05.06.13
- Hysteria Clinic, choreographed by Gypsy Charms, Grand Ole Opry, Glasgow, 24.03.13
- Girlfriend, choreographed by Ruth Mills, Centre for Contemporary Arts, Glasgow, 19.01.13
- The Barrowlands Project, choreographed by Michael Clark, London 2012 Cultural Olympiad, 8–9.09.2012
- Making Music Overture, choreographed by Rosina Bonsu, Merchant City Festival, 28.07.12
- Summer's Day, choreographed by Tom Pritchard, and Magritte Inspired, choreographed by Jane Simpson, Merchant City Festival, 24.07.11
- 'Interview with an Artist', interview performance by Kristian Al Droubi, from Via Negativa, 15 March 2011, Centre for Contemporary Arts, Glasgow.
- Bealtainne, The Glue Factory, Glasgow, 30 April–14 May 2011
- Carnival of the Animals, choreographed by Ruth Mills, Go Dance 2011, Theatre Royal, Glasgow, 27.01.11
- As We Speak, Experimental Film screening event as part of 2010 Glasgow International Festival of Visual Art, Stereo, Glasgow, 28.04.2010.
- Half-knowledge/half…. Grace and Clark Fyfe Gallery, Glasgow, 12-28.04.2010.
- Dancer in Emeli Sande's 2010 tour film backdrop, Directed by Ian Robertson, Cut! Film making.
- A Case of Seduction. End Gallery, Sheffield, 19–25 May 2008.
- Gift, Museum MAN, Liverpool, UK.
- Objects in Waiting, The End Gallery, Sheffield, UK
- Post It, Atkinson Gallery, Southport, UK
- Staff show, The Gallery, Wimbledon School of Art, London, UK
- Art in Heaven, St Mary's Church, Brighton and Hove, UK
- To all the lovers and sweethearts we will never meet, House Gallery, London, UK
- Mission, Wimbledon School of Art, London, UK.
- The Invisible City, Wimbledon Library Gallery, London, UK
- Ausentes 2001, Sala Baracaldo, Spain.
- Atopia, performance exhibition, Sheffield Subway, UK.
- Ausentes 2000, Sala Araba, Vitoria, touring to Baracaldo and Castro, Spain.
- Café Tangente, Boulevard, Miranda de Ebro, Spain.
- Inter-national, FBAUP, Porto, Portugal.
- Encuentros, solo show, Mina Espazio, Bilbao, Spain.
- Little Works, Abanto-Ciervana, Spain.
- Primero de Mayo, Boulevard, Bilbao, Spain.
- Group show '98. La Bolsa, Bilbao, Spain.
- Encerrona, Mina Espazio, Bilbao, Spain.
- Group show '97, La Bolsa, Bilbao, Spain.
- Make Me Yours: How Art Seduces, Newcastle upon Tyne: Cambridge Scholars Publishing, 2016
- Madness, Women and the Power of Art, edited by Frances Davies and Laura Gonzalez, Oxford: Inter-Disciplinary Press, 2013.
Book chapters
- 'Twenty-seven thoughts on one breath', On Care, Rebecca Jagoe and Sharon Kivland (eds), Hastings: Ma Bibliothèque, 2020, pp. 69-75
- 'Blueprint for a ghost', with Dr Eleanor Bowen, Maternal in creative work: Intergenerational discussions on motherhood and art, Elena Marchevska and Valerie Walkerdine (eds), London: Routledge, 2019, pp. 83-96.
- 'Hosting Hysteria', Translating across Sensory and Linguistic Borders: Intersemiotic Journeys between Media, Madeleine Campbell and Ricarda Vidal (eds), London: Palgrave Macmillan, 2019, pp. 167-184.
- 'Work of Art as Analyst as Work of Art', Transpositions Aesthetico-Epistemic Operators in Artistic Research, Michael Schwab (ed), Ghent: Orpheus Institute, 2018, pp. 75–95. Free ebook here.
- 'Crossing the Cyprus Divide Armed with Pen and Paper', with Dr Myria Christophini (main author). Peace as a global language: Explorations of peace in practice: Selected Papers, M. Parrish & R. Richardson (eds), Kobe: Peace as a Global Language, 2018, pp. 289-359
- 'Reading as Creative Practice'. The Adapt-r Creativity Book, Brussels: KU Leuven, 2017, pp. 169–177.
- 'Seduction in Works of Art'. Seduction in Popular Culture, Psychology, and Philosophy, ed by Constantino Pereira Martins, Fabrizio Macagno, Manuel José Damásio, Hershey, PA: IGI Global, 2016, pp. 165-187. Table of contents available here.
- 'Between laughter and crying', co-written with Dr Eleanor Bowen. Madness, Women and the Power of Art, edited by Frances Davies and Laura Gonzalez, Oxford, Inter-Disciplinary Press, 2013, pp. 197–234.
- 'The Hysteric as Mad: Unfolding an Exquisite Corpse', co-written with Dr Eleanor Bowen. Beyond these Walls: Confronting Madness in Society, Literature and Art [ebook], edited by Helen Goodman, Bernadette V. Russo and Joana Zózimo, Oxford, Inter-Disciplinary Press, 2013.
- Juicy Salif as a Cultish Totem. Managing Creativity: Exploring the Paradox, Barbara Townley & Nic Beech (eds), Cambridge: Cambridge University Press, 2010, pp. 287-309. Download PDF (1.93MB).
- Madeleine Campbell and Laura González,'"Wozu Image?" / What's the Point of Images? Exploring the Relation between Image and Text through Intersemiotic Translation and Its Embodied Experience', Open Cultural Studies, Vol. 2, Issue 1, 2018, pp. 686–699.
- Laura Bissell, Mona Bozdog, Laura Gonzalez and Aby Watson, eds. Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018.
- Laura Bissell, Mona Bozdog, Laura Gonzalez and Aby Watson, Editorial, Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018, pp. 5-11.
- Laura Bissell, Laura Gonzalez, Dee Heddon and Simon Murray, Afterword: Acts of Care Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018, pp. 179-184.
Papers and articles
- The [Dis]appearance of Hysteria , an essay for The Polyphony, a Medical Humanities Web Platform, hosted by the Institute for Medical Humanities at Durham University with financial support from the Wellcome Trust, 14.04.20
- A Kind, Deep Breath, The Green Room, RCS at Home, 20.05.20
- Music for Moths, a reading of a collage by Pum as part of her exhibition Earth Echo Affective Reflection in Project Ability, Glasgow, 08.03–27.04.19
- Body Anxiety: Woman As Bearer Of The Look, Furtherfield, 24.03.15
- 'Trance art and other possessions', co-authored with Christopher Danowski, ELSE Journal, Issue 0, October 2014, pp. 140–147.
- 'Other Mothers', curatorial statement for the exhibition Alternative Maternals, artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 03–09.08.2014, Lindner Project Space, Berlin. Read PDF (1MB).
- 'Trance art and other possessions', co-authored with Christopher Danowski, Trans-What? conference proceedings, 28 July 2013. Part of the Transartfest Art Biennial, 27.07–9.08.2013, Berlin.
- What's the First Thing You Ever Made, Laura Gonzalez? The Project Room Off Paper, 2011. Read it here.
- 'Kissing Exposed to the Gaze'. New Associations, issue 3, summer 2010, p. 15. Read PDF (1.7MB).
- 'Cities that fold in on themselves'. In Persico, G. curator (2010) Urban Origami. Exhibition catalogue. PM Gallery & House, 1.07 – 29.08.2010. London: Arttra, pp. 8-9. Read PDF (70KB).
- Stranger, Seducer. In Conference Proceedings from Transmission: Hospitality. 1-3.07.2010, Sheffield Hallam University.
- An artist reflects on an artist's Biennale, in 'Arttra'. 2009. Read PDF (520KB).
- Escape to Your Unconscious. In New Escapologist Magazine, Issue 2, 2009. Download PDF (822KB).
- The line, the look and the gaze. In Persico, G. curator, Isobar. Exhibition catalogue. Fieldgate Gallery, 20.10 – 11.11.2007. London: Arttra. pp. 18-21. Read PDF (696KB).
- 'A Biennial in Venice', in The Mind's Construction Quarterly, 2005. Read PDF (130KB).
- 'White worship: the iPod', in Arttra, 2005. Read PDF (99KB).
- 'The Edge of Emptiness; an essay on Thomas Joshua Cooper', in Arttra, 2005. Read PDF (100KB).
- 'Parchu (to Honour)', in Metamorphosis, an exhibition of works by Jude James and Evi Chamouratidou, PINAKOQHKH MARGARH, 2002. Read PDF (438KB).
Printed works
- Cover of ELSE journal (Untitled, composite image created with Christopher Danowski), inaugural issue 0, April 2014.
- B (page as dance stage), printed work in Crux Desperationis, issue 5 (PDF 3.7MB), Montevideo, January 2014, p. 12.
- Provocatrice II, printed work in The Brooklyn Review 29th issue, 2012.
- The Scene of a Crime, 2HB Vol. 10, edited by Francis McKee and Louise Shelley, July 2011, Centre for Contemporary Arts, Glasgow. Download PDF (1.4MB)
- Author for The Black Merkin, part of the Bad Romance project by the New Society of Dilettanti. Launched at Collective Gallery in Edinburgh on 20.08.2011. Download PDF (2.7MB)
- Untitled (Mind / Body), The Mind's Construction magazine, pilot issue, London, December 2004, pp. 26-27. Download PDF (708KB).
Book reviews
- 'Mind the gap!: Working papers on practice-based doctoral research in the creative arts and media', Visual Studies, 2017, DOI: http://dx.doi.org/10.1080/1472586X.2017.1320126
- We take pictures, therefore we are. A review of Mike Robinson and David Picard's The Framed World: Tourism, Tourists and Photography. Times Higher Education, No. 1,923, 19-25 November 2009, p. 50. Download PDF (488KB).
- Expedition. A journey around the west coast in search of tropical Scotland by Melanie Carvalho. Art & Research, Volume 1. No. 1. Winter 2006/07. Read PDF (117KB).
Conference contributions
- 'The [dis]appearance of hysteria', Representing Women's Health, University of Glasgow, 12.06.2020
- 'Reading/gHosting Hysteria', #masshysteria: Hysteria, Politics and Performance Stretegies, UCLA, 01.11.2018
- 'Looking West, Looking East', Viewing Pleasure and Being a Showgirl, How Do I Look? symposium, as part of Alison J. Carr's book launch, University of Huddersfield, 19.06.18.
- 'Embodying hysteria as caring for the self', (e)motion, Cultural Literacy in Europe second biennial conference, Warsaw, 10-12.05.17
- 'Take Care of Yourself', provocation as part of 'The Art of Care-full Practice' symposium, organised by Dee Heddon, Simon Murray, Laura Bissell and Laura González. Take Me Somewhere festival of Performance, Glasgow 05.03.17
- 'What does Hysteria want from me?, 33rd PsyArt International Conference on Psychology and the Arts, Université de Reims Champagne-Ardenne, 29.06–04.07.16
- 'The Object as Witness' (co-written with Dr Eleanor Bowen), Material Culture in Action: Practices of making, collecting and re-enacting art and design, The Glasgow School of Art, 07–08 September 2015.
- 'Mothers, Daughters and Cryptophores' (co-written with Dr Eleanor Bowen), Motherhood and Creative Practice, London South Bank University, 01–02 June 2015.
- Chair of the open session 'Just what is it that makes studio PhDs so different, so appealing?', College Arts Association, 12 – 15 February 2014, Chicago.
- 'Trance Art and Other Possessions', co-written with Christopher Danowski. Trans-What? Symposium, Transartfest, Art Biennial, 27 July – 9 August 2013, Berlin.
- 'The hysteric as mad: unfolding an exquisite corpse', co-authored with Eleanor Bowen. 5th Global Conference: Making Sense of Madness, Thursday 30th August 2012 – Saturday 1st September 2012, Mansfield College, Oxford, United Kingdom. Read paper.
- The material sensuousness of a hysteric's performance. Sensuous Object, 29–30 September 2011, Medical Museion, Copenhagen.
- Seduction captured. The Social Life Of Methods, ESRC Centre for Research on Socio-Cultural Change, 6th Annual Conference, 31 August-3 September 2010, St Hugh's College Oxford.
- Stranger, Seducer. Transmission: Hospitality. 1-3 July 2010, Sheffield Hallam University. Download the paper from the conference proceedings.
- Make me yours: studying the psychodynamics of seduction through works of art. Psychoanalysis, Culture and Society, Middlesex University, 5th June 2010.
- European Forum of Research Degrees in Art and Design (EUFRAD), Glasgow, 4–6 September 2009.
- What the artwork wants: thoughts for, against and around interpretation in art and psychoanalysis. Co-written with Sharon Kivland. Research into Practice 2008: the Problem of Interpretation. Royal Society of Arts, London, 31 October 2008. Read paper.
- Reflections on seduction. Architexture: Exploring textual and architectural spaces. University of Strathclyde, 15-17 April 2008. Read abstract.
- 'Mothers, daughters and cryptophores'. Conference contribution: A return to Almodóvar: Roundtable discussion of his most recent film. Association for the Psychoanalysis of Culture and Society 2007 Annual Conference – Hope for Hard Times: Anxiety, Alienation and Activism, Rutgers University, 2-4 November 2007. Read Précis.
- When Freud Visited the Acropolis, Introduction presentation to the 'Psychoanalysis in Doctoral Research' panel, Rigorous Holes: Perspectives on Psychoanalytic Theory in Art and Performance Research, Chelsea College of Art, 29-30 May 2007. Watch my presentation.
- Juicy Salif as a cultish totem. The Discipline of Creativity: Exploring the Paradox, Session: 'Ars longa': establishing value. Institute for Capitalising on Creativity, RSAMD, 2 May 2007. Read abstract.
- Why the PhD studio? Co-written with Dr Naren Barfield. College Art Association, 95th Annual Conference, New York, 14-17 February 2007. Read abstract.
- Created to lead astray: Baudrillard's seduction in contemporary artefacts. Engaging Baudrillard, Swansea University, 4–6 September 2006.
Invited presentations
- Breathe and Sleep, Curious: The Royal Society of Edinburgh Summer 2020 events programme, 11.08.20.
- 'Sleep', in collaboration with Toni-Dee Paul, Eat,Move, Sleep Repeat, a series of online conversations with artists as part of the Scottish Mental Health Arts Festival, organised by Emma-Jane Park and Emily Furneaux, 03.06.2020.
- 'Breath', Tea and Just Talk series, Curious: The Royal Society of Edinburgh Summer 2019 events programme, 05.08.19.
- 'What is collaboration? – An artistic case study', Learning to Collaborate module, Royal Conservatoire of Scotland, 11.02.2019.
- 'Thinking and writing and thinking and writing', Third KISD Masterclass: Writing and Performance for Integrated Design Postgraduates, Köln International School of Design, Germany, 08-09.01.2019.
- Warmed Air [with Laura Bradshaw, Steven Anderson and Paul Michael Henry], Exchange Talk, Royal Conservatoire of Scotland, Glasgow, 19.11.18
- Wozu Image? [workshop delivered with Madeleine Campbell] (e)motion, Cultural Literacy in Europe second biennial conference, Warsaw, 10-12.05.17
- 'How Art Seduces', Köln International School of Design, Germany, 29 November 2016.
- 'Mother' [performative lecture], Family Ties Network 'Subject Missing', The Glasgow School of Art, 20 November 2015.
- 'The Practice of Writing', Edinburgh College of Art, 18 November 2015.
- 'Psychodynamics, Seduction and Works of Art', Glasgow University Research Lectures, 29 April 2015.
- Keynote 'I know what you think but how do you feel', Into the New symposium, The Arches, Glasgow, 12 January 2015.
- Between laughter and crying, Research Showcase, The Glasgow School of Art, 04 December 2014
- Hysteria's Entropy. The Glasgow School of Art, 28 October 2014
- Between laughter and crying, Royal Conservatoire of Scotland, 20 October 2014
- Psychoanalysis and Art.From Death to Death and Other Small Tales by Night. Scottish National Gallery of Modern Art. 05 July 2013.
- Hysterical Architecture. Gareth Hoskins Architects, Glasgow. 13 June 2013.
- The body of the hysteric. 'The Mortal Coil' lecture series, part of Ruth Mills Contemporary Dance Winter Intensive. 03 January 2013.
- A hysterico-pervert's guide to dance. 'The Pervert's Guide to Dance' Lecture series, part of Ruth Mills Contemporary Dance Winter Intensive. 07 January 2012.
- Consumption, Seduction, Perversion. Sheffield Hallam University Art and Materiality lectures. 01 December 2011.
- Make Me Yours. Royal Scottish Academy of Music and Drama. 07 February 2011.
- Perversion within seduction. Interviewed by MFIT curator Colleen Hill. Fashion Culture Special Educational Programs. Museum at FIT, New York. 18 February 2009.
- Practice in my PhD. Practice in a PhD: a Workshop for Supervisors. Nottingham Trent University. 25 September 2008.
- That Obscure Object of Research. Royal Scottish Academy of Music and Drama. 24 January 2008.
- Position paper (with Dr Malcolm Quinn, Research Coordinator, Wimbledon School of Art). Perspectives in Practice-Based Research, AHRC funded collaborative doctoral training project, Coventry University, the University of the Arts London, University of Hertfordshire, Sheffield Hallam University, Wimbledon School of Art and University of Leeds, 2005.
- The roll out management of skills training: experiences with different models (with Professor Stephen Flint, Director of Graduate School, University of Liverpool). Third Annual UKGrad conference 'The future of the UK Doctorate in an International Market', 2004.
- Issues in practice-led research. Surrey Institute of Art and Design, 2004.
- The Game of Rule Making, Centre for Learning and Teaching in Art and Design, London, 2003.
- Language and Beyond, School of Performing Arts, University of Surrey, 2002.
Grants and awards
- Shortlisted for the Adrian Howells Award For Intimate Performance.
- With Professor Kevin Laland (St Andrews), St Leonard's College Interdisciplinary Doctoral Scholarship for the project: 'Exploring the Relationship between Imitation and Dance'
- Open Project Funding from Creative Scotland for Breath Practice (March – November 2020)
- Athenaeum Award, Royal Conservatoire of Scotland, for 'Reading/gHosting Hysteria' at SHE IS HYSTERICAL, UCLA.
- Research Development Fund, The Glasgow School of Art, for 'What does Hysteria Want from Me?'.
- Research Development Fund, The Glasgow School of Art, for 'Mothers, Daughters and Cryptophores'.
- Research Leave, The Glasgow School of Art, for 'Make Me Yours: How Art Seduces'.
- Research Development Fund, The Glasgow School of Art, for 'The Unreliable Reader'.
- AHRC Collaborative Doctoral Award. Application developed and co-authored with Professor Alastair Macdonald (PI) and The Queen Elizabeth National Spinal Injury Unit, Scotland.
- Research Development Fund, The Glasgow School of Art, for 'The Hysteric as Mad'.
- The Learning and Teaching Innovation Fund. GSA, Total funding £1,931. Application developed with Dr Nicky Bird.
- CAA Travel Grant.
- AHRC Collaborative Doctoral Training Award. AHRC, Total funding £10k. Application developed with Professor Naren Barfield and Stuart Evans, Central Saint Martins College of Art and Design.
- AHRC Collaborative Doctoral Training Award. AHRC, Total funding £10k. Application developed with Dr Malcolm Quinn and Dr Dany Nobus, Brunel University.
- AHRC Collaborative Doctoral Award. Application developed and co-authored with Hilary Baxter, Dr Robert Perks and Cathy Courtney, National Life Stories, The British Library.
- The Basque Region Award for specialised study in a foreign country.
- Student exchange award, painting and printmaking, Sheffield Hallam University.
- Photography and video scholarship, Faculdade das Belas Artes do Porto, Portugal.
PhD supervision and examination
As Principal Supervisor
- Flavia Domingues D'Avila, Syncretic theatre and its use in devising (Royal Conservatoire of Scotland)
- Paul Michael Henry, With your feet deep in the Earth: fostering experiences of interdependent selfhood through embodied performance practices (Royal Conservatoire of Scotland/University of Glasgow)
- Rhona Warwick Paterson, The Poetic Body. Between Language and Movement; the praxis of performance and interdisciplinary transmutation (Royal Conservatoire of Scotland)
As Co-supervisor
- Sonia Allori, Aspects of specialised training for Deaf performers at RCS (Royal Conservatoire of Scotland)
- Deborah Norris, Cathy Marston–A Female Author of Narrative Ballet (Royal Conservatoire of Scotland)
- Megan Curet, En Ritmo: A Praxis in Deconstruction as a Form of Resistance, (Transart Institute / Liverpool John Moores University)
Completed students
- Margaret Hart, Collage in the Posthuman Era: Gender and Becoming (September 2016 – June 2020)
- Inês Bento Coelho, Choreography within a Visual Arts Process. Devising Performative Installations through Choreographic Approaches (Glasgow School of Art, September 2014 – September 2018).
- Christopher Danowski, The Medium and the Message: Afro-Cuban Trance and Western Theatrical Performance (Transart Institute, January 2013 – September 2016).
- Emma Balkind, Estovers: Practice based research on the concept of the commons within contemporary art(Glasgow School of Art, September 2012 – September 2015).
- Mitch Miller, The mytho-geographical line, the time map and the tactical drawing: A Practice-led inquiry into the Dialectogram (Glasgow School of Art, September 2011 – September 2015).
- Cara Broadley, Visualising human‐centred design relationships: a toolkit for participation (Glasgow School of Art, September 2010 – September 2013).
- Myria Christophini, Animating Peace: A Practice-Led Inquiry into the potential of Animation to act as a tool for peace-building (Glasgow School of Art, January 2009 – March 2013).
PhD examinations
I have chaired 4 PhD examinations at The Glasgow School of Art (Patricia Cain, Lynn-Sayers McHattie, Chantelle Niblock and Lilia Gómez) and externally examined one PhD at the University of Salford, School of Music, Media and Performance (Mohammad Dawood, Dynamic Narratives: Re-Imagining Animated Films on the Internet).
External Esteem
- 2020: Peer Reviewer for Journal of Artistic Research (JAR).
- 2019: Scottish Graduate School of Arts and Humanities, Disciplinary+ Catalyst co-lead for Creative Arts and Design.
- 2019: Reviewer for panel Creative Arts & Design, Scottish Graduate School of Arts and Humanities.
- 2018: Symposium organiser for 'Between Strangers' with Laura Bissell, LJ Findlay-Walsh, Stephen Greer, Simon James Holton, Annie Lowry Thomas and Karl Taylor. Take Me Somewhere festival of Performance, Glasgow 27.05.17.
- 2018: Panel reviewer for residency applications July-December 2018. The Work Room, Glasgow.
- 2017–2018: Co-editor of a special issue of the Scottish Journal of Performance on the Art of Care. See the full issue here.
- 2017: Symposium organiser for 'The Art of Care-full Practice' with Dee Heddon, Simon Murray,and Laura Bissell. Take Me Somewhere festival of Performance, Glasgow 05.03.17.
- 2016: Peer reviewer for Project Anywhere.
- 2015: Peer reviewer for Subjectivity journal.
- 2015: Peer reviewer for the Scottish Journal of Performance.
- 2014–2018: External Examiner, Choice and Collaboration, Royal Conservatoire of Scotland.
- 2014: Advisor for ELSE journal: International art, literature, theory, creative media.
- 2013: Evaluator for the Austrian Science Fund (FWF).
- 2010–present: Member of the AHRC's Peer Review College.
- 2010: Editor, Visit Glasgow.
- 2009: Peer Reviewer, ESRC.
- 2009: Contributor, The New Escapologist.
- 2008–2009: Correspondent, Glasgow Vida Urbana, Soitu.es.
- 2007: Occasional referee, Arts and Humanities in Higher Education.
- 2007: Occasional referee, Communication and Critical/Cultural Studies.
- 2007: Editorial Advisor, Studies in Material Thinking .
- 2006: External Member, Research Degrees Sub-Committee, Royal Scottish Academy of Music and Drama.
- 2006: External Member (in attendance), Higher Degrees Committee, Faculty of Arts, University of Glasgow.
Membership of professional bodies
- 2017–present: Member, The Workroom.
- 2016–present: Member, PsyArt foundation.
- 2007–present: Member, Association for the Psychoanalysis of Culture and Society (APCS).
- 2006–present: Member, College Arts Association (CAA).
- 2005–present: Registered Practitioner, Fellow of the Higher Education Academy (FHEA).


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Know more about this business than we do? Cool! Please submit any corrections or missing details you may have.Help us make it right
Be the first OregonLive.com user to add photos or videos of Lincare
Lincare Inc can be found at Chevy Way 918. The following is offered: Medical Supplies & Equipment. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Medford there are 23 other Medical Supplies & Equipment. An overview can be found here.
Lincare is located at 918 Chevy Way, Medford, OR. This business specializes in Alternative Medicine, Medical Supplies and Hospitals & Medical Centers.


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UK scientists have successfully germinated seeds from the critically endangered Japanese Birch, a species that has just 21 known trees remaining.
The seeds were collected last year during an expedition to a remote location in mountains near Tokyo.
Experts suggest that the remaining wild population of Betula chichibuensis is too small to sustain itself unaided.The young trees will be shared with other arboretums in an effort to help conserve the threatened species.
The International Union for the Conservation of Nature (IUCN) forecasts a bleak outlook for the tree species in the wild.In its Red List of Threatened Species, it observes: "The small population and restricted distribution... make it susceptible to natural disaster or disease.
"The species is also self-incompatible, requiring two individuals to be close enough to cross-pollinate one another, making seed production uncertain in small subpopulations."It adds that there was also evidence of deforestation and habitat degradation in the area where the remaining trees are found, "presenting a threat to the survival of this species".
During 2014, a team led by researchers from the University of Oxford Botanic Gardens, in conjunction with the University of Tokyo, embarked on an expedition to collect seed samples from the threatened birch trees.
Part of the team was Dan Luscombe, a dendrologist from the Forestry Commission's Bedgebury National Pinetum and Forest.He told BBC News: "I guess we got little lucky in terms of being there at the right time."It is found in a very, very remote location and it is not an easy place to get to. It has got very, very low viability so we were very lucky that we were able to collect a lot of seeds... as birch seeds shatter and shed everywhere, so once it has done that you will never find it."


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An independent view of a high-performance asset
Sustainably produced timber continues to outperform commercial property, bonds and equities, and prices will continue to rise above inflation as its benefits for flood mitigation, rural employment and carbon fixation become increasingly recognised and appreciated.
We work across Scotland and Northern England, managing hundreds of square miles of the UK's forests, helping clients to make the most of opportunities in this high-performing asset class. We help clients, from the Forestry Commission to commercial investors, landowners and forest managers, to maximise the opportunities from this unique form of investment.
Working closely with colleagues from Bidwells' other specialist teams, including renewables, planning and rural agency, we bring you the right advice from the right people at the right time. In a strongly interconnected marketplace, we're entirely independent. We have no ties to timber companies, so we always act with your best interests at heart.
With our efficient and impartial strategic forestry management advice, Bidwells can help you to get the most from your assets: whether you're exploring alternative land uses, from tourism to renewable energy, or keen to get the best price for your sustainably produced timber.
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Strategic planning
Overseeing projects
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unique to forest and woodland ownership


text: I just joined the Pretty {little} Pouch Swap and I am so excited for it! This is my first swap and after seeing the pictures in the flickr group I know I am really going to have to step up my game! The pics from the last swap were absolutely beautiful!! The talent and creativity just blows me away! Hopefully this will be inspiring and a great learning experience! Anybody have some good patterns for pouches that they could direct me towards? :)


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The Most Common Accounting Treatment of Underapplied Manufacturing Overhead
Manufacturing overhead encompasses all manufacturing costs that are not attributed back to a specific job. Due to the difficulty of accurately predicting the amount of manufacturing overhead that will be used throughout the year, it is common to incur over- or underapplied manufacturing overhead at the fiscal year end. This amount must be accounted for in order to balance the financial statements.
Causes of Underapplied Manufacturing Overhead
Unlike other components of job costing, such as labor and material costs, manufacturing overhead is estimated and allocated based on a predetermined overhead rate. Discrepancies occur because it is difficult to forecast. Underapplied overhead may appear when the overhead rate is not accurate, the initial estimate for a job was too low or if overhead spending wasn't monitored and controlled during job completion.
Recording Underapplied Manufacturing Overhead
As a job progresses, actual overhead is recorded on the debit side of the manufacturing overhead account. Overhead costs are multiplied by the predetermined overhead rate and recorded on the credit side of the work in progress inventory account for a balancing entry. Once the products are sold, the cost of goods sold increases. Underapplied manufacturing overhead results when the actual overhead exceeds the overhead applied to the job.
Accounting Treatment of Underapplied Manufacturing Overhead
The most common accounting treatment for underapplied manufacturing overhead is to close it out to cost of goods sold. This reflects the fact that the actual cost to produce the goods sold was higher than anticipated. Since the manufacturing overhead account is in a debit position, another entry is required to balance the books, so cost of goods sold is credited. Manufacturing overhead should then balance to zero.
Effect of Underapplied Manufacturing Overhead
When the cost of goods sold increases, net income is reduced because there is less profit from the sale of the product. Critics of this accounting method of dealing with underapplied manufacturing overhead say it should be recorded on the income statement under cost of unused capacity to make it less complicated to see.
Photo Credits
- BananaStock/BananaStock/Getty Images


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I'm slowly but surely growing into an old man. When I was a young man, though, and we would visit family in Tennessee, I thought the country up there was beautiful, but boring. I couldn't imagine being a farmer, getting my hands dirty constantly, making a meager living, out in the hot sun daily. It just didn't make any sense to me. It's not that I was hatching any great career strategies in my mind, but I was sure farming wasn't for me. In the years to come, I still didn't give it any thought, even though I wasn't exactly flying up the printing industry hierarchy which is the career I did choose in my early twenties. I ran a printing press for 39 years, and through my own mistakes, don't really have anything to show for it. I couldn't wait to get out of that business.
A couple of years ago, a friend posted on Facebook that he was about to head over to Nigeria to help implement a system of farming called Aquaponics. I had never heard of it, so I ask him to elaborate. Once he explained how people raise fish to use their waste to to provide the nutrients for vegetable and fruit plants which then clean the water to be recycled back to the fish, I was fascinated. I researched it and eventually tried it. I wasn't very successful. I was very disappointed. When all my fish died, I decided to continue on with Hydroponics because I still believe in the process of growing fruits and vegetables inside so I can control the atmosphere thereby being able to grow what ever I want any time of the year. I drink iced tea year round, so I don't see any reason I shouldn't be able to eat watermelon and cantaloupe in the winter time as well as have all the lettuce and spinach I can stand in the summer. So, oddly enough, farming has become my passion.
I am not a natural grower. Plants occasionally labor to excel under my care. So, given the difficulty I've had, I assume there are others like me and I am always willing and happy to pass on any knowledge I have to help anyone, especially those struggling to achieve the results they are expecting. It ain't all the garden of eden. Feel free to comment if your opinion varies from mine or ask questions if you need to know. If I don't know the answer, I will certainly find someone who does. In closing, I hope you enjoy my blog.


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Poly Plasti-Flex - 192.5lb kit
Poly Plasti-Flex is a 35A:100B mix, flexible polyurethane casting material (~A90 hardness) designed for producing slightly flexible parts such as decorative trim / molding, props, special effects castings and any number of other impact-resistant parts.
Plasti-Flex reproduce minute detail from molds and can be drilled, sanded and machined.
35A: 100B By VOLUME
Working Time: 3 Minutes
Demold in 30-60 Minutes.
Mixed Viscosity: 550 (cP) Cured Color: Off white
Pigment with PolyColors.
This kit is 1-5G Pail A 5-5G Pails B
Technical Data: Poly Plasti-Flex Data Sheet
Poly Plasti-Flex Part A MSDS Poly Plasti-Flex Part B MSDS
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text: http://pc.ign.com/articles/105/1053905p1.html December 10, 2009 - Today BioWare announced the names of several of the voice actors for the upcoming Mass Effect 2. Among the notables who are lending their talents to the game are: Martin Sheen ("The West Wing"), Shorhreh Aghdashloo ("House of Saddam"), Seth Green ("Austin Powers"), Keith David ("Crash"), Michael Dorn ("Star Trek: Deep Space Nine"), Tricia Helfer and Michael Hogan ("Battlestar Galactica"), Carrie-Ann Moss ("The Matrix"), Yvonne Strahovski ("Chuck"), and Adam Baldwin ("Predator 2: Electric Boogaloo"). Dr. Ray Muzyka, BioWare's co-founder and General Manager of EA's RPG/MMO group, praised the cast: "Emotionally engaging narrative is a key design pillar for BioWare, and the top-notch voice talent in Mass Effect 2 helps drive this goal... Credible, powerful personalities are vital to delivering a compelling story experience in BioWare's games, and we have assembled an amazing ensemble cast that surpasses the very high bar set in the original Mass Effect!" The company also outlined the roles that many of these stars will play. It's no big surprise that Seth Green will return as Joker or that Keith David reprises his role as Admiral Anderson. Of the new actors, Martin Sheen will star as "the mysterious Illusive [sic] Man who commands Cerberus, a secretive paramilitary organization dedicated to protecting human interests in the galaxy." Yvonne Strahovski plays a genetically enhanced Cerberus operative Miranda Lawson. Tricia Helfer provides the new voice of the Normandy, EDI. Carrie-Ann Moss plays the crime lord Aria T'Loak, Shohreh Adhdashloo plays Admiral Shala'Raan vas Tonbay, Michael Hogan plays Captain Bailey, Adam Baldwin plays Kal 'Reegar, and Michael Dorn plays Gatatog Uvenk. The game is still set for a January 26 release in North America.


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The IPSASB develops accounting standards and guidance for use by public sector entities. The structures and processes that support the operations of the IPSASB are facilitated by IFAC. The IPSASB receives support (both direct financial and in-kind) from the World Bank, the Asian Development Bank, the Chartered Professional Accountants of Canada, the South African Accounting Standards Board, and the governments of Canada, New Zealand, and Switzerland.
The IPSASB aims to enhance the quality and transparency of public sector financial reporting by:
· Establishing high-quality standards for use by public sector entities;
· Promoting the acceptance, and the international convergence to, IPSASs;
· Providing comprehensive information for public sector financial management and decision making; and
· Providing guidance on issues and experiences in financial reporting in the public sector.
The IPSASB follows a very structured and public due process in the development of all International Public Sector Accounting Standards (IPSASs). This process provides the opportunity for all those interested in financial reporting in the public sector, including those preparers and users directly affected by the IPSASs, to make their views known to the IPSASB, and ensure that their views are considered in the standard-setting development process.
· Exposure Drafts (ED) of all proposed IPSASs are developed, usually with the input of a task force or project advisory panel, and are available for download from the website. Exposure drafts are usually preceded by a Consultation Paper that explores the subject in detail and provides the basis for further discussion, development, and policy formation. All Exposure Drafts have open and finite comment periods.
· Comments received as a result of the exposure draft process are considered by IPSASB members, and are publicly available on the IPSASB website. If changes to the ED are made after the initial exposure, the IPSASB re-exposes the document for review and comment.
· Approval of exposure drafts, re-exposure drafts, and IPSASs are made by the affirmative vote of at least two-thirds of the IPSASB members.
Since 1997, the IPSASB has developed and issued a suite of 31 accrual standards, and a cash-basis standard for countries moving toward full accrual accounting. Governments that report on a cash-basis do not account for significant liability, such as pensions and infrastructure development. The IPSASB encourages public sector entities to adopt the accrual basis of accounting—which will improve financial management and increase transparency resulting in a more comprehensive and accurate view of a government's financial position. Many governments, jurisdictions, and international institutions have already adopted IPSASs—many more are on the road to convergence.
کلیه حقوق مادی و معنوی این سایت محفوظ می باشد. © 1385 - 1395


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There's nothing more classic and festive than a Lobster Boil to celebrate a milestone. That's why a night with family and friends cracking claws was the perfect theme for a special 50th Birthday Party. The evening started with a few of the guest of honor's… [read more]
Jenni Kayne Breakfast
To celebrate the launch of Jenni Kayne's new tabletop collection we threw a simple breakfast with girlfriends. I feel so lucky to be a part of a community of women in LA who run inspiring businesses and create so much beauty. It is important to pause… [read more]
A Botanical Baby Shower
It was a real treat to collaborate with so many talented women who make so many beautiful thing and to combine our strengths to make an extra special Baby Shower for the lovely Stephanie Schur, owner of the incredible flower shop Botany. Tastemaker Jenni Kayne shot… [read more]
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Home > NRC Library > Document Collections > Generic Communications > Information Notices > 1986 > IN 86-30
Information Notice No. 86-30: Design Limitations of Gaseous Effluent Monitoring Systems
SSINS No: 6835 IN 86-30 UNITED STATES NUCLEAR REGULATORY COMMISSION OFFICE OF INSPECTION AND ENFORCEMENT WASHINGTON, DC 20555 April 29, 1986 Information Notice No. NO 86-30: DESIGN LIMITATIONS OF GASEOUS EFFLUENT MONITORING SYSTEMS Addressees: All nuclear power reactor facilities holding an operating license or a construction permit Purpose: This notice is provided to alert licensees to two design limitations noted in the use of Eberline's SPING-4 (system particulate iodine and noble gas) gaseous effluent monitoring systems The first deals with the limitations of the detection capability of the SPING-4 monitoring system Some licensees are incorrectly relying on the SPING-4 to meet all of the post-accident requirements of NUREG-0737 The second deals with noble gas adsorption that could interfere with routine operational low-level monitoring It is expected that recipients will review this information for applicability to their facilities and consider actions, if appropriate, to preclude problems related to these limitations at their facilities However, suggestions contained in this notice do not constitute NRC requirements; therefore, no specific action or written response is required Description of Circumstances: The Eberline SPING-4 is designed to monitor radioactive noble gasses, particulates and iodines in plant gaseous effluents By using three overlapping channels, the noble gas (NG) monitor has a detection capability of 10-7 to 105 Ci/cc (Xe-133 equivalent) The low-range channel employs a beta scintillation detector The mid- and high-range channels of the NG monitor use energy-compensated GM tube detectors Conformance to NUREG-0737 IIF1: Item IIF11 of NUREG-0737, "Clarification of TMI Action Plan Requirements, issued November 1980, require licensees to have the capability to detect and measure concentrations of NG fission products in plant effluents (up to 105 Ci/cc for undiluted containment exhaust) during and following an accident Recent NRC regional inspections of NUREG-0737 implementation indicate that 8604280122 IN 86-30 April 29, 1986 Page 2 of 3 some licensees have installed SPING-4 monitors and mistakenly consider them adequate to meet all of the requirements of Item IIF11 Although the SPING-4 does have an upper detection capability of 105 Ci/cc, its associated microcomputer is vulnerable to radiation damage from a total integrated dose greater than 1000 rads Therefore, it is unlikely the SPING-4 would survive the course of an accident Eberline has indicated that the SPING-4 was designed primarily as a normal-range monitor with extended capabilities for brief excursions to concentrations greater than 102 Ci/cc Full-range monitoring consistent with Item IIF11 can be achieved by using the SPING-4 in conjunction with an accident monitor (with a remote microprocessor) such as Eberline's model AXM-1 The accident monitor comes on line when excessively high activity levels are sensed while the SPING-4 isolates itself and goes into a purge cycle Noble Gas Adsorption: Eberline has noted noble gas adsorption with the plastic scintillator while performing a SPING-4 calibration This calibration compared the SPING-4 output with a GeLi detection system output, as the concentration of a reference gas (Xe-127) was decreased The concentration of Xe-127 (initially at 210 Ci/cc) in the closed test loop was decreased by vent and dilution operations Calibration was interrupted after 2 days to correct problems with the GeLi system The system was allowed to stand idle for 10 days with 03 Ci/cc Xe-127 concentration When the calibration resumed, the response of the beta scintillator did not decrease in the expected proportions An investigation indicated that both the inner and outer mylar sheets that cover the plastic scintillator had adsorbed Xe-127 gas Although the levels of activity used in this calibration were much higher than those normally encountered, the noble gas adsorption noted on the low range of the detection system could indicate a generic operational concern The high background resulting from the adsorbed gas could cause overestimations in any effluent release calculations that are based on the monitor output This is particularly true if low-level monitoring is resumed following either a large activity excursion (3 or 4 orders of magnitude above normal) or an extended moderate increase (1 order of magnitude for a week or more) Following such releases the monitor should be purged and a new background taken It should be noted that this gas adsorption phenomenon is probably not unique to SPING-4 monitoring systems Other manufacturers of plastic scintillation detectors use similar construction techniques Any effluent monitor that employs a plastic scintillation detector may experience the same difficulties IN 86-30 April 29, 1986 Page 3 of 3 No specific action or written response is required by this information notice If you have any questions about this matter, please contact the Regional Administrator of the appropriate regional office or this office Edward L Jordan Director Division of Emergency Preparedness and Engineering Response Office of Inspection and Enforcement Technical Contact: Roger L Pedersen, IE (301) 492-9425 James E Wigginton, IE (301) 492-4967 Attachment: List of Recently Issued IE Information Notices
Page Last Reviewed/Updated Friday, May 22, 2015


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Finding the right wedding catering service (sushieventpro.com)is an essential element to planning and creating a memorable night that celebrates the union of you and someone you love, or two people you are planning a wedding for. Keep reading to learn 5 things you should look for in picking out wedding catering.
1) Look for what foods are available. The bride and groom should be able to eat their favorites on the day of their union. Having said that, all the guests deserve tasty dishes to celebrate the day too. A good wedding caterer is not likely to have a long list of dishes it offers, instead focusing on a select handful that its cooks and preparers have mastered and now specialize in.
2) Consider the affordability of any wedding caterer. The catering bill for any large event can run up quite quickly. Make sure that any caterer you are doing business with charges per plate or in a similar fashion, so that you get consistent quality per each member of the celebration gathering. Caterers that charge flat rates regardless of event size are definitely pinching pennies in the extra plates they provide.
3) Use a caterer that takes allergies, conditions and personal beliefs into account in their dinner requests. Some individuals are allergic to peanuts and shellfish, others can't eat high-sodium foods, and others just choose to follow vegetarian or even vegan lifestyles. Make sure that everyone who attends your wedding celebration has something they can eat that matches both their health needs and their personal convictions.
4) Go with a caterer that allows wedding participants to choose their dish in advance. This is especially possible if you are going with a planned wedding with a specific guest list in attendance that you know in advance. Whenever possible, let each guest know in advance what options are available so they can choose their own meal. This makes everyone happy and avoids some things from a buffet table running out before everyone can enjoy them while leaving other wasted foods just sitting there.
5) Ask what kinds of uniforms the caterers and servers are going to wear. You might automatically assume that they'd be in formal tuxedos or suits and ties or similar, but not all services do this as their standard event-wear. Check the business website for photos to see what they wear, and make sure that it is going to not clash in the inevitable photos everyone takes, or with the general decor of the event itself. Likewise, you might be running a more casually-dressed wedding on a beach, and you don't want to subject the servers to being overdressed.
When it comes time to find the wedding catering service that is going to feed everyone at your celebration of union, there are 5 specific factors you need to take into consideration in your search. Keep in mind the dress of the caterers, the costs, the ability to select meals in advance, the possible menus, and the ability of the caterer to adapt to personal needs. For some other ideas, you might want to search for Sushi Event Professionals on Yelp.


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Oh, and I'm so excited to share with all of you next week about how I finally found my green thumb! Now, if we can just keep it around long enough to actually make things grow! ;-)
I want to take a moment to thank each and everyone of you that follow me and read me each week! It is because of you all, the sweet emails I receive and the encouragement through Facebook and Twitter that I keep at this!
So thanks for hanging through the nonsense! Thanks for sharing my little tidbits! And thank you....thank you for supporting me! Stop by Prayer Power and let me know how I can help you!
My favorite Tweets of the week:
I spied a rainbow on my bus ride to work. An omen for a good week ahead? Here's hoping!!
Life is better when you stop worrying about the things you can't control.
My favorite posts of the week:
You must stop by and give Chelsea over at Life Unpublished some love for her photos! Absolutely gorgeous!
And you can gain some inspiration and insight from The Deliberate Mom as she talks about seeing through new eyes!
It's like the year is flying past us. Before we know it we'll be taking down the Christmas trees and ringing in a New Year. So, here's a little insight to what you missed this week!
Saturday I shared an image of a lovely nursery rhyme from the baby's perspective! If you haven't had the opportunity to laugh yet, I strongly suggest you go read it! On Sunday, I prayed to inspire you a little through the Great Commission!
Of course Monday brought another round of Sunday Social. We discussed our blogs and our blogging experience this week! It was so interesting to read all about the story behind the name! If you're a new blogger, you can achieve a books worth of tips and advice! Go check it out and see a few of the blogs I just love!
I also talked a little bid about why you don't see me in the evenings or on weekends! I share something occasionally but my posts are scheduled and I clock out. Find out why here!
Tuesday we were back with Kids 'n Worship! I was so excited this week to share with you how a worship service can be more enjoyable and successful by expecting less! I'm serious peeps! You won't regret reading it!
Wednesday came with another week of Wordless Wednesdays. This photo is absolutely precious!
Thursday was encouraging as I linked up for another week of Theme Thursdays with Jenn over at Something Clever 2.0! Really, you should check it out! This week wediscussed goals. Do you set them? Are you addicted to them like me? Do they encourage or discourage you? Let us know and read what other wonderful bloggers have to say on the topic!
And today I dropped a little bomb about why I took a hiatus from church! That's right peeps! I'm far from perfect and there was even something that occurred that could drive me from the comfort of a Sunday morning service! I hope you get a good laugh out of it!
Please stick around the weekend for another Saturday Funny and Sunday Inspiration! And as always I love to hear from you! Have you stopped by the Prayer Power page lately? We've got some amazing stories in the power of God!
Shana Danae..


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- الصفحة الرئيسية
- The 3rd Timeless Movies Days Starts!
The 3rd Timeless Movies Days Starts!
15 Ekim 2019 Salı
The Foundation for Sciences and Arts' Center for Turkish Cinema Studies (BİSAV TSA) organizes the 3rd Timeless Movies Days, on October 15-19, 2019, with a collection ranging from Yeşilçam classics to award-winning contemporary films, with the cooperation of İstanbul Şehir University and funding from the General Directorate of Cinema.
The program includes Classics, Hidden Treasures, and Country Films sections. Various academicians and cinema writers will be presenting each film before the screening. In parallel with the screenings, a panel and two talks will be held. A book including articles on the films in the program, published in Turkish and English, will be available for cinephiles.
خيار المحررين
Azerbaycanlı siyaset bilimci Elkhan Mehdiyev ile 2005 yılında "Güney Kafkasya'da Güvenlik" konusunda gerçekleştirdiğimiz...MORE INFO MORE INFO
YÖK'ün eski başkanı Prof. Dr. Gökhan Çetinsaya ile İstanbul Şehir Üniversitesi üzerine...MORE INFO MORE INFO
An important interview with Immanuel Wallerstein about Turkey on the way of European Union...MORE INFO MORE INFO
A valuable interview about Turkish art history, with Semavi Eyice who is an important historian...MORE INFO MORE INFO
The article of Mehmet Genç about 19th century Ottoman economic thought, published in Dîvan.MORE INFO MORE INFO
An important assessment of Asia by economic historian and sociologist Andre Gunder Frank, who was our guest in 2004...MORE INFO MORE INFO
Şakir Kocabaş hocamızın Dîvân'ın ilk sayısında yer alan, İslam ve Bilim başlıklı makale...MORE INFO MORE INFO
Kıymetli hocamız Orhan Okay ile Türk Edebiyatı üzerine yaptığımız özel söyleşi...MORE INFO MORE INFO
By the architect Turgut Cansever, for the preservation of our architectural cultural heritage...MORE INFO MORE INFO
Bulletin 96-97 released!FOR DETAILS
Divan 47th issue is out!FOR DETAILS
30 Türkiye'de İslami İlimler: Tasavvuf IFOR DETAILS
67th issue of Hayal Perdesi is out!FOR DETAILS
32th issue of "BSV Notlar" (Notes) is published by TAM, Center for Turkish Studies, with the title of "Anatolian Chronicles".FOR DETAILS
As the most traditonal activity of BISAV, the courses take place in every fall and spring of a year.MORE INFO


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What is content strategy anyway?
Not long ago I had a discussion about the importance of content strategy with the lead strategist at a very well-known SaaS company. "We make sure that all of our clients understand the importance of content strategy," he told me, "and demand (for strategy) is off the charts. I have to do five this week."
"Do you have five strategies to approve this week," I asked, "Or do you have to start and finish five strategies?" He confirmed that he meant the latter, and that he planned to do all five strategies himself.
That blew me away. There's just no way to craft a comprehensive enterprise-wide content strategy for a major brand in a week, let alone five. And the process never stops, as we refine our thinking and planning and optimization constantly throughout the year.
We all define content strategy differently
I realized in that moment that all of us "experts" in content marketing define content strategy by what we sell. Remember the old adage, "To those who only have a hammer, every problem is a nail?"
If your goal is to sell software as a service, and your SaaS is geared toward helping connect clients with freelancers who can write an article (or 10), or helping clients find existing content they can license from a publisher, the strategy you craft may go just deep enough to sell your software. I'm not criticizing that model -- it makes no sense to sell an enterprise content strategy to a brand that doesn't need it or want it.
If you're a publisher hoping to replace declining print advertising revenue by crafting native ads for advertisers, you're probably giving your strategy away as part of a traditional media buy. In that case your strategy will cover the creation of an article plus some promotions via your publishing and social platforms. Again, that's not wrong. It fills an important market need.
Knowing that every industry provider defines strategy according to how it can help them, how do you go about "buying" a strategy that helps you?
Do you need a content strategy or a creative brief?
If your plan is to dip your toe in the water by creating an article or blog post and seeing how it performs, you are being inventive, but you are not being strategic. You need to articulate your audience and message and "reasons to believe" to your partner or internal team, and you need to provide them with some sense of the results you hope to achieve. Most of that can be covered by a creative brief. You may not be interested in strategy until you prove to yourself that content works.
But if you work in an enterprise that consists of an umbrella brand and multiple sub-brands and multiple product groups within each sub-brand, and you want to integrate your content marketing efforts, you need content strategy. Or if you're a product manager hoping to dive in and transform your marketing efforts using multiple forms of content across multiple media and multiple devices, you need content strategy.
The question is, what is the right strategy for you?
The 10 common denominators of successful content strategy
Content strategy is different for every brand and every product. But there is a core set of activities that can serve as the foundation to your success. If you are beyond the "dipping your toe in the water" stage, you should work with your partner do accomplish the following:
Articulate your brand voice
GE is the voice of innovation. Red Bull is the voice of extreme sports. There are others who claim to be innovative and extreme, but GE and Red Bull are all in, and it shows. The first step toward being "all in" is knowing what you are all about. What are you about? If you don't know your brand voice or can't articulate it, do not pass go. Stop here and get it done.
Map your customer journey
This is much more difficult than it sounds, and for some brands it's nearly impossible -- you could be almost anywhere when inspirational content from Nike might do you good. To the extent you can articulate the mindset of your audience at each stage of their journey as well as the device on which you are likely to encounter them, it's a good start.
Define the questions your customer is likely to ask at each stage in the journey
If your customers know nothing about the Tesla Model S but are curious about self-driving cars, they might search Google for "How do self-driving cars work?" If your customers know about your Model S and want to compare it to a Mercedes, they might search Google for "Which is safer, the Tesla Model S or Mercedes E Class?" You want to have content to answer those questions. If you're at a loss about what content to create, these sorts of customer questions are a treasure trove of ideas.
Connect the dots
While the sales process is not usually linear, there is often a progression of knowledge that a person must acquire in order to make an intelligent purchase decision. Make sure each piece of content connects to both the previous and next piece of content in the purchase journey. If there is no "previous" or "next," then make it easy for people to connect to other content that will be helpful and useful to them via inline hyperlinks to other content or "you might also like" links at the end of each piece of content created.
Audit your existing content (including advertising) and match it to the customer journey
Paste your content up on a wall. Does it answer every question a customer might ask along their journey?
Identify content gaps and plan to fill them
If your audience spends 50 percent of their time on mobile devices and you have no mobile content, it's a gap. If your customers need answers to certain questions before they'll be willing to buy from you and you have no content that answers those questions, it's a gap. If your customers speak French but all your content is in English, it's a gap. "Gaps" can mean content that should exist but doesn't, or content that does exist but not in the location or the format that will allow customers to benefit from it. Also, keep in mind that your goal should be to generate the greatest results possible using as little content as possible. This is about quality, not quantity. That being said, it will often take more than one piece of content to fill a gap, as different customers will encounter you in different places during their journeys, and different messages and formats will likely be appropriate.
Isolate content that is off brand
Being "all in" requires that all of your content deliver one powerful message in one powerful voice. If you've embraced content marketing, you (hopefully) believe that content that helps sells, and content that sells, probably doesn't. Don't be afraid to rewrite ad or article headlines and copy so that all of your content asks, "How can I help you?" rather than, "What can I sell you?"
Promote your content
Your content won't work if nobody sees it. As you build a critical mass of content, you'll find that it attracts ever greater percentages of organic searchers. Until then, you'll need to work with your social and media teams to make sure your content intersects with your audience at the most appropriate places in their journey.
Measure your results
At the end of the day, your ultimate goal will almost always be to sell more product. But content marketing is similar to all marketing in that some content is best for building awareness, some is best for consideration, some is best for conversion, and some is best for loyalty. Because different forms of content at differing points in the customer journey generate different results, you're going to want different metrics throughout the journey.
Optimize and kill
Usually at this point you'll find yourself tweaking headlines or first sentences or calls-to-action to see if you can generate better results. Optimization is always a good idea. But never be afraid to test a whole new piece of content to see if you can generate results that are orders of magnitude greater than what you're getting today. Always try to kill what you have in an effort to continuously improve.
I'm sure this feels like a lot, but if you are committed to content marketing, the 10 steps outlined above are the minimum you'll need to approach things properly. Follow them and you'll find it much easier to react in real time to opportunities to improve whenever, wherever, and however they arise.
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Riding a motorcycle is meant to be fun and exciting, not life-threatening. This was the case for our client, Harold, whose joyful motorcycle ride took an unexpected turn. At the end of the day, we were able to win Harold the compensation he deserved.
A Strong Impact
Harold was riding his motorcycle in Arlington when he came to a red light. Naturally, he stopped. Everything seemed to be going smooth until the light turned green. As soon as the light turned, another driver made a right hand turn from the left lane. This is when everything went wrong. The driver impacted Harold's motorcycle so strong that it knocked Harold off the bike.
As you can imagine, motorcycle accidents can be dangerous. Harold was left with serious injuries, including multiple knee injuries and injuries in his left wrist and elbow. Additionally, Harold had to receive a meniscectomy surgery that made him wear crutches. This, of course, brought along heavy medical bills. After Harold received treatment, his medical bills exceeded $90,000.
The monetary damages were only part of his damages. Due to the accident, Harold missed personal events such as playing with his children and enjoying his family, in addition to missing holidays such as Thanksgiving and Christmas. This is when Harold knew he needed an experienced personal injury attorney at his side.
Case Summary
We fought the at-fault driver's insurance company until they had no choice but to give Harold the compensation he deserved for his medical expenses, pain and suffering, and other expenses from the accident. Our attorneys and legal team were able to win Harold a $132,500 settlement offer. If you have been in a motorcycle accident and need our help, don't wait any longer. Contact us today to schedule your free, no-obligation consultation with our attorneys.
Attorney's Fees: $44,166.67 – Expenses: $954.12


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Your Ten Year Tags Guarantee
Ten Year Tags guarantees to keep you supplied with the highest-quality dog name tag you're likely to find for Ten Years from the month of purchase.
Ten Year Tags will replace your dog name tag with an identical dog name tag to the one initially supplied, including postage (UK only) for a Ten Year period from the month of purchase.
Should you lose your dog tag, or the engraving become so worn it gets too difficult to read, we will send out a replacement matching the specification of the originally-supplied tag.
Ten Year Tags will provide up to three replacements on this basis, after which we will provide continued replacements for £4.99 per replacement tag to cover materials. Our manufacturing costs remaining free of charge.
The £4.99 will remain fixed for as long as it's sustainable, but we can't predict Royal Mail increasing postage costs to double figures of course. However, we're pretty sure this won't happen, they're a sensible bunch at Royal Mail.
Any changes required at time of replacement, such as a change of address or phone number, will also be charged at £4.99 to cover the cost of resetting the engraving.
International Customers
The above conditions apply, but we do have to charge postage for free replacements for international orders. We will do our best to keep shipping costs as low as possible.
Claiming your replacement tag
No reference number to remember, as long as you can remember your dog's name, the phone number that was engraved on the tag and can get to tenyeartags.co.uk then you're in business.
Should you ever need to replace a lost, or worn tag just come back here and go to the Replace My Tag page and you're on the way.
Alternatively, you can phone your replacement requirement through on:
0203 286 1433
You may also email your replacement requirement directly to: tagmaster at tenyeartags.co.uk


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Carle Place, NY — This Mother's Day, take your mom out of the kitchen and into a restaurant. LL Dent Restaurant is offering its unique Southern-style menu items for its Mother's Day brunch on Sunday, May 13.In addition to its delicious all-you-can-eat Sunday brunch, LL Dent will be serving fried turkey injected with Cajun butter, cornbread dressing, broccoli casserole and a host of Southern-style desserts. Price is $22.95 person. Children ages 5-12 are half-price; children under 5 are free."Families enjoy going out for brunch for Mother's Day," said Leisa Dent, Chef and Co-Owner, LL Dent. "Brunches are a big tradition on Mother's Day, and we offer the best Southern-style dishes. What makes this day special for me is that I will get to work with my mother Lillian, who also operates the restaurant with me."Reservations are by seating only and are currently being accepted. Seatings are at 11 a.m.; 12:30 p.m., 2 p.m., 3:30 p.m. and 5 p.m. Space is limited, so make your reservations early. Reservations are also requested.For more information, or to make a reservation, contact LL Dent at (516) 742-0940 or visit www.lldent.com.
Due to extra work required to remove the press-releases we have started charging $1.99 for press release removal.
Your press release will be removed in 24 hours, once the payment has been received.


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Hot Hot Heat - Spelling Live Backwardsrate me
Left to go right on a Las Vegas night.
Televise the crisis and crutial accident.
Baby burns bright blue for description.
Babies born with a broken spine.
Take him all apart and put him back together.
Connected by fine wires to a dynamite bouquet.
A is for artist and A is for architect.
Lis for lime and E is for live.


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Dairy Queen opens its 500th location in China
Dairy Queen has opened its 500th store in China after a year of aggressive expansion there.
CEO John Gainor says China offers a tremendous opportunity to Dairy Queen because it has one of the fastest-growing economies in the world.
China has been the strongest international growth market for the company. Minneapolis-based Dairy Queen plans to open 100 more restaurants in China during 2012 after opening 131 stores there last year.
Gainor attended the grand opening of the 500th store in the Hu Dong district of Shanghai this week. The first Chinese Dairy Queen opened in Beijing in 1991.
Dairy Queen is owned by Warren Buffett's Omaha-based Berkshire Hathaway Inc.


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After reading this lesson you will have mastered 4 important poetry terms. The 4 terms that i will teach you are hyperbole, onomatopoeia, simile, and metaphor. These words are important parts of writing and understanding poetry.
The first word that I am going to teach you is called a hyperbole. This word means an extreme exaggeration. An example of this is, " I told you a million times". You say i told you million times you extremely exaggerate the fact that you have said it a lot.
Everything they say in this video are good examples of hyperboles.
The next word I will teach you is called onomatopoeia. This is just when you use words like " BAM, BING, BOING, POW, ZOOM, BOOM", basically they are words that describe sounds. When I remember this word I think of comic books where when they punch someone there is a box that has "BAM" in it. That is a good example of an Onomatopoeia.
great examples of what onomatopoeia's are like
The Last 2 words kind of go together but are different. Simile is when you are comparing two unlike things using 'like' or 'as'. A metaphor is comparing two different things without using like or as. An example of a simile is "that guy eats like a pig". An example of a metaphor is "the inside of the car was a refrigerator".
great examples of similes and metaphor and learning them in a cool way.
This is how to find these terms in a poem.