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By THIS STORY HAS BEEN UPDATED WITH ADDITIONAL PROPERTIES AND 2018 HOTEL PROGRAMS AND PRICING. CNN'S KARLA CRIPPS CONTRIBUTED TO THIS STORY.
The Ritz London amps up its red and gold for the holidays.
(CNN) - Twinkling lights, glitter and gourmet menus galore -- without a single dish to wash or tree to trim.
Spending Christmas at a hotel does hold a certain travel allure.
Whether you stay for a week or drop in for tea, these 15 properties go to great lengths to offer something special for the holidays.
Champagne will be flowing this Christmas season at The Lygon Arms in the heart of the Cotswolds.
The charming, predominantly Tudor coaching inn is hosting a three-night Christmas house party from December 24 to 27 with daily Champagne receptions, cocktails, canapés, elegant meals and a five-course, black-tie gala dinner with dancing on Boxing Day.
The property dates back to the 1300s and saw guests including Oliver Cromwell and King Charles I during the English Civil War in the mid-1600s. In 1963, Richard Burton and Elizabeth Taylor stayed at the inn at the height of the scandal over their affair, and a whole host of other glamorous guests have laid their heads here.
The cost for the three-night Christmas house party, based on double occupancy of a Classic Room, is about $3,300.
Montage Laguna Beach, a Forbes Five-Star property, offers Christmas festivities against a stunning Pacific Ocean backdrop.
A 35-foot tree decked out on the Pacific Lawn sets the tone for a luxurious California Christmas. Gingerbread decorating workshops, Santa Claus tuck-ins and holiday stocking deliveries are all extras on offer.
On Christmas Eve and Christmas Day, dining choices include multi-course holiday tasting menus and elegant buffets. Christmas week rates start at $545 for an Ocean King.
There are few holiday destinations more charming than Austria. Christmas markets, classical concerts and -- with any luck -- a blanket of snow; it just doesn't get much more festive.
At Vienna's Hotel Sacher -- home of the famous torte -- four-course Christmas Eve menus will be served in its Grüne Bar and Rote Bar restaurants ($210 per person). From midday on Christmas Day, three-, four- and five-course menus will be offered starting at $140 per person.
For a taste of Vienna at home, the hotel ships its signature chocolate tortes, layered with an apricot jam filling, globally. Rates for Christmas week start at about $715 for a superior room.
Mohonk Mountain House in New York's Hudson Valley has a full lineup of fun, family-friendly activities scheduled in December.
Rates between December 21 and December 31 start at $730 per night, based on double occupancy. Three-night minimum stays required between December 23 and December 31.
The Ritz London is putting on exactly what you'd expect from the elegant property.
Gala dinners with dancing on Christmas Eve and Christmas Day will be hosted in the Michelin-starred Ritz Restaurant (about $415 for adults, $190 for children). The restaurant, featuring ceiling frescoes, marble columns and an elaborate garland chandelier, was featured on beloved TV drama "Downton Abbey."
Traditional Christmas afternoon tea, with Champagne, is available in the Palm Court from November 24 through December 30 (about $100 for adults, $65 for children). A pine tree grown in the Scottish Highlands towers in the lobby, dressed in traditional red and gold.
Rates for Christmas week start around $710.
Thailand, a predominantly Buddhist nation, might not be the first place that comes to mind when you think "traditional Christmas vacation." But many of the country's luxury resorts put on beautiful holiday-themed celebrations.
At the Four Seasons Chiang Mai, guests can experience northern Thailand's famed culture and cuisine -- but with plenty of Christmas trimmings.
Nestled in the mountains of Chiang Mai's Mae Rim district, the resort is famous for its natural setting, with many of its guestrooms overlooking luscious green rice fields.
This scene is amplified with a splash of Christmas spirit from December 14, when the resort hosts a beautiful open-air Chiristmas tree lighting ceremony on the Cocktail Lawn, complete with carol singing, cocktails and Christmas treats whipped up at cooking stations.
On Christmas Eve, the Cocktail Lawn hosts an extravagant open-air holiday buffet featuring cuisine from around the world. And there will be plenty of entertainment for the kids, too.
The resort's Rim Tai Kitchen hosts its annual Christmas Day lunch, which includes classic holiday dishes as well as international favorites. Entertainment includes Christmas carols and a visit from the big man himself -- Santa.
Santa's secret headquarters, an ice-skating rink, trains, holiday characters and more than 4.5 million lights: It's safe to say that the Fairmont Scottsdale Princess doesn't believe in overdoing it.
The resort's Christmas at the Princess festival runs from November 20 through December 30 and is open to the public. Free for hotel guests, the entrance/parking fee for up to six non-guests is $55 for self-parking and includes many of the holiday attractions and events.
A "Sip, Savor & Celebrate" holiday package, starting from $309 per room, includes accommodation, a $75 daily resort credit and express access to some of the holiday attractions.
Rustic luxury is offered year-round at Triple Creek Ranch in Darby, Montana. Add twinkling lights, homespun holiday decor and a blanket of snow for the coziest of Christmases.
Christmas trees -- live or artificial -- are available upon request in every fire-lit cabin. Guests can decorate trees themselves or have them trimmed and ready upon arrival.
Stockings turn up in every cabin on Christmas Eve. The standard offering is filled with fruits, nuts and sweets, but guests can pre-order (for a small fee) Montana-made stockings filled with small gifts -- ceramics, candles, ornaments and treats -- from Montana craftsmen.
Winter activities include horseback riding, ice fishing, sledding, skijoring and skiing.
Year-round rates start at $1,050 per couple, per night, all-inclusive.
Horse-drawn carriages and carol singing await guests at Claridge's in London, where a two-night package from December 24 includes those festivities, plus accommodation, Christmas lunch and more. Package rates start from about $4,000 per room with two-person occupancy.
The hotel's highly anticipated designer Christmas tree and decorations are set to be unveiled on November 29. Last year's tree was designed by fashion icon Karl Lagerfeld.
At Paris' Four Seasons Hotel George V, dazzling decorations by hotel artistic director Jeff Leatham will appear in mid-November.
At Le Cinq, the hotel's three Michelin-starred restaurant, an elegant Christmas Eve dinner featuring langoustine with Oscietra caviar and capon with chestnut and truffle tapenade is available for $600, excluding beverages.
Christmas Eve dinner will also be served at La Galerie (about $375, excluding beverages).
Rooms for Christmas week start at $1,300. For a true splurge, the Royal Suite is available for a cool $25,600.
Elf tuck-ins, ornament-decorating and gingerbread-house construction are among Sea Island's many activities during the holiday period from December 21-26. These offerings are available for a fee, but there are also a range of complimentary events -- from caroling to a family fun run.
A Southern buffet brunch will be served on Christmas Day at The Cloister in the Mizner Ballroom ($85 for adults, $30 for kids).
Rates start at $520 per night during Christmas week.
In the United States' capital, the elegant Willard InterContinental's lobby Christmas tree is decked out with the entire line of White House Christmas ornaments.
Afternoon tea -- with finger sandwiches and pastries -- is served almost daily in December ($65 for adults) in the hotel's Peacock Alley.
Local choral and vocal ensembles give free performances in the lobby from 5:30-7:30 p.m. nightly from December 1 through December 23.
Right off the lobby, the historic Round Robin Bar will be serving up seasonal cocktails such as the Jingle Bell Julep and the After Eight.
Room rates start at $229 per night for Christmas week.
Tea time and Christmastime coincide at The Plaza's elegant Palm Court, where three holiday tea menus are served in November and December.
The New Yorker Holiday Tea ($95) features an array of sweets and savories, including eggnog tart and deviled egg salad, while the Champagne Tea ($125) adds some effervescence to the occasion.
The hotel's most famous fictional resident, children's book character Eloise, lends her name to the Eloise Holiday Tea, available for $60 per child aged 12 and under.
On Christmas Day, a grand buffet ($225 for adults, $75 for children aged 12 and under) will be served in the Palm Court.
Holiday rates start at $825.
The oceanfront Italian Renaissance-style resort dazzles with sparkling lights, and holiday tea is available at HMF on select days in late December for $55 per person.
There's a Christmas dinner buffet in the Ponce de Leon ballroom ($175 for adults, $60 for children 11 and under).
Rooms have already been snapped up for Christmas week, but there's availability leading up to the holiday, with rates starting at $675 between December 1 and December 23.
The Roosevelt New Orleans' annual Teddy Bear Tea, complete with Santa and his elves, will be served on November 25, Saturdays and Sundays in early December and December 15-24. The tea is $52 for children ages 3-10 and $72 for ages 11 and above. Sparkling wine and mimosas are included in the price for adults.
A Waldorf Astoria hotel, The Roosevelt is celebrating its 125th anniversary in 2018. The hotel's elegant lobby will light up for the holidays around 5 p.m. on November 27 with 44 birch trees and glittering Christmas trees decked out for the season.
On Christmas Day, brunch -- complete with seafood bar, omelet station, carving station and more -- will be served in the Crescent City Ballroom ($105 for ages 11 and up, $45 for children ages 3-10, excluding tax, gratuity and service charge).


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We keep stock of these colorful opaque polyhedral 20 sided Dice, so we can send them very quickly after your order. These are beautiful opaque 20 Sides Dice in different colors. With a standard size 20MM, they could be your most important dice if you are using the modern D20 game system. This great device is the best way to get a random 5% chance or 1 in 20 random number. These dice are opaque with inset numbers.
Looking for ideal Colorful 20 Sided Dice Manufacturer & supplier ? We have a wide selection at great prices to help you get creative. All the Opaque 20 Sided Dice are quality guaranteed. We are China Origin Factory of Different Colored 20 Sides Dice. If you have any question, please feel free to contact us.

industry_corpus2: Gaming


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Boasting one of the youngest fleets in the world, you can rely on the utmost in comfort and the latest in cabin design and inflight entertainment no matter where you’re seated. Most of the Emirates fleet is now made up of ultra-modern Emirates A380s and spacious Boeing 777s, making your Emirates experience world class in every class.
Emirates flights depart from five UK airports; London Heathrow, Birmingham, Manchester, Newcastle and Glasgow.
Sit back in comfortable seats with a typical seat pitch of 32”, which can be pre-selected at no charge.
The airline’s inflight entertainment system ICE offers up to 2,000 channels of entertainment. Choose from top movies and must-see TV shows, on demand and in multiple languages. Listen to music, or play a range of fun games.
At meal-time, choose from a menu of long-time favourites and new creations, and if you have a special diet, they will serve you a meal that’s right for you. Match your meal with a glass of wine, or choose from a range of complimentary beers, spirits, and hot and cold beverages.
Emirates Business Class provides an ideal environment to relax and unwind. The onboard experience starts with Emirates’ award-winning service – with superb cabin crew on hand to ensure that you have everything you need throughout the flight.
Emirates offers great tasting, regionally inspired menus, including healthy options, all presented on Royal Doulton fine bone china. Enjoy multiple courses and complimentary champagne and vintage wines, along with other cocktails and beverages.
When it’s time to relax, lie-flat seats provide plenty of room to spread out and get comfortable. In addition, Business Class passengers can enjoy access to the onboard Lounge (on A380 lounge) complimentary Chauffeur-drive*, convenient business class lounge access at the airports and great cuisine as standard.
*In the UK, a complimentary chauffeur service is available up to 70 miles from the airport.
Emirates’ new partnership with Qantas connects you to Australasia from the dynamic hub of Dubai.
When you travel to Australia and New Zealand with Distant Journeys and choose to fly with the Emirates and Qantas partnership, you will travel on international flights operated by both Qantas and Emirates.

industry_corpus2: Aerospace


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After several years of production delays, script rewrites and financial problems, a film adaptation of the bestselling novel Tulip Fever, by Deborah Moggach may feature the Swedish star.
According to Daily Mail, Swedish actress Alicia Vikander has gotten a new role, the female lead in the upcoming film “Tulip Fever”. The part was meant for British actress Keira Knightley, a star Vikander is now compared to.
After successes like “A Royal Affair” and “Anna Karenina”, Vikander will now sink her teeth into the film adaptation of Deborah Moggach’s novel “Tulip Fever”, which takes place in Amsterdam during the 17th century. Alicia will play Sophia, a woman who has a forbidden affair with an artist hired by her husband to paint her portrait. Harvey Weinstein is set to produce the film, and director is Justin Chadwich, but according to the website Up and Comers, it is thanks to Alicia that the project now will take off.
The 2000 novel, Deborah Moggach’s "Tulip Fever” reads like a thriller—It explores human relations at their worst. According to Goodreads: In 1630s Amsterdam, tulipomania has seized the populace. Everywhere men are seduced by the fantastic exotic flower. But for wealthy merchant Cornelis Sandvoort, it is his young and beautiful wife, Sophia, who stirs his soul. She is the prize he desires, the woman he hopes will bring him the joy that not even his considerable fortune can buy.
Cornelis yearns for an heir, but so far he and Sophia have failed to produce one. In a bid for immortality, he commissions a portrait of them both by the talented young painter Jan van Loos. But as Van Loos begins to capture Sophia's likeness on canvas, a slow passion begins to burn between the beautiful young wife and the talented artist.
As the portrait unfolds, so a slow dance is begun among the household's inhabitants. Ambitions, desires, and dreams breed a grand deception -- and as the lies multiply, events move toward a thrilling and tragic climax.
The film adaptation of the bestselling novel has been delayed over ten years due to production delays, script rewrites and financial problems. It was optioned by Ruby Films and Steven Spielberg's Dreamworks prior to publishing. Alicia Wikander seems the perfect choice for the young Sophia in the movie. In the meantime, we can look forward to seeing Alicia Vikander in the Wikileaks drama “The Fifth Estate” and the thriller “Son of a Gun” where she plays opposite Ewan McGregor. She also has a part in “The Seventh Son” with Jeff Bridges and Julianne Moore.
Alicia Wikander in "A Royal Affair"
Alicia Vikander with Samuel fröler in "Pure"

industry_corpus2: Film & Entertainment


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Marketing in the Sussex, UK area. We have been involved in bespoke software development for more than a decade and have the relevant competences, expertise and experience.
If you are interested in learning more about Marketing in Sussex, UK please contact us, or give us a call now on 01273 906 260 for a no obligation, free consultation.

industry_corpus2: Computing & Telecommunications


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VANCOUVER, March 5, 2019 /CNW/ - Atlantic Gold Corporation (AGB) ("Atlantic" or the "Company") is pleased to announce its operational and financial results for the fourth quarter and full year 2018.
Safety and Sustainability: Atlantic Gold is pleased to announce that during its first year of operations at its Moose River Consolidated Gold Mine ("MRC") in Nova Scotia, Canada, the Company had an excellent safety record. In particular, the Company maintains the lowest industrial lost time frequency rate in the province of Nova Scotia. The Company has been nominated by the Labour and Advanced Education OHS Division of Nova Scotia for the John T. Ryan Safety Trophies Competition, sponsored by CIM, for the second consecutive year.
-- The Company exceeded its 2018 production guidance with gold production of 90,531 ounces (2018 guidance of 82,000 to 90,000 ounces). -- Achieved four quarters of steady-state production in the first year of mining. Processing operations exceeded design levels in both material milled (2.1 Mt versus design of 2.0Mt) and recovery (95.0% recovery versus design recovery of 94.0%) and achieved full year production at average reserve grade with good resource model to production reconciliation. -- Annual cash costs of CAD $558 per ounce was within 2018 guidance of CAD $500 to CAD $560 per ounce. -- Annual AISC of CAD $731 per ounce was within 2018 guidance of CAD $675 to CAD $735 per ounce.
-- $128 million in 2018 annual net revenue (2017: $nil)*. -- Annual Adjusted EBITDA** was $77.5 million for 10 months of commercial operations representing an EBITDA margin earned of 60%. Cash flow from operations of $69.6 million for 10 months of commercial operations ($0.32 per share). -- Net income was $27.9 million ($0.13 per share).
-- The Company successfully refinanced its Project Loan Facility into a CAD $150 million revolving credit facility during the year. This provides the Company with greater flexibility with respect to debt management and eliminated certain requirements around restricted cash maximizing the Company's available working capital. -- Strong operating cash flow coupled with capital discipline has resulted in the total cash balance growing to $50.3 million at December 31, 2018 ($32.7 million in 2017***). -- Total debt has been reduced from $137.8 million at December 31, 2017 to $114.0 million at December 31, 2018. -- Net debt reduced to $63.7 million at December 31, 2018 from $105.1 million at December 31, 2017 (39% decrease).
Capital spending focused on productivity improvements at MRC, further development and exploration at Fifteen Mile Stream, Cochrane Hill and Beaver Dam, as well as ongoing exploration activities as part of the Company's Phase 4 Corridor Regional Program.
*Revenue excludes $14,909,663 of pre-commercial production which was capitalized to PP&E. **Refer to "Non-IFRS Financial Performance Measures" section ***As at December 31, 2017, cash balance includes cash and cash equivalents of $22 million plus the restricted cash balance of $10.6 million. As at December 31, 2018, the restricted cash balance was nil.
* Note: MRC commenced commercial production effective March 1, 2018. As such, only financial operating results from this date are recognized in the Company's Statement of Income (Loss) and Other Comprehensive Income (Loss) for the year ended December 31, 2018. Financial operating results prior to that were capitalized to mine development within property, plant and equipment. ** Note: Total Cash is composed of cash and cash equivalents and restricted cash. As at December 31, 2018, restricted cash was nil.
-- Producing 92,000 - 98,000 ounces of gold at Touquoy at a cash cost of CAD$560 - $610 per ounce (US$420 - US$458 per ounce at an exchange rate of CAD$0.75), and an AISC between CAD$695 and $755 per ounce (US$521 - US$566 per ounce at an exchange rate of CAD$0.75). -- Releasing updated resource / reserve estimates for the Touquoy, Fifteen Mile Stream and Cochrane Hill deposits, along with an updated Life of Mine plan for the Phase 2 Expansion. -- Prioritize targets for further exploration, including drill-testing, on the Phase 4 Corridor Regional Program. (Please refer to Phase 4 and next steps sections below). -- Completion of the Fifteen Mile Stream and Cochrane Hill Environmental Impact Statements, targeted submission in Q2 and Q3 2019, respectively. -- Progressing and seeking final approval of the Environmental Impact Statement for Beaver Dam. -- Completion of a $9,000,000 strategic investment in Velocity Minerals Ltd.
**Disclosure of operating results and supporting discussion in this news release does not present comparative statistics for the prior year as MRC began producing gold in Q4 2017 and commenced commercial production effective March 1, 2018.
Gold production and salesIn the fourth quarter of 2018, Phase 1 operations at MRC produced 22,509 ounces of gold, and sold 23,405 ounces of gold.
In the full 2018 year, the Company produced 90,531 ounces of gold, which included 9,373 ounces of gold produced during operational ramp up in January and February 2018, prior to commencement of commercial production. Gold sales during the year were 90,346 ounces, which includes 9,432 ounces of gold sold during the period of operational ramp up.
MiningDuring the fourth quarter of 2018, a total of 1,069,008 tonnes of ore were mined, at a waste to ore ratio of 0.57:1 with a total of 1,677,985 tonnes of material mined.
During the 2018 year, a total of 3,972,813 tonnes of ore were mined, at a waste to ore ratio of 0.71:1 with a total of 6,800,668 tonnes of material mined. Approximately 46% of the ore mined in the 2018 year was stockpiled as medium and low-grade material averaging 0.52 g/t Au for processing later in the mine life. This material was assumed to be waste in the 2015 Feasibility Study.
ProcessingDuring the fourth quarter of 2018, a total of 540,903 tonnes of ore was processed at an average grade of 1.37 g/t Au at an average process recovery of 94.7% which exceeds the plant design recovery of 94.0%. Mill throughput averaged approximately 5,879 tonnes per day, which exceeds design throughput. A total of 2,108,420 tonnes of ore was processed during the full 2018 year, at an average grade of 1.41 g/t Au with a recovery of 95.0%. Ore processed exceeded plant design by 108,420 tonnes although the mill was only operating at commercial production levels for 10 months of the year (commercial production was achieved on March 1, 2018). The average feed grade of 1.41 g/t Au approximated the anticipated feed grades per the Feasibility Study (1.44 g/t Au).
Throughout 2018, the Company has continued its efforts to optimize certain areas of the plant including the crushing circuit, reagents consumption and overall energy management.
Sustaining capitalThe Company incurred a total of $1,947,004 and $9,098,691 in sustaining capital expenditures during the three and 12 months ended December 31, 2018, respectively. The majority of the expenditures relate to the scheduled Tailings Management Facility Stage 2 raise which was completed by Q4 2018.
The Company incurred a total of $2,279,348 and $9,325,368 in growth capital expenditures during the three and 12 months ended December 31, 2018, respectively. The majority of the expenditures relate to development of the waste dump area (considered as deferred initial capital), removal of historic tailings and deferred costs associated with initial fit-out of site infrastructure, as well as costs incurred due to design and commissioning issues identified as part of the ramp-up process in Q1 2018. Work associated with the removal of the historic tailings is classified as growth capital as it was part of the original plan in respect of pre-production stripping to access ore at that section of the pit.
Further, in Q4 2018 the Company capitalized $825,910 of expenditures related to the Touquoy resource expansion drilling.
(1) MRC commenced commercial production effective March 1, 2018. As such, only financial operating results from this date are recognized in the Company's Statement of Income (Loss) and Other Comprehensive Income (Loss) for the year ended December 31, 2018. Financial operating results prior to that were capitalized to mine development within property, plant and equipment. (2) The Non-IFRS performance measures for the year ended December 31, 2018 include pre-commercial production operating results from January 2018 and February 2018. For accounting purposes, pre-commercial production financial operating results have been capitalized to property, plant and equipment (refer to note 9 of the annual financial statements for the year ended December 31, 2018). Refer to the "Non IFRS Performance Measures" section in this news release and in the Company's Management and Discussion Analysis for the year ended December 31, 2018. (3) As at December 31, 2017 total cash as presented above represents the cash and cash equivalents balance on the Company's Annual Consolidated Balance Sheet of $22,093,914 plus the restricted cash balance of $10,593,432. As at December 31, 2018, the restricted cash balance was $ nil.
The mine operating earnings for the three months ended December 31, 2018 and 2017 are comprised of the following.
During the three months ended December 31, 2018, the Company sold 23,405 ounces of gold at an average price of $1,612 resulting in net revenue of $37,643,686. The Company delivered 8,193 ounces into fixed price contracts and the remaining 15,212 ounces were sold at spot price. Revenue is net of treatment and refining costs which were $75,341 for the three months ended December 31, 2018.
Depreciation and depletion was $7,865,312. Most assets are depreciated or depleted on a units-of-production basis over the reserves to which they relate.
The mine operating earnings for the years ended December 31, 2018 and 2017 is comprised of the following.
Since commercial production started on March 1, 2018 the company sold 80,914 ounces of gold at an average price of $1,589 resulting in net revenue of $128,327,363. The Company delivered 50,193 ounces into fixed price contracts and the remaining 30,721 ounces were sold at spot price. Revenue is net of treatment and refining costs which were $202,558 for the year ended December 31, 2018.
Depreciation and depletion was $26,538,862 since the start of commercial production. Most assets are depreciated or depleted on a units-of-production basis over the reserves to which they relate.
The Company has a working capital surplus position as at December 31, 2018 of $44,297,062. Included in this surplus position is $3,327,088 related to the current portion of the Company's debt.
The Project Descriptions ("PD") for the FMS and CH Gold Projects were filed with the Canadian Environmental Assessment Agency ("CEAA") in 2018 and, after review and public comment, CEAA issued the EIS federal guidelines for each of the projects. Baseline environmental studies, were completed in Fall 2018, to allow for the collection of seasonal data and modelling which are requirements of the EIS guidelines. The results of those studies are being incorporated into two environmental impact statements ("EIS") for the FMS and CH Gold Projects currently in preparation for submission and approval to the federal (CEAA) and provincial regulators, and to the public. FMS and CH EIS submissions are targeted for Q2 and Q3, 2019 respectively.
Once the Company submits the FMS and CH environmental impact statements, and CEAA concludes that they conform to the EIS guidelines, the 365-day federal review period commences. Consultation with Indigenous Peoples, who are considered rightsholders, is integrated into the EA process. The 365-day federal review period for the EIS pauses when CEAA submits periodic information requests ("IR") to the Company that originate from interested rightsholders, stakeholders, and regulators. Typically, these information requests result in pauses to the federal review process of between one and two months, while the proponent carefully prepares and submits its responses, after which the review process recommences. It is typical for the proponent to receive two or three rounds of IRs during the 365-day federal review process.
To support our community engagement efforts for CH and FMS, local offices (Sherbrooke and Sheet Harbour NS) will soon be opened and members of those communities who have questions or concerns about the project can meet, ask questions directly to Company representatives, and receive technical information. The local offices will also provide centres where community members can enquire about jobs and economic opportunities.
Regarding the Beaver Dam Mine Project, the CEAA 365-day federal review process remains in progress and approvals are anticipated by the end of 2019, or early 2020.
The Phase 4 Corridor Regional Program was initiated late April 2018 to evaluate the corridor which extends northeast from the Touquoy Gold Deposit at MRC, to the Beaver Dam Gold Deposit and through to the Fifteen Mile Stream Gold Deposits in the northeast. This corridor is considered to be highly prospective for the same style of argillite-hosted mineralization that comprises the known deposits, as it is underlain by the same rock sequence (The Moose River Formation) and shows the same structural features. Historically this area has seen comparatively little exploration, due to a poor understanding of argillite-hosted deposits, and lack of bedrock exposure due to thick till cover. Fifteen drill traverses were located along the 45km target area based on geological interpretation of proprietary airborne geophysical data. The program consisted of 199 diamond drill holes for 28,650m of drilling, targeting areas with previous indications of mineralization, as well as providing geological information in this area of poor exposure.
Encouraging initial results at the 149 Deposit were followed-up and shallow mineralization was intersected over a strike length of 350m (See News Release dated June 28, 2018). Additional infill drilling identified two zones of gold mineralization: a shallow, generally higher grade "Axis Zone" in the core of a tight anticlinal fold which dips 60-75° to the north and a thicker, but lower grade, "Limb Zone" on the over-turned limb of the anticline. The mineralized zones were extended to over 475m in strike length and were still open to the east (See news release dated September 19, 2018). In November-December 2018, additional drilling was completed to extend the higher grade "Axis Zone" to depth and to follow the "Limb Zone" closer to surface. A total of 2,497m of diamond drilling was completed in 21 drill holes. The mineralized zone has now been traced over approximately 500m, with closely spaced 25m fences of diamond drilling over a strike length of 300m between Section 14400E to 14700E and further wider spaced drilling which has intersected mineralization over an additional 200m to Section 14900E (See News Release dated January 22, 2019). Drill results have confirmed that the "Axis Zone" mineralization continues from surface to depths of approximately 125m vertical and remains open at depth. The final phase of the 2018 drilling program focused on evaluating the strike continuity of the "Limb Zone" and its projection both up-dip to surface and at depth. Assay results received have confirmed that the lower grade, disseminated Limb Zone mineralization extends to surface and is also open at depth.
Additional drilling is planned to test the eastward continuation of the 149 Deposit mineralization, particularly between Sections 14700E - 14900E where some significant intersections have been previously reported in holes 364 (16m @ 1.05g/t Au from 154m), 365 (5m @ 1.12g/t Au from 62m and 3m @ 1.55g/t Au from 71m) and 366 (1m @ 17.85g/t Au from 121m) (See news release dated September 19, 2018). Additional drilling is also required to better evaluate the eastern end of both the Axis and Limb Zones of mineralization and to continue to test their down dip extensions. Interpretation of high-resolution aeromagnetic data indicates the potential for similar geological settings to be repeated further to the east and additional reconnaissance-spaced drilling will be undertaken to test these zones.
-- At Cochrane Hill the program will focus on further testing of the robust zone of mineralization which is interpreted to be open at depth and to the east. In addition, improved structural understanding of the Cochrane Hill deposit will be utilized to identify further prospective zones in the area. -- Follow-up diamond drilling is underway to test the easterly extension of the 149 Gold Deposit. This was the first discovery of the Corridor Regional Program, and an initial program of 6,000m is planned. -- Encouraging early results from the Seloam Brook, Mill Shaft, and Cameron Flowage traverses in the Corridor Regional Program already warrant additional exploration, including drill testing. Elsewhere in the Corridor results obtained during 2018 are being used to develop a focused exploration program to make further discoveries in this highly prospective ground. -- Initial geological interpretation of Atlantic Gold's extensive land package in SW Nova Scotia will be used to develop an exploration strategy tailored to this region that is under-explored for disseminated gold deposits.
Kodjo Afewu, PhD, SME (CP), Plant Manager for the Company and a Qualified Person as defined by NI 43-101, has approved the scientific and technical information related to operations matters contained in this news release.
Doug Currie, P. Geo., MAusIMM (CP), General Manager of Exploration for the Company and a Qualified Person as defined by NI 43-101, has approved the scientific and technical information related to exploration matters contained in this news release.
Enter the playback passcode: 343928#, an MP3 recording will also be available on the Atlantic website.
This release contains certain "forward looking statements" and certain "forward-looking information" as defined under applicable Canadian and U.S. securities laws. Forward-looking statements and information can generally be identified by the use of forward-looking terminology such as "may", "will", "expect", "intend", "estimate", "anticipate", "believe", "continue", "plans" or similar terminology. Forward-looking statements and information are not historical facts, are made as of the date of this press release, and include, but are not limited to, statements regarding discussions of future plans, guidance, projections, objectives, estimates and forecasts and statements as to management's expectations with respect to, among other things, the activities contemplated in this news release and the timing and receipt of requisite regulatory, and shareholder approvals in respect thereof. Forward looking information, including future oriented financial information (such as guidance) provide investors an improved ability to evaluate the underlying performance of the Company. Forward-looking statements in this news release include, without limitation, statements related to proposed exploration and development programs, grade and tonnage of material and resource estimates. These forward looking statements involve numerous risks and uncertainties and actual results may vary. Important factors that may cause actual results to vary include without limitation, the timing and receipt of certain approvals, changes in commodity and power prices, changes in interest and currency exchange rates, risks inherent in exploration estimates and results, timing and success, inaccurate geological and metallurgical assumptions (including with respect to the size, grade and recoverability of mineral reserves and resources), changes in development or mining plans due to changes in logistical, technical or other factors, unanticipated operational difficulties (including failure of plant, equipment or processes to operate in accordance with specifications, cost escalation, unavailability of materials, equipment and third party contractors, delays in the receipt of government approvals, industrial disturbances or other job action, and unanticipated events related to health, safety and environmental matters), political risk, social unrest, and changes in general economic conditions or conditions in the financial markets. In making the forward-looking statements in this press release, the Company has applied several material assumptions, including without limitation, the assumptions that: (1) market fundamentals will result in sustained gold demand and prices; (2) the receipt of any necessary approvals and consents in connection with the development of any properties; (3) the availability of financing on suitable terms for the development, construction and continued operation of any mineral properties; and (4) sustained commodity prices such that any properties put into operation remain economically viable. Information concerning mineral reserve and mineral resource estimates also may be considered forward-looking statements, as such information constitutes a prediction of what mineralization might be found to be present if and when a project is actually developed. Certain of the risks and assumptions are described in more detail in the Company's audited financial statements and MD&A for the year ended December 31, 2018 on the Company's SEDAR profile at www.sedar.com. The actual results or performance by the Company could differ materially from those expressed in, or implied by, any forward-looking statements relating to those matters. Accordingly, no assurances can be given that any of the events anticipated by the forward-looking statements will transpire or occur, or if any of them do so, what impact they will have on the results of operations or financial condition of the Company. Except as required by law, the Company is under no obligation, and expressly disclaim any obligation, to update, alter or otherwise revise any forward-looking statement, whether written or oral, that may be made from time to time, whether as a result of new information, future events or otherwise, except as may be required under applicable securities laws.
The Company has included certain non-IFRS measures in this news release. The company believes that these measures, in addition to conventional measures prepared in accordance with IFRS, provide investors an improved ability to evaluate the underlying performance of the company. The non-IFRS measures are intended to provide additional information and should not be considered in isolation or as a substitute for measures of performance prepared in accordance with IFRS. These measures do not have any standardized meaning prescribed under IFRS and therefore may not be comparable with other issuers. Readers should refer to the Company's management discussion and analysis, available on the Company's profile on SEDAR and on the Company's website, under the heading "Non-IFRS Performance Measures" for a more detailed discussion of how the Company calculates certain such measures and reconciliation of certain measures to IFRS terms.
The Company defines adjusted EBITDA as net earnings/loss before finance costs, finance income, income taxes, capital asset depreciation and amortization, equity-settled share-based compensation expense and gains/ losses on assets, liabilities and investment dispositions. Adjusted EBITDA is a common financial measure used by investors, analyst and lenders as an indicator of cash operating performance, as well as a valuation metric and as a measure of a company's ability to incur and service debt. Our calculation of adjusted EBITDA excludes items that do not reflect our ongoing cash operations, including equity-settled share-based compensation and charges related to investing decisions, and that we believe should not be reflected in a metric used for valuation and debt servicing evaluation purposes.
While adjusted EBITDA is a common financial measure widely used by investors to facilitate an "enterprise level" valuation of an entity, they do not have standardized definition prescribed by IFRS and therefore, other issuers may calculate adjusted EBITDA differently.

industry_corpus2: Mining


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a wire run through the length of a catheter, cannula, or needle to make it rigid or to clear it.
Leaves alternate, pinnate with stylet in place of the odd leaflet.
Leaves abruptly pinnate, the place of the odd leaflet taken by a stylet.
Leaves opposite, abruptly pinnate with a stylet in place of the odd leaflet.
Stylet: a small style or stiff process: one of the piercing mouth structures in Diptera and Hemiptera.
A fine wire that is run through a catheter, cannula, or hollow needle to keep it stiff or clear of debris.

industry_corpus2: Health & Medicine


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An exhibition exploring five centuries of fashion and adornment at Chatsworth.
Hamish Bowles, International Editor-at-Large at American Vogue, will curate this landmark show with creative direction and design by Patrick Kinmonth and Antonio Monfreda, the duo behind some of the most memorable fashion exhibitions of recent years.
House Style will demonstrate the power of fashion and bring to life the captivating individuals from the Cavendish family, including Bess of Hardwick, one of the most powerful women of the 16th century; the 18th century “Empress of Fashion” Georgiana, Duchess of Devonshire; and Adele Astaire, the sister and dance partner of Fred Astaire. Deborah Devonshire and Nancy Mitford, two of the Mitford sisters; model Stella Tennant and John F Kennedy’s sister ‘Kick’ Kennedy will also be central to the show.


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A 15-foot rubber duck replaced "The Cow" at Clearwater Junction April 1. It is sure to ruffle some feathers.
GREENOUGH - While many are calling fowl, the change is official. The 15-foot rubber duck replaced the age-old steer, affectionately known to the locals as "The Cow" at Clearwater Junction April 1.
When Seeley Lake resident Mike Marshall first saw the duck he said it "quacked me up." After pondering a bit more, he decided he liked the rubber duck, "Ducks and rubber, they don't go together but I like contrast." He continued, "Rubber ducks are friendly and they have no political persuasion."

industry_corpus2: Others


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Waterloo Kia would like to invite you to see our beautiful 2019 KIA Sedona LX+ Former Daily Rental. “The team that cares the team that delivers” is our promise. ACCIDENT FREE FORMER RENTAL! POWER DOORS, POWER LIFTGATE, APPLE CARPLAY, ANDROID AUTO, HEATED SEATS/STEERING WHEEL plus much much more! This former daily rental features a powerful V6 engine, automatic transmission, seating for 8 passengers, heated seats, full power group, power drivers seat, rear view camera, cruise control plus much more. This vehicle carries the balance of KIA’s 5 year 100,000km factory warranty and roadside assistance for total peace of mind. This 2019 KIA Sedona LX+ comes certified and detailed. This vehicle is market priced and won’t last long. Please call or email us today to book an appointment!! FINANCING and WARRANTY options available. We are proudly serving the Kitchener-Waterloo area, Cambridge, Guelph, Elmira, Listrowel, Stratford, Brantford, Hamilton, Niagra, Burlington, London, Windsor, Greater Toronto and surrounding areas. No hidden fees, licensing and HST extra.
Interested by the 2019 Kia Sedona LX+ ?

industry_corpus2: Automobiles


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With colourful parades in traditional costumes and proud flag-waving, Greek Independence Day on March 25th is a celebration that goes to the heart of the country’s identity – for it marks the date on which modern Greece was born.
Known also as Greek National Day its origins lie in Greece’s struggle for freedom from Turkish rule in the early 19th century, and knowing a little about Greece’s turbulent history is key to understanding what this day means for the Greek people.
From 1453, when Constantinople fell to the Turks, until the 1820s, most of Greece (minus Crete and the Ionian islands) was under Turkish rule. While many Greek communities had tried to revolt against the Ottomans in the 17th and 18th centuries, it was not until the 1800s that a co-ordinated uprising was possible.
It was reputedly on 25th March 1821 that Bishop Germanos of Patras signalled the beginning of the War of Independence when he blessed and hoisted the Greek flag at the monastery of Agia Lavra in the Peloponnese. What followed was a brutal ten-year struggle. Russia, Britain and France intervened in the conflict to help Greece, and their navies defeated an Ottoman-Egyptian fleet at Navarino in 1827 in what became a turning point in the war. The Ottomans finally conceded to Greece’s independence in 1830, with the nation becoming a sovereign state two years later.
Christian Cretans rose up with the rest of Greece in 1821 but despite success in rural areas, the Ottomans held Chania, Rethymno, Heraklion and Agios Nikolaos. The whole of the island was reconquered by 1828. Crete was then made a province of Egypt (itself a part of the Ottoman Empire) before being returned to direct Turkish rule in 1840. The Cretan revolt of 1866–1869 was the third and largest in a series of revolts between 1830 and the establishment of the independent Cretan state in 1898. Crete was formally unified with Greece in 1913.
March 25th is also an important date in the Greek Orthodox calendar. On this day it is believed the archangel Gabriel appeared to the Virgin Mary to tell her she would bring the Son of God into the world. The Greek word evangelismos comes from evangelia which means ‘good message’.
One dish synonymous with March 25th is bakaliaros skordalia – crispy fried cod with garlic mash. Served across Greece on Independence Day (but a favourite at other times of the year too), the tradition stems from the Orthodox Christian custom of fish being eaten only on two days during Lent – March 25th and Palm Sunday.
The Bishop of Old Patras Germanos Blesses the Flag of Revolution. 1865. Oil on canvas, by Vryzakis Theodoros (1819 – 1878). Photo credits: Main image – Wikimedia Commons.


text: You'll want to take a cat nap in this furry full zip fleece. A German Spitz (~2.56" high) is embroidered on the left chest. You may also add your pet's name under the design at no additional charge.


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Pulitzer winning cartoonists' petition passes 1,500 signatures. Why not sign on now?
The petition that is seen here: http://cartoonistrights.com/petition/ has just passed the 1,500 signatures mark. Started by Pulitzer winning cartoonists Ann Telnaes and Signe Wilkinson, this remarkable effort has been successful beyond our expectations. It was recently featured on the back cover of Notebook, the official journal of the Association of American Editorial Cartoonists.
We have sent a copy of this petition to the Home Ministry in Malaysia in support of cartoonist Zunar who is at risk of being charged with sedition because of his cartoons about the head of state and his wife.
We invite all free speech loving people to sign on and make your voice heard.


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This statement necklace is the one i've worn most out of the three. Because of it's lovely colours and decorative detailing, I decided that it would go nice over pastel colours. I styled this necklace with a light blue denim shirt and pastel pink jumper, both from Topshop.
The make up look I chose to go for was a pastel pink eyeshadow, from the Elysium Palette by MUA, a bold red up: Lasting Finish by Kate lipstick in the colour 01 and a nice spot of check colour from the Sleek blush by 3 Californ.I.A palette.
Hope you are all having fun or/and relaxing Sundays!
Thank you so much for all your lovely comments and support, SO unbelievably grateful!


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Were you born in May?
Are you looking for a gift for your friends who were born in May?
Therefore, our T-shirts are fantastic presents for you. The slogan “Queens are born in May” is emphasized in the center of shirts, which makes them unique and special. These products make buyers feel comfortable and trendy because they are available with many sizes. More to the point, there are many colors so it is easy for everyone to choose. The most special thing is the reasonable price. You can buy the Tshirt “Queens are born in May” with the cheapest price and the high quality. Don’t hesitate.


text: Do you have fashion on the brain? At ASOS you can find the very latest in trendy fashion, from maxi dresses to skinny jeans, delivered straight to your door. All you need is an ASOS discount code from the Evening Times and you’ll be saving on their huge range of stunning men’s and women’s fashion in no time at all.


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Your business posts continue to provide excellent resources for entrepreneurs and established companies. Thank you for continuing to research and share this valuable information.
I hope we can grow together and share what we've learned with others and help many entrepreneurs to grow their businesses successfully to $1 million in revenue without wasting too much time or capital in the process. That's our goal!
I am so glad I stumbled across this post. Thanks so much for the info. It will help my business tremendously. I will be back!
Burberry Kids are doing very beautiful, have the right to win . Burberry coats are the kind of coat styles, both men and women , it is suitable for use in cold weather wear, but also grace and temperature , about 150 pounds .


text: Uh oh. Your head hurts. Are you coming down with a cold, or is it just the start of those pesky springtime allergies? You also got a headache today, but in the back part of your skull instead of the front part, which is where you usually get them. We know what you’re thinking: Am I dying?


text: Multi coloured abstract leaf earrings with glitter resin and mirror effect leaf. Length 7cm. 100% Metal.

industry_corpus2: Manufacturing


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The Mission of Paws 2 Care is to protect, rescue, and offer medical care to abandoned, neglected, or homeless pets. To support and assist responsible pet ownership. To raise awareness in our pet overpopulation crisis across the country. To educate the public on the importance of spaying and neutering their pets. To provide all pets with the opportunity to live in a loving home with a responsible owner.
This is Dean a 3 year old Poodle rescued from Miami Dade. He has a rare Birth defect that effected his bowel movements. This made it very difficult for him to find a home. He never gave up hope in finding a home and neither did we.
Lola Marie had a human Dad and lived in Miami. Sadly he passed and Lola had nowhere to go. Fortunately family members reached out to us. We were able to provide medical care and find her a wonderful home.
Emma Rose living in a landfill in Miami only God knows how long. She was ill and had a tumor among other health issues. She is now safe at Paws 2 Care Coalition.
A momma and her three babies found abandon in a box by a garbage dumpster in Miami. Lucky for this family a Good Samaritan reached out to us. We were able to take them in and provide food, shelter, medical care, and mostly love. As they wait for their forever home.
This is Lynn a 1 year old terrier mix. She was picked up by Miami Dade Animal Services. Lynn was in deplorable condition and had just given up. We rescued Lynn from MDAS and provided the medical care she so deserved.

industry_corpus2: Agriculture & Fisheries


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Text-to-Speech Master is very powerful and interesting program that lets you listen to documents, e-mails or web pages instead of reading on screen or even convert them to audio files! It can read texts with different voices, speeds and pitches, read clipboard content, convert text to WAV or MP3 files and much more! Just imagine, how it's easier to listen to texts rather than read them.Features overview:+ Reads your DOC, RTF, HTML and text files aloud+ Converts text to WAV or MP3 audio files so you can listen to it whenever you want! + Supports almost all computer voices nowadays! + Runs on all Windows? operating systems (i.e., 98/NT/Me/2K/XP/2003) + Has user-friendly and handy interface + And much more!
Rockmagic: Master's Hammer Song lyrics indexed by album and alphabetically.
Free Speech Books: Living Life Without Loving the Beatles A self-help guide with common sense, humour, and philosophy.


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LOS ANGELES, March 12, 2014 /PRNewswire/ -- uSamp, the technology leader in providing targeted audiences for global consumer and business insights, today announced a significant investment in its next-generation sampling business called SampleCORE™. The technology enhancements -- including the move to a fully-open Application Programming Interface (API) platform and enhanced sampling and distribution mechanisms -- will provide greater flexibility, enabling the Company to maximize efficiencies and scalability. This announcement builds on uSamp's current API product, SampleMarket, which was introduced in 2010 and has a market-leading position both in terms of its revenue and feature capability.
The evolution of the SampleCORE API suite enables streamlined internal efficiencies and an increased rate of innovation while providing a high degree of flexibility and control to application developers. The investment in infrastructure is designed to simplify the adoption and operation of this platform.
"The fundamental problem with the sample industry today is that 95% of audience is acquired in a back and forth, manual process which leads to errors and more costly sample," said Carl Trudel, chief technology officer, uSamp. "By developing SampleCORE to be agile and adaptable, we are able to harness the right audiences precisely at the moment our clients need them."
The real-time, on-demand, open sampling platform will provide clients with richer insights, including traditional profile information, as well as social, behavioral and geo-location information.
All sampling capabilities, exposed through its Software as a Service (SaaS) platform, are designed to help clients maximize their efficiency, and provide better insights faster through automation of the sampling process.
In addition, the company has tripled the capacity for SampleMarket API, as clients continue to embrace the move towards automation in the audience market.

industry_corpus2: Technology & Research


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There is now a significant data which confirms dogs, and pets in general, are good for psychological health and may increase both quality and longevity of life.
Since Fanta, K-9 Victim Advocate, arrived at Victim Witness Services in September of 2015, our staff and clients have witnessed first hand her ability to warm hearts, calm souls, and inspire joy. Not only in her particular caseload (children who have been traumatized), but in all of our clients.
We were inspired by Court house dogs around the country and had been on a waiting list for several years to receive one of these very special dogs. Testifying in court can be one of the most scary and terrifying ordeals a victim of crime may have to face- after all, the accused are just feet away. For many, Court house dogs are proving to be one of the most effective Victim Advocates out there.
BBVA Compass Bank of Flagstaff; Alice Bauman; Janet Cohen; Michelle Copeland; Michael Getchis; Price/Goldberg; Robert Golub; The Granberrys; Alice Hagerman; Jerry and Roabie Johnson; Suzanne M Johnson; Louise R Jones Family Trust; Paul F. Jones Trust; Andrew Kolodziejski; Jillian Marini; Roxanne Murdock; Joyce Reid (Creative Gifts to Go); Dan Riordan; Robin Rudin; Michael Swanigan; and Pam Turner.
Want to donate to Fanta?

industry_corpus2: Law & Justice


text: Rarely available 2 bdrm, den & 2 full baths. Over 1100 sq ft at the City Crest. A bright open (no hallways) unit that will fit house size furnitures. Great view of the City; sunrise & sunset. Only steps to the seawall & all the exciting Yaletown amenities & a short stroll to Robson St, theaters & downtown shops. Great building with proactive council.

industry_corpus2: Real Estate & Construction


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Community State Bank was founded in May 1930 and is based in Royal Center, Indiana. The bank operates as a subsidiary of Community Bancorp. According to the FDIC and based on the institution's charter type, Community State Bank is classified as a commercial bank, state charter and Fed nonmember, supervised by the FDIC. Community State Bank is a FDIC-insured bank with certificate number of 1839. The Fed RSSD ID of Community State Bank is 987848.
Community State Bank currently operates with 4 branches located in Indiana. Community State Bank is the 74th largest bank in Indiana. The bank does not have any offices outside Indiana.
Bank routing number is a 9 digit code which is necessary to process Fedwire funds transfers, process direct deposits, bill payments, and other such automated transfers. We currently do not have a routing number for Community State Bank in our database.
The full address of bank headquarters is 101 N Chicago St, Royal Center, IN 46978. You can visit the official website of the bank at www.csbnetbank.com for more information and online banking service if available. For a list of all Community State Bank branches and detailed branch information like hours of operation, phone number and address; please refine your search by selecting a state from the map or list below.
Easily submit your review, comment or complaint about Community State Bank using your Facebook profile.
Bank rating displayed here is the average value for all Community State Bank branches. A total of 0 customers had cast their vote for 4 branches and in average, Community State Bank got a score of 0.0 out of 5 stars.
This site is not affiliated with, maintained, sponsored or endorsed by Community State Bank or any government agency. Bank and branch information published on this website may not be true or accurate at all times. BankBranchLocator.com assumes no responsibility or liability for the accuracy or completeness of the listings.

industry_corpus2: Finance & Economics


text:
Fast paced platformer, with beautiful graphics – Sonic the Hedgehog meets Okami! Hours of fun!
A fun sniper game with 8 engaging and tactical missions. Work as a hitman for a shady crime syndicate and carrying out various different hits for your bosses. made by Eren Kilich Mouse to aim and left click to fire.
Disco Dressup is a unique dressing game that incorporates a cool style for those who like cool dance music and stylish clubwear. Plenty of different clothes and accessories to create your very own look and the choice of many colors. Use the mouse to select and place clothes.


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Wristbands carrying the message ‘Just a Thought?’ slogan are the popular awareness initiative from OCD-UK first launched back in 2006 and are still selling strong over a decade later!
The wristbands are partly to raise awareness of Obsessive-Compulsive Disorder, but also to act has a therapeutic aid for those struggling with the condition. The message embossed on the band, ‘JUST A THOUGHT?’ not only helps explain the condition, but also helps remind sufferers during tougher moments that their obsessive thoughts are just that, thoughts which the OCD questions.
The wristbands are all made of silicone and with all proceeds going to OCD-UK. Each wristband comes wrapped in its own individual sealed packet.
They now come with the option of non-coloured embossed text for those wanting a little discreetness, or white coloured embossed text for those wanting to raise awareness! – Please be sure to select your preferred option before adding to the cart.
– Adult (Large) wristbands are 210mm circumference and suitable for adults and children with average/large sized wrists.
– Youth (small) wristbands are 180mm circumference and suitable for adults and children with slim sized wrists.


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>>>>I deployed the lenya plugin and have the docu working.
>>forrest/lenya) and then ... 'Welcome to docu' .
> Thanks. I fixed that now.


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Auctions on ebay, with letter turnarounds in heading or description no person could find with regular search. Our typo search knows this and searches for exactly these public auctions. Therefore you have the opportunity to find a little-noticed misspelled thing with just a couple of quotes at a cost-effective cost.
Rich Heldenfels: Will there be an ‘Avatar’ sequel?


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Last week saw the launch of our own Sara Teresa’s Wallflower project – a new portrait photography exhibition and book that explores themes of introspection, silence, shyness and disregard.
We all had a great night at the launch at The Gallery at Munro House on Light Night last week, and after many years work by Sara it’s been fantastic to see the project come to life.
“Wallflower began as an image, one I made during a time when I felt frustrated and unseen. It remains the most well received piece of work I’ve ever done. Maybe the reasons for that don’t matter, but I wanted to explore the concept. The idea of a person blending into the background. Is this a universal feeling? Is it positive? Negative? I wasn’t sure. But I felt compelled to present this idea and what I thought it could mean.
I asked my subjects about these and other things. In these pages are friends, colleagues, children of friends, my own partner and son. Wallflower is a concept, but it’s also about the people. What’s important to them. What they love. What shields them from the world. What drives them. Why they feel passion. How they feel about themselves.
We had the pleasure of designing the book, as well as the promotional material and graphics for the exhibition. The book was printed by Pressision and beautifully hand bound by Roger Grech of Papercut Bindery. Our previous intern Ambre Lormeau takes much of the credit for the book’s design, completed whilst on placement from France with us last year. You can read her story here.
The exhibition runs at The Gallery at Munro House until the end of October – for more details visit the Gallery at Munro House website or find out more on Sara’s website here.

industry_corpus2: Literature & Emotions


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In this six-week series, I will guide you on establishing a firm foundation for your yoga practice that will help you feel empowered in any yoga class and develop a starting point for your home yoga practice.
I have based my years studying and teaching yoga around making yoga accessible, therapeutic, and an all around good time for all levels. Join me this Spring in building a solid yoga foundation to enhance your practice and your life.
"This will be my 3rd or 4th time taking the yoga foundations class – I love it! It provides solid practice in a non-intimidating way. Plus, there is plenty of laughing – which is also good for the body and soul!" - Trish S.
"I've taken Randi's Foundational Yoga Class several times, and it has changed my life. I'm new to yoga and Randi made such a positive impact in my practice. She goes step by step through the yoga movements in a very comfortable and relaxing setting. I never think to myself, "I'm not doing this right" because Randi is so clear in her instruction and patient. The group setting is great for learning how to practice and on how to continue the practice at home. I look forward to the class every week and learn something new each week about myself. I highly recommend Randi's Class to anyone who wants to learn more about yoga and the benefits of self care." - Amy M.
"Coming back to even a limited yoga practice after all that my body has endured in it's 43 years has been physically, spiritually, and emotionally healing. The relationships formed and energy shared in class is unlike anything I've ever been a part of. Randi makes that difference by allowing all of her students to show up just as they are, and then feel good about that. She invites them into this beautiful, healing space that dissipates the pressure to look perfect in a pose." - Kristin F.
*Class is located at Studio 14 1/2. 14 1/2 8th St. S. in downtown Fargo.
*There are no refunds on class purchases after class begins. Please be sure of your commitment when you invest in a class. Feel free to contact me with any questions before making a decision.


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I love to help you earn free gift cards, read the current Swagbucks posts to learn how! Join the Swagbucks Swag Racer Team Challenge to earn a bonus of between 10 to 25 points called SB. The best part is that EVERYONE who participates and contributes at least 200 SB to their team will receive a Swag Up of 50 SB rebate on their next gift card purchase! It’s as simple as logging in and clicking on that green “Join Now” button. I’m on the SB Cobras team – which team are you on?
Now go earn those Swag Bucks for your team and let me know if you have any questions about the earning opportunities listed above.
I’m on the SB Cobras Team – which team are you on?
If you still haven’t signed-up for Swagbucks, I’ve got a signup code below for you to use to start with 100 SB (that’s worth a $1.00 Amazon gift card). If you have any questions, please send me an email or leave a comment below.


text: Wendy Yue's colorful ring is stacked with a plethora of precious gemstones, including tsavorite, sapphire, diamond, and opal. The ring is designed in an open silhouette to resemble the wings of a butterfly— one of many nature-inspired pieces the designer has created. Slide the piece onto the finger of your choice for the insect to take shape.


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Situated on the picturesque white-sand coast of Zanzibar, the Bluebay Beach Resort & Spa is a tranquil property. Set amongst 30 acres of palm-studded tropical gardens, you’ll feel as though you’ve stepped into paradise. There are plenty of opportunities for relaxing and taking in the spectacular views here – we love that the rooms here overlook the surrounding landscape. If you want to get out and explore, the staff here can help you to arrange great excursions.
Indulging is easy with the addition of a rejuvenating spa that blends seamlessly into the tropical surrounds. Younger guests are kept entertained with a fantastic kids club, where they can enjoy games, activities and even introductory Swahili language lessons. There’s the option of four restaurants and bars too, each serving a great selection of delectable dishes and refreshing beverages to whet your appetite with.
Top tip: The watersports centre makes taking advantage of the beautiful warm waters incredibly easy – great for families and active guests.
This charming property is nestled on the sugary white sands of Kiwengwa Beach in Zanzibar. Just 3km from the Kiwengwa Caves and framed by hundreds of palm trees, this resort feels like a secluded island paradise.
The resort offers 122 rooms.
Garden Room – Set in the tropical gardens, featuring 2 four-poster beds, separate dressing room and two en-suite bathrooms, in addition to the above amenities.
Junior Suite – Made up of three bungalows each, with two suites in a private area, these suites offer sea views, spacious rooms, lounge area and a vast veranda. There is also a private outdoor shower, in addition to the above amenities.
Superior Suite – Cottages situated on a risen area overlooking the gardens, pool and beach. All rooms offer sea views and feature 2 four-poster beds and a separate dressing area, in addition to the above amenities.
Sultan Suite – Spacious suites offering a large four-poster bed, walk-in dressing room, spacious veranda and a butler service.
Oman Air flights are available from Heathrow. Regional connecting flights are also available. Air fares vary considerably so a variety of airlines may be included in your quote to ensure you are presented with the best available price. If you would prefer to fly from a different airport or with a different airline, our Travel Consultants will be happy to adjust this at the time of enquiry and a supplement may apply. Alternative airlines with flights to Zanzibar include Kenya Airways (economy class only), KLM, Qatar Airways and Ethiopian Airlines.

industry_corpus2: Hospitality & Catering


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Passionate, lively and dominant, red is often celebrated as one of the most powerful colors in the spectrum. Color psychology experts have noted that color increases brain activity and drives both physical stamina as well as a feeling of hunger – which is why this color is often found in gyms and restaurants respectively.
Red can be sexual and romantic, or bold and politically charged. Today red is seen as both traditional and trendy depending upon its use. Here are some easy ways to incorporate this important color into your home.
Wall Color – When using red as a wall color choice, remember that red paint has the potential to make a room feel smaller. Not to mention, red is extremely intense and can dominate a room if overdone. Many people have successfully balanced this color by painting only one accent wall. However, if you choose to paint an entire room red, be sure to offset this intensity with plenty of white and soft, friendly lighting.
Room Accents – The most popular way to use red in a home is within small décor pieces and accents, such as within throw pillows, wall art, bed comforters, flower vases, lamps, upholstery, draperies and other items. You can add red into your room as the part of a pattern or in solid blocks – either way, red makes a major statement.
Furniture – One of the boldest ways to incorporate red into your home’s interior design is in your furniture. A red sofa, dining room table, bookshelf or office chair can add instant life to any room. However, because this is such a powerful color, it is best not to add red furniture into a room with too many conflicting design elements or colorful pieces of furniture. Red is almost always intended to be the center of attention, so let it shine.


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Your kitchen may be the emotionally connection space in your home. It acts to determine a relationship by potential customers using the viewing of the house. With satisfaction, each customer is brought in to the home in Elmhurst, California, ideally the home's operator does following the purchase. He/she does this harden and to start still another relationship with someone else. It's extremely difficult to create these important ties with others effectively if your home does not fulfill specific requirements. One's kitchen's state might be showing which you seriously need home remodeling in CA. Arista Kitchen is a superb spot to obtain assistance and the motivation required to produce the perfect operating kitchen for house and your family.
Work permits might be needed to get going about the changes. It'll be essential for the company to use for work permits along with a drawing can also be needed. A time-table adhered and must be invented to to be able to assure some normal work-flow. Over the administration of the procedure the manager who might already be helping another part within the home remodeling process in Elmhurst, California takes at this time.
Devices are the most versatile. Along with the various energy resources, appliances possess numerous special features' choices. It's designer's obligation and the house in Elmhurst, California owners to pick one of the most inexpensive equipment styles that produce the outcomes they're currently seeking centered on their requirements along with their wishes.
Floor and light are components which should also come in the look ideas decided the kitchen in Elmhurst, California designer and also from the property owner. Your choices are again abundant. Home light may include types and simple wall, of roof and under cabinet accessories. Lighting fixtures are typical as are flush-mounted roof lamps, fluorescents, recessed lighting and track lighting. The light components could be situated in the middle of your kitchen in Elmhurst, California, within the area, underneath the units or across the walls. These are typically task-oriented lighting options.
AristaKitchen may be the number 1 resource for the home remodeling needs. All our developers and certified and tradesmen are skilled. We complete every remodeling work in Elmhurst, California on budget using the finesse and on time preferred by our customers. Your shop has use of the most highly sophisticated devices and also all of the newest aspects of decoration and the most contemporary methods are used by our workman. We therefore are pleased to reveal a viewing of our profile, which documents our kitchens and happily uphold our work. It's usually a delight to assist the homeowner who's prepared to transform one of the most existed-in-room in the home.


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Medal, Second Prize of the sports contest of the 7th Infantry Regiment of the Estonian Defence Forces.
Railroad guide of the Republic of Estonia, along with other travel communication particulars. Effective until May 15, 1927?


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Acer quietly updated its 14-inch Chromebooks with the new Chromebook 514, which comes in a few options. Starting at $349 (and as high as $499) these Chromebooks aren't available for sale yet, but they could wind up being shown off in Las Vegas at January's CES 2019 trade show.
Spotted by Chrome Unboxed, these Chromebooks sport small updates and differences, with the most significant update being a backlit keyboard, which the Acer Chromebook 14 we reviewed didn't offer. According to Acer, these Chromebooks last up to 12 hours on a single charge, a claim we will put to the test in our forthcoming testing.
In terms of processors, the three models are not exactly different. The intro-level model sports an Intel Celeron N3350 and the $399 mid-range model has a Celeron N3450. The higher end model packs a Pentium N4200 processor, which may be a little faster, but not by any significant amount.
The biggest reason why you'd pay more for the $499 model is that's the only model with 8GB of RAM, which the more demanding multitaskers among you might need. That goes double for those running Android apps on Chrome OS.
Both the $499 and $399 models pack 64GB of Flash storage (as opposed to the 32GB in the intro-level version), another feature that folks installing tons of Android apps may prefer.
In terms of similarities, Acer is packing the same 14-inch, Full HD, 1920 x 1080-pixel panel into each of these laptops. Each also supports an aluminum chassis, one of the major pros of the Chromebook 14.


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It is now perhaps a commonplace that digital, networked and informational media are extremely transient. They diversify in form and function at a dizzying rate. At the same time, they transit and fuse “social” and “natural” differences in a manner which reconfigures all the worlds involved. It is also perhaps a commonplace to suggest that some established powers have found it difficult to come to grips with this (although this is perhaps beginning to change). For many, from seriously challenged newspaper proprietors to established media disciplines, it might be time to pause for breath, if only for a moment—to regroup and adapt established practices and ideas, to count the survivors from among the old media worlds of just a few years ago.
While occasionally sympathetic, this issue of the Fibreculture Journal questions this approach. If we pause for breath, it is to take in the new air. This issue draws on the accelerated evolutions of media forms and processes, the microrevolutions in the social (and even the natural sciences) that dynamic media foster, even the way in which “new” media lead us to reconsider the diversity of “old” media species. Summed up simply here under the sign/event of the “trans,” this issue catalyzes new concepts, accounts of and suggestions for new practices for working with all these processes.
We hope that as they meet, the ideas and practices discussed here become joyfully invested in something like a wave of ‘speculative pragmatism’ (Massumi, 2011a; see also 2011b). This issue diffracts something of this wave, embracing and thinking through what must be embraced and thought through, establishing new forms of critique, or new forms/concepts of design, in order to infra-act with the emergent worlds of contemporary media. It rethinks the forces and ephemeral forms of digital and networked media via a “radical empiricism”. Relations and dynamic ecologies come first, before fixed forms and established disciplines or business models.
Several articles deal with this question of local and specific struggles in what we might call the ‘trans-situational’ (Massumi, 2002: 217) diagram of power (here power meaning as much what is capable of being done as what constraints or formations might surround this).
The first article in this issue, Petra Gemeinboeck and Rob Saunders’ ‘Other Ways Of Knowing: Embodied Investigations of the Unstable, Slippery and Incomplete’ perhaps captures everything that this issue was intended to be. It aims for a ‘politics of transmateriality’, not only in theory but in a series of practices/artworks. These works include highly original robotics pieces in which somewhat “neurotic” robots find themselves in a situation which is quite literally ‘unstable, slippery and incomplete’ (thus the robotic neurosis that arises). In Zwischenräume [In-between Spaces], a robotic installation still in the making, ‘a group of autonomous robots punch holes into the walls’ of a gallery ‘to inspect what’s outside, signal each other, and conspire’.
Kristoffer Gansing, in his ‘The Transversal Generic: Media-Archaeology and Network Culture’, ports François Laruelle’s concept of the generic into a testing of the limits and movements of media archaeology. He suggests there is now a ‘generic archaeological impulse’ that is often key within the use of media, and that this means “new” media are increasingly concerned with pasts, not the future. This—along with its ability to rethink media definitions, relations and actual instances with an archaeologist’s attention to specificity—perhaps makes the emergence of media archaeology so important. Yet Gansing suggests that the take up of the ‘generic archaeological impulse’ in general culture (and as part of contemporary Capital within the cultures of digital and networked media) also leads us to question some aspects of media archaeology from within. In the process Gansing discusses a number of key media art works (such as Google Will Eat Itself). He also provides a fascinating thinking through of that most humble of media technologies, the overhead projector.
Michael Dieter takes on the question of struggle, the local and transversality quite directly in ‘The Becoming Environmental of Power: Tactical Media After Control’. In an extremely subtle reading of both Foucault’s security dispositif and De Certeau’s concept of ‘practices’, Dieter provides a welcome rethinking of priorities of relation between strategies, tactics and general politics, insofar as these involve tactical media. The stakes are high. Dieter contextualises media-related activism within ‘what Brian Massumi has described as the globally amplifying threats for large-scale disruption characteristic of the becoming environmental of power’. He aims to give ‘a different conceptual approach for critical media art projects in terms of ontopolitical problematics’.
In ‘Programmable Platform? Drupal, Modularity, and the Future of the Web’, Fenwick McKelvey gives a detailed account of the modular nature of Drupal, alongside an account of Simondon’s concept of information. McKelvey explores the nature of the ‘programmability’ of platforms such as Drupal, and of ‘programmability’ in general. He does so via a consideration of both his general commitment to FOSS and one specific instance of this at the juncture of the technical and the social—an internship at Rosario, Argentina with a women’s rights organization in the city.
All the articles in this issue of the Fibreculture Journal give voice to the transformative nature and powers of contemporary media’s new worlds and engagements, even as these so often stutter and stumble. This issue critically explores the specific dynamics of digital, networked and informational media in the light of the constant transformations, micro and macro, that are these media’s very power, if also their difficulty. The articles address these media’s own ecologies of ongoing transformation, and/or their co-evolution with other worlds (social and political worlds, natural worlds, the worlds of science, or art, of pleasure, of philosophy and theory).
To give this precision, we sought articles for this issue, theoretical or analytic, critical and/or propositional, that engaged with contemporary media worlds within the parameters (or “conceptual parametrics”) of three concepts: transduction, transmateriality, transversality. We began from the assumption that the lifeblood of digital, networked and informational media is to be found in transductions (the relay of forces, for example in a corkscrew, in the modulation of a video signal by audio data or in the formation of a crystalline structure) (Mackenzie, 2002 and Shaviro, 2006). ‘Transmateriality’ is a term recently developed by Mitchell Whitelaw—one that allows us to think very specifically about the complex yet insistent materiality that works within transductive events, including those involving contemporary media, which are so often seen as somehow only immaterial. If computing allows for an ‘incredibly dynamic, pliable set of techniques for manipulating the material environment’ (Whitelaw, 2009), then transmateriality suggests ‘the extension of transduction to an understanding of the material relations and transformations involved in a computing immersed in the material world’. In this, computers are taken to be ‘material machines dedicated to propagating a behavioral illusion, or call it a working model, of immateriality’ (Kirschenbaum, 2005; see also Kirschenbaum, 2008). ‘Transmateriality is an attempt to “ground” the digital without losing sight of its (let’s say) generative capacities’ (Whitelaw, 2009). Through all this runs an obvious transversality, from which it seems much of contemporary culture, and some of media disciplines and industries, tend to run but from which they cannot hide. ‘Transversality’ is a transformative mobility—for better or worse—through different systems (that can be at once technical, but also social, political, natural). It could be seen perhaps something of a conceptual or pragmatic choice (to think or act ‘transversally’). So it has something of an ethical dimension. However, it also makes an onto-genetic claim: to think or act transversally is to more effectively immerse ourselves in the kind of ongoing and real onto-genesis that is the world. Transversality tends to be lateral, rather than hierarchical—or rather it eschews, as it undoes, both the vertical and the horizontal. A transversal connection does not just connect fields or sets of pre-existing relations. It transforms the things/events that are brought into connected networks.
All these ‘trans’ indicate events that are at once material, technical and social. This issue did not require submissions to engage with the thinkers behind these ideas. Rather, transduction, transmateriality and transversality were meant as catalysts for experiments in radical empiricism, for immersions in the dynamic relations that distribute themselves within new media worlds.
Yet part of this catalysis of radical empiricism has involved important and detailed accounts of key concepts and thinkers of things “trans”. John Tinnell’s ‘Transversalising the Ecological Turn: Four Components of Felix Guattari’s Ecosophical Perspective’ is a more than timely and thorough account of the ecosophy of Félix Guattari. Tinnell suggests that Guattari’s work on ecosophy has been strangely neglected at times, as has its relation to his also strangely neglected work on ‘post-media’. Thinking these together gives us a different understanding of ‘transversality’, one that might help accomplish the now crucial task of thinking environment and media ecologies together. Tinnell suggests that ‘Guattari’s conception of post-media is true to his idea of the “new aesthetic paradigm”, which, at a basic level, involves the explosion of artistic techniques and mentalities into arenas of social practice and institutional politics’. By ‘taking a post-media stance towards emergent media, we can think the new and think it collectively, but only to the extent that we develop digital practices capable of producing a new (ecosophical) relation between individual subjectivity and the collective thought’ and, of course, the environment.
Gilbert Simondon’s work is taken up by several articles in this issue. Simondon’s work on transduction and individuation is finally being taken up on a larger scale within thinking on a range of media and other issues. So we are pleased to provide what we think is an important contribution to this taking up of Simondon’s work, here in thinking about media issues. In a dramatic and original rethinking of the interaction design of what they call ‘interactive environments’—Christoph Brunner and Jonas Fritsch’s ‘Interactive Environments as Fields of Transduction’ effectively transversalises interaction design. They move what is already a dynamic field of work beyond the phenomenological, embodied interaction, and certainly many of its previous more cognitivist theoretical iterations (as useful as all these might be). In doing so, they move interaction design towards a consideration of field as such. They discuss Rafael Lozano-Hemmer’s artwork Voz Alta, and an interaction design experiment they themselves undertook, Impossible Room, in order to lay out a radical “template” for rethinking the very nature of interaction design. As part of the basis for this template, they detail Simondon’s thinking on information, emotion and more.
Simon Mills’ ‘Concrete Software: Simondon’s mechanology and the techno-social’ gives a detailed account of Simondon’s often ambiguous relation to the social. Mills rethinks Simondon’s better known work on the associated milieu and concretization via the lesser known work on human cultural progress in ‘The Limits of Human Progress: A Critical Study’ (Simondon, 2010). He analyses the Foreign Exchange Market and the Twitter API in glorious detail along these lines. Mills’ important and different understanding of Simondon and the social makes room for Simondon as a thinker who allows us to ‘capture the reality of the ongoing operation’ of ‘recursive relations’.
Troy Rhoades, in ‘From Representation to Sensation: The Transduction of Images in John F. Simon Jr.’s ‘Every Icon’, gives a highly precise and detailed account of a specific series of occasions of transduction, between art and science, in John F. Simon Jr,’s well-known internet art work. In the process Rhoades allows us to rethink while maintaining the relations between science and art, and gives what has to some extent been a missing account of the “body” and the “thing”, as these concepts were deployed by Deleuze and Guattari in What is Philosophy?. This allows us to rethink body and thing, and art and technology in terms of transduction.
Vince Dziekan’s ‘Anxious Atmospheres: the Transdisciplinary Practice of United Visual Artists’ rethinks the transdisciplinary—especially as this works, in both practice and theory, between traditional arts such as architecture, design and electronic arts. Dziekan has a specific interest in ‘reinterpreting the aesthetic conditions associated with exhibition’. He gives a detailed account of the way in which London-based art and design practice United Visual Artists, or UVA, create responsive installations that bring alive the transdisciplinary (along with a rich transversality and transmateriality).
In thinking through various events as “trans”—via the concepts and practices associated with transduction, transversality, and transmateriality, the issue first argues for the urgency and necessity of taking the complexity of transversal events and relations into account at the junctures of technology, the social and the environment. Second, the Trans issue gathers what is effectively a new wave in thinking about media differently, particularly about the way that digital and networked (although not only digital and networked) media further, complicate and sometimes simply allow us to understand and engage with things/events that are “trans”.
Each of the articles in the Fibreculture Journal 18, Trans issue demonstrates that any individual/individuating/social or natural ecology is to some extent a network, and any network involves an ecologies of transversals. Crucially, the micro-reconstitution of relations is as important as, if not more so than, the macro-reconstitution of somewhat illusory states (see Fuller, 2010; Murphie, 2006; Raunig, 2008).
Andrew Murphie would like to acknowledge the support of the Australian Research Council. This is one outcome of an ARC Discovery grant concerning “dynamic media”, on which he worked in partnership with Anna Munster, Adrian Mackenzie, Brian Massumi, Mat Wall-Smith and others. He would also like to acknowledge: Erin Manning and Senselab, Concordia University, Montréal; the Digital Urban Living Center at The Department of Information and Media at Århus University, Denmark; and of course the staff of the School of English, Media and Performing Arts at the University of New South Wales, Sydney. This issue would certainly not have been possible without the support of all these people and institutions. As always, a huge debt of gratitude to the Fibreculture Journal’s manager, Mat Wall-Smith.
Adrian Mackenzie (Centre for Social and Economic Aspects of Genomics, Lancaster University) researchs in the area of technology, science and culture. He has published books on technology: Transductions : bodies and machines at speed (London: Continuum, 2002/6); Cutting code: software and sociality (New York: Peter Lang, 2006; and Wirelessness: Radical Empiricism in Network Cultures (Cambridge, MA: MIT Press, 2010), as well as articles on media, science and culture. He is currently working on practices, ethics and politics of collaboration in biology.
Andrew Murphie (University of New South Wales, Sydney) <http://www.andrewmurphie.org/> works at the junction of contemporary and future media and social change, cultural theory and theories of perception/the events of thinking. He also has interests in interaction design, education, new publishing, electronic arts and music, and the history of modeling media and cognition, and its social impacts. He is the Editor of the open access, online journal, the Fibreculture Journal (http://fibreculturejournal.org/) and co-author, with John Potts, of Culture and Technology. Recent chapter publications include: ‘Performance as the Distribution of Life: from Aeschylus to Chekhov to VJing via Deleuze and Guattari’, ‘Differential Life, Perception and the Nervous Elements..on the Technics of Living’, ‘Deleuze, Guattari and Neuroscience’ and, with Lone Bertelsen, ‘An Ethics of Everyday Infinities and Powers: Félix Guattari on Affect and the Refrain’. Andrew also works with Senselab in Montréal.
Mitchell Whitelaw (University of Canberra) is an academic, writer and artist with interests in new media art and culture, especially generative systems and data-aesthetics. His work has appeared in journals including Leonardo, Digital Creativity, Fibreculture, and Senses and Society. In 2004 his work on a-life art was published in the book Metacreation: Art and Artificial Life (Cambridge, MA: MIT Press, 2004). His current work spans generative art and design, digital materiality, and data visualisation. He is currently an Associate Professor in the Faculty of Arts and Design at the University of Canberra, where he leads the Master of Digital Design. He blogs at The Teeming Void.

industry_corpus2: Media & Journalism