text:
Volvo Cars, a leading car maker, has announced new financial and operational ambitions that will position the company as a leading player in the global automotive business by the middle of the next decade.
On the operational side, it expects to generate half of all sales annually from fully electric cars, one third of all cars sold to be autonomous driving cars and half of all cars it offers to customers from its subscription service, said a statement from the company.
Volvo Cars expects these initiatives to transform its connection to its customer base, with the aim to build a total of over 5 million direct consumer relationships by the middle of the next decade, creating new sources of recurring revenue. This will also offer the company far greater potential to develop connected and other services for customers, it said.
On the financial side, Volvo Cars aims to generate premium level profitability in line with other premium car makers, driven by increased sales and revenues across all three global sales regions, and a broader range of cars including sales to the new segment of autonomous ride-hailing companies, it added.
The company’s improved financial performance will also be driven increasingly in the future by industrial synergies generated with its affiliated partner companies, said a statement.
“The company has been transformed since 2010 into a global premium car company. Now it is time for this transformation to be turned into a period of sustained profitability in line with other premium brands,” he added.
Volvo Cars achieved record profits and sales in 2017, with a 27.7 per cent increase in operating profit and global sales of 571,577 cars, said a statement.

industry_corpus2: Automobiles


text: Check out This is very elegant model. New Men's bathing suit board shorts hawaiian bermudas quick dry swimwear joggers plavky briefs swimsuit beach shorts mesh is a good choice you can not neglect it. Recommend.

industry_corpus2: Others


text:
These are challenging times for Canada’s midstream oil and gas sector. Thrust increasingly into the public spotlight, regulatory audits posted online and every development the subject of a steady stream of news headlines, oil and gas pipelines – Keystone XL, Northern Gateway and Energy East in particular – have become a prominent fixture in our national daily dialogue. Never before has the movement of oil and gas across North America been such a heated source of debate – between Canada and the U.S., between Canadian provinces, between Canadians themselves.
But there’s good news. Disruptive technologies are ushering in a new era of sensors, intelligent machines and analytics software that hold forth a tantalizing promise – data-driven pipelines that can diagnose problems before they occur.
That’s what Pipeline 2020 is about – the much-needed radical technology transformation that will allow the sector to sustain economic growth while improving operations and strengthening the social license to operate.
The data-driven pipeline will become a competitive imperative. If companies can make one or more of the four strategic “moves” discussed in this paper, they will stand a much better chance of sustaining economic growth.
What moves will you make?

industry_corpus2: Petrochemicals


text:
With so much competition on the web for companies and sites to be seen, it’s not an easy task to compete in Google SERPs (Search Engine Results Pages). Working to compete in Local SEO rankings is not an easy task either, but much more realistic with a smaller budget.
So think about this: If you’re a small business and ignoring the power of local SEO, you are leaving leads and money on the table.
When it comes to Michigan local SEO, our company can position you for the visibility of your small brick and mortar business needs to compete. We have briefly listed some of the basics in this article, to help you get going.
But first, let’s consider some statistics. Google did a study where they researched the web search behavior of consumers. According to Google, 50 percent who checked out the local search on their phone patronized that business the same day. They also found that 4 in 5 consumers utilized search engines to find local information.
If you don’t have your local business listed with Google My Business yet, you should make that your number one priority. Your ability to compete locally hangs in the balance of your business coming up in the local SERPs.
Listing or claiming your company on Google My Business positions yourself for the coveted top listing people see when they search for local services in Google. The goal is to hit the big three (the top three businesses that pop up on the main page).
It’s important that when you fill out your business profile on Google My Business completely; everything, from your business hours to payments methods, etc.; leaving out vital information will make it harder to rank your business.
Keywords are the key to success. Whether it’s local SEO or competing in the global SERPs, keywords that your potential customers search for is key to help you compete. From the title to your company description, the right keywords must be present.
Citations are essentially links. Without it, all local SEO efforts are in vain. You want your local business to rank everywhere possible in your local area. Therefore simple additions like a business Facebook page, and business page on Yelp, is a must for local success.
Along with citations, you want to make sure your business is receiving reviews. One way to go about that is to encourage your current clients and customers to leave a review. There are many ways to go about that, but a simple way is to use social media, as well as marketing emails. The more reviews your local business receives, the better the possibility that you put your business in a position of ranking.
Positioning yourself for local SEO rankings is much easier than grappling with the main SERPs. Michigan Local SEO done correctly, will put your company in a position to win! At Aqaba Technologies, Local SEO is our specialty, and we’ll be more than happy to help you get started with these three simple steps (and much more) in order to help your local business gain its proper visibility.

industry_corpus2: Computing & Telecommunications


text:
Established in 1997, we have grown in the number of highly qualified staff who support our increasingly diverse projects and programs. We have also increased the number of collaborative partnerships we have built with government and non-government agencies across Asia in our efforts to advance our understanding of effective parenting support.
Programs we have developed, managed or facilitated include Healthy Start, a national strategy for supporting parents with learning difficulties; Signposts for Building Better Behaviour, a program to help parents of children with developmental delay or intellectual disability to manage difficult behaviour; and the Moosehunt, an interactive website that provides parents with evidence-based information to make parenting a little easier.

industry_corpus2: Subject Education


text:
Birthdays: Norm Eitrheim & Norman Eitrheim; Norm Eitrheim is celebrating 90 years with an open house at Prairie Creek Lodge on Saturday, January 12 from 2:00 - 4:00 pm. Cards may be sent to 4402 W. Creekside Drive, Sioux Falls 57106.
Norm Eitrheim is celebrating 90 years with an open house at Prairie Creek Lodge on Saturday, January 12 from 2:00 - 4:00 pm. Cards may be sent to 4402 W. Creekside Drive, Sioux Falls 57106.

industry_corpus2: Hospitality & Catering


text:
Hot on the heels of a number of observations from week 3, I wanted to test some of my findings during week 4. I had learned that I do not have enough toppers for our cold weather so that was an area I knew I wanted to increase in size. Also during week 2, I realized that I was not happy letting my new purchases that were meant to be wardrobe refreshers sit unworn. Week 4 was about adjusting my wardrobe size and incorporating items I’ve been missing. I started off by going shopping in the boutique. Before I began, I came up with My Shopping Plan.
I decided on my best guess of the ideal number of toppers, layering tops and bottoms I need for the current season.
I compared what I had in the working closet, with my best guess.
I came up with a total of 10 toppers, 10 layering tops and 6 bottoms.
Where did I get 10 toppers and tops from? I had only four toppers before I shopped so this is the area I wanted to increase in size the most. I was repeating these four items every week and did not like that level of repetition. I’d rather sport an item every other week to work, although repeating on weekends is ok. Following the idea of Mo’s wardrobe size and my personal repeat/remixing preferences (two items per bottom) I added an additional six toppers.
I had nine layering knits/LS T’s and that seems to be working ok so far so I only added one more.
than once a week. I also know that I have some new bottoms meant to be wardrobe refreshers sitting unworn. So I added one new bottom. This still keeps me under seven so I can repeat every week, but now I will only be able to repeat one bottom a week if I want to continue wearing everything every week.
I also wanted to add one thermal top and one scarf. I am assuming as the season progresses I’m going to wear the thermals more often and I enjoy scarves to mix up solid tops.
Do you shop with a plan?


text: If your summer bike tour is going to take you through different climates then the UltraLite is a good choice. With a 59" shoulder girth this efficient bag is good to 20°. The full down collar helps to seal in heat around your neck without adding excess bulk, and 16 oz. of high lofting down pumps this bag to 5". The total weight of this very compressible package is only 1 lb. 13 oz.

industry_corpus2: Manufacturing


text:
•	Individual and collective dismissals.
•	Force Adjustment of Employment (ERE''s).
•	Termination of contract at the request of the worker.
•	Management and calculation of social security pensions.
•	Management of payroll and social security.


text:
This article documents, shows and analyses the everyday rhythms of Billingsgate, London's wholesale fish market. It takes the form of a short film based an audio-visual montage of time-lapse photography and sound recordings, and a textual account of the dimensions of market life revealed by this montage. Inspired by Henri Lefebvre's Rhythmanalysis, and the embodied experience of moving through and sensing the market, the film renders the elusive quality of the market and the work that takes place within it to make it happen. The composite of audio-visual recordings immerses viewers in the space and atmosphere of the market and allows us to perceive and analyse rhythms, patterns, flows, interactions, temporalities and interconnections of market work, themes that this article discusses. The film is thereby both a means of showing market life and an analytic tool for making sense of it. This article critically considers the documentation, evocation and analysis of time and space in this way.
1.1 Billingsgate is London's wholesale fish market and the UK's largest inland market. Since 1982, the 'new' Billingsgate market has been located on the Isle of Dogs in East London, next to Canary Wharf, after moving out of the City of London where it operated for several hundred years. It's a tightly defined temporal and spatial frame for the exchange and physical redistribution of goods (Harvey, Quilley and Benyon 2002: 202) – in this case, fish – in 'a flow of dispersion-concentration-dispersion' (ibid., 205). So, how does the market take shape each day (from Tuesday to Saturday at least)? What temporal patterns and routines structure it? And how does the activity and movement of people and fish produce the space-time of the market?
1.2 In a conversation with a Billingsgate Fish Inspector early one morning, he tells me that the market doesn't close, it only rests. After some time, I begin to recognise what he means. There are spatial shifts in where activity is taking place - from the unloading bays, to the market floor, to the offices, each location populated by variable combinations of workers and customers at different times - but something is always happening somewhere, often at a different pace. I tend to arrive at the market by four o'clock in the morning when trade officially begins – the earliest time that fish are legally permitted to leave the market - or once it is in full flow at five or six. Inspired by Henri Lefebvre's (2004) call to attend to rhythm, I wander around letting myself get caught up in or 'grasped by' the rhythms, noises, tensions, buzz, chill and thrill of the place, hanging out with fish merchants, inspectors, porters, and traders. By the time I leave when the cafe shuts for the day – half past nine in the week, eleven o'clock on a Saturday – I have the sense of having been there accumulated through time. But when I am there, I notice that I keep looking over my shoulder. It's a bodily expression of the uncertain sense of where exactly the market is happening, of its 'perpetually forming and deforming atmosphere' (Anderson 2009: 79). It's as if the market comes to life behind your back then slips away before you had the chance to take it in. Immersion in the market it seems is an obstacle to perception of its rhythms (Lefebvre 2004: 28; Borch, Bondo Hansen, and Lange 2015: 1085).
1.3 The idea of making a film based on time-lapse photography came out of this sense of the intangibility of the market space as an attempt to capture the temporal structure of the market. Along with sound, it offers a means to evoke a 'sense of time as motion and transformation' (Crang 2001: 201). The elusive quality of the market chimes with the concerns of urban scholars on the character of the city, and the challenge of grasping the 'excesses of embodied and situated experience' (Merchant 2011: 60). Many researchers have turned to the work of Lefebvre to interrogate the spatial and temporal properties of the everyday, notably his last and posthumously published work, Rhythmanalysis (Lefebvre 2004 ). Rhythmanalysis, argues Edensor, is effective for revealing how places are 'seething with emergent properties, but usually stabilised by regular patterns of flow' (2010a: 3). It calls our attention to the 'patterning of a range of temporalities' and the ways in which places might be characterised by the 'ensemble of rhythms' that permeate them (Edensor 2010b: 69).
1.4 This article makes both a methodological and a substantive contribution, highlighting the links between a specific methodology - audio-visual montage as a means of doing rhythmanalysis - and the insights that can be generated – of the relationships between rhythm, atmosphere and mobility, and interconnections and interactions in market space. The construction of the montage is explicitly artificial. If we accept that all methods help to produce the reality they study (Law and Urry 2004), this deliberate undertaking to render rhythm does not diminish the significance of the presence of rhythms in the real-time flow of the everyday. Since such rhythms are however hard to grasp in their immediacy, montage offers an effective 'medium of anthropological [or ethnographic] inquiry' (Grimshaw 2011: 248) and 'a tool of multi-sensory and affective discovery' (Garrett and Hawkins 2015: 147).
1.5 The film both describes rhythm and does 'a distinctive form of analytical work' (Grimshaw 2011: 257). It reveals the rhythms that arise from what happens in the market, including the ways in which they intersect, co-exist, and clash, and how they underlie the experience and atmospheres of being in the market. Following Grimshaw, we can think of the 'synesthetic, spatial and temporal properties of film' as offering 'suggestive possibilities between the experiential and propositional, between the perceptual and conceptual' (2011: 257-258). This audio-visual form may stand alone as an ethnographic document that contains its own analytical gestures. However, if 'images and written texts not only tell us things differently, they tell us different things' (MacDougall 1998: 257 in Grimshaw 2011: 257), then there is more to say. It is therefore worth elaborating on the themes that can be further analysed through the montage and in dialogue with knowledges produced in other ways.
1.6 In addition to the contribution this article makes to thinking and working with rhythm and the audio-visual, it tells us something substantive about 'market time' (Bestor 2001: 92). In so doing, it also adds to existing knowledge of fish markets per se and offers different insights about markets and work more broadly. Economists have famously explored loyalty, price dispersion and economic interaction in fish markets (e.g. Kirman and Vriend 2001; Graddy and Hall 2011; Cirillo, Tedeschi and Gallegati 2012) which have also attracted interest from management scholars (e.g. Curchod 2010). Analyses of the everyday include Bestor's (2004) well-known ethnography of the world's largest fish market, Tsukiji in Japan, its cultures and social institutions, and smaller studies focussing on gender relations (Hapke and Ayyankeril 2004) and humour (Porcu 2005). Interestingly, whilst Mayhew (2008 : 162-163) was already aware of the performative dimension of the fish trade in the nineteenth century, Billingsgate has received surprisingly scant attention given its historical and logistical importance in the UK and its reputation globally (although see Bird 1958). This article offers new understandings of the temporal patterns of market life.
1.7 In the next two sections, I discuss doing rhythmanalysis and critically consider the methodology of this study before presenting the film. I then explore three sets of themes brought to the fore through the film. The first is the atmospheres and temporalities of market life; second, the rhythms, pathways and movement through market space; and third, working bodies and things (including the fish itself) in space and time. I conclude with a discussion of the gains and limitations of using audio-visual montage to make sense of market life.
2.1 In recent years, there has been growing interest in Henri Lefebvre's last and posthumously published work, Rhythmanalysis (1992 ). The publication of the English translation in 2004 reinvigorated interest in the concept (Elden 2006) which has since been critiqued, elaborated and applied. In Rhythmanalysis Lefebvre – in collaboration with his wife, Catherine Régulier – rethinks the everyday and urban life – key themes of his life's work - through the notion of rhythm in an attempt to grasp space and time together (Elden 2006: 186). However, Lefebvre did not provide scholars with a systematic methodology for rhythmanalysis (Highmore 2002: 177). Instead, it is understood more as an 'orientation' (Highmore 2002: 175) for attending to the social world, 'more an investigative disposition' than a 'method for systematic enquiry' (Hall, Lashua and Coffey 2008: 1028), or 'a suggestive vein of temporal thinking' (Edensor 2013: 190).
2.2 That said, several scholars have explored ways of operationalising rhythmanalysis, in particular within geography (Edensor 2010a; Stratford 2015). The most significant body of work relates to the study of mobility, for instance, walking (Edensor 2010b), dancing (Edensor and Bowdler 2015), ferry travel (Vannini 2012a), coach travel (Edensor and Holloway 2008), cycling (Spinney e.g. 2010), and commuting (Edensor 2011). In addition, rhythmanalysis has been used to study place, in historical accounts of urban street life (Highmore 2002), everyday routines in contemporary urban spaces (Chen 2013; Hall 2010; Smith and Hall 2013;Sgibnev 2015), and street performance in public space (Simpson 2008). It has also been employed to analyse socio-economic processes, for instance in the study of financial markets (Borch, Bondo Hansen, and Lang 2015), and to explore 'natural' or socio-natural rhythms (Jones e.g. 2011: Evans and Jones 2008).
2.3 For Lefebvre, the body is the central tool to apprehend rhythm: 'to grasp a rhythm, it is necessary to have been grasped by it', he argues (2004: 27, emphasis in original). Yet, 'in order to grasp and analyse rhythms, it is necessary to get outside them, but not completely' (ibid.), to allow the rhythmanalyst to reflect on and disentangle as well as to feel rhythm. Lefebvre continues: 'He [the rhythmanalyst] must simultaneously catch a rhythm and perceive it within the whole, in the same way as non-analysts, people, perceive it' (ibid., 20, emphasis in original). There is some ambivalence here (Crang 2001: 202) but the bodily experience of rhythm remains key to appreciating an 'assemblage of different beats', 'temporality not just tempo' (ibid. 189, 194).
2.4 Lefebvre was clear in his reservations about using tools outside of the body to apprehend rhythm: 'no camera, no image or series of images can show these rhythms' (2004: 36). Yet his insistence that 'the rhythmanalyst calls on all his senses' (ibid., 21) chimes with stances adopted by researchers who seek to tune into the environment using visual and sensory techniques in immersive ethnographies today. Indeed, visual and sensory methods have emerged as part of broader move across the social sciences to 'engage the senses' (Pink 2005), offering a way of retaining the vitality and dynamism of the social world in our accounts of it (Back 2007; Back and Puwar 2012). This includes attending to and evoking the material world that may be overlooked or inaccessible through talk and text, and recognising distributed agency and practices across human and non-human entities. Pink (2007) argues that video in particular appeals to multiple senses, not least since the senses themselves are connected so that we might '"read" touch, smell and taste' (Merchant 2011: 66) from audio-visual images.
2.5 Several scholars have employed audio/visual methods to undertake rhythmanalysis. Pryke's (2000, 2002) creative use of audio and photomontage disrupts linear accounts of city space. Evans and Jones' (2008) enchanting aural representations of environmental data are a transdisciplinary application of rhythmanalysis across the human and non-human. Hall, Lashua and Coffey argue that making use of sounds alongside the visual offers 'clues to the rhythms of an urban everyday', through which it is possible 'to open up this polyrhythmic complexity' (2008: 1028). Brown and Spinney's (2010) use of head-cam video produces insights into the ordinary and mundane rhythms of cycling whilst Jungnickel's (2015) use of mobile time-lapse photography of cycling shows the vivid quality of 'failed images' and the sense they convey of 'being there'. Simpson's (2008, 2012) innovative use of time-lapse photography to trace everyday rhythms in his study of street performers is closest to the approach I take here. In addition, I add 'real-time' sound to the speeded-up time-lapse images in an audio-visual montage. I now discuss how I conducted the research and put the film together.
3.1 The fieldwork for this research was conducted in autumn 2012 during which time I made two or three visits a week to Billingsgate, following up on contacts I had initially made in autumn 2009 (Lyon 2010). I spent several months hanging and wandering around, eavesdropping, looking, asking questions and making connections in the market explaining that I was trying to understand the work that goes on there. I chatted informally with traders and other workers, attended what formal public events were held during this period, both on site and at Fishmongers' Hall, explored behind-the-scenes, and participated in courses offered by Billingsgate Seafood Training School. After getting comfortable in these spaces and conversations, I approached key people for an interview. In all, I carried out twenty-five formal interviews (recorded once the market was closed) or informal but structured conversations (prolonged in situ discussions supported by note-making) with fish merchants, salespeople, inspectors and porters. I also shadowed fish inspectors and porters as they went about their ordinary work. With the permission of the City of London Corporation which owns the market, and of specific traders, I took photographs of workers, interactions, spaces and displays. In this process, I had regular debriefing conversations with several key informants who also facilitated my interactions with others.
3.2 Billingsgate is a socially homogenous space, dominated numerically and culturally by older (over fifty), white, working-class men. Often without high levels of formal qualifications, many of the long-established traders are nevertheless affluent. Newcomers to the market include south Asian and Indian sellers of so-called 'exotic' fish. Salespeople, 'shop boys', porters and cleaners work for a wage, and the porters – now fish-handlers – have lost significant status in recent years. The cultural tone of the market, characterised by banter and playfulness, structured many of my own interactions with traders and salespeople. Having grown up in south east London, the market had a familiar and appealing ring. I genuinely got on well with the traders and inspectors in particular and developed a considerable fondness and regard for them. In short, I was enchanted by the place.
3.3 Good relations in the market were essential for obtaining formal and informal acceptance for the project and for the film. How these dynamics might have shaped what I saw and how I came to see it (Orrico 2014: 2) is not easy to trace. It might be that traditional gender relations in which I was always treated respectfully – men refrained from or apologised for swearing in my presence, and welcomed as a guest (Gherardi 1996) - offered a research advantage as my 'feminine' presence did not discomfort. I wonder if my educated status (perhaps read as a proxy for class) meant that I was perceived as unavailable despite my openness about living alone, and protected me from more sexualised exchanges, although I was regularly questioned about my living arrangements and family relations. That said, there was no shortage of displays of 'competitive' and 'paternalistic' masculinity (Kerfoot and Knights 1993) amongst groups of men, and performances directed at the women who work in the cafes or who come to the market as customers. More troubling were the occasional racist remarks I overheard from traders, mostly directed at employees. I sidestepped these situations so as not to appear complicit but, given my own precarious and temporary belonging, did not challenge them as I might in other settings.
3.4 Whilst the market extends across and beyond the site, the market hall is central to the everyday life of Billingsgate, as a space of display, interaction, movement, negotiation and exchange, and it is where trade can be observed. The architecture of Billingsgate offers a particular opportunity for seeing its 'temporal unfolding' (Simpson 2012: 431) from the vantage point of a gallery at either end of the first floor overlooking the market hall. I repeatedly found myself climbing the stairs and looking down on the market hall from this gallery, taking stock of the mood and patterning of the day's activities. It was here that the concrete possibility of making a film based on time-lapse photography began to take shape. My body and senses were clearly instruments of this research (Turner and Norwood 2013), especially in alerting me to the dispersed feel of the market and sparking this way of apprehending market space.
3.5 I found a collaborator - film-maker Kevin Reynolds, of veryMovingPictures – through a serendipitous encounter at a seminar he was filming and a conversation which revealed a shared way of looking at space. We chose one ordinary night - 11 December 2012 – to make it all happen. Just after midnight, we set up two digital cameras (one as a backup) in the first floor gallery location looking down the length of the market hall above the beginning of the central isle of the market hall. This position allowed us to look along as well as down on the market floor, the perspective emphasising a viewpoint into the distance and proximity in the foreground, conveying a sense of immersion. The composition suggests the continuity of the space beyond what can be seen in the foreground and so keeps the viewer located within and not wholly above it. Most of the frame is taken up with the market floor, reaching up to the level of the clock suspended from the ceiling at the centre the market hall, which also offered us the opportunity to explicitly mark time for the viewer. This is a deliberate choice which heightens the unitary sense of place and the intensity of what goes on there. But it is a particular view. Another location, up high within the market space looking down on it from a bird's eye view or at floor level would certainly have conveyed a different sense of space (Simpson 2012: 430).
3.6 We took photographs from just before one o'clock in the morning until midday, from market set-up until the market hall was (almost) still. The interval between photographs was ten seconds, based on Kevin's technical judgement and my preferred aesthetic that this would not mask and excessively 'smooth' the conditions of making the film. The deep depth of field allowed everything in the frame to be kept in focus. The fire glass against which the lens was pressed (and held in place with tape) is visible, also evidencing the making of the film, and situating the camera and the viewer in place. The sound of the market hall is muted in this gallery location but every hour (at varying times within that hour), I went down to the market floor to do some 'soundwalking' (Hall, Lashua and Coffey 2008). Slipping into the flow of the crowd I made brief recordings on a hand-held digital recorder of whatever sounds were in my path.
3.7 The resultant film - or audio-visual montage - is a combination of a selection of these sounds with the sequence of images speeded up so one hour is presented in thirty seconds. This is a deliberate calibration based on judgement and experimentation that this speed would both distil patterns and flows and immerse the viewer in the experience of the space. Once the speed and thereby duration of the film were settled, we edited the twelve sound bites (one of which was unusable). We started at four o'clock in the morning, synchronising the sound of the bell that signals the beginning of trade with the visual that shows the clock striking four, and worked backwards and forwards from there. With the exception of one instance towards the end of the film for which I had not recorded the key sound of trolleys, we were strict about only using sound from the relevant hour. We experimented with different combinations in which sound and image would fit but also surprise and make us notice afresh. In the central section of the film when the activity was at its most intense, we layered sound, a fiction that felt more 'true' than the un-manipulated data. Finally, Kevin 'cleaned' the film, making small adjustments of light and colour to avoid calling the viewer's attention (undue in our judgement) to alternations in the camera settings as the environmental conditions changed. This was a 'creative-analytic process' (Garrett and Hawkins 2015: 146) in which we sought to evoke Billingsgate with an 'affective force' (ibid, 145) that goes beyond representation.
3.8 Billingsgate attracts significant media coverage and interest from amateur and professional filmmakers and photographers (as well as marine biologists). Workers are therefore used to requests for their labour to be observed and documented. Some relish these occasions through polished performances, others keep a low profile. Given this public face of the market, the people I spoke to were well positioned to give informed consent for my questioning. A representative of the City of London Corporation gave me formal permission to take photographs at the market and individual traders gave their verbal consent. In addition, I obtained specific permission from the Corporation to make the film and to make it available in the public domain (via YouTube). I spoke individually to any identifiable traders and secured their verbal consent in advance. On the night we made the film, numerous traders came to ask what was happening and I reminded them of our endeavour to capture the daily sequences and rhythms of market life. Once a draft of the film was complete, I made it accessible for previewing on a private YouTube channel and asked those traders and other identifiable actors to inform me of any objections to making the film public. No one came forward. Since making the film public on YouTube, it has (at the time of writing) been viewed over fourteen thousand times. At the market, reaction to the film was marked by pride in what workers saw as a positive representation of their working lives and community.
4.1 On the night we photograph the market, we try to get to Billingsgate ahead of anyone starting work on the market floor. Despite arriving at midnight, we're not the first there. But we do get a feel of the place when it's still and quiet which the film conveys, especially in contrast to what follows. It's chilly – minus three degrees centigrade outside, and at least as cold inside – and the first sounds of preparation for the day can be heard clearly, echoing in and marking out the space around.
4.2 Day breaks inside the market hall from the left of the screen as the bright lights get switched on for traders to set up ahead of daylight seeping in from the outside when the sun comes up. The colours become more vivid, first dominated by the yellow of the overhead structure, the green of the floor, then the white of the trader's clean coats. By three o'clock in the morning, the lids are lifted on sample boxes of fish which are carefully placed on display. The glistening combination of skin, scales and ice adds to the intensity of the morning brightness and spectrum of colour. It's a new beginning and there's a sense of anticipation in the air.
4.3 Telephones start to ring and the sound of the market hall imposes itself. Once it is set up for trade, the soundscape is intense, sometimes jarring or confusing as multiple rhythms compete for attention. It's possible to discern 'layers' (Makagon and Neumann 2008) as we hear the close ring of a telephone, someone shouting nearby, or the pervasive squeak of the polystyrene boxes being moved around. Walking around the market – the way we made the sound recordings for the film – accentuates this.
4.5 We can see from shifts in activity and interaction how these multiple atmospheres are 'produced' (Bohme 1993: 116) through specific forms of labour and action in the market – the arrangement of the display, movements through space, the chatter and clamour of the sale. An atmosphere 'proceeds from and is created by things, persons, or their constellations' (Bohme 1993: 122), and the activities that intertwine them. These activities create and sustain the presence of atmospheres which in turn do things - they set the tone of exchange and as such they matter for how trade happens. We absorb atmospheres and feel them as a 'bodily state of being' (ibid., 118) which fits very well with Lefebvre's call to be grasped by the rhythms of a place in order to perceive it. Whenever I arrived in Billingsgate, I felt myself absorb the atmosphere as a 'spatial bearers of moods' (ibid., 119), transforming the experience of temporality – was I really this lively at four o'clock in the morning?
4.6 Whilst I asked questions about the length and organisation of the working day, the film is a more powerful statement of the 'rhythmic production of space' (Pryke 2000) and the pace and excitement of market life (Dixon and Straughan 2010: 455) than quotations from interviews. In it we can see 'different temporal itineraries that constitute social space' (Sharma 2014: 5). The presence of the clock at the top of the images emphasises variation in the intensity of work, the duration of different tasks and activities, and the tiring repetition across whole stretches of time, enhanced by the mesmeric quality of time-lapse. It also hints at 'the complexity of lived time' (ibid.:, 6) and the 'micropolitics of temporal coordination' (ibid., 7) with the world outside Billingsgate such as two-shift sleeping, calculated convergence with others' lives, patterns in which some bodies recalibrate to the time of others (ibid., 20).
4.7 The 'sense of time' (Vannini 2012a: 243) of Billingsgate in a broader set of urban and natural rhythms is also evident once the market is still for the day. It's a contained world when trade is at its peak, but once the inside lights are switched off and daylight is seen reflected in the wet floor, the viewer recognises the rhythms of the market as being at odds with the city space around it – an instance of arrhythmia. What we cannot observe however is the anticipation of rhythms that are beyond the present that make the market happen the next day, and the one after – orders placed and deals done in a process that extends well beyond the temporal frame of the film.
4.8 The sensory and affective experience of being in the market is suggested by the film, through the play of light, sound and movement. In particular, the surreal juxtaposition of the speeded up images with real-time sound connects viewers to the felt-experiential aspects of moving through space-time. If we take seriously that the senses themselves are interconnected – some viewers comment that they feel chilly watching it - we might go further to claim that the film, albeit grounded in sound and vision also evokes the olfactory. 'Odours seem not to obey rhythms', remarks Lefebvre (2004: 41), but continually move in and around bodies and space, something borne out by recent research on smell (e.g.Riach and Warren 2015). There's something in the air at Billingsgate – of the sea, the ice, moving bodies, and the still fish - and perhaps in the imagination of the viewer too.
5.1 The architecture of the market hall is very clear from the vantage point of the film, especially the central aisle which produces the encounters within it as customers 'walk' the paths made for them (Harvey Quilley and Benyon 2002, 206 on Covent Garden), the 'verges' lined with fish. There are around fifty traders at shops or stands (some beyond the frame) around the market hall and back to back in four 'corridors' lengthways, with several cross-cutting paths at intervals along them. The green of the floor indicates public space, the space belonging to the stands demarcated in dark red. These boundaries are fluid however as buyers step behind the displays to make a more private deal, and boxes and trolleys encumber the main paths.
5.2 The relative immobility of the sales staff and merchants contrasts with buyers on the move. Groups form and scatter, like an uneven pulse, stimulated by sounds or gestures or the lure of the fish in ways that the film does not allow us to appreciate at a micro-level. Indeed, there are multiple co-existing rhythms when trade is in full swing. Whilst there is some jostling at the stands, what is striking is that this destabilising of the boundaries between self and other (Dixon and Straughan 2010: 454) leads to is an accommodation of bodies in space and a fluidity of the movement of the crowd (ibid.: 455) –a synchronisation enhanced by the speed of the film. This includes the movement of porters in the market hall facilitated by cries of 'mind your legs', '… your legs!' and the rumble of trolleys (as heard in the film). They manoeuvre their loads skilfully, or cope with how their loads gain momentum – the trolleys have no brakes and cannot easily be stopped – acting as 'pacemakers' (Parkes and Thrift 1979: 360) in the market space. Customers and other workers familiar with the market are tuned in to 'sensory information about the physical and social environment' (Dixon and Straughan 2010: 449) and smoothly and spontaneously move out of the way. The visitors on tours of the market with Billingsgate Seafood Training School stand out for their lack of bodily comprehension of the space – as did I at first. But I soon absorbed the rhythms of market life, an instance of what Lefebvre calls dressage, to 'bend oneself (to be bent) to its ways' (2004: 39).
5.3 The rhythms, movement and intensity of the market change through the night. The fish merchants and salespeople move around fast but steadily when the space is clear, until they are slowed by the presence of the fish which leads to more uneven rhythms - darting here and there, squeezing past obstacles, negotiating with things on the move. The ring of the bell at four o'clock in the morning signals the legal start of trade when there is a subtle shift in speed and activity on the part of traders and buyers familiar with this repeated daily marker of official time. Movements gather pace and the pace gathers. We feel the polyrhythmic character of the market, including those stretches marked by a repetitive monotony. There is a linear character to the market, from preparation through to the sale and closing and cleaning up when the market is over, portrayed in the film by the steady and swift movement of the hands of the clock at the top of the frame. But there is more. Alongside these lines through time, recursive loops, 'repetition, rupture and resumption' (Lefebvre 2004: 78) in an 'always emergent interaction' of linear and cyclical (Simpson 2008: 823) interfere with one another. At different intervals, the fish inspectors punctuate market time. When watching the film, their commentary revealed their 'skilled vision' (Grasseni 2004) and intimate knowledge of the space and its routines as they could see themselves at work through the blur of images.
5.4 There is a looseness about the end point of the market as different stall-holders close up at different speeds and schedules. We see an urgency in the movement of some traders to get off the floor – for instance those in the foreground of the film on the left hand side of the main aisle who pride themselves in a swift set-up and finish. Traders on the right of the main central aisle in the foreground seem to be making the most of the energetic efforts of the young man cleaning thoroughly (who was perhaps making the most of the chance to perform for the camera!). In contrast, others appear to relish this stretch as slow time to sort through stock – as we see at the back of the central aisle.
6.1 Amongst other things, the market is an economic space. At Billingsgate trade takes place 'pair-wise' in a one-to-one negotiation – as opposed to an auction for instance - this institutional form producing particular work activities, interaction and sense of place. Deals are made through swift gestures and quick judgements. Speed is key in finding the right fish at the right price. The film cannot capture the nuances of these interactions but it conveys the feel of people passing through as if they have somewhere else to be.
6.2 Lefebvre's arguments that space is enacted through physical gestures and movements (Merrifield 2000: 177), and that rhythms inhabit the body can be seen very clearly at Billingsgate. Embodied and sensory workers are tuned into the environment around them, to one another, and to their working tools and materials (Hockey and Allen-Collinson 2009). There is a 'transpersonal dimension' (Anderson 2009) to how they work together, co-ordinating tasks and movements (Lyon and Back 2012: 5.12) through a non-reflective practical knowledge. And they are tuned into the fish. The stands present 'samples' which require sorting, organising, displaying, and maintaining in a liminal state. The fish is relentlessly iced and checked for temperature. It is 'aestheticized and staged in the sphere of exchange' (Bohme 2003: 72). There is more checking, sorting and counting at the end of the time on the floor. Indeed, there are moments in the everyday rhythms of the market when human-fish assemblages become the dominating presence. Years of accrued skill and tacit knowledge practised in embodied routines make for smooth and continuous assemblages of fish and merchant, intertwined and caught up in the momentum of what they are doing. The body and the fish are 'relationally coupled with space and time' (Abrahamsson and Simpson 2011: 332). The speed and blur of the film both limits and emphasises our perceptions here.
6.3 The sound track of the film also alerts the viewer to the materiality of the market. The squeak of the polystyrene boxes is omnipresent. The boxes resist being lined up closely together, protesting loudly at times, and neither are they quietly acquiescent when picked up by porters wearing gloves or with wet hands. Their clamour makes us pay attention to the materiality of work, to the nature of the objects that occupy the working space alongside people and fish.
6.4 We can see the interconnections of jobs and bodies in time and space through the presence – at different times and in different combinations - of porters, fish merchants, sales people, buyers, inspectors, and finally cleaners. In the top left corner of the screen, a light goes on and off from around half past eight in the morning, indicating someone at work in one of the fish merchants' offices on the first floor. Coincidentally, he is the father of the two men in charge of the stand in the foreground on the left of the central corridor. His being there, apparently working at a desk, is a reminder of the paper and electronic counterpart to the sale on the market floor, and co-existing rhythms of work that are removed from the fish itself.
7.1 Billingsgate is a rich and sensuous world that demands multiple forms of attentiveness from those who inhabit it. It's an example of a space that it difficult to grasp – perhaps the sort of place that we can only be grasped by over time – and that makes it something of a problem to study. Rhythmanalysis 'provides a practical vocabulary' (Simpson 2008: 823) that allows us to interrogate the patterns of the everyday activities of the market which create time-space (Crang 2001: 187). This article shows how working with rhythmanalysis through the medium of film can generate new understandings of the 'rhythmic ordering' (Simpson 2012: 424) of work. What we learn from this approach is the specific way in which 'time makes space into place' (Parkes and Thrift 1979: 353) in market life. Rhythm can be seen to operate at different scales and to different beats. The institutional rhythms of clock-time may structure the working night and day but the market is not characterised by this linearity alone. Within market time, we see and hear the cyclical repetitions of the sale and the movement of fish. We notice the differentiated rhythms of buyers and sellers and the temporalities of different types of work activity in harmony or at odds with one another.
7.2 The process of manipulating time in time-lapse photography through speeding up static and sequential images and rendering them as film is a mode of data reduction or compression. However, what is made thinner offers, I would argue following Taylor (1996: 86), a thicker description of the market space, especially once combined with sound. It offers a 'mentally prolonged space[s]' in which attention is repeatedly renewed (Lefebvre 2004: 33), 'a sort of meditation on time' (ibid., 30). By losing the richness of the detail, we sidestep the sensory overload that live presence and video entail, and begin to distinguish some threads amongst this 'temporal, material, technological and cultural tangle' (Sharma 2014: 4). As from Lefebvre's window, 'the flows separate out, rhythms respond to one another' (2004: 28). The speed of the film cannot capture the depth and richness of sensuous experience as still or 'real-time' moving images might (Merchant 2011; Lyon and Back 2012), but instead, it affords time as an 'experience of flow' (Crang 2001: 206). In particular, time-lapse delivers the 'spatio-temporal unfolding of everyday events' over a longer duration and reveals 'how various rhythms and routines interrelate and interfere' (Simpson 2012: 440).
7.3 At the same time, audio-visual montage, as presented in this article, loses some felt aspects of embodied and affective experience (Simpson 2011) both on the part of the researcher and what can be sensed of the participants. For instance, there is no room in this form to linger on the detail of embodied skills and knowledge. Furthermore, the reliance on what can be observed runs the risk of neglecting all that lies beyond the empirical. Social dynamics which underpin trade and relations in Billingsgate have enormous reach in time and space but are not easily made visible. The tight and consistent framing of the film is suggestive of a wider world however, for instance when people enter and exit the screen, and this at least may unsettle any easy sense that the viewer is getting the full picture. Similarly, the surreal effect of the juxtaposition of speeded up time-lapse photography with real-time sound conveys that this re-presentation of market life cannot be read literally.
7.4 Whilst there is a long tradition of using film in ethnography, and considerable enthusiasm in recent years about visual and sensory methods (e.g. Pink 2005), including video-making (e.g.Bates 2015), audio-visual montage offers new opportunities for interrogating and rendering social fields (Vannini 2012b). It allows researchers to be both 'inventive' (Lury and Wakeford 2012), in this case for the insights than can emerge about market life, and 'live' (Back and Puwar 2012) in an 'appeal to the senses' (Grimshaw 2011: 259, footnote 9), as a means of retaining the vitality, textures and rhythms of the social.
I am grateful for the support of a small grant from the British Academy for the project 'Working with Fish from Sea to Table' (2010-2012) (reference no: SG100889); for the kind permission of the City of London Corporation to make the film; and for the collaboration of the fish merchants, inspectors and workers of Billingsgate Fish Market. Thank you to colleagues for helpful suggestions, especially Giulia Carabelli and Lynne Pettinger.
3 There appear to be more women in the market on a Saturday when the profile of customers is domestic as well as commercial.
4 This compares with twenty-five frames per second in film.
5 On the first-floor there also offices of the Clerk and Superintendent's office, the Fish Merchants Association, inspectors, maintenance, police and first aid, and the Seafood Training School.
ANDERSON, B (2009) 'Affective atmospheres', Emotion, Space and Society, Vol. 2, p.77-81.
BACK, L (2007) The Art of Listening, Oxford: Berg.
BATES, C (ed) (2015) Video Methods, Social Science Research in Motion. Abingdon: Routledge.
BESTOR, TC (2001) 'Supply-side Sushi: Commodity, market and the global city', American Anthropologist, Vol. 103, No. 1, p. 76-95.
BIRD, J (1958) Billingsgate: A Central Metropolitan Market', The Geographical Journal, Vol. 124, No. 4, p. 464-475.
BOHME, G (2003) 'Contribution to the critique of the aesthetic economy', Thesis Eleven, No. 73, p. 71-82.
BORCH, C, K Bondo Hansen and A-C Lange (2015) 'Markets, bodies, and rhythms: A rhythmanalysis of financial markets from open-outcry trading to high-frequency trading', Environment and Planning D, Vol. 33, No. 6, p. 1080-1097. BROWN, K and J Spinney (2010) 'Catching a glimpse: The value of video in evoking, understanding, and representing the practice of cycling'. In Fincham, B, McGuinness, M, and Murray, L (eds) Mobile Methodologies. Basingstoke, Palgrave Macmillan. CHEN, Y (2013) ''Walking with': A Rhythmanalysis of London's East End', Culture Unbound, Vol. 3, p.531-549.
EDENSOR, T and J Holloway (2008) 'Rhythmanalysing the Coach Tour: The Ring of Kerry, Ireland', Transactions of the Institute of British Geographers, Vol. 33, p. 483-501.
EDENSOR, T (2010b) 'Walking in rhythms: place, regulation, style and the flow of experience' Visual Studies, Vol. 25. No 1, p. 69-79.
EDENSOR, T and C Bowdler (2015) 'Site-specific dance: revealing and contesting the ludic qualities, everyday rhythms, and embodied habits of place', Environment and Planning A, Vol. 47, p.709-726.
EVANS, J and P Jones (2008) 'Towards Lefebvrian Socio-Nature? A film about rhythm, nature and science' Geography Compass, Vol. 2, No. 3, p. 659-670.
GRASSENI, C (2004) 'Skilled vision. An apprenticeship in breeding aesthetics', Social Anthropology 12(1): p. 41-55.
HARVEY, M, S Quilley and H Benyon (2002) Exploring the Tomato, Transformations of Nature, Society and Economy. Cheltenham: Edward Elgar.
JONES, O (2011) 'Lunar-solar rhythmpatterns: Towards the material cultures of tides', Environment and Planning A, Vol. 43, No. 10, p. 2285-2303.
JUNGNICKEL, K (2015) 'Jumps, stutters, blurs and other failed images: Using time-lapse video in cycling research'. In C Bates (ed) Video Methods, Social Science Research in Motion. Abingdon: Routledge.
LAW, J and J Urry (2004) 'Enacting the social' Economy and Society, Vol. 33, no. 3, p. 39-410.
LURY, C and N Wakeford (2012) Inventive Methods: The happening of the social. Abingdon: Routledge.
LYON, D and L Back (2012) 'Fish and fishmongers in a global city: socio-economy, craft, and social relations on a London market', Sociological Research Online 1Vol. 17, No. 2 http://www.socresonline.org.uk/17/2/23.html.
MAKAGON, D and M Neumann (2008) Recording Culture: Audio Documentary and the Ethnographic Experience. London:?Sage.
MAYHEW, H (2008) London Labour and the London Poor. Hertfordhsire: Wordswoth Editions.
MERCHANT, S (2011) 'The Body and the Senses: Visual Methods, Videography and the Submarine Sensorium', Body & Society, Vol. 17, No.1, p. 53-71.
MERRIFIELD, A (2000) 'Henri Lefebvre: a socialist in space' in M Crang and N Thrift (eds) Thinking Space. London and New York: Routledge.
PINK, S (2005) The future of visual anthropology: engaging the senses. London: Routledge.
SGIBNEV, W (2015) 'Rhythms of being together: public space in Urban Tajikistan through the lens of rhythmanalysis', International Journal of Sociology and Social Policy, Vol. 35, No. 7/8, p. 533-549.
SHARMA, S (2014) In the Meantime, Temporality and Cultural Politics. Durham and London: Duke University Press. SIMPSON, P (2008) 'Chronic everyday life: rhythmanalysing street performance', Social & Cultural Geography, Vol. 9, No. 7, p. 807-829.
TAYLOR, L (1996) 'Iconophobia', Transition, No.69, p. 64-88.
VANNINI, P (2012a) 'In time, out of time, Rhythmanalyzing ferry mobilities', Time & Society, Vol. 21, No.2, p. 241-269.
VANNINI, P (2012b) 'Public ethnography and multimodality: research from the book to the web'. In P Vannini (ed) Popularizing Research. New York: Peter Lang.

industry_corpus2: Agriculture & Fisheries


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NOTE: Dinosaur and other vertebrate fossils may not be collected on any federal or state lands except by permits issued to accredited institutions.
For more information, contact the land managing agency or the Paleontology Section at the Utah Geological Survey, 1594 W. North Temple, Salt Lake City, UT 84114-6100, (801) 537-3300.
Do not work alone, and let someone else know your schedule.
Watch for others, and when on slopes, never work directly above or below anyone.
Do not enter abandoned mines or shafts.
Utah’s rock, mineral, and fossil collectors must adhere to rules and regulations established by owners or managing agencies of the lands on which they wish to collect.
Prior to collecting, rockhounds should determine ownership of the lands they intend to visit and familiarize themselves with the regulations that apply to collecting on those lands. Consult surface-management status maps (sold by various agencies and outlets, including the Utah Geological Survey and the Bureau of Land Management) or site-specific land-ownership maps (at the recorder’s office in the county where you intend to collect).
Utah’s lands are managed by the federal government (Bureau of Land Management, U.S. Forest Service, National Park Service, Bureau of Reclamation, Department of Defense, U.S. Fish and Wildlife Service, American Indians), state government (School and Institutional Trust Lands Administration), and private owners (including local governments). Rockhounding permits may be required to collect on some government lands, and permission is required to collect on private lands.
About 67 percent of Utah’s lands are managed by the federal government. Most of this land is open to collecting except for National Parks, National Monuments, American Indian lands, military reservations, dam sites, and wildlife refuges.
Except where posted or on developed recreation sites, the casual collector may collect reasonable amounts of rocks, minerals,gemstones, invertebrate and plant fossils if collection is for personal, non-commercial purposes. Surface disturbance must be negligible.
Collection of large quantities or for commercial purposes requires a permit from the BLM. Commercial collecting of fossils is not allowed. Use of explosives and/or power equipment is forbidden. You may collect in wilderness and wilderness study areas so long as there is no surface disturbance.
Petrified wood may be collected for personal use up to 25 pounds plus one piece per day up to a maximum of 250 pounds per calendar year. Use of explosives and/or power equipment is forbidden.
Collectors wishing to resell their petrified wood specimens must obtain a permit.
For information on rock, mineral, and fossil collecting on lands managed by the U.S. Forest Service, download the following document from the USFS website: http://www.fs.usda.gov/Internet/FSE_DOCUMENTS/stelprd3800357.doc (5/10/14).
Commercial collecting of fossils is not allowed.
U.S. Forest Service lands in Utah are located in the USFS Intermountain Region (Region 4), 801-625-5605, Federal Building, 324 25th Street, Ogden, UT 84401.
Most state-owned property is managed by the School and Institutional Trust Lands Administration (Trust Lands) and a rockhounding permit is required to collect on these lands. A fee is charged for the annual permit.
Rockhounds may collect up to 25 pounds plus one piece per day, up to a maximum of 250 pounds per year. This permit does not authorize collection in areas where active mining operations are in progress or in areas that are leased for the mineral being collected unless permission is obtained from the lessee. The permit does not authorize collection on other state-administered lands, such as state parks.
Commercial collectors must follow specific regulations and obtain a mineral lease or materials permit.
For permits and fee information, contact the School and Institutional Trust Lands Administrations office at 801-538-5100.

industry_corpus2: Mining


text:
North Jersey Firewood is one of the most dependable and trustworthy companies for firewood delivery in Sparta NJ. You will need an efficient way to eat your house if the skies become gray and the snow starts to fall. All over New Jersey and New York, North Jersey Firewood supplies delivery for a huge selection of cords of firewood. All of our firewood is of the finest-quality and harvested by using sustainable methods. We manage our forest lands to allow for appropriate regrowth and for removing invasive species which are detrimental to the local ecosystems instead of merely chopping trees down. Sustainability is part of everything that we do in regards to our firewood for sale in Sparta NJ. Sizes from a personal bundle of firewood all the way up to a full cord are available. Firewood delivery is truly convenient when purchasing firewood in bulk. Save yourself the time along with possible injury. Have your seasonal firewood delivered.
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text: You’re in deep space and something’s collided with the ship. Main power is offline and you’re trapped. It’s lucky you have access to this terminal. It’s a little old but with these two robots and some clever thinking you might be able to get power back online and save the day. Control two walker robots and puzzle your way through 30 levels to restore power, reactivate the life support and solve the mystery of the collision.

industry_corpus2: Gaming


text: Don’t leave anything behind. The brilliant Trek 66 rucksack is now available in seven colours, including this electric blue, while keeping all of its known benefits. With a 66-litre capacity and sturdy structure, you can carry all your essentials and more without fear of it tearing.


text:
1938 Senate Bill 0521. An Act Permitting Certain Part-Time Teachers To Become Members Of The Teachers Retirement Association.
Title 1938 Senate Bill 0521. An Act Permitting Certain Part-Time Teachers To Become Members Of The Teachers Retirement Association.


text:
BNZ Materials is a company that’s known for its high quality products. Responsible for manufacturing as a worldwide supplier of a range of specialty industrial materials and installations, our products have been put through rigorous testing to ensure that we only supply the highest quality of special industrial installations. Having been in the business for more than 60 years manufacturing materials at our Billerica, Massachusetts, and Zelienople, Pennsylvania plants we have been able to gain a level of expertise that puts us above and beyond the competition. Not only do we offer our calcium silicate product line, but we also offer the highest quality of insulation firebrick and other refractory materials at our extremely advanced manufacturing plant. Here at BNZ Materials, we always go above and beyond the expectations to ensure that we deliver a high-quality product that our customers will love.
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Our insulating firebrick is made from high quality refractory clays, as well as other raw materials. Each piece is carefully inspected and graded, containing graded organic filler which is burned out during manufacturing for excellent pore structure. As a worldwide supplier of insulating firebrick, we supply refractory materials to thousands of different businesses located all around the world. We offer a range of different installations and refractories, ensuring that our clients are able to find a very specific solution to their issues.
In 1947, the development of structural insulating panels first began utilizing corrugated paperboard. Since that time, the usage of structural insulation has continued to grow rapidly. Structural insulation provides a number of different benefits that make it an excellent choice for property owners around the world.
To start, structural insulation offers excellent shock resistance, and stability, especially when compared to other types of insulation. There is very little moisture content and structural insulation provided by BNZ Materials, making it an excellent form of insulation, helping to protect against intensity. The stability of our structural insulation is one of the reasons why our product lines have been able to grow so rapidly over the years.
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Utilizing our non-asbestos calcium silicate structural installations, which are able to utilize high strength and excellent thermal insulation characteristics, making them appropriate for a wide range of different uses. Our structural insulation is adept at heat processing, provides excellent fire protection, and is also commonly used in electrical resistance applications. Utilizing a tobermorite cystalline structure, it provides some of the best thermal shock resistance. Our materials are such high quality, that they are standardly used material in many of the fire training burn rooms across the United States. The structural insulation is excellent at resisting temperatures all the way up to 2000°F. It is a unique material that has helped us to rapidly grow our customer base, and meet the needs of clients situated all around the world. As a worldwide supplier of structural insulation, our dedication to supplying only the highest level of quality has influenced our company for providing the highest level of quality structural insulation.


text:
Hey everyone,I was living in England when they showed this one and can't believe I found it on YouTube. I can't stop laughing! It's a piss-take on "Popstars".
http://uk.youtube.com/watch?v=HX0TgphpchMRowan Atkinson's in it, and Sarah Alexander (as one of the judges), who owns me in the entire nature of myself. Many other British stars make complete fools of themselves for charity. Good old English humour. Wonderful.

industry_corpus2: Film & Entertainment


text:
Our annual Community BOGO Dinner is almost here and it is going to be THE event of May. Every dinner ticket purchased allows you and a Food Bank client to attend the dinner (Buy One, Give One).
When: Tuesday, May 29th and you can dine anytime between 4:30 and 7:00 pm.
Where: The lovely hall at St. James' Anglican Church, 225 Edmund St., Carleton Place.
Cost: $30 for adults, $20 for seniors and children (6yrs. to 12yrs.) or $150 for an entire table of 6.
Tickets: are on sale at The Granary Bulk and Natural Foods, The Beckwith Kitchen, The Beckwith Butcher, and The Hunger Stop (on 5 Allan St.), and online.
Chef Ian Carswell of the Black Tartan Kitchen and Rob Carpenter of the Beckwith Butcher will be creating ambrosia in the kitchen and the Mississippi Mudds Will be serving it up and Feelin' Groovy.
The Lanark County Food Bank - The Hunger Stop is your local food bank that serves families living in Mississippi Mills, Carleton Place, Beckwith, and surrounding area. Our clients receive 5 days worth of food, once a month. We believe that no one should be hungry so if you or someone you know needs a bit of help, please come see us - we love making new friends.


text:
Badminton 2017 is well underway for Austin and Wendie Foster’s Kilpatrick Knight.
With the trot up safely negotiated, it was a Thursday morning dressage for the Attington Team.
KK produced a lovely test, attracting some very consistent scores from the judges, leaving them on a score of 45.8 and 12th place overnight after the first day of dressage, despite a minor sat nav error on the final centreline.

industry_corpus2: Sports


text:
(ärk`tĭk, är`tĭk), group of more than 50 large islands, Northwest Territories and Nunavut, N Canada, in the Arctic Ocean. The southernmost members of the group include Baffin (the archipelago's largest island), Victoria, Banks, Prince of Wales, and Somerset islands; N of Viscount Melville and Lancaster sounds are the Queen Elizabeth Islands, of which Ellesmere is the largest. Tundra and permanent ice cover the islands, on which oil and coal have been discovered. After Greenland, the Archipelago is the world's largest high-arctic land area.
Stratigraphy and correlation of Lower Paleozoic formations subsurface of Cornwallis, Devon, Somerset and Russell islands, Canadian Arctic Archipelago.
7) It stretches from the Bering Strait in the west, runs along the northern coast of Alaska and Canada, and then weaves through the Canadian Arctic Archipelago until it exits through the Davis Strait and Baffin Bay in the east.
91) Over a 300-year period dating back to the 1570s and lasting until the transfer of title to Canada in 1880, English explorers discovered and claimed a great majority of the Arctic Archipelago.
The captain and his men drank a toast to the Dominion and the prime minister, and "then all assembled around Party's Rock to witness the unveiling of a tablet placed at the Rock, commemorating the annexing of the whole of the Arctic archipelago.
In 1986 Canada drew "straight baselines" around the fringing islands and headlands of the Arctic Archipelago and declared all waters within to be "internal" to Canada.
As a BBC journalist he has been to the Arctic Archipelago, north of Canada, and back.
So you think this winter is tough?
The town of Pyramiden lies on the east coast of Spitsbergen, the largest island in the Arctic archipelago of Svalbard, 1,200km from the North Pole.
Most scholars study it mainly from a White perspective, which amounts to an impoverished history, also known as a mystery, because, being predicated on written sources, it relies on an archive that contains but a single document written by any of the 129 Britons on the voyage once HMS Erebus and Terror disappeared into the Arctic archipelago in late July 1845.
Not all of the Canadian Arctic archipelago is within Nunavut (although Canada's entitlement to the archipelago is now unchallenged, and that has been the case for some length of time, likely since circa 1930).
The chunks broke off from the Ward Hunt Ice Shelf on the coast of Ellesmere Island in the Canadian Arctic Archipelago, forming two floating ice islands, according to scientists.
Internationally our national government claims that the waters of the Arctic Archipelago are internal to our country.


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One of my favorite parts of the movie “The Devil Wears Prada” is when Stanley Tucci’s character, Nigel, gives Anne Hathaway’s Andy, the talking-to that turns around her attitude. He tells her that it is HER attitude that is the problem. “This place where so many people would die to work, you only deign to work.” Andy changes her attitude, and her style, and her life improves somewhat. If this had actually been her dream career, she would have been set on a good path, and as it was she eventually saw the benefit of having a grateful attitude when Miranda writes her a fantastic recommendation.
The lesson for people coming in to the film business, is never consider the entry level tasks beneath you. Don’t merely deign to work as a PA, or consider yourself above the material, genre or milieu. It may be that Reality TV or Entertainment gossip shows are very lightweight fare for someone who aspires to directing a great American drama, or world changing documentaries. But they are a start. Your attitude in treating your beginning work seriously will be noticed, as would the opposite.
In HR lingo, it’s called “taking ownership” – accepting the responsibility for doing a task well. You will see this phrase or similar ones increasingly in job listings as part of the desired characteristics of the successful job candidates. Make sure you are willing, enthusiastic and responsible. That is the way to move up in the business.


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Jake shares some updates and insights into corporate and our worldwide business. Just recently home from the European Event.
Brooke, Dane and Bob share their thoughts this morning.
Julie shares her thoughts on the Synergy Event last weekend.
Dan Norman, President of Synergy Worldwide brings the group up to date on Synergy’s global presence.
Bob’s son Ben shares his thoughts on e9. Bonnie shares her story of V3 products. Great call!

industry_corpus2: Technology & Research


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Scott Graham, 26, of Windham was summonsed Jan. 22 on a charge of violating condition of release.
Leesa Myers, 59, of Windham was arrested Jan. 25 on a charge of violating condition of release.
Amanda O’Donnell, 28, of Standish was arrested Jan. 25 on a charge of hold-house for another agency.

industry_corpus2: Law & Justice


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This website contains material; which is owned by or licensed to Mera Viyah. This material includes, but is not limited to, the design, layout, look, appearance, graphics and images. Reproduction and unauthorised use of this material strictly prohibited unless written consent has been given.
MVBA reserves the rights to change, modify or otherwise alter these terms and conditions at any time. This provision does not affect your statutory rights.
All deposits paid are non-refundable.
All deposits are non-transferable to any other services.
All required payments must be cleared prior to your course commences.
Failure to meet the required payment will result in the course being cancelled and you will have to re-book.
The Course prices can change when you re-book.
Unless you have written confirmation of your course enrolment; Mera Viyah Couture Makeup and Beauty Academy reserve the right to make amendments to Course contents or fees without any prior notice.
Students are required to be punctual and adhere to all breaks and lunch times.
Failure to attend your Course, or part of your Course, due to an un-expected illness or an accident, will result relevant dates being re-scheduled (upon written proof from a Medical Professional i.e. GP and or hospital letter) no refunds, payment transfers or credits will be allowed.
Failure to attend your Course, or part of your Course for any other reason your Course will not be re-scheduled, no refunds, payments or credits will be allowed. This will also result in your course/s being cancelled and you will have to re-book.
Mera Viyah Couture Makeup and Training Academy are not responsible for any Course Contents missed if students are not paying attention in class.
Students do hold the right to modify their preferred dates within 3 months of initial payment or deposit.
Mera Viyah Couture Makeup and Beauty Academy reserve the right to change the Training location in writing 48 hours prior to training.
An extra charge will be applied for any Students requesting Training on a one to one basis and or in the comfort of their own premises.
Students are required to arrive on time on each day.
Students are expected to Dress in smart casual wear and wear comfortable shoes.
He/She will be escorted off the premises with no refund or credit and the course will be cancelled. Legal and criminal proceedings will also be filed.
No Video Recordings are allowed in any area of the Academy / Centre.
During Training, Mobile Phones will be required to be switched off or on silence.
Still Photography is permitted, strictly of your own work.
Your workstations should be kept clean and tidy all the times for the duration of the course.
Any damaged caused to equipment or facilities will be required to be paid for in full by the student.
Mera Viyah Couture Makeup and Beauty Academy do not hold any responsibility for any loss or damage of student’s belongings.
Mera Viyah Couture Makeup and Beauty Academy reserves the right to any student work for promotional purposes.
Depending on the course or training package, you will be required to supply your own model/s for the duration of your makeup course, please refer to your Course Confirmation Email.
Please read carefully, as when you book any Makeup and Hair Services you also agree to the following terms and conditions including any additional Terms and Conditions on your Booking Confirmation Email.
It is your responsibility to let us know if you are allergic or have any allergies to any makeup or hairstyling products. We do not do any patch test before applying any makeup or use of any hairstyling products. This Policy also applies to group bookings made by yourself or made on behalf of someone else for you.
All hair and makeup trials are an additional charge.
The makeup artist at the time of your trial will be the makeup artist on your wedding day, for any unlikely unforeseen circumstances if this person is not available you will be notified and we will attempt to make alternative arrangements. If alternative arrangements cannot be made then your deposit will be refunded.
No other person is allowed to stand or watch whilst the makeup artist or hairstylist is working.
Video recording are strictly prohibited.
Photographs are allowed only at a distance of 1 meter no close up shots are allowed.
Unless authorised by Angela (Director of MERA ViYAH) Makeup and hairstyle must be removed before you leave the premises.
Your trial will only be carried out if your wedding or special occasion date is available.
You are allowed 48hrs after your trial to pay a deposit to secure your required date.
Once 48hrs after your trial have lapsed; we are not obliged to accept your deposit or booking instructions the date can be offered and booked by another client.
Your deposit and booking confirmation will be confirmed by email, without your Mera Viyah Confirmation Email your booking is not secure.
All down payments and deposits and balances received are non refundable.
Deposits and balances are non-transferable with any other service.
A deposit payment is taken to secure your booking date and time, only upon receipt of your deposit and our Confirmation email is your booking confirmed and secured.
Please refer to your Quotation and Confirmation Email for additional Terms and Conditions.


text: We welcome all visitors to Craigmillar Park Golf Club. Our facilities are open to the public throughout the week. Our winter opening hours which take effect from Monday 29 October 2018 are set out below. Breakfast and coffees/teas are available every morning (except Monday) from 9am and from8am on Saturday.


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What Is the AP Top 25 Poll in College Football?
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What Were the Final AP Top 25 College Football Poll Rankings for the 2014-2015 Season?
What Are the Football Polls for College Coaches?


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For more than 140 years, Chicago’s Palmer House, a Hilton Hotel, located in the heart of the Loop at the corner of State and Monroe, has been treating guests to opulent and gracious hospitality. Retail and real estate magnate Potter Palmer considered Palmer House his crown jewel; hence he named the extravagant hotel after none other than himself. Once touted as the largest hotel in the world, the Palmer House lobby has seen dignitaries, celebrities, and royalty come and go since the hotel was established in 1871. During the holidays, Palmer House is even more spectacular. Here are three ways to celebrate the holidays at Chicago’s historic Palmer House hotel.
Traditional afternoon tea service is offered daily from 2 to 4 pm in the lobby. There’s no better way to rest your feet after a morning of State Street shopping than with hot tea and buttery scones by the grand holiday tree. Reservations are required and may be made by calling (312) 917-3404.
The Palmer House’s 18-foot tall tree, decorated with 7,000 lights among its 15,000 branches, is located in the grand, historic lobby. Enjoy a holiday cocktail from the Lobby Bar. The Hot Toddy features warm Seedlings apple cider cooked with cloves and cinnamon and Calvados brandy. Hot Buttered Rum is made with Myers Dark Rum, homemade vanilla ice cream mixed with butter, cinnamon, nutmeg, cloves and brown sugar topped off with vanilla hand-whipped cream and sprinkled cinnamon. Mulled Red Wine is warmed with orange and lemon zest, nutmeg, star anise, cloves, vanilla bean, brown sugar and honey. Or keep it non-alcoholic and opt for the premium hot chocolate or spiced hot apple cider.
Nearly 400 tuba and euphonium musicians of all ages dash through the snow to bring Christmas cheer play holiday favorites for the crowds gathered at Palmer House during TUBACHRISTMAS on December 22 at 12:30. This event is free to the public with no tickets or reservations required, and it’s a holiday musical experience like no other. Palmer House asks that audience members bring a donation of a non-perishable food item for the Chicago Food Depository.


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Did anyone here see the movie "Talvisota" ? Probably only Ante or Senta could have seen it Anyway its the first finish movie i ever saw...was pain in the arse to 'get it' I found it pretty good except for funny battle sequences....cruel but not very professionally made.
by the way, finish language is crazy! it sounds so complicated. Pronounciations looks very hard too.
anyway is there any other good suommi movies?
With one m and capital letter, Suomi movies.
Yes, I have seen Talvisota years ago and can't remember much of it. It was probably a crappy film. But generally I can't recommend you Finnish movies because they all are crap, believe me. There are a couple of movies, like the ones directed by Aki Kaurismäki, but if you are not a friend of French art movies where two people discuss two hours in a room how miserable their life is and drink and smoke constantly, then don't bother. The other somehow "good" Finnish movies are the ones directed by Pertti "Spede" Pasanen. He created somehow James Bond'iscue series of "Uuno" movies starring an anti-hero and featuring "beautiful" women and crazy (and useless) inventions.
There's a one site that gathers the information of Finnish DVD releases (but the site is only in Finnish) - http://www.dvdkotelo.com/.
But now that I remember I think that the good ones I've seen lately are Badding and Rentun Ruusu. I don't know wether the DVD releases of these movies has English subs, but these two I would recommend anyway.
David, I have'nt seen Talvisota I usually do not watch war-movies.
David wrote: by the way, finish language is crazy! it sounds so complicated. Pronounciations looks very hard too.
We ordered it via internet as a support to makers. I haven't seen it yet (as a matter of fact I haven't seen any movies for a long time, have no time to watch) but Marco said it was funny. It is a parody from Star Treck.
Yesterday here was in premiere a movie called "Matti". It tells (a fictional) story about Matti Nykänen, the finnish skijumper.
Good that you mentioned Star Wreck. Yes, I am very happy that this movie exists! It's like Linux - these guys made it "just for fun" and what happened - it's the, as Senta said, most seen Finnish movie ever - and yes - spoken in Finnish with English subs.
Ante wrote: Good that you mentioned Star Wreck.


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“In a collision at 4:30 yesterday afternoon between Ellis Hansen, on a bicycle, and a Ford car driven by R. F. Wendell of Onekama, Hansen received some bad cuts about the face and a bruised and cut shoulder. Hansen struck the automobile squarely in front and dove through the windshield. Had the machine been moving there is no doubt that he would have been killed.
“Wendell was coming from Onekama when Hansen and his companion, Robert Wellman, were crossing the bridge going north. A wagon was in front of Wendell’s machine and Wellman crossed behind it and brushed the auto. Wendell immediately threw on his brakes and stopped the car. Hansen, following Wellman, did not see the car and struck it squarely in the center. He dove through the windshield and fainted. The boy, bleeding badly, was taken into the bridge house and Dr. Homer Ramsdell, who was summoned, took the boy to his office and dressed his wounds. He was able to walk to his home.
“Ellis Hansen is a son of Mr. and Mrs. Edmund Hansen, 384 Third Street. His bicycle, which he purchased only two weeks ago, was broken in two. He is at his home today pretty badly battered but not suffering much except from the shoulder, which was severely cut and bruised.
“With band concerts Saturday evening and Sunday afternoon and evening Orchard Beach will be formally opened to the public this week. For the past three weeks a crew of men have been getting everything in readiness at the park and today the resort is probably the most beautiful spot on Lake Michigan.
“Manistee Country Club will be formally opened tomorrow with a picnic supper, at which a large attendance is expected. The golf grounds have been in use for a month and the tennis courts for one week and the club house itself has been open under the direction of Louis Larsen and his wife for some time.
“Quite a few repairs are being made to the club house, which will be in shape for tomorrow night.
“Liverpool, May 29.—The giant Cunarder AQUITANIA , Britain’s largest liner and the world’s most luxurious ship, sails tomorrow on her maiden voyage to New York. The liner cost roughly $10,000,000 to build. Although she will share the mail service with the MAURETANIA and the LUSITANIA, the AQUITANIA will not try to beat the records of her speedy sisters but will content herself with a comparatively modest 23 knots an hour.
“Accommodation is provided for 3,500 passengers and a crew of 1,000. Warned by the TITANIC disaster the designers have allotted boats for all. A new feature is the provision of two powerful motor launches which if necessary can tow the ordinary lifeboats. Each is fitted with a 300 mile range wireless installation is case of accident to the liner’s main apparatus. The AQUITANIA is two ships in one, for the inner shell is separated from the outer shell by 15 feet.
“Manistee’s population was increased by the arrival of five babies today.
“Linking the nation’s past as represented by the veterans with its destinies of the future as seen in several hundred school children, Memorial day was fittingly observed Saturday afternoon at Ramsdell Theater and Oak Grove cemetery. To those who appreciated the significance of the exercises and were inclined to give serious thought to the country’s purpose and its problems, the contrast between the gray haired survivors of ’61-65’ and the bright faced children gaily waving their flags in time to the music was prophetic.
“Of that great army that answered Lincoln’s call in ’61 to determine whether or not this nation dedicated to the proposition that all men are created free and equal, but a remnant now remains. And yet those ranks, woefully thinned by time and rapidly approaching the day when the last survivor shall have answered the final roll call, still serve to emphasize the sublime patriotism that rose to save the nation in its hour of peril.
“From a letter received Saturday it has just been learned that among the wounded at Vera Cruz was Mark Peltier, son of Mr. and Mrs. John Peltier of 16 Magill Street and a former carrier of the Daily News. Mark enlisted in the marines three years ago and has been assigned to the battleship MINNESOTA, flagship of one of the Atlantic squadrons. Mark was in one of the first boats to land when the order went out to seize the city and was in the thick of the fighting from the start. From his letter he escaped injury in the engagements in the city but was shot in the leg during the fighting after the Mexicans had been driven out of Vera Cruz. The Manistee boy speaks of the weather as being very hot and is looking forward to his return north, having been in the south for five months now.
“Pleasant weather contributed to a very successful opening of the Country club Saturday. The tennis courts and golf course were well patronized and the dinner in the evening was attended by a large crowd. Two delightful solos by Mrs. Charles Bigge added much to the evening.
“About 100 members of the Eagles and their friends attended one of the most successful fishing trips ever given in Manistee yesterday. The lodge chartered a special train on the Michigan East and West railroad and went to the ‘Pines’ where camp was made. A fine dinner was served and everybody had a good time. Those who went fishing report good catches of trout.
“W. H. Markle entertained at a Stag party in honor of his birthday last Wednesday evening at his home on Spruce Street. A four course dinner was served at 7 o’clock. The dining room and table were decorated in red and yellow. A large bouquet of red and yellow tulips formed the center piece and the host’s initials appeared on the table in candles of the same colors and in a number corresponding to the number of mile posts he has succeeded in passing thus far on life’s journey. The favors, which were articles suggestive of each guest’s business, were found by following up a ribbon from several plates to a basket suspended from the chandelier. The evening was rounded out with a motor boat ride on Lake Michigan, which was shared by the families of the guests.
“Thomas J., son of Dr. and Mrs. Lewis S. Ramsdell, fell off John Rademaker’s barn today and broke his left arm at the elbow.
“Miss Helen Ramsdell, daughter of Mr. and Mrs. Robert Ramsdell, Fourth Street, who has been ill for a few days, is reported as much better today.
“A real old fashioned minstrel show was staged at the Star Theater [in Eastlake] on Friday evening, May 27. The play was given by local talent and was a success from every point of view.
“The surprise of the evening was Edwin Staff’s impersonation of the Irish character, Patrick McGinnis. While we have known our townsman, Mr. Staff, intimately for years, we never suspected he had so much latent ability along the lines of a real actor.
“A chorus of over 20 young ladies and gentlemen, dressed as dairy maids and hay makers, played a prominent part in the show and their singing was enjoyed very much by the audience.
“California Muskmelons. Season is just starting. These early melons are about the best of any that come until we get home grown. C. N. RUSSELL.
“Stupid baseball, errors of omission and slow thinking cost the Champs the opening game with the Boosters yesterday after they had got away to a four run lead. With a start like that the crowd, if you can call yesterday’s attendance a crowd, [had] settled back in their seats feeling the game was fairly safe.
“While there is little satisfaction in reviewing a game that is lost after having it apparently sewed up, credit should be given to Haidt for his effective work at the bat and Hoffman’s fielding.
“The Manistee county eighth grade commencement will be held Friday morning at 10 o’clock in the Congregational church. One hundred and forty students have successfully passed the state’s examinations and will receive diplomas. After the program the teachers and students will spend the day at Orchard Beach. A large attendance from rural districts is expected.
“Tomorrow will be ‘Ladies’ Day’ at League Park. Ladies will be admitted without charge. The opponents will be Ludington.
“Deputy Game Warden James Maynard was at Brethren and vicinity this morning looking for fish poachers.


text: I heart (love) U! Valentine's Day is the special day set aside for you to tell all the important people in your life how you feel! Our beautiful pink ribbon is printed with purple and hot pink inks to perfectly express the sentiment. The 5/8" width is perfect for tying favors and small gifts.


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No frills chain The Gym Group posted its first full-year profit last year as revenues rose 22 per cent.
The company notched up a pre-tax profit of £6.9m in 2016, compared with a loss of £12.4m a year earlier. It announced a final dividend of 0.75p for a full-year total of 1p a share.
It said gym openings would be towards the top of its guidance of 15-20 sites during 2017.
The Gym Group and other no-frills operators such as Pure Gym have rapidly eaten into the market share of mid-market fitness operators. They offer no long-term contracts and charge about £20 a month.
Last August it announced a maiden dividend and its first pre-tax profit. The shares on Monday closed at 180p, 8 per cent below the November 2015 float price of 195p.
2016 has been a good year with strong financial and operational progress. Our existing estate continues to deliver excellent returns and our low cost, 24/7, no contract model is disrupting the market and attracting new members.
We will continue to expand rapidly in 2017 through a well developed site pipeline. We have had an encouraging start to 2017 with January and February, key months for any gym business, showing record membership levels with an increase in members to 495,000.

industry_corpus2: Health & Medicine


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Efficiency variation in cycling exercise related to cadence and work rate standardized by ventilatory threshold. International Journal of Sport and Health Sciences 12: 38-46, 2014.
Active recovery effects on local oxygenation level during intensive cycling bouts. Journal of sports sciences 29: 919-926, 2011.
学童期の運動習慣が青年期の身体活動量に与える影響. 植草学園大学紀要 2: 41-47, 2010.
起床時体温が低い幼児の組織酸素動態及び手掌発汗速度. 千葉体育学研究 32: 1-7, 2009.
継続的運動が中高年者の末梢血リンパ球サブセットに与える影響. 体力科学 52(Suppl): 193-202, 2003.


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Formed when the Himalayan mountains were born, 200 million years ago, this attractive pink salt is unique, both in its form and its flavour. Here it is blended with eastern spices, to add a touch of exoticism and exclusivity to your food.
Pink salt of the Himalayas, coriander, cumin, girofle, cardamome, anis, fleur de macis, ginger, cinamon and curry.


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This Spring, KARST, in partnership with The Box, Plymouth, will present an energetic programme of four exhibitions, each lasting for only one week (5-30 March 2019). KARST is the final gallery to host fig-futures’ UK wide tour, where 16 shows have and will place across the UK in 16 weeks, following fig-2, where 50 exhibitions were staged in 50 weeks at the ICA, London, in 2015.
The final 2018-2019 fig-futures begins with drawings, paintings and videos by British artist Suzanne Treister, whose work speculates on the relationship between technology and alternative belief systems. For week two, Austrian sculptor and installation artist Eva Grubinger presents a 3D work that explores scale, context and the maritime as a metaphor. Paris-based Charlotte Moth will present architecture-inspired work in week three, including a new off-site installation in Plymouth’s iconic 1950s market building. In week four the programme will round off with Laura Eldret, whose work often involves audience participation, transforming KARST’s gallery into a space to socially engage visitors and community groups.