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The current Prim range.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
current game of choice: sudoku. sometimes called latin squares or magic squares. the game consists of a grid, nine rows by nine columns. the object is to fill in the numbers one through nine exactly once in each row, column and 3 x 3 square of the grid, using only the numerical clues provided with each puzzle.
Time to give the hi-fi a mod with some Dynamat Xtreme to control vibration.
Experience the ultimate in home theater enjoyment with the Marantz AV8802A network A/V surround processor/pre-amp/tuner, which combines advanced DSP and DAC technologies along with exclusive Marantz innovations such as HDAM and Current Feedback.
Enjoy the ultimate in cinematic surround sound with Dolby Atmos, the most advanced motion picture surround sound system ever developed. Dolby Atmos features object-based soundspace creation and reproduction, with the ability to place sound elements with pinpoint precision via front, side and surround speakers along with overhead speakers or up-firing Dolby Atmos enabled speakers.
You'll enjoy a whole new world of content thanks to the many built-in network features, which includes Wi-Fi and Bluetooth wireless connectivity, and support for internet radio along with subscription streaming services including Spotify Connect.
Dolby Atmos
Introduced in premium cinemas in 2012, Dolby Atmos has become the de facto standard for enveloping and immersive motion picture sound, and features the ability to dramatically expand the dimensional sound experience through the use of multiple overhead loudspeakers that can be individually addressed, to allow pinpoint acoustical imaging at precise locations within the room. Since its introduction, Dolby Atmos has been embraced by award-winning directors, sound designers and soundtrack mixers, and many recent blockbuster movies feature soundtracks mastered in Dolby Atmos.
Now, Marantz brings the Dolby Atmos experience home, and the AV8802A features outputs that can be configured for 1 or 2 pairs of overhead speakers and/or add-on Dolby Atmos speaker modules.
The Atmos decoder also features upconversion from conventional surround soundtracks to deliver the ultimate three-dimensional experience with your favorite movies and concerts.
Auro-3D upgrade-ready
Auro-3D® is the next generation three-dimensional audio standard. It provides a realistic sound experience unlike anything before. By fully immersing the listener in a cocoon of life-like sound,
Auro-3D® creates the sensation of actually “being there”. Thanks to a unique 'Height' channel configuration, recorded acoustic reflections are reproduced by these speakers and are heard naturally due to the fact that sounds originate from around as well as above the listener.
Once upgraded with the Auro®- Codec Decoder, the AV8802A is capable of decoding the original Auro-3D® mix and playing back an Auro 10.1 channel configuration (including “Voice of God” channel). The Auro-3D® Upgrade can be purchased for EUR 149.
Advanced Front Soundstage Expansion Modes
In addition, the AV8802A features multiple front soundstage expansion modes.
DTS Neo:X | 11.1 provides additional front height and front width channel options. Audyssey DSX also provides for front height and width channels.
Advanced Wireless Networking with Bluetooth and Wi-Fi
Stream your favorite audio tracks wirelessly to the AV8802A thanks to the built-in Bluetooth and Wi-Fi (b/g/n) wireless functions. Equipped with dual Bluetooth/Wi-Fi antennas, the AV8802A lets you enjoy wireless streaming from your smartphone, tablet and portable music player.
Via the Wi-Fi or LAN connection to your home network, the AV8802A opens up a whole world of streaming audio capabilities, letting you listen to any of thousands of internet radio stations. You can also enjoy streaming music from subscription services including SiriusXM and Pandora and listen to Spotify via the Spotify Connect app on your smart device.
The AV8802A is also equipped with Apple AirPlay, so you can stream wirelessly from your iPod touch, iPhone and iPad.
You can also connect the AV8802A directly to your home network via the wired RJ-45 LAN connection, and there's a convenient front panel USB port for direct connection and charging to your iPod, iPod touch, iPhone and iPad, and connection to a portable USB device.
4K Ultra HD Video Processing; 4K 50/60Hz Pass-through; 4:4:4 Pure Color
Featuring an advanced video processing section, the AV8802A fully supports next generation 4K Ultra HD high resolution video, along with the latest generation HDMI specification including 4K 50/60Hz pass-through and 4:4:4 Pure Color full color resolution sub-sampling.
The AV8802A can upscale 1080p content to 4K and also upscale and transcode HD and SD analog video sources, so you can connect modern as well as legacy video sources and run just a single HDMI cable to your flat panel TV or projector.
ISFccc Video Calibration Controls
Certified by the Imaging Science Foundation, the AV8802A features a full selection of advanced ISFccc video calibration adjustments that lets a video calibration technician optimize picture quality with any TV or front projector.
8 HDMI Inputs, 3 HDMI Outputs
There are 8 HDMI inputs including 1 conveniently located on the front panel, and 3 HDMI outputs that let you drive 2 different displays in the main room (flat panel and front projector, for example) and another HDMI display in the 2nd zone, and they conform to the latest HDMI specification for 4K Ultra HD compatibility. HDCP 2.2 will be supported via future upgrade (requires hardware modification). The AV8802A also features full HDCP 2.2 compatibility, a requirement for 4K Ultra HD copy-protected content. In addition HDR – High Dynamic Range – and extended colour space by standard BT.2020 are supported.
Audyssey Platinum Suite
With Audyssey MultEQ XT32, you can quickly and easily measure and configure your particular home theater setup for optimum sound quality precisely tailored to your home theater room's acoustics. With 8 measurement points, MultEQ XT32 generates a full set of precision digital filters to deliver the most accurate and natural tonal balance. The AV8802A is also Audyssey Installer Pro ready for even more acoustical calibration accuracy.
Audyssey Dynamic Volume tames large variances in volume levels (such as loud commercials), and Dynamic EQ delivers a full range tonal balance at any volume level. Audyssey LFC (Low Frequency Containment) uses advanced psycho-acoustic algorithms to provide deep bass without annoying neighbors or other family members. Audyssey DSX provides dynamic sound expansion, dramatically expanding the front soundstage via additional front wide, front height or even front wide and front height audio channels.
Exclusive HDAM Technology and Current Feedback
Featuring exclusive Marantz HDAM (Hyper Dynamic Amplifier Module) technology found on our Reference Series components, the AV8802A incorporates multiple HDAM modules which provide superior low noise wideband performance in an all-discrete configuration, compared to conventional op amp ICs. HDAM technology provides an ultra fast slew rate for true wideband response and maximum dynamic range to deliver optimum sound quality with today’s high resolution audio formats.
In addition to HDAM technology, the AV8802A also features Current Feedback instead of the typical voltage feedback configuration. A Marantz innovation introduced on our very first audiophile amplifiers more than 60 years ago, Current Feedback technology provides a wide closed-loop bandwidth and very high slew rate, delivering superior fidelity with wideband audio sources.
Multiple High Resolution Audio Formats Supported
The AV8802A supports a wide range of audio file types, including MP3, WAV, MPEG-4 AAC and WMA. It also supports high resolution audio tracks up to 24-bit/192-kHz including AIFF, ALAC and FLAC formats, and includes gapless playback capability with many file types for uninterrupted listening enjoyment. It also plays 2.8-MHz DSD high resolution audio files (DSD is the advanced high resolution audio coding system for SACD).
Multiple Control Options
In addition to easy operation with the supplied ergonomically-designed remote control, the AV8802 features additional control capabilities. There's an RS-232C serial port for direct connection to external automation equipment.
The Marantz app (available in iOS and Android versions) lets you operate the AV8802A from your favorite device, such as a smartphone and tablet.
You can also operate the AV8802A via web connection - open your favorite browser and easily control and configure the AV8802A, even when you're not at home.
Audyssey DSX (Dynamic Surround Expansion) lets you add a pair of front wide or front height speakers to your 5.1 speaker system to expand the front soundstage turning your room into a giant home theater space.
32-bit D/A Conversion on All Channels; Balanced XLR Input and Outputs
Featuring premium grade AK4490 32-bit DACs on all channels, the AV8802A
also features XLR input and outputs. There's a balanced XLR stereo input that's assignable as well as 15 balanced XLR outputs, which includes the 2 subwoofer outputs and front height/width and overhead channels.
This extensive balanced XLR compatibility ensures top performance in the home as well as the studio, especially when there are long cable runs between the AV8802 and power amplifiers situated elsewhere. 19 pre-outs (RCA jacks) provide additional compatibility with multiple power amplifier types.
3 Zone/3 Source Advanced Multi-room Capability
Enjoy your favorite movie or music in the main room, while others can enjoy listening to 2 different sources in other rooms. The Zone 2 and Zone 3 pre-amp outputs both feature variable level controls.
Easy To Setup, Easy To Use
The AV8802A comes with a Quick Setup guide, and has an intuitive on-screen Setup Assistant that will have your system fully configured with a minimum of fuss and bother. You can even control the setup via your PC's web browser or use our available Marantz Remote app with your favorite smart device.
60+ Years of Audiophile Heritage
Founded in 1953, Marantz has a long and rich history of designing audio components that have been embraced by music lovers and critical listeners around the world. Because Music Matters so much in our lives, the AV8802A carries on our long tradition of delivering a superlative music listening experience, and it's equipped to deliver the ultimate home theater experience as well.
A blend of current and previous directors of Fred Smith and Sons. (Taken early 1993).
From Left to right.
Pat Smith, Jane Wilford, Fred Smith, Clarke Smith, Mick Smith, Martin Smith, Greg Smith, Bill Smith, Emma Cottam, Ann Evanson and James Smith
The Current De Croft Range.
ladies / lipstick
sizes available / S,M,L
colour / black
Clothes made by car enthusiasts, for car enthusiasts.
If you like hot cars and hot chicks check out my clothing label De Croft
Current state of that fountain on Jennens Road. Switched off. Seemed closer to the car park than to BOA.
Millennium Point of 1997-2001 by Nicholas Grimshaw & Partners, a design-and-build job with executive architects Mason Richards. A steel and glass shed, 165 metres (541ft 4in.) long, set back standoffishly behind a large brick paved space. The west half, Think Tank, the Museum of Science and Industry, is covered by tilting terracotta-panel sunscreens. An unmarked entrance leads into the atrium, the south part low and oddly angled, the north big cantilevered Imax Theatre.
From Pevsner Architectural Guides: Birmingham by Andy Foster
A close-up of water being released from an emergency reservoir. I wanted to capture the contrast between the calm and rough water as well as the light being reflected on both.
If you want to get just a taste of what human rights activists endure in their fight to defend freedom and democracy pay a visit to the Sakharov Experience exhibition at the European Parliament's visitors centre Parlamentarium in Brussels. Since 15 November, the expo's prison bars and spying videos have given visitors a small insight into the everyday of many human rights defenders.
Read more here: www.europarl.europa.eu/news/en/headlines/content/20121116...
Visit the Parlamentarium's website:
www.europarl.europa.eu/visiting/en/parlamentarium.html
And take a look at the Facebook app here:
www.facebook.com/europeanparliament/app_235367443257538
These photos are copyright free, but must be credited: © European Union 2012 - European Parliament. (Attribution-NonCommercial-NoDerivs Creative Commons license). If you need high resolution files do not hesitate to contact us. Please do not forget to send the link or a copy of the publication to us: webcom-flickr(AT)europarl.europa.eu
Two Kawecos and a Parker 95 Flighter GT. I admit to being partial to Flighters.
The Kawecos are light and cheap and I dont care too much if someone swipes them out of my hand. The Parker 95 is for signatures. It is filled with Noodlers Heart of Darkness black "bulletproof" ink.
A split-core AC current sensor responsive over the range of 0 to 20 amps AC for use with U12 data loggers with external input channels. With an input current of AC current, sine wave, single phase 50 Hz or 60 Hz, load power factor 0.5 to 1.0 lead or lag.
Currently 'training' myself to enjoy the view and not to reach for my phone to check FB/news/emails/etc while drinking that first cup of coffee...
Waa, I love my setup! And yes, I always keep it super clean. After the mess my PC desktop was in (files everywhere), I made myself promise to always keep Audrey sparkly clean. ^__~
Currently on Line 1 (red) at the yellow station, down the line I can changes to Line 2 (blue) or Line 3 (green). Exploring the Kiev Metro, a three line underground railway that services the capital city of Ukraine.
Tour of the Current Headquarters in San Francisco
photo by Scott Beale / Laughing Squid
This photo is licensed under a Creative Commons license. If you use this photo within the terms of the license or make special arrangements to use the photo, please list the photo credit as "Scott Beale / Laughing Squid" and link the credit to laughingsquid.com.
A visit to Caernarfon Castle in North Wales. It was here in 1911 and 1969 that the Prince of Wales was inaugurated (Prince Edward later Edward VIII and the current Prince of Wales, Prince Charles).
Caernarfon Castle (Welsh: Castell Caernarfon), often anglicized as Carnarvon Castle, is a medieval fortress in Caernarfon, Gwynedd, north-west Wales cared for by Cadw, the Welsh Government's historic environment service. There was a motte-and-bailey castle in the town of Caernarfon from the late 11th century until 1283 when King Edward I of England began replacing it with the current stone structure. The Edwardian town and castle acted as the administrative centre of north Wales and as a result the defences were built on a grand scale. There was a deliberate link with Caernarfon's Roman past and the Roman fort of Segontium is nearby.
While the castle was under construction, town walls were built around Caernarfon. The work cost between £20,000 and £25,000 from the start until the end of work in 1330. Despite Caernarfon Castle's external appearance of being mostly complete, the interior buildings no longer survive and many of the building plans were never finished. The town and castle were sacked in 1294 when Madog ap Llywelyn led a rebellion against the English. Caernarfon was recaptured the following year. During the Glyndŵr Rising of 1400–1415, the castle was besieged. When the Tudor dynasty ascended to the English throne in 1485, tensions between the Welsh and English began to diminish and castles were considered less important. As a result, Caernarfon Castle was allowed to fall into a state of disrepair. Despite its dilapidated condition, during the English Civil War Caernarfon Castle was held by Royalists, and was besieged three times by Parliamentarian forces. This was the last time the castle was used in war. Caernarfon Castle was neglected until the 19th century when the state funded repairs. In 1911, Caernarfon Castle was used for the investiture of the Prince of Wales, and again in 1969. It is part of the World Heritage Site "Castles and Town Walls of King Edward in Gwynedd".
A Grade I listed building.
History
Begun in 1283 and still incomplete when building work ceased c1330. Built for Edward I of England, it combined the roles of fortification, palace and administrative centre. A motte and bailey castle had been built here in the late C11 by Earl Hugh of Chester, although it became a residence of Welsh princes, including Llewelyn ap Gruffudd, after the Welsh regained control of Gwynedd by 1115. The English conquest of N Wales followed quickly after the death of Llewelyn ap Gruffudd in 1282 and Caernarfon was built to consolidate the English gains. Edward I employed James of St George as his architect, who had previously been employed by Philip of Savoy and had designed for him the fortress-palace of St Georges d'Esperanche. James also directed the building other castles for Edward I, including Harlech, Conwy and Beaumaris, using English craftsmen and labourers. The design of Caernarfon Castle echoed the walls of Emperor Constantine's Roman city of Constantinople, which also has polygonal towers and banded stonework, and was thus intended by Edward to be an expression of imperial power. Edward I and Queen Eleanor visited Caernarfon in 1284 and it was said that their son, Edward, the first English prince of Wales, was born at the castle in 1284.
Construction of the castle was integrated with the construction of town walls protecting the newly established borough, the town being situated on the N side of the castle. By 1292 the southern external façade of the castle was probably complete, while on the N side the castle was protected by a ditch and the walled town. The castle was damaged during an uprising in 1294 led by Madog ap Llewelyn, but Edward I swiftly regained control of Caernarfon and the castle, where restoration work began in 1295. The uprising had demonstrated the need to complete the castle's defences on the town side, which were largely built in the period 1295-1301. Work subsequently continued at a slower pace in the period 1304-30 and included the completion of the towers, including the Eagle Tower which was completed 1316-17 and in 1316 the timber-framed 'Hall of Llewelyn', the Welsh prince's residence at Conwy, was dismantled and shipped to Caernarfon. The upper portion of the King's Gate was constructed in 1321 and included a statue of Edward of Caernarfon, who had been crowned Edward II in 1307.
The castle was garrisoned for nearly 2 centuries but was increasingly neglected as hostilities softened from the C16 onwards. The castle was garrisoned for Charles I during the Civil War but was surrendered to the Parliamentarians in 1646. In the C18 the castle became one of the most celebrated of ruins in Wales, which began its present phase as tourist attraction and ancient monument. Restoration was undertaken in the final quarter of the C19 under the direction of Sir Llewelyn Turner, Deputy Constable. In 1908 ownership passed from the Crown to the Office of Works and restoration work continued. This included the reinstatement of floors in most of the towers and reinstatement of the embattled wall walks by 1911. The castle was the venue for the investiture of both C20 Princes of Wales, in 1911 and 1969.
Exterior
Constructed of coursed limestone with darker stone banding to the S and E external façades between the Eagle Tower and NE Tower. The plan is polygonal, resembling a figure of 8, and constructed around an upper and a lower ward in the form of curtain walls and mainly 3-stage polygonal towers with basements (in contrast to the round towers of the town walls). The structure is in 2 main phases. The earlier is the S side, from and including the Eagle Tower to the NE Tower, was constructed mainly in the period 1283-1292, while the N side facing the walled town was built after the uprising of 1294. The curtain walls are embattled with loops to the merlons and a wall walk. Openings are characterised by the frequent use of shouldered lintels, giving rise to the alternative term 'Caernarfon lintel', and 2-centred arches. The towers have reinstated floors of c1911 on original corbels. The outer walls have arrow loops. Windows are mainly narrow single-light, but some of the mullioned windows incorporate transoms.
The principal entrance is the 3-storey King's Gate on the N side. It is reached across the ditch by a modern segmental-arched stone bridge with stone steps to the outer side, replacing the medieval drawbridge. The King's Gate has polygonal towers with 2-light windows to the outer facets in the middle stage and 2-light windows in the upper stage. The entrance is recessed behind a segmental moulded arch. It has a 2-centred arch beneath string courses and 2-light transomed window. Above the main arch is a statue of Edward II in a canopied niche with flanking attached pinnacles.
To the R is the outer wall of the kitchens and then the Well Tower, of 3 stages with basement. The Well Tower has a higher polygonal turret reinstated in the late C19 and full-height square projection on the W side housing the well shaft. The tower has 2-light windows in the middle and upper stages.
The Eagle Tower at the W end is the largest of the towers, having been designed to accommodate the king's lieutenant. It has 3 stages with basement and 3 higher polygonal turrets. The battlements are enriched by carved heads and eagles, although much weathered. On the N side are 2-light windows and an attached stub wall with drawbridge slot. This is the planned water gate through which water-borne supplies were intended to be conveyed to the basement of the Well Tower at high tide, but it was not completed. It has polygonal responds to the gate, a portcullis slot and 2 superimposed windows between the basement and ground-floor levels. On the N side is a flight of stone steps to an arched doorway at basement level. This postern was the main entrance for those approaching by sea. On the S side the curtain wall is built on exposed bedrock and the Queen's Tower, Chamberlain Tower and the Black Tower each have a single higher polygonal turret. The outer faces have only narrow loops. On the W side of the Chamberlain Tower are stone steps to a doorway under a shouldered lintel that led into the great hall. On the E side of the Black Tower is the shorter polygonal Cistern Tower, with the unfinished Queen's Gate at the SE end. Between the Chamberlain Tower and Black Tower the curtain wall is stepped in, from which point there is a substantial raked stone plinth continuing around to the NE Tower. The Queen's Gate has double polygonal towers linked by a straight wall above the gateway, while the openings are all narrow loops. The gateway is raised above a high basement storey (and would have been reached by the building of a massive stone ramp) and is recessed beneath a segmental arch with murder holes. The Watch Tower to the N is narrower and higher than the remaining towers, beyond which is the 2-stage NE Tower, which has a 2-light window. Returning along the N side, which was built after 1295, the curtain wall and the 4-stage Granary Tower incorporate 2-light windows.
The King's Gate has murder holes to the vault and porters' rooms to the L and R, leading to the interior. Internally the castle is planned around an upper ward on the E side and a lower ward on the W side. Through the entrance passage is a 2-storey projection on the R (now housing a shop), the S side of which retains 2 portcullis slots and a vault springer, indicating that a second entrance was built here, although it no longer survives above the foundations. Above the main gate is a former chapel, which retains its original piscina. The upper storey hall has window seats. On the W side of the King's Gate are the foundations of the kitchens in the lower ward, in which are 2 round foundations for copper cauldrons and springer of a former vault. The Well Tower does not have reinstated floors, but in each storey a fireplace and garderobe are retained and in the second stage is a small kitchen above the well chamber. The fireplaces all differ in detail: in the basement is a segmental arch, the lower storey a tripartite lintel, the second stage a projecting lintel on corbels with raked hood, and chamfered lintel to the upper stage. The tower has a full-height newel stair. The basement is reached by external stone steps. Between the Well Tower and Eagle Tower is a restored fireplace with a raked hood in a chamber whose outline walls are visible.
The Eagle Tower has stone steps to the basement to the L of the main doorway, both lower stage and basement having pointed doorways. The upper stages have 2-light windows similar to the outer faces. The thick walls incorporate mural passages and stairs. In the lower stage is a large fireplace with raked hood and a small octagonal chamber that probably served as a chapel. The great chamber in the second stage also has an octagonal chapel, which retains a stoup or piscina. Between the Eagle Tower and the NE Tower the curtain wall and towers have mural passages in addition to the wall walk and generally have stone steps in either straight flights to the wall walks or newel stairs, and most chambers in the towers have associated garderobes. The Queen's Tower, known as the 'Banner Tower' in the C14, and the Chamberlain Tower have chambers in each storey with small square subsidiary chambers that probably served as chapels, and 2-light windows. The Queen's Tower has 3 octagonal chimney shafts behind the parapet. In the Chamberlain Tower the lower storey retains a fireplace with shouldered lintel. Both towers are occupied by the museum of the Royal Welch Fusiliers. Between Queen's Tower and Chamberlain Tower are the foundations of the great hall, while the 2 superimposed mural passages in the curtain wall have 2-light windows that formerly opened into the hall.
The Black Tower is smaller than the other towers and has only single chambers in each stage, with cambered fireplace in the upper chamber, and 2-light windows. The Cistern Tower has a vaulted hexagonal chamber beneath an open stone-lined rainwater tank visible on the wall walk. In the unfinished Queen's Gate the position of porters' rooms is discernible in the flanking towers of which the S has a lintelled fireplace while both have garderobes. Portcullis slots and murder holes are in the passage. The upper storey over the passage was to have been a hall but was not completed. The Watch Tower is entered by a doorway at the wall walk level only.
The NE Tower is simpler with single chambers in each stage, as is the Granary Tower, which incorporates a well shaft and has a fireplace with raked hood in the upper stage. Between the NE Tower and the King's Gate the curtain wall has corbels representing former buildings built against the curtain, and its mullioned windows incorporate window seats.
Reasons for Listing
Listed grade I as one of the finest medieval castles in Wales, and unique in its royal associations.
Scheduled Ancient Monument CN 079.
World Heritage Site.
The floors within the Eagle Tower.
Apartments fit for a King
sign
Decided to join up and share what I'm doing each week. I'm not planning on doing the full diary page each week, just the list on the left.
Against The Current performing on the Vans Warped Tour in Camden, NJ.
Shot for Rumored Nights Press
IG: @cnarducciphotography
***DO NOT USE WITHOUT PERMISSION***
Currently, we live and survive in two very different worlds: a real one and a virtual one and both can be equally important depending on the situation and angle in which events are viewed or experienced. One even may support or complement the other, as is the clear case of companies developing websites to support their off- line activities and selling efforts, in hopes of reaching broader markets, opening new ones and intensifying their commercial image in whole.
And image is what this is all about. Taking good care of your reputation online will guarantee your website's success. A powerful image will enhance link building efforts, will attract loyal customers and win you top positions on search engine results.
We give you here a list of facts that will assure you a pristine reputation online, or at least, get you out of the jerk list:
- Be honest about your weak points. Recognize the deficiencies in your products, services and team members. Maybe you are not responsible for solving these issues, but being sincere and open about them will take you a long way when in need of standing firm to defend the company or your work.
Never, ever, hide when confronted with unsatisfied clients, bloggers orpartners; instead, move one step forward and respond in an intelligent way; apologize if necessary and take any needed measures to ensure the issue is handled fast and without additional pain.
- Accept that everything leaks out. When talking about the internet, there are no secrets. Assume everything you write, say, comment, tape or even think will be posted online, so make sure you reveal clearly and comprehensively what can be communicated massively and this, basically, should be everything related to the business. If you do not have anything to hide, you do not have anything to fear.
- Project a professional appearance. Guarantee your website is the image of success in terms of design and content. Clients, investors, employees, journalists and partners will rate your professionalism based on your website. Think ahead and give them material to confirm your reputation; post every bit of information they could possibly request or desire and even what they will research by other means, like recommendations, reviews, videos and published news.
- Establish intelligent and enriching tools. There is nothing better to maximize your image online than to be open and share with your customers through a blog or forum. Join one or create one of your own, but make sure its tone is the right one. Whomever is in contact with your clients through this means should outweigh their responses carefully to maintain a professional image. A good idea is to designate a group of people to respond.
- Social networks can be a double- edged sword. You should be very attentive and choose the appropriate one to reach your market and share experiences with them. Center your choice in common points of interest and enriching influences. You can even create your company's social network and efficiently focus your communication efforts.
- Develop a respectful relationship with bloggers. They can significantly affect, positively or negatively, your reputation with their comments and opinions.
- Live up to Google. This search engine bases its results on high standards and everyone knows it and blindly trusts it, so make sure your content is worthy of appearing there.
- Confirm your reputation daily. It is easy through well- known websites and it ensures you react timely to any eventuality.
An integral company is open, honest and coherent. Its principles go hand in hand with its actions. Its main goal is client satisfaction with a passion to serve in the right way, sharing experiences and realities and maintaining a top level of quality and service. It talks the talk and walks the walk.
Greg Gaskill
93 S. Jackson Street - Seattle
greggaskill1@gmail.com
First Minister, Nicola Sturgeon
press conference from St Andrew’s House addressing current pressures on the NHS.
The First Minister was joined by Cabinet Secretary for Health and Social Care, Humza Yousaf and and Chief Medical Officer, Professor Sir
Dr Gregor Smith.
On some videos, currently I have seen it on Google videos, you can dim the lights and open the video in a new window. Apparently, this feature has been around for some months. I gues, I have not kept up well with my Google video subscription. for I would have seen it then already earlier.
Against The Current performing at the Columbia, MD stop of the 2016 Vans Warped Tour.
Shot for Rumored Nights Press
IG: @cnarducciphotography
***DO NOT USE WITHOUT PERMISSION***
Currently for sale in France, not by me.
www.leboncoin.fr/voitures/793618361.htm?ca=8_s
Photo found here:
since Ixtee no longer makes Blythe Doc Martens (#sad) I started collecting the little mj's and 'cos I love the color, I plan on purchasing these loafers as well. So far, I think I only have 1/3 of those... =S
já q a Ixtee não faz mais coturno pra blyte (#todaschora), comecei a colecionar esses pequenos mj's e como amo a cor, quero o mocassim tb. Mas até agora, acho q tenho só 1/3 de tudo isso... =S
2393. It is January 2008, and the de-commissioned Oliver Hazard Perry Class missile frigate HMAS ADELAIDE still rests amid the fleet at Garden island, Sydney.
One of two ships sacrificed to off-set the cost over-runs of a troubled modernisation program for the remaining four RAN vesels of this class, ADELAIDE was sunk as a dive wreck off the Central NSW Coast town of Terrigal in 2011.
The vessels around her here are dressed ship - possibly a hangover for the Australia Day holiday on January 26.
Photo: Glenn Crouch, CPO/CTL RAN [ret], it appears on the Unofficial RAN Centenary 1911-2011 Photostream with his permission. Glenn's Flickr homepage can be seen here:
PICTURE IS UNRELATED, IT WAS JUST THE ONLY ONE I COULD FIND. (He sure is cute, though).
:3
/smalltext
Okay, current trades:
Werid War Snuff - Waiting for your package.
Chef - Discussing a trade
L_M_P - Will ship ASAP.
The Chief - Will Ship ASAP. Wait, FM me.
Marek Junkie - Will ship once other Tac arrives.
Flying Jalopy - Awaiting your package.
Spectral Turtle - Will ship once the other items arrive.
~The Clucker~ - ^
Inconceivable - Waiting for items.
Bansheeshee - Will ship ASAP
Jaco Lord of Fire - Will ship once item comes.
Andrew Somers - Will ship once sturf gets here.
I can't remember the rest, comment here if we were trading. :P
The following was taken verbatim from the Current.TV website:
For good and valuable consideration (including, without limitation, the possibility of publicity), the receipt and sufficiency of which are hereby acknowledged, the undersigned ("I," "me," or "my" whether such party is an individual or an entity) is submitting certain concepts, ideas, communications and/or materials ("Submission") for the benefit of Current TV, LLC ("Current"), upon the following express understandings and conditions. (If I am submitting materials in connection with a contest or promotion, defined terms will have the meaning set forth in the applicable Official Rules, which are incorporated by reference, unless otherwise noted.)
1. Submission Guidelines. The Guidelines that are posted on www.current.tv (and applicable Official Rules, if I am entering a contest), which I represent and warrant I have read, understand and will follow are incorporated herein by reference.
2. Grant of Internet Rights and Reserved Ownership.
(a) In consideration of Current's evaluation of my Submission, I hereby grant to Current the exclusive, royalty-free perpetual right to exhibit, display and otherwise distribute my Submission via Current's web site for a period of three (3) months from the date on which I upload my Submission to the Current web site (the "Internet Rights").
(b) I further grant to Current an option to acquire the exclusive right to broadcast, exhibit or otherwise distribute my Submission in all media throughout the world in perpetuity (the "Option"). I acknowledge that Current may exercise the Option by notifying me at any time within three (3) months of the date I upload my Submission on Current's web site (the "Option Period") I further acknowledge that during the Option Period, I will not exploit and I will not authorize any other person to exploit my Submission in any commercial medium without Current's prior written consent.
(c) In the event that Current does NOT exercise the Option during the Option Period, then I may elect to remove my Submission from Current's web site, in which case the Internet Rights shall revert to me and Current shall have no right to exhibit my Submission on the Internet. I recognize that if I do not remove my Submission from Current's web site, I shall be deemed to have granted to Current a nonexclusive license to exercise the Internet Rights.
3. Grant of Rights in Other Media; Option Fee.
(a) In the event that Current DOES exercise the Option, then Current will pay me an Option Exercise Fee as follows:
(1)For my first Submission optioned by Current: $250
(2)For my second Submission optioned by Current: $500
(3)For my third Submission optioned by Current: $500
(4)For my fourth Submission optioned by Current: $750
(5)For my fifth Submission optioned by Current: $750
(6)For my sixth (and any subsequent) Submission(s) optioned by Current: $1,000
(b) In consideration of the Option Exercise Fee, I irrevocably grant Current the exclusive, perpetual, royalty-free, fully paid license and right to broadcast, exhibit and/or otherwise distribute the Submission and every element thereof, in whole or in part, in any manner or medium now or hereafter known or devised. Current, and its successors, assigns and licensees, will have the exclusive right to make unlimited derivative works therefrom, to assign or transfer any or all such rights and to grant unlimited sublicenses. Without limiting the forgoing, Current will have the right to use the Submission in any merchandising, advertising, marketing, promotion or for any other commercial or non-commercial purpose. I forever waive and relinquish all so-called "moral rights (droit moral)" now or hereafter recognized. I also irrevocably grant Current the right to use my name, voice, likeness and biographical material in or related to the Submission. I acknowledge that except with respect to contest entrants, Current will refrain from using the names of Tennessee residents who do not provide advance consent for purely promotional purposes. I agree not to issue any publicity on behalf of Current, but I am free to make casual and non-derogatory public statements regarding
Current. I am entitled to retain and exercise the rights that are not granted to Current by these Submission Terms, subject to Section 4 below.
(c) I acknowledge that if Current elects, in its sole discretion, to exercise the Option, I will be entitled to the Option Exercise Fee only and that I will not be entitled to any further compensation or thing of value relating to Current's use of my Submission or the exercise of its rights. I will have no right of approval or consultation with respect to Current's use of the Submission. I have retained a copy of the Submission, and Current will not be responsible for the return or preservation of the copy I have submitted. Current will have the sole discretion in determining the extent and manner of the use of the Submission and Current is not obligated in any way to use or exploit the same or any rights granted by me, or any portion thereof, in any medium or any manner whatsoever. I further agree that the Submission is not being submitted in confidence or in trust, and that no confidential or fiduciary relationship is intended or created
(d) Current acknowledges that I own and control the copyright in and to my Submission, subject to the rights I am granting to Current hereunder.
4. Related Productions. I irrevocably grant Current the exclusive right to license for exhibition, broadcast and/or other distribution throughout the world any Related Production . A "Related Production" shall be defined as any audio, visual or audiovisual production, produced by any entity other than Current, that embodies any element of a Submission hereunder as to which Current enjoys exclusivity of distribution. Before I offer any rights in a Related Production to any third party, I will give Current written notice thereof and Current will have a thirty (30) day period in which to acquire all such rights on the terms and conditions herein, in consideration of a one-time payment to me of $1,500.
5. Rights of First and Last Refusal. I hereby grant Current exclusive rights of first and last refusal to acquire any and all rights in and to the Submission not granted to Current hereunder (the "Retained Rights"). Before I offer the Retained Rights to any third party, I will give Current written notice thereof and Current will have a thirty (30) day period of exclusive negotiation. If an agreement is not reached within such period, Current will thereafter have the rights of last refusal, pursuant to which I will give Current written notice detailing the proposed terms and Current will have thirty (30) days to acquire the same on the same terms. All third party offers will be bona fide. If Current declines, I can enter into a third party agreement only on the exact terms offered to and rejected by Current. Any changed elements or terms result in a new right of last refusal for Current. Notwithstanding the foregoing, I acknowledge that any exploitation by me of the Retained Rights shall be subject to the rights granted to Current hereunder.
6. Representations, Warranties and Indemnities. I represent and warrant that: my entire Submission is wholly original to me and that no part is a copy or imitation of any other material; will not infringe or violate any right whatsoever, including, without limitation, any contractual rights, personal rights (e.g., defamation, privacy, false light, moral right, etc.) or any property rights (e.g., copyright, trademark, etc.) of any person or entity; and is not, and will not be, the subject of any threatened or pending litigation, claim or dispute. I have not granted or transferred any rights in or to the Submission to any third party. I have not done anything which has impaired and will not do anything to impair the rights granted to Current in any way. All persons engaged by me to work on the Submission or appear in the Submission: (1) have no payment claims; (2) have no rights of approval or consultation and no participation rights whatsoever; and (3) are not engaged pursuant to any union or guild agreement that results in any ongoing obligations resulting from the exploitation of the Submission. The use of all master recordings and musical compositions that have been incorporated into the Submission has been authorized in writing by the entities that own or control such master recordings and musical compositions, and that Current shall have no obligation to make any payments to such owners or to any other entity in connection with the distribution of the Submission. I and all parties that performed any services on, or appear in, any aspect of the Submission have signed the Release provided by Current to me or a similar form that establishes the services as a "work-for-hire" and grants the same rights and releases as in the Current Release. I will indemnify and hold harmless Current, its parent, and its and their subsidiaries, affiliates, successors, licensees, and assigns, and each of their directors, officers, agents, equity holders and employees, from and against any and all claims, losses, costs, damages, liabilities and costs and expenses (including reasonable attorneys' fees costs) which arise out of any breach of any of my covenants, agreements, obligations, representations or warranties set forth herein.
7. Limitations on Liabilities; Remedies. By submitting my Submission, I agree that: (1) any and all disputes, claims and causes of action arising out of or connected with my Submission will be resolved individually, without resort to any form of class action; (2) any and all claims, judgments and awards will be limited to actual third-party, out-of-pocket costs incurred not to exceed the amount of the Use Fee, but in no event will attorneys' fees be awarded or recoverable; (3) under no circumstances will I be permitted to obtain any award for, and I knowingly and expressly waive all rights to seek, punitive, incidental, consequential or special damages, lost profits and/or any other damages, other than actual out-of-pocket expenses not to exceed the amount of the Use Fee, and/or any and all rights to have damages multiplied or otherwise increased; and (4) my remedies are limited to a claim for money damages (if any) and I irrevocably waive any right to seek injunctive or equitable relief.
8. Miscellaneous. These Submission Terms and their performance will be binding on me and my heirs, administrators, successors and assigns. The construction, validity, interpretation and enforceability of the Submission Terms will be governed by and construed in accordance with the internal laws of the State of California without giving effect to any choice of law or conflict of law rules. I irrevocably agree that, if a dispute arises out of or relates to the Submission Terms or my Submission, such dispute(s) will be resolved solely by binding arbitration before a sole arbitrator in San Francisco, with experience in entertainment law, under the rules and regulations of the American Arbitration Association ("AAA"). The arbitration will be held in San Francisco, California where the arbitrator will issue a written decision and will have the power to award any legal remedies except as limited by these Submission Terms. The parties expressly incorporate into these Submission Terms the terms of California Civil Procedure Section 1283 and 1283.05 pertaining to pre-hearing discovery. Notwithstanding the foregoing, I acknowledge that Current may nonetheless (1) seek to obtain injunctive or other equitable relief from a court to enforce the provisions of these Submission Terms; (2) bring an action in court to protect or interpret any of Current's purported intellectual property rights; and/or (3) bring an action to enforce the decision of the arbitrator before any court with jurisdiction. These Submission Terms will not be assignable by me except as approved in writing by Current and any unauthorized, purported assignment will be null and void. Current, and its successors and assigns, will have the unlimited right to assign these Submission Terms and the rights granted at any time, in whole or in part, to any party. I will execute any documents (after being afforded a reasonable opportunity to review and/or confirm the same) and do any other acts as may be reasonably required by Current to further evidence or effectuate Current's rights as set forth in these Submission Terms and I appoint Current as my attorney-in-fact (which appointment is irrevocable and coupled with an interest), with full power of substitution and delegation, but only to execute any and all such documents, or perform such acts, which I fail to execute (after being afforded a reasonable opportunity to review and/or confirm the same). Current will promptly furnish to me a copy of all such documents that Current executes on my behalf.
Executed as of the date the Submission was submitted online.