Surfing is an inherently dangerous activity. Not only can we be eaten by sharks and impaled by our surfboards, but we are playing amongst forces that will quite literally crush and drown us. Add a bunch of other surfers to the combination and you’ve got almost unlimited possibilities for disaster.

But mostly in surfing everything is ok . it’s one among the few action sports covered by most travel insurance policies which says tons . Once we make it through the first phases of learning to surf we get hit by our surfboards less often. We understand where to paddle and the way to minimise risk.

There are still a couple of things we will do to surf safe and have more fun. It starts before you even get to the beach.

I don’t speak of specific museums but rather of the conservation of historical objects and their display within the times . While these objects from the past—seen within the here and now—belong to the times , they even have no present use. There are in fact other objects—urban buildings for example—that have their origins within the past but, through their use by their inhabitants, they become integrated into the times . But objects placed during a museum aren’t used for any practical purposes: they continue to be witnesses of the past, a time external to our world. Thus, they’re meta-objects, occupying an area outside of our world, during a space that Michel Foucault defined as heterotopic space. And if one wants a definition of art, it’s the following: art consists of the objects that remain after the cultures which produced them have disappeared.

From its beginning, the artwork is handled during a way that permits it to survive culture. While one often speaks about the artwork as a commodity, it’s not a traditional commodity. the traditional commodity is formed to be consumed—in other words, to be destroyed (eaten as bread, used as a car). So, during a certain sense, art is an anti-commodity. it’s anesthetize the condition of conservation—prevented from being destroyed by time and by use. And this, actually, is that the essential characteristic of art: it survives its original culture, taking an extended journey through all the opposite , later cultures. It remains at an equivalent time foreign to those other cultures—an alien in their midst, carrying with it the knowledge of its past.

Sensory experiences are going to be key. they’re going to be the most important difference between online shopping and offline shopping. With increase in digitisation, haptic experiences will gain high importance, with the shop space becoming an area to experience products using all our senses, and in fact , with the assistance of multi-sensory technology.

For Millennials today, shopping is an act of fun, a recreational activity during which the transaction has become completely secondary. So, with the new generation distinguishing sharply between shopping and buying, what is going to bring back a customer to the store? it’s satisfaction, customer experience. this is often where shop-fitters. they need to help to make sure that customers who step into the shop spend longer for the experience, through a ‘different’ space arrangement, enhanced product presentation, personalised customer care and ultimately be more loyal to the retailer. the essential shopping concept shall not change such a lot . However, the presentation at the point-ofsale and therefore the involvement of the customer in it’ll . Retailers will need to offer customers more incentives to go to a store and stay there longer.

Stop worrying about the potholes in the road and enjoy the journey

The quote is attributed to Babs (Barbara) Hoffman. Babs Hoffman was born in Belleville, Illinois in 1931. She was an infielder for the All-American Girls baseball League. She is a component of the permanent display of girls in Baseball at the Baseball Hall Of Fame And Museum in Cooperstown, New York.

For me, this quote is about just aged with things and not worrying. If you are worried about what could fail when travelling (and in life in general) you’ll never get anything done. You’ll never go anywhere or see anything. you ought to just take the primary step to your big adventure and let what happens happen. Enjoy what goes wrong (albeit maybe in hindsight).

When travelling, or backpacking, for any length of your time you’ll practically guarantee that something will fail . you’ll miss a bus, rise up late, get ill, maybe even have something stolen. You learn to affect it. you progress on and keep it up enjoying your adventure. You learn to tease the mishaps and put them down as a learning experience.

Napa Valley’s Calistoga motor hotel & Spa, for instance , is currently housing essential personnel, but the property is looking beyond the Covid-19 crisis with a suggestion of a $50 bonus for those that purchase an e-gift card of $200 or more. The Inn at Avila Beach, a California all-inclusive that’s shuttered until early May, is offering 20% off all gift cards. Maine’s Higgins Beach Inn, which plans to open by May 29, has launched an identical offer, tacking on an additional $20 for each $100 gift card purchase.

But while numerous independent and boutique hotels are banking on gift card sales to assist tide them over, their promotions could be reaching a comparatively limited audience.

Film making and audio post-production go hand in hand. There’s little question about it. But when it involves determining what the perfect scenario seems like for filmmakers and sound professionals to collaborate together, the possible combinations are infinite.

However, in today’s fast-paced media industry juncture, a workflow is everything. Ensuring that both the on set audio team and therefore the post-production team can seamlessly work together will always be a key determinant for the success of the project.

There’s a mess of reasons that video format is vital . If you understand the format that a camera shoots in, then you’ll calculate what proportion space for storing you’ll need for the footage you propose to shoot. to understand if editing or color correction software can handle you video natively or if it’ll got to be transcoded, you’ve got to understand the format of the footage. When a movie festival or broadcaster asks for a delivery format for video, the higher you know it , the better it’ll be to possess your project looking the simplest it can.

Twenty years ago, everybody was watching movies an equivalent way — either on a screen via a projector, or on a television receiver . Today many, more options exist and other people are taking advantage of all of them . From high-end 4K home theaters to video streaming from a cellphone, video is everywhere. By understanding the varied formats, you’ll make sure that your video is viewed within the right way with the simplest quality.

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Mrs. Darling first heard of Peter when she was tidying up her children’s minds. It is the nightly custom of every good mother after her children are asleep to rummage in their minds and put things straight for next morning, repacking into their proper places the many articles that have wandered during the day.

If you could keep awake (but of course you can’t) you would see your own mother doing this, and you would find it very interesting to watch her. It is quite like tidying up drawers. You would see her on her knees, I expect, lingering humorously over some of your contents, wondering where on earth you had picked this thing up, making discoveries sweet and not so sweet, pressing this to her cheek as if it were as nice as a kitten, and hurriedly stowing that out of sight. When you wake in the morning, the naughtiness and evil passions with which you went to bed have been folded up small and placed at the bottom of your mind and on the top, beautifully aired, are spread out your prettier thoughts, ready for you to put on.

Costello: Funny names?

Abbott: Nicknames, nicknames. Now, on the St. Louis team we have Who’s on first, What’s on second, I Don’t Know is on third–

Costello: That’s what I want to find out. I want you to tell me the names of the fellows on the St. Louis team.

Abbott: I’m telling you. Who’s on first, What’s on second, I Don’t Know is on third–

Costello: You know the fellows’ names?

Abbott: Yes.

Costello: Well, then who’s playing first?

Abbott: Yes.

Costello: I mean the fellow’s name on first base.

Abbott: Who.

Costello: The fellow playin’ first base.

Abbott: Who.

Costello: The guy on first base.

Abbott: Who is on first.

Costello: Well, what are you askin’ me for?

Abbott: I’m not asking you–I’m telling you. Who is on first.

Costello: I’m asking you–who’s on first?

Abbott: That’s the man’s name.

Costello: That’s who’s name?

Abbott: Yes.

Costello: When you pay off the first baseman every month, who gets the money?

Abbott: Every dollar of it. And why not, the man’s entitled to it.

Costello: Who is?

Abbott: Yes.

Costello: So who gets it?

Abbott: Why shouldn’t he? Sometimes his wife comes down and collects it.

Costello: Who’s wife?

Abbott: Yes. After all, the man earns it.

Costello: Who does?

Abbott: Absolutely.

Costello: Well, all I’m trying to find out is what’s the guy’s name on first base?

Abbott: Oh, no, no. What is on second base.

Costello: I’m not asking you who’s on second.

Abbott: Who’s on first!

Costello: St. Louis has a good outfield?

Abbott: Oh, absolutely.

Costello: The left fielder’s name?

Abbott: Why.

Costello: I don’t know, I just thought I’d ask.

Abbott: Well, I just thought I’d tell you.

Costello: Then tell me who’s playing left field?

Abbott: Who’s playing first.

Costello: Stay out of the infield! The left fielder’s name?

Abbott: Why.

Costello: Because.

Abbott: Oh, he’s center field.

Costello: Wait a minute. You got a pitcher on this team?

Abbott: Wouldn’t this be a fine team without a pitcher?

Costello: Tell me the pitcher’s name.

Abbott: Tomorrow.

Costello: Now, when the guy at bat bunts the ball–me being a good catcher–I want to throw the guy out at first base, so I pick up the ball and throw it to who?

Abbott: Now, that’s he first thing you’ve said right.

Costello: I DON’T EVEN KNOW WHAT I’M TALKING ABOUT!

Abbott: Don’t get excited. Take it easy.

Costello: I throw the ball to first base, whoever it is grabs the ball, so the guy runs to second. Who picks up the ball and throws it to what. What throws it to I don’t know. I don’t know throws it back to tomorrow–a triple play.

Abbott: Yeah, it could be.

Costello: Another guy gets up and it’s a long ball to center.

Abbott: Because.

Costello: Why? I don’t know. And I don’t care.

Abbott: What was that?

Costello: I said, I DON’T CARE!

Abbott: Oh, that’s our shortstop!

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