Three explosive devices were hidden in a hedge and triggered remotely as the team’s bus passed by © AFP/File / Patrik STOLLARZ“He expected people to at least be killed,” judge Peter Windgaetter said in court.After an 11-month trial, the trained electrician, who was born in Russia, was also found guilty of causing an explosion and two counts of causing serious injury. The blasts wounded Spanish defender Marc Bartra and a police officer.Wenergold had stayed in the same hotel as the team when he remotely triggered the bomb attack on the evening of April 11, 2017 as the bus was heading for a Champions’ League quarter-final match against Monaco.The devices were triggered “just at the moment” the bus drove past the the bombs, added Windgaetter.Dortmund’s empty bench after the team bus was targeted © AFP/File / Odd ANDERSENWenergold had hidden in a hedge three explosive devices, each of which contained up to a kilogramme (2.2 pounds) of a hydrogen peroxide mixture and about 65 cigarette-sized metal bolts.Wenergold had left letters suggesting an Islamist terrorist motive at the scene, sparking initial alarm about a possible jihadist attack.He had bought put options worth some 26,000 euros ($29,000) — essentially a bet on the club’s share price falling — and had hoped to gain half a million euros, said prosecutors.– ‘I would like to apologise’ –Ex-Borussia Dortmund footballer Matthias Ginter broke down in the witness box © dpa/AFP/File / Ina FassbenderWenergold’s defence lawyer Carl Heydenreich insisted his client hoped to spark panic, not to wound or kill people.Wenergold reportedly drew attention to himself at the hotel, first by insisting on a window room facing the front and then, in the chaos after the blasts, by calmly walking into its restaurant to order a steak.Police arrested him 10 days after the attack.Several players of Borussia Dortmund, who currently sit four points clear at the top of the Bundesliga table, gave emotional testimony during the trial about the trauma they suffered.“There are still some players receiving psychological treatment,” Windgaetter revealed.Defender Matthias Ginter, who now plays for Borussia Moenchengladbach, broke down in tears when he gave evidence about the aftermath of the blasts on board the bus.Wenergold planned the attack to make money on the club’s shares © POOL/AFP / Marcel Kusch“Everyone was lying on the floor. Splinters were flying. There was a lot of smoke. Marc was crying out. We didn’t know what would happen next,” Ginter told the court in April.A day after the attack, the team played their postponed game against Monaco and lost, prompting then coach Thomas Tuchel to rail against UEFA for not giving the players time to come to terms with their fear before returning to the pitch.Wenergold, who confessed to the attack in January, voiced his regret last week when he told the court: “I would like to apologise to everybody.”0Shares0000(Visited 2 times, 1 visits today) 0Shares0000Wenergold left letters suggesting an Islamist terrorist motive at the scene © POOL/AFP / Marcel KuschDORTMUND, Germany, Nov 27 – A German man who launched a shrapnel bomb attack on the team bus of football club Borussia Dortmund in April 2017 to make money on the club’s shares diving was on Tuesday sentenced to 14 years in jail.A court in Dortmund found Sergej Wenergold, 29, guilty of 28 counts of attempted murder after he detonated three explosive devices while the bus was en route to the stadium for a Champions League game last year.
Minister for Health Simon Harris TD, has announced the successful applicants for the €20 million Sláintecare Integration fund which includes projects across Donegal.Of the 122, successful applicants 12 were from within Community Healthcare Organisation Area 1 which includes Donegal, Cavan, Leitrim, Monaghan and Sligo).The projects span across Primary Care, Social Care, and Health and Wellbeing. Three of the projects are joined CHO 1 and Saolta Hospital Group initiatives demonstrating the importance of integration of community and hospital services.Within Donegal the following projects were successful:1. Development of a comprehensive Heart Failure Integrated Care Service for the whole of Donegal. This is a joint project between Primary care services and Letterkenny University Hospital. It will result in two teams of nurses one based in the community and one in LUH who will support GPs and practice Nurses to manage heart failure patients. They will support the early diagnosis of heart failure in the community by providing testing to monitor how the heart is functioning. They will support GPs in establishing heart failure registries and clinics. The project will also encompass education of patients and family members to better enable them to manage their heart conditions.2. Establishment of a community oxygen assessment service in Donegal. This will enable patients who have respiratory disease such as COPD to have their oxygen needs assessed and monitored in Primary Care settings. Thus allowing oxygen therapy to be administered accordingly. 3. Supporting individuals with early onset dementia in the Inishowen area. This will be carried out through the provision of a support worker to support both individual’s/family members and carers once a diagnosis of dementia has been confirmed.4. Improving access to healthcare through promoting the use of the HSE Health Passport. This is a joint project between Primary Care and Sligo and Letterkenny University Hospitals. The HSE Health Passport is a communication tool designed to support people with an Intellectual Disability express their needs when in a healthcare setting.5. Establish an Optometry Service within Donegal Primary Care Ophthalmic clinics. The Optometrist will deliver eye care as part of a Primary Care eye Team including Orthoptists, Nurses, Medical Ophthalmologists, Ophthalmic technicians and Administrative staff. Ophthalmic clinics will help reduce waiting lists and enhance delivery of care in a cost effective manner.6. Initiation of Specialist Medical Retina Clinical Services and Intravitreal Injections (injection in to the back of the eye) in Donegal Community Ophthalmic Service. At present all patients in Donegal requiring investigation and management of medical retina conditions of the eye are referred to Sligo University Hospital as they have a dedicated Ophthalmic Unit. Commencing specialist medical retina clinics at St Conal’s Hospital and an injection service at Letterkenny University Hospital would mean that patients no longer have to travel to Sligo for this treatment.7. Selective Laser Trabeculoplasty (SLT) for Community Ophthalmic service Donegal. SLT is an outpatient procedure performed in a single treatment in the clinic which treats the internal drainage channel of the eye. This allows for increased drainage and reduction in pressure in the eye. The development of a SLT service for glaucoma in Donegal will reduce the need for referral to Sligo University hospital. The Chief Officer, for CHO 1, Mr John Hayes welcomed the Sláintecare Integration funding stating “These projects will aid in enhancing and developing services for patients across the five counties. It will aid in the delivery of quality healthcare to the most vulnerable in our health system. I look forward to working with all of the project teams in the implementation of these initiatives”.The Sláintecare Action Plan 2019 establishes the building blocks for a significant shift in the way in which health services are delivered in Ireland. It seeks to deliver on the Future of Healthcare Committee’s vision of a health system in which care is provided in the right place, at the right time, by the right person.These projects will benefit the population through promoting the engagement and empowerment of citizens in the care of their own health. They will enable Health care professionals to scale and share examples of best practice and processes for chronic disease management and the care of older people. Overall they will support the delivery of integrated care and the shift to community care in innovative new ways, helping to reduce and prevent hospital visits.The funding for the 12 projects in CHO 1 amounts to approximately €1.3 million. They cover a number of areas including Respiratory Services, Falls prevention and Management in Older persons, Diabetes Care, Ophthalmic Services, Dementia Support, Access to Healthcare for Individuals with an Intellectual Disability, Chronic Disease Management, Cardiac Failure and Social Prescribing. Funding granted for range of healthcare projects across Donegal was last modified: September 22nd, 2019 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)Tags:donegalfundingHealthcare
A colourful buffalo, skillfully crafted from flip-flops glued together and then carved. (Image: UniqEco) A small fraction of the thousands of discarded flip-flops that wash up on Kenya’s shores. (Image: UniqEco) Colourful and stylish earrings are just one of the imaginative variety of products fashioned from flip-flops. (Image: UniqEco) A Kenyan woman making beauty from waste. (Image: Elspeth Murray) Janine ErasmusBBC World Challenge finalist UniquEco has turned a potential environmental disaster in Kenya into an income for local crafters – making colourful jewellery and other products from discarded flip-flops that wash up on the country’s shore.The flip-flops arrive in their thousands on Kenya’s northern coast, brought there by the Indian Ocean tides from far-away Asian countries such as Japan, Indonesia, Malaysia and China. The footwear is made from indestructible rubber, which boded ill for the health of the marine ecosystem – until UniquEco, the (Flipflop) Recycling Company, stepped in.The non-profit company seized the opportunity to help generate a sustainable income for women and youths from coastal communities, while simultaneously helping the environment. Not only are the beaches saved, but also the sea creatures that try to eat the rubbery objects and hatchling turtles that have to negotiate their way to the water through the footwear flotsam, often unsuccessfully.UniquEco was started in 2005 by two enterprising Kenyans, Tahreni Bwanaali and Julie Church. Marine conservationist Church had been working since 1997 on a turtle conservation project with the Worldwide Fund for Nature in Kenya, and noticed that children from communities adjacent to the Kiunga Marine National Reserve would fashion the washed-up flip-flops into crude, if colourful, toy boats.“I saw that something imaginative, artistic and inspirational could come from something disposed of, rejected and discarded,” commented Church. She also wished to develop basic business skills for the community, and, realising the potential in the virtually limitless supply of flip-flops, slowly grew her idea into a project for making key rings, serviette holders and placemats.Her clients included the Worldwide Fund for Nature, Switzerland, which placed a substantial order for 20 000 flip-flop key rings. Church brought partner Bwanaali, originally from the area and holder of a master’s degree in business management, on board in 2005 to establish UniquEco and give the project a formal business structure.“We knew something had to be done,” said Church. “The indestructible rubber from the flip-flops spoils the natural beauty of the beaches.”Besides its recognition as a World Challenge finalist, the project was recently featured on the front page of the website for the United Nations Environmental Programme‘s Climate Neutral Network.Transforming waste into beautyThousands of flip-flops are gathered and cleaned, then glued into blocks and carved into one-of-a-kind shapes by local communities. The shapes are sent to UniquEco’s head office in Nairobi to be further adorned with beads and other elements, and off-cuts are shredded to make cushion stuffing.Thus is potentially hazardous debris cunningly transformed into a variety of products ranging from useful household items such as bowls, bottle stops and coasters, to ingenious toys, to eye-catching earrings, necklaces and belts.Products are sold through outlets around the world, and thanks to UniquEco, communities in the area now have an alternative source of income. This reduces their need to over-exploit their natural resources through fishing, the area’s previous main industry. At the same time, almost 150 km of Kenya’s beaches are kept clean.Raising global awarenessTo raise global awareness around the impact of pollution of animal habitats and the benefits of recycling, UniquEco also commissioned two life-sized flip-flop sculptures – one a whale, the other a giraffe.Mfalme wa Bahari (Swahili, meaning “king of the ocean”), the flip-flop Minke whale, was constructed at Marula Studios in Karen, Nairobi. The creature consists of a metal frame covered with thousands of pieces of flip-flop rubber.Mfalme was part of a joint project between UniquEco, the Nairobi-based Coastal and Marine Secretariat of the New Partnership for Africa’s Development, and the World Society for the Protection of Animals. Its mission was to generate greater understanding of whaling and its impact on whales and their habitats, as well as awareness of marine pollution and its effects on ecosystems. Kenya is a signatory to the International Whaling Commission, the body that regulates the whaling industry.It is expected that Mfalme will find a permanent home in London’s Natural History Museum as a statement from African communities against global pollution and whaling.Twiga (Swahili, meaning “giraffe”) was created by UniquEco, working with the International Trade Centre, to raise awareness around recycling. Also constructed from flip-flops glued over a metal frame, Twiga has travelled to Rome, Geneva and Paris as an ambassador for recycling.The creature was the star of the show at the 2008 Rome Fashion Week and was displayed in 2008 at the World Trade Organisation and at the World Export Development Forum in Switzerland. It stood at the Palais des Nations in Geneva, the Swiss offices of the United Nations, until January 2009.Rewarding innovationThe World Challenge 08 is a global competition that recognises and rewards projects or small businesses from around the world that show innovation at grassroots level. The two main partners are BBC World News and Newsweek, in association with Shell.In 2008 South Africa’s Heiveld Co-operative made it onto the list of finalists, with its organic rooibos tea initiative that pays local farmers a fair price for the product and then markets and exports the popular beverage to growing markets abroad.Do you have queries or comments about this article? Email Janine Erasmus at [email protected] storiesAn infusion of innovationAfrica: fast factsUseful linksUniquEcoClimate Neutral Network – United Nations Environmental ProgrammeMarula StudiosBBC World Challenge 08Flip Flotsam – the movieNew Partnership for Africa’s DevelopmentWorld Society for the Protection of AnimalsWorld Society for the Protection of Animals – Facebook pageInternational Trade Centre
The People’s Bus includes flooring thatresembles a football pitch, seats coveredwith Bafana Bafana football jerseys andstriking South African artwork inside andout. MAN Truck and Bus workers celebrate thelaunch of the People’s Bus. The People’s Bus roadshow team will getSouth Africa in the mood for 2010.(Images: Nicky Rehbock) MEDIA CONTACTS • Zandile SkosanaIndigo Marketing+27 11 809 5599RELATED ARTICLES• Beetle mania grips World Cup• Goodwill Balls get 2010 rolling• World Cup fever spreads abroad• Diski Striker spreads 2010 vibe Nicky RehbockWorld Cup fever has hit the road in the form of the People’s Bus – a mobile hub of football trivia and fan gear that will bring the fun, excitement and spirit of the tournament to as many South African communities as possible.The vehicle, a joint initiative between Brand South Africa and MAN Truck and Bus, set off on its nationwide journey on Friday, 19 February. It’s due to visit more than 50 locations between now and 11 June, when the long-awaited football spectacular kicks off at Soccer City in Johannesburg.The People’s Bus roadshow team will encourage South Africans to be good hosts, fly the flag, sing the national anthem with pride and learn the Diski Dance through dance workshops, music and fun competitions at each stop. Mini football matches and football clinics for schools are also on the agenda.The roadshow will help drum up support for the Football Fridays initiative and inspire confidence in South Africa’s national squad, Bafana Bafana.Photo essay: The People’s BusAn interactive journeyAt each stop the public will allowed to take a 15-minute tour of the bus, which offers a thrilling, interactive journey complete with 2010 Fifa World Cup team facts, foosball tables and a mini cinema showing unforgettable moments from previous tournaments.The visitors’ experience of the bus is enhanced through flooring that resembles a football pitch, passenger seats covered with Bafana Bafana football jerseys and striking artwork inside and out with a distinct South African flavour.Before stepping off the vehicle, visitors will also get the chance to wish Bafana Bafana the very best of luck for the tournament by slotting messages into a specially designed post box.Countrywide tourBrand South Africa and MAN have scheduled bus stops across all nine provinces and their smallest cities and towns, including Dullstroom in Mpumalanga, Upington in the Northern Cape, Bhisho in the Eastern Cape, and Ulundi in KwaZulu-Natal.“Taking the People’s Bus into the country areas and smaller towns and cities will enable us to spread the World Cup experience to as many South Africans as possible,” said Brand South Africa Acting CEO Paul Bannister.The bus is also due to make stops at big sporting and cultural events around the country in the run-up to the World Cup – including the Comrades Marathon, the Rand Easter Show and the Cape Town Jazz Festival.MAN has generously donated the customised vehicle – which took 300 of its employees six weeks to convert – as well as a dedicated driver, fuel, insurance and audio-visual equipment for the duration of the roadshow. After the World Cup it will be reconverted into a standard passenger bus.
luke burns Tags:#cloud computing#enterprise#privacy#saas#security How Intelligent Data Addresses the Chasm in Cloud Related Posts Cloud Hosting for WordPress: Why Everyone is Mo… Serverless Backups: Viable Data Protection for … Top Reasons to Go With Managed WordPress Hosting Guest author Luke Burns is a partner at Ascent Venture Partners.Security and privacy are often mentioned in the same breath, but when it comes to cloud computing, security tends to be the dominant subject. But should it be? While there are seemingly endless security threats, cloud providers are becoming increasingly sophisticated and capable in addressing them.When it comes to privacy, though, cloud vendors have not made the same progress. In fact, it’s more than likely that Software-as-a-Service (SaaS) companies breach the customer’s perception of data privacy regularly.I’m not referring simply to consumer companies and their problems with privacy, e.g. Facebook sharing personal data with advertisers. Enterprise SaaS companies face their own unique challenges around customer data usage, even though those issues have not received the same level of scrutiny.Enterprise Services Know A Lot About Their CustomersThe challenging aspects of SaaS privacy arise from the close relationship between vendor and customer – a situation vastly different than in days of on-premise software. As the name suggests, SaaS vendors provide a service, and with that service comes the ability to log every keystroke and mouse click that a customer makes using their software.Why would a SaaS vendor do that?Think about customer relationship management (CRM) software as an example. What would you think if your CRM took note every time you updated a contact, and then made that updated contact information available to other users with that same business connection? Sounds like a pretty useful service for customers, doesn’t it?What Are Your Expectations For Data Privacy?But does it breach your expectation of data privacy? SaaS opens up the door to increased interaction and partnership between a customer and a vendor, but it also opens the door for misuse.One particularly interesting area with privacy concerns is the use of the metadata (data about the data). Let’s say, for example, there is a clear agreement that all data is owned by the customer and can’t be used by the vendor. But would that agreement also include things like the number of users (salespeople) actively using a CRM system or the number of new sales leads entered in a given quarter or the number of meetings booked?This type of data could yield tremendous insight to an individual trying to gauge sales activity at a given company or within a given sector. Would use of this metadata be covered under data ownership or could the SaaS vendor sell those insights to the highest bidder with a clear conscience?Then there’s obfuscated or anonymized data. Is it OK for a SaaS provider to use your data to create unattributed market statistics? Imagine a financial SaaS vendor that could create a composite view of all the private companies using its system and publish average earnings growth over various periods of time. Or a customer-service SaaS vendor that could create benchmarks on average time to close a trouble ticket. In each case, the vendor is producing valuable data points it can use for profit. Should there be any type of reimbursement for customers, or is it just a cost of doing business?Who Owns The Intellectual Property?Many SaaS platforms offer robust tools to customize the experience for individual customers and companies. These customizations often reflect significant investment in design and development and sometimes reflect proprietary business processes. How much exposure to these customizations does a SaaS vendor have? Could it use these customizations as templates for future product enhancements that might be offered to competitors of the customers that originally created them?We’re just scratching the surface of potential privacy issues that can arise with SaaS vendor relationships.Don’t get me wrong; I’m not saying companies should avoid SaaS. In fact, I think the benefits of embracing software in the cloud far outweigh the potential risks. The close relationship developed between a SaaS vendor and its customers has the potential to deliver significant payback, especially for companies embracing SaaS not for cost savings, but for business transformation.But both sides of that equation, the vendor and the customer, need to fully understand the bargain and the trade-offs made between privacy and business value.Asking The Tough Privacy QuestionsSimilar to their IT security due diligence, companies need to ask questions about the privacy of their data before they enter into a cloud vendor relationship.Who owns the data? How many copies of the data are there? How can you ensure that data is erased or unreadable in the event that a customer chooses to decommission or change service providers? And especially, What is the vendor’s acceptable use of a company’s cloud-based data?Hopefully, better awareness and transparency about these issues will build trust and help business-facing cloud vendors avoid the lawsuits that have afflicted their consumer-facing cousins.
Let’s take a look at the amazing cinematic touch of back-to-back Oscar winner and cinematographer Emmanuel Lubezki.Emmanuel Lubezki, or “Chivo” as he is sometimes called, is a brilliant cinematographer whose uncanny eye for framing and sense of movement is quite possibly unmatched. I’ve been aware of Lubezki for many years through his work on Sleepy Hollow and Meet Joe Black, but it wasn’t until The New World and Children of Men that I stopped to admire and love the way he uses the camera like a painter does a brush on a canvas.Here is a fantastic video that highlights the cinematic work of Emmanuel “Chivo” Lubezki, presented by Borealisk.Trademarks of a Master CraftsmanLet’s take a look at the trademarks of Emmanuel “Chivo” Lubezki. These trademarks can be seen in just about every single film he participates in. We will hit specifically on Lubezki’s use of natural lighting, framing, long takes, motion, and film language.Taking Advantage of Natural LightingIn 2011, I was able to see a special screening of Terrence Malick‘s The Tree of Life. Lubezki’s ability to utilize and take advantage of natural light was astonishing. This is probably my favorite skill of Lubezki’s. I say this because I had to make due with natural lighting early in my career. Not because I wanted to, but because I had to, as I could not afford the lights.Lubezki waits for his shots. He utilizes the space around him and how it’s affected by the light. You can see this process clearly in The Tree of Life. In fact, when speaking with A.S.C. on the use of natural lighting during The Tree of Life, Lubezki had this to say:When you put someone in front of a window, you’re getting the reflection from the blue sky and the clouds and the sun bouncing on the grass and in the room. You’re getting all these colors and a different quality of light. It’s very hard to go back to artificial light in the same movie. It’s like you’re setting a tone, and artificial light feels weird and awkward [after that].Framing the MomentLubezki has always had a great feel for framing the characters of the film. Many times we see him employ a very documentary style approach when framing. This style is very evident in films like Children of Men, The New World, The Tree of Life, Gravity, and Birdman. This could be correlated to the idea of natural space and natural setting, which he uses quite often for lighting, as we touched on above. Could this stem from his time working with Terrence Malick? Possibly, as Malick is very keen on this style and approach. In an article for the A.S.C., Lubezki quotes Malick:…act like a documentary filmmaker and come onto the locations and capture these ideas we’ve been talking about.After a successful collaboration on Birdman, Lubezki has teamed up once more with Alejandro Iñárritu for the The Revenant. In this trailer for the film from 20th Century Fox, we can clearly see Lubezki’s use of documentary style framing.Here is another great example of Lubezki using that documentary style camera work, except this time it’s for use in an iPad commercial entitled Your Verse. This clip is from Labhouse and Park Pictures.Long, Smooth, and Fluid MotionLubezki is no stranger to long takes. Well before Birdman came along, he developed the long intro for the film The Birdcage, which clocks in at over 2 minutes before a real visible cut is seen. Of course, with Lubezki it’s not just about the long take… it’s about the motion during that take, whether it’s a long take or not.For instance here is the “Coffee” scene from Birdman, where Lubezki and Iñárritu use fluid camera motion to ensure the audience is focused on the character speaking or the other character’s reaction. This video is courtesy of Movieclips Coming Soon.Lubezki had this to say about Birdman’s long takes:We added a couple of cuts, but the movements help get the audience into the world of the characters so the movie feels immersive and immediate. Again, using fluid motion and the long take, Lubezki and director Alfonso Cuaron seamlessly change the audience’s perspective from moment to moment and character to character. This intense opening sequence from Gravity is courtesy of Alexander Pavlichuk.Film as an Art FormFilm is without question an art form. That’s a given. But very rarely can you find a director and cinematographer combination that can generate and craft a series of images that can stand alone without the aid of large sections of dialogue. Malick and Lubeski have this ability, and by the looks of The Revenant trailer, Iñárritu and Lubezki have developed a very similar rapport.Allowing the imagery to guide the audience rather than the narrative dialogue is no easy task, but when it’s done well, it can be extremely powerful. Images that flow together much like a string of notes in a musical composition can sometimes elicit an emotional response more powerful than a line of dialogue. This is something that Lubezki knows well.The language of film is further and further away from the language of theater and is closer to music. It’s abstract but still narrative. Everything feels less rehearsed. It’s more experimental than classical.What are your thoughts on Emmanuel Lubezki? Has his work inspired you? Are there things about his work that you dislike? Let us know in the comments below!