advanced materials for transport, prioritising materials development the Internet of Things, with an identified industry or vertical sector application Find out more about EUREKA funding In a bid to encourage international partnerships, £2 million is available through Innovate UK and the Korean Institute for the Advancement of Technology (KIAT) for organisations to develop game-changing and disruptive research in advanced materials and the Internet of Things (IoT).The funding competition is under the EUREKA network. Business-led progressBusinesses must lead the project. Research and public sector organisations and charities can be partners on the project but cannot lead in the UK. They can share up to 30% of total eligible UK project costs but are not eligible to receive funding.Partners must be separate legal and non-linked entities to ensure that projects encourage genuine international collaboration, rather than internal company research.Guidance for South Korea will appear on the KIAT website.Competition information Proposals must demonstrate: a clear game-changing or disruptive innovation considerable benefit to the UK and South Korean economies and/or national productivity definition of where intellectual property can be used and shared between participants and countries a route to market within 2 to 3 years of project completion International partnershipsThe competition aims to encourage collaborative, business-led research and development projects with a clear direction towards a new product, industrial process or service.Projects must focus on one or both of the following: Find out more about this competition and apply the competition opens on 18 March 2018 and the deadline for registration is at midday on 5 June 2019 businesses of any size are eligible to apply up to £350,000 including VAT is available projects must include one UK-based business and one South Korean-based business an online briefing event will be held on 8 April 2019
Each government department has published detailed information about projects on the Government Major Projects Portfolio (GMPP). This includes a Delivery Confidence Assessment rating, financial information (whole life cost, annual budget and forecast spend), project schedule and project narrative.The data reflects the status of the GMPP at 30 September 2018 and supports the 2019 Infrastructure and Projects Authority (IPA) Annual Report.
Over the last three nights, the Tedeschi Trucks Band settled into the Keswick Theatre in Glenside, PA, just outside of Philadelphia. The band has been on an absolute tear after releasing their newest album, Let Me Get By, continuing to find that sweet spot of balance between all twelve members of the group.Considering TTB had three nights of music to perform, the group dug deep into their catalog and pulled out some unique covers, like The Beatles’ “Within You Without You” and James Taylor’s “Fire & Rain.” They even collaborated with Tash Neal and Chris St. Hilare of the London Souls, on night two, playing “I’ve Got A Feeling” and the Bowie-popularized track, “It Ain’t Easy” for a riveting encore.For those who want a taste of the magic, taper Ed Tyre has captured all three shows and shared them via archive. Feast your ears below:Day One: February 18thDay Two: February 19thDay Three: February 20th
Load remaining images We love Bonnaroo, and after another successful festival, we’ve decided to hand out awards to some of our favorite bands, moments, and other assorted awesomeness from The Farm this year. After 15 years of magic, the festival has truly separated itself as a home for major artists to comfortably stretch out their material with intricate improvisations, wild solos, and surprises around every corner.Check out this year’s winners below!Best Club Stage Band – LawrenceLawrence is a ridiculously high energy band. With a hot debut album produced by Lettuce and Soulive‘s Eric Krasno, the band is rising quickly through the festival circuit. Brother and sister duo Clyde and Gracie Lawrence have serious vocal chops, and the funky band nails the soulful-yet-uptemo vibe they are going for. Playing on the festival’s smallest stage during a blistering heat wave, Lawrence packed out the Miller Lite Stage and beyond with a large crowd that drew in more and more fans in as the set went along. It was impossible to ignore them if you were walking by, and the band finished their set with a horde of new fans. Featuring a duo of excellent covers in “Sexy Ladies” by Sean Paul and “Say My Name” by Destiny’s Child was perfectly placed nostalgia, and their song “Oh No” turned into a huge sing-a-long with the crowd, inspiring Vulfpeck singer Antwaun Stanley to jump on stage for some harmonic explosiveness. The set cemented the band as one to watch moving forward.Best Bonnaroo Debut – VulfpeckIt’s Vulfpeck’s world, and we’re just living in it. The reclusive funk stars have been busting out of their shell as of late, after two incredible performances at Fool’s Paradise in April and with two highly anticipated sets at LOCKN’ Festival in August. However, there may be no place more perfectly designed for Vulfpeck’s many talents than Bonnaroo, and it showed when they took The Other Tent by storm on Thursday night. They simply crushed their first ever large festival setting to a packed crowd that screamed along to all of their songs. Most of Vulfpeck rotated instruments throughout the set, with bassist extraordinaire Joe Dart holding it down with a giant smile on his face. The band acted more like they were in the privacy of their own studio than in front of 10,000 people, and perhaps that’s what makes Vulfpeck so endearing. Of course, Vulfpeck got into the Bonnaroo spirit with some special guests, tapping Antwaun Stanley for a rare appearance, as well as an out-of-left-field sit-in by Børns on “Back Pocket.”Full Video: Vulfpeck Plays The Biggest Set Of Their Career At BonnarooBest Solo Eric “Benny” Bloom – Superjam – “T’aint Nobody’s Business” by Bessie SmithWith Bonnaroo legends like Les Claypool and Eric Krasno on site, bands like Dead & Company and Pearl Jam topping the bill, and an impressive array of performers like GRiZ and The Floozies across the lineup, this award could go to many musicians at Bonnaroo. However, the best solo of the weekend clearly belonged to Eric “Benny” Bloom of The Shady Horns during the Kamasi Washington-led “Tribute to Tennessee” Superjam. Bloom has been making his mark on the festival for years now, having participated in the past four Superjams, and he let it rip during his feature on the re-imagined Bessie Smith classic “T’Aint Nobody’s Business.” Bonnaroo is filled with magical moments, but this explosive solo sent the crowd into a frenzy during a song they most likely didn’t know and after 3am in the morning. The horn section at the Superjam was the highlight of the show, and Bloom led the way with his impressive playing throughout. Congrats to Benny Bloom for blowing Bonnaroo’s collective mind!Best Improv – John Mayer, Oteil Burbridge, & Jeff Chimenti of Dead & CompanyThese three look like they are having the time of their lives right now. Acting as the “Company” to Weir/Kreutzmann/Hart’s “Dead”, this extremely talented, energetic trio could be spotted making eyes at each other all night, clearly connected in their playing and moving through the show as a unit. Their excitement was palpable as they led their way through two sets of epic Grateful Dead classics. Improv highlights of the show were the set two opening combo of “Help On The Way-> Slipknot -> Scarlet Begonias -> Fire on the Mountain,” and an intricate “Terrapin Station” suite that left the audience in awe of their musical prowess.Best Surprise Performance(s) – Chance The RapperChance the Rapper is on a roll right now. After his the release of his excellent new mixtape Coloring Book, Chance is currently taking over hip hop. While he wasn’t officially on the Bonnaroo lineup this year, Chance managed to perform on all four days of the festival, coming out as a surprise guest with J. Cole, Macklemore & Ryan Lewis, Miguel, and Bryson Tiller over the course of the weekend. Chance even hosted a listening party for Coloring Book in the silent disco for 500 lucky fans. He dubbed himself the “Mayor of Bonnaroo” this weekend, and it’s hard to disagree with him after his non-stop weekend of collaborations.Best Guest Spot – Donna Jean Godchaux w/ Dead & CompanyDead & Company opened their set with an awesome “Truckin’” -> “Smokestack Lightning”, but the real fireworks started when John Mayer played the opening notes of “Bertha”. After a quick introduction from Bob Weir, Donna Jean emerged and provided backup vocals for the rest of the song, and, impressively, ended up performing nine songs throughout the night. Lending her famous howling vocals to classics from her era, such as songs like “Playin’ in the Band”, “Shakedown Street”, and “Terrapin Station”, Donna Jean fit right back in during her first full performance with Dead & Company.[Photo by Emilio Roberts / Dead & Co Facebook]Best Food – HamageddonHave you ever seen a pig spit roasted inside of a much larger, steampunk-esque metal pig? That’s what you got if you visited the Hamageddon installation at Bonnaroo. A veteran of the defunct Great GoogaMooga food festival that Bonnaroo producers Superfly used to run in Brooklyn’s Prospect Park, Hamageddon has found a new home at Bonnaroo, and the food is absurdly delicious, with freshly roasted pulled pork and all the fixin’s.Best Art – Return of the BobbleheadsOnce a hallmark of Bonnaroo’s earlier years, the Bobbleheads disappeared from The Farm for the past few years. To the delight of loyal Bonnaroovians, the Bobbleheads made their grand return this year, moving to a new location closer to the heart of Centeroo. Iconic art like this is what separates Bonnaroo from other festivals, and everyone was glad to see these relics make a return. After 15 years on The Farm, a little nostalgia never hurt anyone!Bonnaroo Legend Award – Les ClaypoolThis award couldn’t go to anyone else. Les Claypool is Bonnaroo. Claypool has performed at the festival a ton of times, with appearances from Primus, Oysterhead, the High Flying Frog Brigade and more over the years. While other one-time Bonnaroo legends like Warren Haynes and Galactic have stopped appearing at the festival on a yearly basis, Claypool remains one of the essential musical arrows in Bonnaroo’s quiver. His performance with Sean Lennon and their new Claypool Lennon Delirium was nothing short of fantastic, as the bass wizard brought his unique vibes to the That Tent for what turned out to be a can’t-miss performance of songs from their new album Monolith of Phobos. One thing is clear: when Les Claypool performs at Bonnaroo, it’s essential viewing.Bonnaroo MVP – Kamasi WashingtonSimply put, this rising saxophone star put on a jaw dropping, hip hop tinged jazz fusion showcase at the This Tent on Friday. Featuring incredible improv and a funky vibe for his set with his band, Washington organized Saturday’s Superjam, nailing the Superjam’s energy and sound, even as a previously unproven entity. Kamasi put his mark on the festival in a huge way, smiling widely the entire time he was on stage and clearly soaking in the positive energy of the festival.Best Performance – LCD SoundsystemWhile Dead & Company and Pearl Jam turned in legendary performances, bands like Claypool Lennon Delirium and Lettuce turned in epic sets, and new-to-Bonnaroo acts like The London Souls and Allen Stone impressed to packed crowds, the set everyone was talking about was LCD Soundsystem, who brought an excellent headlining dance party to the What Stage on Friday night. James Murphy and co. brought their firey indie/dance/punk energy to Bonnaroo, and the crowd ate it up. Their set built gradually towards the high energy set-closing duo of “Dance Yrself Clean” and “All My Friends”, which doubled as glowstick-laden celebration from the massive What Stage audience. The band stretched their songs out with analog electronic synthesizers and improvised their butts off while dusting off material from throughout their career. LCD’s ridiculous positive energy was a perfect fit for Bonnaroo, and they won over scores of younger fans who were seeing them for the first time following their five year breakup. Long live LCD Soundsystem, and we hope to see you back at Bonnaroo soon.Check out a full gallery of images below, courtesy of photographer Rex Thomson.
Back in March, Joe Russo’s Almost Dead treated fans at the Brooklyn Bowl to three incredible shows. With a horn section, guest musicians and more, Almost Dead was locked in from start to finish, and were even knighted by venue owner Peter Shapiro. As the band is set to return to the Bowl in less than two weeks, it’s no wonder they wanted to give fans a little something to get in the mood.Fortunately, the band has just released a full soundboard recording from the March 26th performance at the Bowl. The final night of the run saw the band debut “Mason’s Children,” jam with violinist Katie Jacoby, play “Joeline” from the Tom Hamilton’s American Babies catalog, and so much more!Almost Dead returns to the Brooklyn Bowl this October, and don’t miss the exciting late night Evolution of Jam show on October 7th at the nearby Hall At MP. Featuring tributes to the Dead, Phish, and The Disco Biscuits, you can find all of the info here.You can listen to the full show below, and check out the setlist annotated by band manager Peter Costello.Setlist: Joe Russo’s Almost Dead at Brooklyn Bowl, Brooklyn, NY – 3/26/16Set One (9:43PM – 10:56PM):01. intro/crowd02. Big Railroad Blues (TH) ->03. Mason’s Children @ (All)04. Friend Of The Devil # (TH)05. I Know Your Rider (All) >06. Space ->07. St. Stephen (All) ->08. Terrapin Suite PT 2 #$ (JR)Set Two (11:40PM – 1:00AM):01. Jam >02. Cassidy (SM)03. The Wheel (All) ->04. Joeline % ->05. The Wheel Reprise (All) ->06. He’s Gone (TH) ->07. Estimated Prophet (SM) ->08. Eyes Of The World (TH) ->09. The Music Never Stopped (SM)Encore:10. “Knighting Ceremony” &11. One More Saturday Night (SM)@ – First Time Played by Almost Dead. PhilRAD played it at the Cap.# – With Katie Jacoby ~ Violin$ – From “Terrapin Transit” to the end. Finishes the 2016.03.25 version. With an unknown tease (MB)% – First Time Played, American Babies Original, only the refrain was sung. From the album Flawed Logic, check it out: https://www.youtube.com/watch?v=oStHvWi51Wg& – Before the encore, Brooklyn Bowl owner Peter Shapiro took the stage & presented the band with a sword engraved with the date of their first gig (2013-01-26 at Brooklyn Bowl) and made the legendary knighting of Joe Russo (http://www.sirjoerusso.com/) official. Shapiro named them Brooklyn Bowl Royalty as follows “We, The freaks Of Brooklyn Bowl, hereby anoint Dave, Scott, Tommy, Marco, And Sir Joe Russo as Knights, Birthed at the Bowl & and dedicated to Rock & Fucking Roll”. Props to Jake Szufnarowski for his invaluable role in creating, supporting, & nurturing the legend of Sir Joe Russo.
Romero’s legacy weighs heavily in his country’s consciousness, said Professor Jocelyn Viterna, an expert in the Salvadoran civil war and director of undergraduate studies in the Department of Sociology. Sainthood ensures that Romero’s example will live on, she said.“People would remember that he came to their villages, that he talked to them, that he shook hands, that he touched their children,” Viterna said. “But they also remembered that he saw the violence they were suffering and spoke out, when everyone else was pretending it didn’t exist, when the U.S. didn’t want to admit it was there, when the elites who were in power didn’t want to admit it was there. Romero named the violence. And that was critical not just for bringing more international attention to El Salvador but also for the dignity of people who were suffering.”Romero’s canonization, set for October, will mark a new stage of devotion, said Clooney.“If we want to see what the canonization of Romero really means, we have to look at five, 10 years from now not only in El Salvador and Central America but also around the Catholic Church,” said Clooney. “Does the example of Romero make Catholics elsewhere in the world change their lives? Does it tip the balance in the church on behalf of the poor?” The day before a gunman shot him in the heart as he celebrated Mass, Salvadoran Archbishop Óscar Romero gave a powerful homily in which he urged soldiers to cease in the killing that was engulfing his country.“The peasants you kill are your own brothers and sisters,” Romero pleaded in a sermon at the Cathedral of San Salvador. “In the name of God, and in the name of this suffering people, whose laments rise to heaven each day more tumultuous, I beg you, I beseech you, I order you, in the name of God: Stop the repression.”The assassination, on March 24, 1980, intensified a civil war that would last 12 years. It also marked the beginning of Salvadorans’ veneration of Romero as a martyr and a saint.Last month, just before the 38th anniversary of Romero’s murder, Pope Francis gave his blessing to his canonization, making official the sentiments of Salvadorans. In the Central American country, Romero is called the “people’s saint” for standing with the poor.“What surprises me about Romero’s canonization is that it took so long and not that it’s happening now,” said June Erlick, who met Romero when she was working as an international correspondent in Central America in the late 1970s. “He gave his life in every sense, both in the pastoral and the political, for the people he was serving.”,Romero became archbishop in 1977, as the right-wing military government and left-wing political groups plunged into bloody confrontation. In sermons from the Cathedral’s pulpit, he spoke against injustice and human rights abuses by the military forces. In visits to small villages and slums, he listened more than he preached. Erlick, editor in chief of ReVista, a magazine published by the David Rockefeller Center for Latin American Studies, accompanied Romero on one such visit.“What really impressed me was how much of a minister Romero was,” she said. “He wasn’t talking to these people about human rights abuses. He was there as a pastor, confirming young girls and boys, and mostly listening to what people had to say.”The decision to canonize Romero represents a political statement from the Catholic Church, which wavered for many years on his nomination for sainthood, said Francis X. Clooney, Parkman Professor of Divinity at the Divinity School.“When the pope makes him a saint, he’s saying that this is a model for Catholics everywhere in the world,” said Clooney. “Under previous popes, there were certain hesitations about Romero. But what Francis is saying is that the policies of the church should be on the side of those who are in need, and therefore the church should hold up, as an example for everyone, this man who gave his life for the sake of the poor.” “What Francis is saying is that the policies of the church should be on the side of those who are in need, and therefore the church should hold up, as an example for everyone, this man who gave his life for the sake of the poor.” — Francis X. Clooney, Parkman Professor of Divinity
Nike’s new endorsement contract with Colin Kaepernick, the former NFL star who protested police violence against African-Americans, and retailer Dick’s Sporting Goods’ decision to stop selling assault-style rifles shortly after the fatal shooting of 17 students at Marjory Stoneman Douglas High School in Parkland, Fla., this past February are examples of high-stakes corporate activism that benefited the bottom line.But there’s a downside, and things have gotten “a little out of balance at the moment,” Smith said. Corporate executives are not elected representatives and therefore shouldn’t wield vast social or political influence, nor should corporations make decisions about whether they will be regulated. That’s still the job of Congress, the president, and other government officials, he said.How and when companies will use their voice to take a stand on an issue requires careful consideration, he said. It cannot be only in reaction to social media pressure.“Few questions require more thought … than [the] question of when do you use the company’s voice and when do you not,” Smith said.For Microsoft, that means responding if the issue is important to the business, important to customers, and, increasingly, important to its employees both at and outside of work.On looming issues like the impact and ethics of artificial intelligence (AI), Smith said the technology industry has to play a constructive role in anticipating and addressing the direct and indirect spillover effects it will have on the workforce and on society. Because “every ethical issue in the history of humanity is now an ethical issue for computers” in computer decision-making, exploring potential unintended consequences of AI will require an interdisciplinary approach that connects computer science, STEM, engineering, and — surprise — the liberal arts to get through what are bound to be “some rocky times” in the coming decade.Much like the long-ago debate over cameras in the public sphere, Smith said that with innovations like facial-recognition software, companies need to think about the privacy implications of what they’re developing.“So, I think we have to ask ourselves, as people did a century or more ago, what kind of world do we want to live in, what kind of society do we want to have, where do we want this technology to be used, and how and where do we say no, we don’t feel comfortable having it used that way.” Whether we like it or not, the public is increasingly turning not to their elected officials, but to the heads of major corporations for leadership on important and difficult issues. Perhaps because of partisan gridlock, perhaps because politicians seem to pay more attention when Big Business talks, rightly or wrongly, people expect today’s CEOs to pick up the ball.That’s both good and bad for society, according to Brad Smith, Microsoft’s president and chief legal officer.“I think it’s not only good, but fundamentally important that companies have a conscience,” he said during a talk with Harvard Business Review editor Adi Ignatius last Thursday about the rise in corporate activism. The discussion was part of HUBweek, the innovation and ideas festival launched in 2014 by Harvard University, The Boston Globe, Massachusetts Institute of Technology, and Massachusetts General Hospital.People, especially younger workers, want to work for businesses that operate conscientiously, and as companies expand globally, particularly those in creative and intellectual property sectors, it becomes not just a nice thing to do, but an imperative for corporate survival. “You better have a conscience,” Smith said. HUBweek returns with fresh ideas Harvard partners to present discussions, highlight innovation Related
The entire Notre Dame campus lost power around 9 p.m. Thursday evening for “undetermined reasons,” according to University spokesman Dennis Brown. Wei Lin | The Observer “Power was restored across the campus at 10:33,” Brown said. “No injuries were reported. Power plant personnel are working to determine the cause.”Brown confirmed that people had been trapped in elevators during the outage, which lasted about an hour-and-a-half.Certain locations on campus, including residence halls, quickly regained power after the outage, reportedly through backup generators. Just before 10:30 p.m., some buildings on the north end of campus regained power, and at 10:33 p.m. the rest of campus recovered it as well.Firefighters and police flocked to the power plant on North Quad after the outage began.Brandon Russo, a sophomore employee at the Huddle, said he noticed unusual amounts of smoke coming from the plant as he evacuated the LaFortune Student Center.“The power plant looked like it was working overtime — there was a lot of steam,” he said.Russo said he saw the Hesburgh Library and buildings on North Quad buildings lose power.“The [Huddle] register went off, and then the fire alarm turned on,” he said. “We went outside and North Quad and the library had lights on, then went down.”Adam Hill, manager of operations for the Student Activities Office (SAO) facilities, said employees in LaFortune followed “standard protocol” during the incident.“We always look to ensure the safety of the students first, so we allowed students to be on the first floor hallway while the fire alarm was going off so they could stay out of the cold,” Hill said. “We wanted to make sure we were a safe haven for the students.”Hill said he maintained communication with other SAO and University representatives in order to prioritize student needs.“I was in contact with my supervisor [director of SAO facilities Brian Fremeau]. He was in contact with the University spokesman and his boss,” Hill said. “We were getting directions very quickly, and that’s how we were able to make the decision to let students back in. … We wanted to make sure we were a safe haven for students.”Diane Orlowski, library security monitor at the Hesburgh Library, said staff members asked students to evacuate.“We cleared the building because the elevators weren’t working,” she said. “Once the decision was made [to evacuate], it took maybe 10 minutes to clear it.”Senior Shelley Kim said she heard a “buzzing sound like a dog whistle” in the library, followed by a louder noise.“Out of nowhere, with a snap of your fingers, all the lights went out,” she said.Tags: Hesburgh Library, LaFortune Student Center, power outage, power plant, SAO
There’s no place like home the theater! Broadway Balances America, the special six-part series airing on The Balancing Act on Lifetime Television, returned on November 17 with a behind-the-scenes look at the new tour of The Wizard of Oz. Correspondent Amber Milt travels to Baltimore and meets Maryland native Sarah Lasko, who plays Dorothy Gale in the musical and is being fitted for her classic gingham dress and iconic ruby red slippers. Milt also speaks with star Shani Hadjian who’s ready to introduce a whole new Wicked Witch of West to audiences. Click play! Broadway Balances America View Comments
For fourteen years, the third weekend in September has found me celebrating the birth of country music with thousands of my best friends along State Street in Bristol, TN/VA. During that time, I have been incredibly lucky to have been at the epicenter of the booking process for the festival. For a music junkie, helping to craft the line up for such an expansive roots music festival, which covers everything from country and bluegrass to blues and indie rock, is a “pinch me I must be dreaming” kind of experience. A bit over two weeks ago, the downtown area of the two Bristols – the state line separates the twin cities – was crowded with music enthusiasts from across the country. Wandering patrons found bands in every nook and cranny, playing before intimate crowds on a small stage in a local bar or eatery or before thousands on a giant outdoor stage. I cannot overemphasize the worth of the friendships I have made or the pride that I feel in a festival well designed, during my time with the festival. This year, I was lucky enough to have a great photographer, Josh Moore, and his wife, Jody Moore, working with me to grab photos from all across the weekend. Check out the gallery below for just a glimpse into some of the great talent that we had at this year’s Reunion. And if you are looking for something fun to do next September, be sure to check out the festival’s website for upcoming line-ups and ticket announcements. We are already steamrolling towards our 2020 festival – which happens to be our 20th anniversary – and I promise it is going to be a big one.