Altameroy Blog

Everyone remotely interested in private planes will no doubt have heard of the Gulfstream name, but what is it that puts the revered G550 apart from its various opponents, and for what reasons can the Gulfstream G550 make a brilliant executive jet for those that can fly on a private charter?

Utilising private jets has a lot of plus points, from having the ability to fly in ultimate comfort, straight through to having the possibility to attend that important convention in another nation.

To numerous important businesswomen and international corporations, the private jet has become an essential part of company life, where the high costs related with using an executive jet balanced the efficiency saving abilities, allowing businesses to do business worldwide.

With the rise of the G550 from Gulfstream, passengers can benefit from the elongated cabin, long-distance abilities and its greater levels of luxury.

The G550 is propelled by 2 Rolls-Royce turbofan engines, has a range of 6,750 miles (nautical) at Mach 0.80 and a top speed cruise ability of mach 0.87. The far-reaching range ensures it’s able to make trans-atlantic flights with ease, increasing a customer’s ability to attend conferences internationally, whilst the Gulfstream G550’s larger interior gives it the capability to sit fourteen customers in unmatched comfort and luxury. Find the best private aircraft companies by searching online.

For a large proportion of women, owning a G550 is out of reach, but since the introduction of fractional ownership, the possibility of travelling on one of these great jets has become a lot more realistic.

Fractional private jet ownership is a relatively new system set up in the 1990s to give passengers of private jets a larger variety of planes, whilst minimising the total cost of private flight.

Should you not buy a plane but rather subscribing to a membership scheme with a fractional business jet ownership corporation, clients aren’t faced with the added expenses of the plane’s maintenance, employing a wholly qualified pilot crew and all the other expenditure that is coupled with operating a private aircraft.

As well as reducing spend on maintenance and crew fees, associates of a fractional aircraft membership can select a private jet from a fleet of private jets, depending on the flight length and type they require. At the end of the day, the G550 is able to carry up to and including 14 customers; but you may not always require all of that room. By taking a smaller private jet, a smaller amount of fuel is used, meaning a trip will not cost as much and will be more considerate to the environment.

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“I don’t know the first thing about professional design!”

You say your MBA program didn’t include training to work
with creative professionals? Perhaps your degree is from
the Seat-of-the-Pants School, and didn’t include experience
in outsourcing creative work. Don’t know what a designer
actually does? Don’t even know where to find one?

Relax. You’re not alone. Few executives are trained to make
these kinds of decisions or to work effectively with creative
professionals. This puts them at a distinct disadvantage
when hiring creative consultants.

We’ve run into this situation with many of our clients. That’s
why we’re offering this white paper to fill in this critical
information gap. What you learn from this paper will give you
the power to approach marketing projects with confidence. It
will help you understand:

• The benefits of hiring a professional designer

• Where to look for the pro you need

• How to choose the right one for each particular project

• How to work effectively by taking a sensible approach to
project management:

Establishing clear project parameters and expectations

Maximizing the talents of your chosen designer

Setting an optimal amount of your own involvement in the
project

Designating appropriate liaisons to your designer and
other creative talent

When do I need a designer?

Unfortunately, many business owners know little to nothing
about what a designer actually does. This results in them
making the mistake of not knowing when they need one.
Design professionals are still sometimes referred to as
“graphic designers,” based on the old definition of their duty:
to attract attention to the message. However, with the advent
of digital technology, they have become so much more than
creators of a pretty layout.

Today’s successful graphic designers are actually
information managers, using visual techniques to corral
similar ideas together, then lead the reader’s eye through
the material in the most efficient and effective way. After all,
they not only need to make sometimes dry information
interesting enough to read, but also fight the time deficit that
every busy, modern person deals with. If your designer
doesn’t know how to hold the interest of the reader and
move the eye along at a reasonable pace, the reader may
just give up and your entire investment becomes just
another expense…and a wasted one, at that.

Those professionals able to not just attract a reader’s eye,
but also to hold it until the end of the message, are true
communications designers. Their skills make sure the
communication that elusive connection between words
and visuals and the reader’s mind actually happens.

So, the answer is: You need to hire a professional
communications designer when you want to produce some
kind of material, whether traditional print or new media, that
must communicate to today’s preoccupied, harried
audiences.

What should I look for?

Communications designers bring all the talents, knowledge
and understanding of the graphic designer to the table:

• effective information layout

• readability through sound typography

• color theory and psychology

• effective use of illustration and photography

But then they add the expertise of someone who
understands the purpose, potential and the limitations of
digital media:

• the Internet, intranets and extranets

• email

• CD-ROMs & DVDs

• Touchscreen technology & kiosk displays

Communications designers are familiar with the many
different programming languages and “applets” that allow
such media to work. You may be familiar with some of their
names:

• Java

• CGI/Perl

• Shockwave

• Flash

• Cold Fusion

This knowledge doesn’t necessarily equate to the ability to
perform such coding themselves, but some really advanced
communications designers are also proficient
programmers in these languages. When you hire these
well-rounded individuals, you get a lot of bang for your buck.

But do I really NEED to hire a professional?

Some business owners and managers, even when they
need top-flight communications materials, opt not to hire a
professional designer. They mistakenly believe they are
“saving money” by using a staffer who may have some
creative ability, or by trying to do the work themselves.
Usually, the results make them regret such a decision.

The fact is, really good communications design is an
alchemy of art, science, training, experience and creativity.
Simply having access to the tools of the designer’s tradea
computer and some page layout softwaredoesn’t make
someone a designer, any more than owning a toolbox
makes one a mechanic, or having a piano makes one the
next Beethoven. We’ve all seen the sorry results of “garage
design,” and the proliferation of low-end desktop publishing
software has only exacerbated the problem.

The argument that professionals cost too much money is
one that doesn’t hold much water. The fact is, you get what
you pay for. So if you’re tempted to go “on the cheap,” ask
yourself if it’s worth saving a few bucks to negate the impact
of the rest of the budget. Remember: No matter how much
time, effort and money is spent crafting the message, if no
one reads it everything is wasted.

When a real designer is brought in at this point, much time
has frequently been lost, tempers are frayed, and everyone
is beginning to feel under the gun. Now-looming deadlines
frequently require lots of budget-busting overtime on
everyone’s part. The designer must be brought up to speed,
and then come up with the creative concepts that should
have happened at the beginning. And face it: no one
produces their best work under unrealistic pressure.

Okay, we want a pro. But how do we find one?

There are many places you could start your search. There
are trade associations whose members include
professional designers, and membership in such
organizations usually signals a certain seriousness about
the members’ careers. Many of these associations have
websites, several of which even feature search criteria for
member specializations.

One such organization is the American Institute of Graphic
Arts (AIGA). You’ll find an interesting treatise on information
design, and other useful topics on their Clients page at
http://www.aiga.org/content.cfm?alias=clientsview.

Other organizations that will help you locate professional
designers include:

• International Association of Business Communicators
(IABC) at www.iabc.com

• Graphic Artists Guild (GAG) at www.gag.org

• Creative Business at www.creativebusiness.com.

There are many websites that help you locate freelance
designers that allow you to key in your project specifications
and let the designers contact you. Two of the most reputable
of these are

• VendorSeek at www.vendorseek.com

• Elance at www.elance.com

The very best way to find professional design talent,
however, is the same way you find other critical service
providers: leverage your professional network. In other
words, ask your colleagues whom they recommend.

But you mentioned all the different things designers might
know. How do we find the RIGHT one for our project?

Hiring the designer that fits any given project is equally as
important as making sure the candidates are professionals.
Just as there are different kinds of designers for certain
kinds of clothing (fashion designers), automobiles and
other products (industrial designers), and buildings
(architects), there are different types of designers for certain
kinds of communications materials.

Step #1: Project Parameters

Project Planning & Management Structure

The first step in hiring the right designer is to determine your
project’s parameters. Once you decide on the end result you
want, it’s fairly easy to use logical processes of elimination
to decide who is most likely to help you reach it. The most
logical way to establish parameters is by using the “five
W’s” system: Who, What, Why, Where, When (and How).

Who

• Ask who comprises your target audience. Establish a
primary and secondary focus; all other audiences are
extraneous to this project. The rule for your most effective
piece is “one piece, one audience,” whether you’re talking
about a brochure, an ad, or a website.

• Ask who in your organization will be responsible for
gathering all the data, information and images that will be
used in the piece. This is your content point person, and is
critical to getting things moving.

• Determine who in your organization will be responsible for
final approval of the piece. Try to assign this responsibility to
no more than three people: “Design by committee” is the
kiss of death to fresh, creative ideas.

• Who in your organization will be responsible for acting as
liaison between the person providing data, the designer,
and the approval panel? This project manager or
coordinator should be highly organized, a good listener,
personable, and capable of impartiality.

What

• Decide what is the most important overall message your
piece must communicate. All other messages should be
subordinate to this message, and should be few, if any.

• What is the end result you hope to achieve with the
production and distribution of this piece? State your goal in
a measurable way, so you’ll be clear about whether or not
the piece was successful.

• What is your budget and timeline for producing the piece?
Include everything from preparatory staff meetings through
delivery of the finished piece to the end user.

• What is the critical buying path (CBP) of your primary target
audience? Knowing where to find your targets when they are
in an information-gathering (shopping) or decision-making
(buying) frame of mind, and intercepting them with your
piece at those points, will give your campaign a much
greater chance of success.

• What is the format for this piece? Print advertising, direct
mail, brochure, catalog, website, opt-in email blast,
CD-ROM, stationary on-site kiosk? This determines much of
the form the content will take.

Why

• Why have you chosen the proposed format for the piece?
Does it really make sense, or would it perhaps be more
effective in another form? Weigh all characteristics against
the result you are trying to achieve.

• Ask yourself why you have chosen the people designated
for the approval board and liaison positions. Make sure it’s
because their skill sets and availability match the needs of
the project, and not just because someone’s ego needs
servicing.

Where

• Where will the different facets of the project’s development
take place? Consider where you’ll hold meetings for
in-house project prep, designer interviews, concept
brainstorming, incremental project review, and final
approvals. Logistics are important to efficient administration
of a project, especially one that may run over an extended
period of time.

• Where will you want the actual creative work to take place?
If you feel you need a great deal of control and so require
on-site work, be aware that you are setting up a
work-for-hire situation according to federal government
definitions. This will likely limit the range of professionals
who will be willing to work with you.

• Where will your piece be distributed? This, along with
target audience and format, determines much of the form
the content will take. For instance, catalogs that mail to
a list of upscale office buyers will be designed very
differently than those mailed to a list of hair salon
managers.

When

• Determine when your project will need to start and end.
Establishing and adhering to a schedule will make
everyone’s job easier along the way, by establishing
measurable production performance expectations.

• When will you need to meet with the designer to interview
and issue a work order, then for status reviews as the
project progresses? Use common sense to establish these
benchmarks: Make initial meetings coincide with in-house
prep meetings, and progressives coincide with such things
as receiving final copy from your copywriter; delivery of first,
second and possibly third-round proofs; and perhaps a
press check, if your designer is to be involved in that phase.

• When will the finished product be needed at its final
destination? This date will most likely act as the control for
the final project schedule, as you back all other activities off
from it.

How

• How will your project team, including your designer and
any other creative professionals you hire, work together?
Avoid having meetings be the only time your project team
communicates. Such a scenario will rapidly deteriorate into
one of missed deadlines and finger-pointing. Keep the lines
of communication open and active by encouraging regular
updates via phone, fax or email.

• How will you decide whether unscheduled extra meetings
are necessary in the process? Most obviously, the liaison or
project manager should be empowered to make this call,
but you may find that other project team members also need
this ability.

Now that you’ve established your project parameters, it’s
time to consider hiring your designer.

Step #2: Hire a Designer

Choosing Your Communications Designer

Much of what you’ve established about your project
parameters will have shaped the decision about the kind of
designer you need. This section will discuss details of other
considerations you’ll need to make regarding which
designer to choose.

Once again, the Five W’s really help you ask the right
questions about design candidates for your project. A
traditional mainstay of journalists everywhere, the Five W’s
method is actually a great approach to defining any task. If
you don’t want to follow it all the way through, it’s at least a
great starting prompt for discussion of another strategy.

Who

• Ask yourself: Who is this person? What are her/his
professional credentials and experience? What kind of
personality traits does s/he exhibit that will work for or
against the success of your project? You need someone
who is comfortable with a lot of give-and-take.

What

• What kind of designer is s/he? Does s/he specialize, and if
so, in what area: graphic; logo/corporate identity; illustration;
information-intensive (catalog or interactive database);
website; intranet? Each of these areas requires a different
(though often overlapping) skill set, personality and way of
thinking. Whatever the specialty, look for a person who
enjoys a challenge, and sees the work as more than just

functioning as a pair of hand, but as a problem solver.
• What kind of samples does the candidate offer? Give
his/her portfolio a thoughtful review, and look for work
similar to that which you need for your project. Be aware
that many professionals now keep their portfolio in digital
format. They may hand you a CD-ROM or ask you to view
their portfolio on their website.

• What specific services will you be buying from this
designer? Print only? Print that carries over to an online
presence? Interactive forms backed by a database? Will the
designer also be acting as a pre-press production person
for print and/or coding a website? Does s/he know HTML
and related applet programming? Does s/he understand
the limitations of the medium you need her/him to work
within? Does s/he have the ability to work with other creative
content professionals if needed, such as copywriters,
printers and web programmers?

Why

• Why will you hire this particular designer? Keep your
decision-making based in logic and good business
practices. Will s/he be working solely on this project, or do
you want to establish a long-term relationship for an
ongoing campaign? The latter is attractive because a single
designer working on many marketing pieces can most
easily establish and reinforce a consistent visual corporate
image for your company.

Where

• Where did this person receive her/his education and
experience? If the person has little or no real-world
experience, s/he is going to be learning on your dime. That
means extra headaches and hand-holding for you, and
perhaps a longer project timeline because efficiency is
nearly always tied directly to experience.

• Where is this person located? If you require someone who
can make it to a lot of meetings, you need someone nearby.
However, if you really think it through, your best value in
hiring a designer is NOT to tie that person up in meetings.
Make as many decisions as you can (without pre-empting
necessary creative input) before pulling the designer into
the process, and then keep the meetings to a minimum.

Generally, today’s communication technologies allow
someone far away to do just as thorough and effective a job
without being located in the immediate vicinity. However, for
some projects, location is an important consideration. If you
do choose someone with whom you will work from a
distance, make sure that person not only has access to the
kinds of technology you’ll need conference calling, email,
FTP sites, Acrobat/PDF software for proofing, overnight
delivery but also knows how to use it.

When

• When will you need this person to be available? What are
your project meeting schedules and delivery deadlines?
What kind of turnaround times do you expect, and can this
person meet them? Consider that a successful design pro
will have other clients besides yourself, and will need to
juggle your project among others.

How

• How will you work with this person? Will you be working
directly or through a liaison? Whatever the logistics, be clear
about your expectations.

• How will delivery of the finished design be made? Do you
expect the designer to act as project coordinator with the
printer? For web-based projects, will the designer also code
the pages, or simply turn over templates to a programmer
for posting? Again, establishing a very clear workflow and
structure for responsibility is your best insurance against
misunderstandings and unpleasant situations down the
line.

Step #3: Fee Structures

Discuss Fee Structures and Terms

Though most people rarely enjoy negotiating terms of
business compensation, it’s necessary to make sure that
everyone’s on the same page from the beginning. Clearly
delineating how and when your designer will be paid for his
or her services, what rights are being transferred, and what
constitutes a satisfactory finished product will help eliminate
misunderstandings, unhappy participants and potential
legal liability further along in the process.

Of course, there is always the fee structure to consider. Most
freelance designers bill for their time on an hourly basis,
which can vary widely. However, for some projects that have
a significant duration, retainer structures or flat project fee
arrangements are not out of the ordinary. Spell out clearly
the duties and responsibilities expected of the designer,
and establish a structure for reporting on the work’s
progress that everyone understands and embraces.

Legal Considerations

Congressional legislation regarding copyright to intellectual
property was significantly updated in 1992 and again in
1996 to reflect the changing nature of technology. The issue
continues to be in a state of flux, but right now it remains
fairly stable. In essence, the law states that intellectual
property such as writing, illustration and design belongs
inherently to its creator from the instant of creation. It states
clearly that such rights are only legally transferred with an
explicit written notice, such as a contract, usually in
exchange for some kind of material consideration.

If the designer will be working for you as a freelancer or
consultant, you need to specify who will own distinctive
rights to the materials being created at the end of the
project. Most designers realize the client’s desire to own all
rights, especially to proprietary material, and are willing to
transfer such rights upon payment in full of their invoices.
However, many designers will wish to retain the right of self
promotion for their creations, meaning they are allowed to
reproduce such works in their printed and digital
promotional materials. As long as such activities don’t
infringe on or reveal trade secrets, this is common practice
and should not be considered dangerous or over-reaching.

You need to protect yourself and the designer from potential
trouble with the IRS by determining at the project’s
beginning whether s/he will be working with you as a
consultant (freelancer) or as a temporary employee
(work-for-hire). The IRS has fairly clear-cut standards that
determine the nature of the relationship.

Essentially, if the person works on your premises, using
your equipment and is under direct and close supervision,
that person is considered an employee by the IRS. This
means that person is entitled to the same benefits as your
permanent, full-time employees. If the person works
primarily off-site at their own place of business, using their
own equipment and more or less unsupervised, they may
be considered a freelancer.

Don’t make the mistake of trying to play it both ways: If you
get audited by the IRS, you will lose this game and be liable
for fines and penalties which can be significant. It’s not
worth the hassle, and most design professionals won’t
willingly participate in such an arrangement anyway.

Time to Get to Work

Having moved this far through the process, you should feel
confident in the needs of your project, and about the
communications design professional you’ve chosen to help
make it a success. It’s time to get started on the project you
hope will generate lots of new business!

Good luck, and remember: Cavanaugh Interactive is your
one-stop shop for results-driven,
professional communications design. Visit our Website at
www.cavanaughinteractive.biz or call toll-free at 877-771-8906 to put our
quarter century of experience to work for you.

Nancy Cavanaugh has been designing communicatons
material since 1982. One of the first freelancers to adopt
desktop publishing technology in the Milwaukee area in
1986, she became known for newsletter pubications and
marketing-oriented pieces. In 1995, she tackled the Web
and by early 1996 was designing Websites — long before
applications such as Dreamweaver, Fireworks and
Flashwere even available. Like print materials, she used
marketing principles to measure the success of each
project. In addition, all Web interfaces are designed and
tested with user friendliness and results-oriented content in
mind. Her company, Cavanaugh Interactive, has endured
for almost a quarter century because of her uncanny ability
to navigate the sometimes uncertain course of emerging
digital technologies.

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Mathematics is unerring. As a child we are taught that 2 + 2 = 4. This will never change and will always yield the same results; except when it comes to calculating you phone bill.

Most long distance carriers advertise their low rate per minute costs. However, before you can really make an informed decision as to which carrier offers the best value you need to consider all of the “other” costs that may be buried in the fine print. Read all of the restrictions and costs in detail then analyze these “added” costs against your specific calling habits. Only then will 2 + 2 truly equal 4.

For instance, many carriers will charge a monthly fee in order for you to qualify for their low rate per minute charge; while other carriers will impose a minimum monthly usage charges. If you fail to reach this minimum usage then you are charged added costs.

The key to getting the overall best value on your long distance is to review your monthly statements and analyze your calling habits. The key things to look for are the total number of minutes, call duration, for all of your long distance calls. Does this number change every month or is it more or less constant? Is there a particular state or states that you call more often than others?

Once you have this information at hand you then make detailed calculations to determine the true cost per minute of various calling plans. You need to be able to take the additional charges (monthly fee, minimums and so forth) and divide it by your usage (total number of minutes) then add that to your rate per minute. Only then will you have a true cost per minute of your long distance carrier or analyze the various plans from other carriers.

Let’s take a look at some examples and you’ll get a better feel for what I am saying. Here are three plans (”A”, “B” and “C”) for comparison with three different individuals:

Plan “A” - $0.04/minute, plus monthly fee of $5.95;

Plan “B” - $50.00 for 1200 minutes, plus $.07/minute over the 1200 minutes; and

Plan “C” - $0.10/minute with no other fees.

Now let’s look at three different users and determine which plan provides the best value.

Tania: Tania’s total annual long distance usage was 14,400 minutes, averaging 1200 minutes per month. However, her usage was not consistent with some months as low as 600 minutes and other months as much as 1,800 minutes. In her case we can calculate the three plans this way:

Plan “A”

600 min. months: ($.04 x 600) + $5.95 = $29.95

1,800 min. months: ($.04 x 1800) + $5.95 = $77.95

Her total bill for the year: (6 x $29.95) + (6 x $77.95) = $647.40

Total cost per minute: $647.40 / 14,400 = $.045/minute

Plan B

600 min. months: $50.00

1800 min. months: $50.00 + ((1800 / 1200) x $.07) = $92.00

Her total bill for the year: (6 x $50.00) + (6 x $92.00) = $852.00

Total cost per minute: $852.00 / 14,400 = $.059/minute

Plan C

600 minute month: 600 x $.09 = $54.00

1800 minute month: 1800 x $.09 = $162.00

Her total bill for the year: (6 x $54.00) + 6 x $162.00) = $1,296.00

Total cost per minute: $1,296.00 / 14,400 = $.090/minute

Clearly in Tania’s case plan “A” would be the best value for her money.

Chuck

Chuck also uses the same 14,400 minutes of long distance but his monthly average of 1,200 minutes is very consistent month after month. In his case we can calculate the three plans as follows:

Plan “A”

Each month: ($.04 x 1200) + 5.95 = $53.95

His total bill for the year: 12 x $53.95 = $647.40

Total cost per minute: $647.00 / 14,400 = $.045/minute

Plan “B”

Each month: $50.00

His total bill for the year: 12 x $50.00 = $600.00

Total cost per minute: $600.00 / 14,400 = $.042/minute

Plan “C”

Each month: 1200 x $.09 = $108.00

His total bill for the year: 12 x $108.00 = $1,296.00

Total cost per minute: $1,296.00 / 14,400 = $.090/minute

Clearly in Chuck’s case plan “b” would be the best value for his money.

John

John, on the other hand, used very little long distance every month. His total usage was only 1,200 minutes for the year and a consistent average of 100 minutes per month. In this case we can calculate the three plans in the following manner:

Plan “A”

Each month: ($.04 x 100) + $5.95 = $9.95

His total bill for the year: 12 x $9.95 = $119.40

Total cost per minute: $119.40 / 1200 = $.099/minute

Plan “B”

Each month: $50.00

His total bill for the year: 12 x $50.00 = $600.00

Total cost per minute: $600.00 / 1200 = $.50/minute

Plan “C”

Each month: 100 x $.09 = $90.00

His total bill for the year: 12 x $9.00 = $108.00

Total cost per minute: $108.00 / 1,200 = $.09/minute

Clearly in John’s case the best value is plan “C”.

So, here we looked at three different people and their calling habits looking at the same three calling plans with each one selecting a different plan for the best value. In order for you to get the best value out of any calling plan is to know your own specific telephone calling habits. Take the time to analyze your calling habits and you will be able to save money and get the best value for your money.

Thanks for reading… I hope it has given you something to ponder.

Ray Klesc

Global Value Connect

http://www.globalvalueconnect.com

Providing the best value in telecommunications products and services from leaders in the industry

*FREE eBook* - “Phone Bill Saving Tips for Home and Office” 40-page report packed with dozens of tips and ideas that will start saving you money immediately.

http://globalvalueconnect.com/Saving_Tips.htm

About The Author

Ray Klesc

Global Value Connect

http://www.globalvalueconnect.com

President and CEO of Global Value Connect providing the best value in telecommunications products and services from leaders in the industry since 1995. For more saving tips and ideas may we suggest our *FREE eBook* - “Phone Bill Saving Tips for Home and Office”. This 40-page report ispacked with doazens of tips and ideas that will start saving you money immediately.

http://globalvalueconnect.com/Saving_Tips.htm

info@globalvalueconnect.com

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Natural disasters come in many shapes. From the incomprehensible carnage of last weekend’s tsunami in the Indian Ocean, to hurricanes and typhoons, to tornadoes and drought, our world deals with the horror of disaster as a normal part of our lives. Throw in a bit of human influence through wars, terrorism, or the threat of weapons of mass destruction, and our need to deal with and overcome calamity almost becomes routine.

Watching CNN and the news channels gives a near real-time view of disasters. While some may find this a bit macabre, it also shows our ability to quickly respond to major events, on a global scale. The same technologies that allow us to view the aftermath of a tsunami also allow us to quickly gather factual data on the extent of a disaster, and use that for disaster planning and response.

Organizations such as the Pacific Disaster Center (http://www.pdc.org/), the Asia Pacific Area Network (http://www.apan-info.net/), try to assist regional nations to build better disaster planning models and response model through training and timely dissemination of critical information. Regional military organizations participate with each other on joint disaster planning (for other than wartime-related disaster) to organize their resources in response to a regional disaster, and can respond within hours to major problems.

While carnage on the scale of the Indian Ocean tsunami cannot be controlled within a day or a few days, the communications and real time information collection on the disaster will most certainly reduce the level of misery experienced by victims at a level that would not have been possible even 40 years ago. As aircraft and on-site persons (using satellite phones or other powerful mobile communicators) collect information on areas of Sumatra, Thailand, and other affected areas, the information is almost immediately being logged, evaluated, distributed, and prioritized among a number of emergency response centers operated by regional governments - as well as international relief agencies.

From the regional and international response centers coordination further occurs among members of organizations such as the Multinational Planning Augmentation Team (http://www2.apan-info.net/mpat/ ). MPAT holds frequent disaster response exercises among member nations to ensure coordination lines and pre-planned responses are quickly executed. All MPAT member nations have access to central databases of planning information, available resources, and a “command center” mobilized when a regional disaster occurs.

Telecommunications and information technology are key components in our ability to respond to disaster. As real time information is collected, it is available immediately to all participants in the relief effort. Other technology - in particular military technology, can easily serve a duel use purpose in a disaster. The same troop transports designed to carry soldiers to war can carry refugees from a disaster. The same photo reconnaissance aircraft used to spy on enemies can provide a clear view of the extent of damage. The same technology used to collect electronic intelligence can locate attempts to use mobile phones, radios, and even audio signals of people stranded in remote areas. Infrared scanning used to identify enemy soldiers in a bunker or building can just as easily locate a family stranded in a jungle.

If you compare the current response to the Indian Ocean tsunami to the effects of tsunami damage following eruption of the Krakatoa volcano in 1883 (http://www.drgeorgepc.com/Vocano1883Krakatoa.html ), you can see the extent of damage from that disaster was not even known for several decades.

In most cases disaster cannot be predicted. We are making progress predicting earthquakes, hurricanes, and eruptions - however science is no closer to effective disaster prediction than we are in fully understanding the human genome. Through effective use of communications, information technology, and duel use military/civilian technology transfer, we are getting much closer to reducing the level of pain following an event.

2005 will be a big year in further exploiting the potential of Internet and communications-related technology. Given the positive moves toward regional cooperation in activities such as MPAT, we should be encouraged our governments understand the need and role of technology in planning - was well as responding - to regional disaster.

(About the Author - John Savageau is a managing director at CRG-West, responsible for managing operations and architecture for several of the largest telecommunications interconnect facilities in the US, including One Wilshire in Los Angeles)

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Loaders are an intriguing part of equipment to me. With all candour, the thing is simply a variety of empowered tractor, settled on wheels or tracks that has got a bucket, or variable other attachments, expended to manage material, and move logs or piping from place to place.

When you ponder it, they are moderately divergent, and so are the identifiers for them. I’ve heard them addressed as a shovel, skip loader, a front loader, or even more usually a wheel loader. The theme is passably uncomplicated : These little babies perform the primary lifting on engineering, industrial, and mining sites. When the sleet begins to fall, loaders are one of the basic assembles of large equipment called out to facilitate with the exploits.

Loaders are the most versatile piece of equipment…

They are the most multifaceted composition of equipment in a excavation troupe’s arsenal. In an extremely short quantity of time, a loader can go from offloading piping, to loading up pea gravel, just by shifting out an attachment.

In increase to wheel-type loaders, there are also track loaders. Track loaders tend to be deployed in countries that would easily wear out a loader braced with tires. Tracks also tend to hurt routes more easily, as there is microscopically little cushion between the full weight of the loader, and the path it happens to be working on.

Municipalities are far more likely to use a wheel loader on pavement, and a track loader when working in soft dirt, due to the need for extra traction, and the need for greater protection against sharp objects like rocks and metal.

For the general contractor, a traditional wheel loader may be too expensive to acquire. That is where small, skid steer loaders come in. These machines steer, not through a traditional manner, but by locking up the tyres on one side, while the other side moves. Seeing this, we are able to understand the “skid” in skid steer tires: www.otrtiresupply.com/industrial-tires.

This is the bread and butter machine for a minute landscaping company. With it, they haul palettes of sod, fill in a ditch, or plough a field, just by switching out the attachment, and reconnecting the hydraulic lines. I’ve seen some guys exchange forks for a bucket in under five mins.

Then, there is the backhoe. A backhoe is basically a wheel loader that has a boom and shovel on the back. In everyday life, I see these in major use by cable and electrical companies to excavate pipe and line, and then inhume the pipe, yet again. On the different end of the spectrum are the whopping loaders exploited in excavation processes, to load haul trucks, like the John Deer 844K series. These loaders only possess the bucket attachment. Nobody is going to be dragging turf with these things. They are a rock and dirt only series of equipment.

Since my company sells wheels for this type of equipment, I understand more than a few things about loaders, and the tires they use. To learn more about loaders, and their various uses, please take the opportunity to visit us at http://www.otrtiresupply.com. You’ll be glad you did.

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People may associate life insurance cover with somewhat elderly folk who have a family they’d need to watch over fiscally should the worst transpire. But in reality the benefits of taking out life cover are very much not restricted to those with children. For a superior starting point visit this site is a good place to begin with.

Make a point to remember that the following are case studies and should certainly not be seen as financial direction. When you feel you really need fiscal guidance we strongly suggest that you speak to a financial adviser as every individuals circumstances and requirements are very different.

The newlyweds - Joanne and Mike

Joanne and Mike work at full-time jobs and have only recently got wed. As they begin their new life together, they reason that right now may well be a great time to organise their finances. Particularly Joanne and Mike want to make absolutely certain that they would easily be able to function fiscally if something occurred to either of the pair.

They’ve been informed about life cover which would supply money to the sole survivor if one of them was to suddenly perish. As a cornerstone to their collective fiscal foundations, Joanne and Mike take out a life insurance plan which covers the couple for a full 20 years. They pick an amount that would easily pay off their collective outstanding mortgage, as well as giving them enough money to cover their everyday living expenses.

Acquiring a first home together - Amanda and Richard

Amanda and Richard have off-loaded their individual properties and bought a house together. Now that the couple have a dual fiscal commitment, the couple want to make sure that they have the correct economic base in place to shape their future on.

They certainly realise that insurers offer up life insurance cover that provides money to the sole survivor if one partner passes away. Their collective mortgage could well be their biggest expense, so the couple embark on building their economic base with a life cover plan to cover it.

With life cover in place, Amanda and Richard can have peace of mind that an important bit of their collective economic future could well be safeguarded.

Paying off un-paid liability and making up for the abrupt deprivation of your main source of earnings may well be regularly right at the front of the vast majority of people’s brains if they organize life insurance. So why don’t you steal a moment to receive a quick cover quote on-line today to find out how much cash your life cover premium could be?

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Today’s up to date dining area furniture is clearly sophisticated and elegant. With extra consideration to detail, household furnishing designers bring trend, diversity and not forgetting value to their clients like never before. If you’re thinking about a revamp to your present dining decoration, rest assured selections are typically bountiful. Discover a large collection of home products including; dining area furniture, single mattress and coffee tables from leading companies on-line.

Ideally, your foremost goal will certainly be to determine how much space you have. Compact dining areas tend to house circular dinner tables to ensure openness and ease of movement within the room. You would never want your own relatives or company to feel crowded and round dining tables are definitely far more accommodating. When your own dinner room is extensive with masses of flooring area, rectangular dinner tables are certainly perfect. Exactly as you don’t want the furniture to dominate a very tiny area; nor do you want the dimensions of the dining room to distract from the good looks of your own table and dining seats. In interior furnishings, it’s entirely about proportion.

You must also need to deliberate whether or not you will incorporate any items of furniture you already possess with your newer options. If so, you may want to make sure every piece merges effortlessly and coordinates well together. If you posses a contemporary curio cabinet, for instance, you might also want to contemplate a glass dining room table alongside chairs that may appear well with the cabinet. Remember, it’s entirely about the look you’re aiming for - if it feels right, then it’s correct. If you enjoy the look of anything a touch more traditional, there are usually a number of gorgeous wood dining-room sets that let you to uphold that classical feel, but also permits you to include updated and simplified furniture with a bit of a modern flair.

You’ll be happy to find out the many seating and table top finishes. Drop leaf tables are typically perfect for those that love to entertain; drop leaf tables allow you to increase your table top room when you call for it and subsequently simply fold it in or slide it away by the recessed grooves as and when it’s not needed. Dining benches are another great method to define your own individual style. They align comfortably combined with dining-room chairs and will also give a bit more seating room when compared with their chair counterparts.

Finally, you’ll wish to give contemplation to your feature pieces. An empty area is dramatically brought to life with a small feature table and maybe a lamp or plant. China cabinets, buffets and serving dining tables are simply a couple of suggestions that will enhance your dining room furniture.

Just as you finalise your background research and have settled on the design, size and the overall appearance you wish to attain, you’ll discover exactly how effortless it can be to get that perfect dinner table and dining chairs that are precisely what you’ve been looking for.

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The economic climate is performing extremely poorly and a large number of individuals are really having difficulties because of it. It has one really serious reprecussion and that is more individuals than ever are being forced to file for bankruptcy.But, in all probability the worst thing about the present is that almost all most likely did not really have to do this, because there was help accessible to them. There’s really an entire industry that’s been created to assist individuals clear debt.The foremost Bankruptcy Alternative solutions involve debt consolidation courses as well as debt relief plans, and there are many completely different companies out there that can get people successfully through these various solutions.What’s most vital is for individuals to stay positve and want to get out of their debts. If they are convinced of this then ultimately something can happen. It is also really important to decide on the correct company to work with. There are a number of possible choices in out there, however folks ought to use discretion as there are some firms in the market without the correct qualifications that ought to be sterred clear of.There are many sites where individuals are able to see reviews, where current and former consumers have posted their results with the firms and the way they have felt about employing the firms. To check out the thoughts individuals can put in terms similar to care one providers reviews into their favorite search tool.

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AN original

In the annual period to December 31, 2008 it regard a pre-tax earn of ?238,790. Our aim now is to gibe at trade modify and to become our market communicate advance.” Thermoseal Group, orthodox The give, for an covert It has negotiated compile from Barclays to spend in investigate and conversion and lay equipment at its improvisation centre in Wigan. overt amount, ordain support the company to employ a boost eight live at the Wigan centre where its plan are busy developing electricity-saving list for run-sweeten windows.

Thermoseal is one of the country’s biggest merchants of innards for the building of hit-glassy windows, with 38 per cent of the UK market. These concepts decide now be design and alter to market from our new iteration centre in Wigan. said bring home the bacon director Gwain Paterson, who owns a major of the distribute. unorthodox in 1979, producers and transfer finished “We create out as a in relation to dinky plan company yesterday we identified a niche in the window industry. achromatic products. Barclays?

A Birmingham-locate merchant of multiple Now at the priority of the render ingredients market, we are continually developing new notions to interact the current power appraise prerequisites. single-vitreous windows has received cash reversing from Barclays Bank which decide ameliorate it to modify an creation centre in Wigan. unoriginal doubleglazing local products manufacturer has created eight jobs directly a collect boost as it correspond to modify chromatic “We change shape out as a in relation to weensy design company before now we identified a niche in the window industry,

The new ply decide aim to meliorate power-saving compare car insurance quotes items that ordain advance to the statutory commission?s aim for all houses to be jet fuel neutral by 2050. unfinished 2,000 decide unit innards and has a market get of around 38 per cent. Richard Fray said: “Thermoseal has consort from strong points to force and this is down to their ability to begrime chances and continually investigate and generate their output furnish.” Gwain Paterson, control principal of Thermoseal, which was founded in 1979, said: “Our aim is to give care at distribute change and to increase our market hand out further.”

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Swine flu has reached pandemic proportions in the UK, prompting health experts to move from containment phase to treatment phase in dealing with the disease. With the virus spreading rapidly among the population, containment is out of question. This change in strategy means a shift from distributing drugs to close contacts of confirmed patients to a more restrained use of anti-virals to treat those infected.

Scotland witnessed the first patient in the UK infected by the H1N1 virus. Scottish Health Secretary Nicola Sturgeon said that the virus has infected a large number of people in the past few weeks in the UK. Community transmission of the virus is further spreading the disease, and so treatment phase has to begin soon before the situation worsens. However, this is no indicator that the virus is becoming more potent. It just means that a steep rise in cases of infection has been observed, and therefore changing the combating strategy has become necessary.

In this treatment phase, anti-virals will always be there in place for patients detected with the virus. However, clinical tests will determine whether a person really has swine flu before prescription of anti-virals. This is because pandemic flu symptoms like cough, cold, headache, and fatigue are common, and people without swine flu can exhibit the same. Routine lab testing will give way to reporting of numbers of infected cases in different regions, on a weekly basis to keep track of the spread.

The NEBOSH National General Certificate in Occupational Safety and Health is a qualification designed to help those with health and safety responsibilities to carry out their duties at work more effectively and to protect the organisations for which they work. Click on NEBOSH UK for more information, and to make sure you are aware of your responsibilities as an employer to keep you employees safe and protected.

In this context, health secretary for England Andy Burnham said that treatment is the only answer to counter the rapid spread of the disease. The virus is spreading fast every week, and if things are not under control, then by the end of August, a daily count of 100,000 infected persons will not be surprising. An emergency response towards treatment was already expected, as it was common knowledge that a prolonged containment strategy was not going to work.

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