Less Persons Killed in Crashes

first_imgRelatedLess Persons Killed in Crashes RelatedLess Persons Killed in Crashes RelatedLess Persons Killed in Crashes FacebookTwitterWhatsAppEmail The Road Safety Unit (RSU) is reporting a 27 per cent reduction in road fatalities since the start of 2010, when compared with the corresponding period for last year.Up to March 17, some 64 persons have been killed in motor vehicle crashes. This is 24 less than the 88 persons who died during the similar period last year. Twenty pedestrians were among the 64 persons killed, accounting for 44 per cent of the fatalities.Education and Information Officer at the RSU, Mr. Julian Thompson, said although he was pleased with the reductions in other categories, the high number of pedestrian deaths is unacceptable.“While we are grateful for the reduction in road fatalities, the Unit is still concerned about how pedestrians are using the roads. The RSU would like to urge pedestrians to utilise the areas of the roads designated for safe walking, such as pedestrian crossings, sidewalks and crosswalks,” he said.While urging all road users to practise safe usage of the roads, Mr. Thompson appealed to motorists to make a special effort to look out for pedestrians and pedal cyclists.“Pedestrians are the only group of road users without protective devices, therefore it is even more imperative to be vigilant and proactive about safety on the roads,” he stressed.The RSU is also reporting a 24 per cent reduction in fatal crashes. Since the start of the year, there have been 60 fatal crashes, compared to 79 for the corresponding period last year.center_img Less Persons Killed in Crashes LabourMarch 18, 2010 Advertisementslast_img read more

How to apply for and pass the VGTR cultural test

first_imgHow to apply for and pass the VGTR cultural testThe second part of our Video Games Tax Relief guide is dedicated to the cultural test, how it works and what you’ll need to passMarie DealessandriAcademy WriterThursday 16th January 2020Share this article Recommend Tweet ShareCompanies in this articleBritish Film InstituteVideo Games Tax Relief is not always easy to understand, which is why we’ve put together an in-depth guide to making a VGTR claim and passing the cultural test. VGTR is a simple way for studios to reduce the monetary risk they take when developing a game in the UK or the EEA, as it offers a rebate against production spend.Our guide is in three parts. If you first want to read an introduction to video games tax relief, head to the VGTR hub page, where you will also find the full table of contents. You can also choose to jump back to the first part, What you need to know about VGTR and the certification process, or to the conclusion, How to make the VGTR claim.Here’s what you will find on this page, which is dedicated to applying for and passing the Video Games Tax Relief cultural test:What is the cultural test for video games?What are the different sections of the cultural test and how do they work?Will I have to change my game to pass the cultural test?What is the cultural test for video games?The cultural test part of the certification process has one goal: to determine whether your game qualifies as British. Without this, you can’t make a VGTR claim. But “qualifying as British” doesn’t mean what you may think — you can qualify as British even if your game isn’t set in the UK, and has no characters in it. The cultural test is about British creativity; it’s about where the work is taking place and who’s making it. Ukie’s head of policy and public affairs Tim Scott”The cultural test basically suggests that the product that you’re making, the content that you’re creating, and the people making it qualify against a set of fixed criteria,” says Tim Scott, Ukie’s head of policy and public affairs. “Now, it sounds a little bit daunting when people first look at it and it leads to a lot of confusion. The confusion fits in with: ‘Does that mean that I have to include characters in pinstripe suits and bowler hats and have lots of red telephone boxes in my game because that’s what’s culturally British, right?’ And you’d be amazed at how many people still think that’s the case. The reality is quite removed from it.”The cultural test is only “one sheet of A4 paper,” Scott points out, split into four sections (cultural content, contribution and hubs, as well as personnel, see below for more details).”Read it and think about how your title might fit against the criteria that it’s looking at,” Scott adds. “And do that at the beginning because you will probably be pleasantly surprised.” You only need to get 16 points out of a possible 31 to pass, and the test has been designed so it takes into account the breadth of games content out there. Scott takes stop-frame animation series The Clangers as an example to explain the cultural test’s flexibility — it’s not a game, but it still works.”The Clangers are aliens. They don’t speak English, they speak gobbledygook. And they don’t live in the UK or the EEA, they live on the moon. So how could that subject matter pass as culturally British? The test was built to take into account those aspects of creative storytelling.”Another example would be No Man’s Sky, which the BFI has chosen as the cultural test’s poster child on its leaflet. Hello Games’ hit debut is not set on Earth and its characters are of undetermined origin, and yet it qualified as British and benefited from VGTR.What are the different sections of the cultural test and how do they work?The way the cultural test works means you don’t have to follow the order of the sections to claim points — as Scott highlights, it’s “a sort of first-past-the-post system.” As we have already touched upon, projects need to achieve 16 points to pass and these points can come from any of the four sections:Section A – Cultural content (up to 16 points)Section B – Cultural contribution (up to four points)Section C – Cultural hubs (up to three points)Section D – Personnel (up to eight points)Anna Mansi, head of certification at the BFI, details an example to clarify how it works.”Potentially you could have a game that’s set in Australia, for example, with Australian characters, so you won’t get the points in A1 [Set in the UK or an EEA state] or A2 [Lead characters British or EEA citizens or residents],” she says. “But A3 is about: is it a British or European story, or is the underlying material by a British or European citizen or resident?Head of certification at the BFI Anna Mansi”The example I always use is: you want to make a game about West Side Story. The underlying material is Romeo and Juliet by William Shakespeare. So you’d get the four points for the underlying material.”This could be about original literary origins, but also many of our comic books, graphic novels are being made into films. A lot of those graphic novels are written and illustrated by UK talent. However, a British game developer may want to set it in Australia for some reason. It’s their concept and it’s their idea [so they’ll get points for having British underlying material].”A3 gives either four points or no points and it is quite straightforward to determine if a game can qualify. Then, A4 gives up to four points for “original dialogue recorded mainly in English language or one of six UK indigenous languages,” but once again it’s not as strict as it sounds.”In terms of language, it’s quite accessible — it’s not just dialogue,” Mansi says. “If you have a puzzle game where you’re not necessarily going to have a character speaking, it’s all the text-based instructions. So you’re already looking at eight points [in section A] here.” “Yes, it’s a bit bureaucratic, but we have to operate a robust system”Anna Mansi, BFIYou can get up to four points in section B if your game “represents/reflects British creativity, British heritage or diversity.” Mansi is an advocate for more diversity in the industry — she believes this aspect of the cultural test is crucial to encouraging developers to depict diversity on-screen. And the following sections are even more flexible.”In section C, you get points for where the work is done, and you only need to have undertaken 50% to qualify in one of these categories,” she says. Specifically, at least 50% of the conceptual development or storyboarding or programming or design has to take place in the UK (C1), or at least 50% of the music recording or audio production or voice recording has to take place in the UK (C2).”So, if you’re working in the UK, you’re doing all of this, and you can get up to three points. And with these eight points [in section A], that takes you up to 11 points. And then in section D, you get a point for every category.”Section D focuses on your team, with points given for each member of your team being EEA citizens or residents.”If you’re a small company and it’s just the three of you and you are both the lead artist and the project leader, you get multiple points. If you’re just a small indie developer in the UK, you’re pretty much going to get eight points, taking you well over the 16 pass mark.”If you do claim points in sections C and D, you need an accountant’s report at the final application stage to verify you’re actually entitled to them.”We will always encourage people to go for points in section A and B because they won’t have to incur additional costs,” Mansi adds. “You need 16 points to pass, so it’s trying to make it as least onerous as possible. Yes, it’s a bit bureaucratic, but this is government legislation and we have to operate a robust system.”Roll7’s production and finance director Tom HegartyWill I have to change my game to pass the cultural test?If you’ve read this far and are still worried about passing the cultural test, Roll7 production and finance director Tom Hegarty has reassuring words for you.”I probably expected the cultural test side of things to be more complex,” he says. “But that was actually okay. You have to show what the game is doing to meet the targets. For a couple of our games we had to use sections C and D. That means you have to use an accountant, so there’s probably more paperwork on that side, but we expected accountancy work to make sure we had everything set up.”When asked if he feels that having to pass that cultural test had an impact on the development of Roll7’s games at all, Hegarty’s answer is unquestionable.”It didn’t, no. When we first did it we actually had a couple of different games that went through it and one passed purely on cultural [content and contribution]. So you don’t have to — and shouldn’t — be refactoring your games to account for [the cultural test].Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “If you are developing games within the UK, I think it would have to be something very specific to not pass. We do like to reference British things in terms of our humour and stories and so on. But because of the way we work and where we’re based, we find that our games just pass the cultural tests.”Mansi encourages anyone with lingering doubts to get in touch with the BFI (contact details can be found at the bottom of this page).”Don’t try and assess yourself and assume that you can’t pass the test — we’re here to help,” she says. “Don’t worry about the setting and character, come and get in touch with us.”Our VGTR guide is in three parts. If you first want to read an introduction to Video Games Tax Relief, head back to the VGTR hub page, where you will also find the full table of contents. You can also choose to jump back to the first part, What you need to know about VGTR and the certification process, or to the conclusion, How to make the VGTR claim.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair An hour agoEA Play Live set for July 22Formerly E3-adjacent event moves to take place a month and half after the ESA’s showBy Jeffrey Rousseau 3 hours agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

Endowed Professorship in Oral & Maxillofacial Surgery

first_imgUniversity of Maryland School of Dentistry, Department of Oral andMaxillofacial Surgery, seeks applications from leading scholars forthe Frederick G. Smith, MS, DDS & Venice K. Paterakis, DDSEndowed Professorship in Oral & Maxillofacial Surgery. TheDepartment of Oral and Maxillofacial Surgery is globally recognizedfor surgical care in the areas of cancer, trauma, and congenitaldisorders. The Department is recruiting a biomedical engineer toenhance and expand the clinical and translational research programin head and neck surgery, with an emphasis on drug/protein/cellcarrier systems, particularly for bone engineering. Successfulcandidate must have a strong track record of research, scholarship,and federal funding in biomedical engineering.Salary and academic rank will be commensurate with qualificationsand experience.Qualifications :The position requires a Ph.D./Sc.D. or equivalent degree.last_img read more

Mart Crowley, Tony-Winning Playwright of The Boys in the Band, Is Dead at 84

first_imgMart Crowley(Photo by Emilio Madrid for Broadway.com) The play also received two off-Broadway revivals in 1996 and 2010. Then in 2002, Crowley wrote The Men From the Boys, a sequel to the play which takes place during a memorial service; it premiered in San Francisco. In 2018, in time for its 50th anniversary, The Boys in the Band received its first Broadway production, directed by Joe Mantello and featuring an all-gay cast that included Matt Bomer, Jim Parsons, Zachary Quinto and Andrew Rannells. The Broadway production received two Tony nominations and won one: for Best Revival of a Play (it also won a Broadway.com Audience Choice Awards for Favorite Play Revival). The Boys in the Band film—produced by Ryan Murphy and David Stone, and starring the Broadway cast—will be released in 2020. “I think there’s a Guinness Book of Records here because I can’t think of another play that was made into a movie twice that had the exact original actors from New York each time,” said Crowley last year. “I think it’s quite amazing.”Crowley’s other plays include Remote Asylum, A Breeze From the Gulf, Avec Schmaltz and For Reasons That Remain Unclear, which was written in 1993 and was about sexual abuse in the Catholic church. He also had a career in Hollywood; he was the producer/cowriter of the ABC show Hart to Hart (1979-1984). He is the co-author of the children’s book Eloise Takes a Bawth. He’s also set to appear in May in the HBO documentary Natalie Wood: What Remains Behind.Though The Boys in the Band is what he’s known for, Crowley never thought the play would be considered an integral part of gay cultural history. “Everybody that knew me, my friends, they all thought I was going around the bend a bit when I’d tell them what I was working on,” he recalled of writing it. “I just kept going. I had faith in something, I don’t know what it was—myself, I hope. I finally typed ‘The End’ and put it on my arm and came to New York with it.”Boys in the Band star Andrew Rannells wrote a tribute to Crowley on his Instagram, which said, “Mart Crowley. Kind. Smart. Hilarious. Generous. I feel incredibly fortunate to have spent so much time with him. He will be greatly missed and always loved.” Crowley at the Broadway opening night of The Boys in the Band (Photo by Caitlin McNaney for Broadway.com) Mart Crowley, the Tony-winning playwright of The Boys in the Band, has passed away. He reportedly had a heart attack, and died while recovering from heart surgery. He was 84 years old. A playwright and screenwriter, Crowley is best known for creating the first mainstream portrayal of gay men in Boys in the Band, which is being released later this year as a Netflix film.Crowley was born in Vicksburg, Mississippi. He studied acting and show business at The Catholic University of America in Washington, D.C. Then in 1957, Crowley headed to Hollywood, with the goal of being a screenwriter. One of his first jobs was as an assistant to Natalie Wood while she was filming West Side Story. The two became close friends and she encouraged him to write The Boys in the Band, which he did over the course of five weeks while housesitting for actress Diana Lynn in Beverly Hills. The Boys in the Band is about nine gay men who gather at a birthday party. Its exploration of the complicated life of gay men—filled with romantic yearning, witty banter, and, for some, self-hatred—was considered revolutionary for its time. At that point, being gay was still seen as a crime. Though the play was championed by Edward Albee and Richard Barr, it was difficult to find actors who would star in it. “The first time, we would take anyone who would do it; we were beating the bushes [for actors],” Crowley told Broadway.com in 2019. “It was very different back then. You could get arrested for doing the things they do in this play. It was quite awful and ridiculous and demeaning. Naturally, everybody’s agent told them not to do this play. We offered the roles and many turned it down. Agents said it was a career killer.”The Boys in the Band premiered off-Broadway on April 14, 1968 at Theater Four. It was originally scheduled to run for five performances but it was soon a success and its run was extended; it eventually played 1,001 performances and coincided with the Stonewall Riots in 1969. In 1970, it was turned into a movie directed by Oscar winner William Friedkin, featuring the off-Broadway cast. The film was revolutionary because it was the first to depict gay men not as villains and deviants, but as complex protagonists. The Boys in the Band was also the subject of the 2011 documentary, Making the Boys. View Commentslast_img read more