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Limerick City and County Council

Limerick City and County Council has warned the public of possible flooding over the October bank holiday weekend.

Limerick City and County Council advised the public to take extra care if in the vicinity of waterways in the next coming days as Met ireann explained that the Highest Astronomical Tides (HATs) are expected to be exceeded.

The council confirmed they are taking steps to guard against potential flooding with higher than normal high tides forecast across the Halloween bank holiday weekend.

Limerick City and County Council explained that flood barriers will remain in place along the Quays in the city where overtopping is expected. All walkways where flood defences are in place will be closed across the weekend.

Flood protection measures will also be in place in Foynes and Askeaton.

Limerick City and County Council crews are on standby to respond to any reported incidents. The public are advised to take extra care in the vicinity of waterways.

The advisory come as the city is getting ready to celebrate Samhain, Limericks Halloween Festival.

This year, the festival will take place in Limerick city between October 26 and October 28, with a number of events including the Ungodly Bishops Pop-Up Confession, a Vampire Swim, Samhain Death Caf and Tall Tales with Eddie Lenihan. One of the festivals highlights will be the Halloween parade, which will occur on Saturday October 28 from 7pm in the streets of the city centre.

More here:
Limerick warned of possible flooding over Halloween bank holiday ... - Irish Independent

Families stroll and savor gelato cones as bike couriers whiz by. Pensioners relax on benches near manicured flower beds while earbud-wearing hipsters walk dogs and children chase pigeons by a fountain laden with bronze fish. The scene in Victory Square in Timisoara, Romania, is quintessentially European modern meets Old World.

Scanning the imposing Art Nouveau palaces lining the grand plaza larger than three American football fields and bookended by the National Opera House and Metropolitan Orthodox Cathedral I wonder how Timisoara remains a travel sleeper, the most noteworthy city youve probably never heard of.

Romanians and history buffs know Timisoara for its leading role in the bloody Romanian revolution in December 1989, when local protests set off a nationwide wave that toppled dictator Nicolae Ceausescu. (The country is still struggling with the unresolved legacy of that revolution.) As I gaze at vibrant Victory Square, its hard to envision 100,000 anti-Communist protesters crammed together during those fateful days.

Other claims to fame include being the first city in Europe second worldwide after New York with electric street lighting (1884) and being called Little Vienna for its abundant Secession and Baroque architecture, an indelible mark of Hapsburg rule, which began in 1716 after 164 years under the Ottoman Empire. Liberated from the Turks, Timisoara flourished in the ensuing two centuries under Hungarian and Austrian control and the dual-monarchy Austro-Hungarian Empire. The Vienna moniker is a stretch, although the architecture, trams and green spaces do evoke the Austrian capital.

Timisoara is largely unknown to tourists and relatively undiscovered despite being just a few hours from Budapest. As close to Vienna as to the Romanian capital, Bucharest (both about 340 miles), and even closer to five other European capitals, Timisoara is also accessible by a small but expanding airport that connects it to cities across Europe.

Id never heard of Timisoara either when I arrived in 2002 as a wide-eyed Peace Corps volunteer. I stayed two years, fell in love, returned to get married and made annual trips from America, when Timisoara tugged at me like an old friend. My wife and I moved back six years ago. Ive witnessed an evolution from the glum post-revolution years to todays cosmopolitan vibe, thanks to a booming tech sector, significant foreign investment and youthful energy from 40,000 university students.

For me, Timisoaras appeal is twofold: its architecture, which jumps out immediately, and its authenticity, which sinks in gradually. This is no tourist trap with trinket shops galore, but a genuine, livable and multicultural city that moves at a measured pace and offers just enough for visitors to fill two or three days perhaps surprising them with a taste of Romania, a country still enduring an unwarranted image problem, either nonexistent or leaning negative.

Timisoaras historic core, which has the most popular sights, is compact, walkable and centered on three car-free squares Victory, Freedom and Union. Along the way, a mlange of bold architecture abounds.

In Victory Square, the 300-foot-tall Orthodox cathedral dominates with its striking neo-Moldavian, Byzantine-tinged style more common on the other side of the country. The cathedral, built in the 1930s and one of the worlds tallest Orthodox churches, features multiple turrets, a massive gilded altar, towering frescoes and cavernous porticos. A free often overlooked museum in the basement, curated by a gregarious nun, houses ancient icons, manuscripts and religious artifacts.

Elsewhere in the square, its worth admiring the early-20th-century palaces still identified by the names of the original owners, then the citys wealthiest families, including Neuhausz, Weiss, Dauerbach, Lffler and Szchenyi. On one side, two Modernist Communist-era apartment blocks discombobulate the design continuity, but mostly the buildings are superb examples of Art Nouveau, specifically, Viennese Secession with colorful, even playful Hungarian and eclectic elements legacies of a building boom when the city was under Austro-Hungarian rule. Restoration work continues, but several facades were recently returned to their original grandeur that rivals any in Europe.

At the end of the square, the 686-seat opera house is intimate and stunning inside, but open only for shows and tour groups with prior permission.

From Victory Square, many wander the short Alba Iulia Street, which is shaded by umbrellas overhead, passing buskers and gelato shops on their way to Freedom Square and its elaborate statue of St. John of Nepomukand the Virgin Mary, made in Vienna in 1756. A former Hungarian bank on one corner has yet to be restored, but its elegant tower and rounded balconies exude Art Nouveau. The pomegranate-colored, 18th-century former City Hall, in eclectic style fused with classical elements, now houses a university music school violin and trumpet sounds often emanate from its windows, adding to the charm. If hunger beckons, theres Cafeneaua Verde, an inviting bistro with a diverse menu, and the popular La Focacceria serving up focaccia, panini and croissants.

Nearby edifices are a mix of renovated and not, a common theme across the city center, from side streets to the inner neighborhoods of Fabric, Iosefin and Elisabetin, which simultaneously radiate architectural charm and neglect, but are worth exploring. Timisoara has restored scores of its 14,000 historic buildings, spiffing them up to a point in the interwar period, it must have been a stunning city. But much work and well-worn edges remain, a reality of a city not fully polished authentic and steadily transforming, seemingly eager to shed stereotypes associated with Eastern Europe.

Two blocks away is Union Square, a picturesque potpourri of pastels and architectural jewels. The Baroque Palace, an administrative center during the Austro-Hungarian Empire, now houses the Timisoara National Museum of Art, which is hosting a monthslong exhibition of the Romanian sculptor Constantin Brancusi, bringing pieces from the Pompidou Center in Paris, the Tate Modern in London and elsewhere.

The celebrated artist spent most of his career in Paris, and this is the largest exhibition of his work in Romania in 50 years.

Next to the art museum is the whimsical 1911 Brck House, an arresting example of Art Nouveau and Secession with its pink-and-mint color scheme resembling a gingerbread house. Across the square is St. George Roman Catholic Cathedral, resplendent after its recent four-year, nearly $6 million makeover. Inside the Baroque masterpiece, youre transported to Italy, though Masses are celebrated in Romanian, Hungarian and German.

Union Square encapsulates Timisoaras multiculturalism and religious tolerance. Opposite the Catholic dome, as its known locally, is the ornate and colorful Serbian Orthodox bishopric and church. A German-language school (that produced two Nobel laureates) and bookstore are nearby, while a few blocks away is Cetate Synagogue, completed in 1865 and reopened last year after a lengthy renovation.

A once-thriving Jewish community exceeded 13 percent of the population in the interwar period but dwindled significantly because of mass emigration during the Communist regime. Even so, the Jewish legacy in Timisoara is outsize and visible in many of the finest buildings, including the Brck House and landmark Max Steiner Palace, which emits Gaud vibes on its corner of the square.

The Union Square area is full of places to dine and imbibe, most with outdoor seating, and its the go-to spot for locals. For traditional Romanian food, try Miorita for soups, stews and grilled meats with polenta. Vinto is an upmarket, wine-focused restaurant where you can sample Romanias underrated varietals. Zai Miniature, with a wide gin selection, serves cocktails and spritzes with a view, while Garage Cafe has some of the best breakfast and pastries in town, including vegan ones. Naru, a cozy, vegetarian-friendly restaurant with a shaded terrace, is across from Doppio, one of several specialty-coffee standouts.

Near Union Square is the Revolution Memorial Association and its museum about the tragic and euphoric events of December 1989. A short film and exhibits are informative and riveting but graphic and not for young children or the queasy. Its a worthy if humbling experience, especially eye-opening for Americans and other Westerners.

Besides exploring the main squares, another way to experience Timisoara like a local is to wander along the navigable Bega Canal, which runs through the city, passing verdant parks with walkways and bike paths, one leading 25 miles to the Serbian border. Several bars and restaurants dot the canal, but its mostly a pleasant place to stroll and watch vaporetto water taxis and kayaks glide past countless weeping willows.

Timisoara is one of three European Capitals of Culture in 2023. A full slate of art exhibitions, concerts, music festivals, theater and dance extends through December.

The cultural capital organizers are using venues outside museums, from hidden courtyards to private galleries, as exhibition spaces. See the full schedule of events or peruse the highlights by month.

The Romanian currency is the leu (plural, lei). At restaurants, expect to pay 25 to 45 lei (about $5.50 to $10) for soups and starters and 70 to 90 lei for entrees. For accommodations, the four-star Atlas Hotel, which opened in 2021, provides modern comfort just steps from the main squares. Doubles from 700 lei.

Follow New York Times Travel on Instagram and sign up for our weekly Travel Dispatch newsletter to get expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2023.

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It Might Be Time to Consider Timisoara - The New York Times

Employment tribunals heard 102 cases last year in which employees said that their neurodiversity was part of the reason for the discrimination they experienced, research has shown.

According to the data from employment law firm Fox & Partners, tribunals cited include 30 mentioning dyslexia, 25 autism, 19 ADHD, 14 dyspraxia and 14 Aspergers.

Neurodiversity describes the differing ways that peoples brains process information.

According to Fox & Partners, workplace disputes can arise when neurodivergent employees feel that their performance or behaviour in the workplace is being unfairly rated for reasons that are related to their condition.

Ivor Adair, partner at Fox & Partners, said: Whereas many employers have become more aware of neurodiversity within their workforce, that is not yet translating into strategies that are working, as disputes of this type are still making their way to employment tribunals.

Employers should be allocating resources to drive forward a more sophisticated diversity and inclusion strategy, to include neurodiversity.

He added: Employers increasingly appreciate that diversity of thought leads to improved decision making and helps them compete more effectively. Retention and progression of neurodiverse individuals has a part to play in good risk management.

Experts say that the need for tribunals will only be reduced by businesses taking proactive steps.

Chloe Pereira, legal director of people services at Outset Ltd, said: Employers need to do more than pay lip service by simply putting a policy in place: they must take proactive steps if they want to minimise the risk of discrimination claims.

This includes raising awareness among employees about different neurodiverse conditions, providing regular training to promote understanding and empathy, and implementing tailored accommodations to meet individual needs.

Deborah Leveroy, head of consultancy and research at Neurobox, said line managers are not always given enough support and training to oversee neurodivergent employees.

So, what happens is, if an employee is underperforming, it becomes a capability issue, instead of considering if the employee is dyslexic and needs adjustments, she said.

Or if an employee requests an adjustment, but does not have a formal diagnosis, the request is denied by the organisation because they believe evidence is required.

Leveroy suggested training for line managers must be set out in a specific policy, addressing the principles and processes of supporting disabled and neurodivergent candidates and employees.

She added: A lack of clear policy means that organisations end up in unnecessary and expensive tribunals.

Ranjit Dhindsa, head of employment at Fieldfisher, agreed: The managers themselves should have training or access to information on how to work with different people who may be neurodiverse in a number of different ways.

Neurodiversity is such a broad concept and we cannot treat people the same way one must have the ability to adapt to each person's needs, in the same way we adapt to neurotypical people who are also diverse and different.

Andrew Willis, associate director of legal at Croner, said: Managers should be trained on unconscious bias and neurodiversity to ensure that discriminatory decisions are not based on body language or communication stereotypes.

Creating an inclusive environment where neurodiverse employees feel supported and encouraged to speak with their manager is also important.

Pereira said: Sometimes managers and peers exhibit frustration with the needs and behaviours of neurodiverse colleagues the role of HR in facilitating education, support and fostering understanding is crucial.

Often its a case of getting each party to understand the other properly, which helps remove that frustration and promote better working relationships.

Willis urged businesses and HR teams to review every stage, from recruitment onwards.

Some professional environments can pose problems for those with neurodiversity so HR should review every stage in the employment life cycle to make sure that internal practices and procedures do not discriminate against any individual because of their neurodiversity, he said.

At the recruitment stage HR should consider their application process and be mindful that neurodivergent employees may require adjustments such as submitting written answers to specific questions instead of answering multiple-choice questions.

He added: Discussions can then take place about whether any workplace adaptations could assist the employee. This might include having a quiet desk away from busy doors or walkways and ensuring that clarity is given over tasks and deadlines.

Dhindsa said: It's about ensuring that neurodiverse individuals feel able to tell the employer what they need to carry out their work in a productive way.

If they ask for particular technology or equipment, HR should then liaise with different departments to get that to them as quickly as possible.

An action plan should be put in place that is communicated to the rest of the workforce (depending on the individual's consent) or at the very least their manager.

Read the CIPD's guide to supporting neurodiversity at work here

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Tribunals alleging neurodiversity discrimination top 100 in a year ... - People Management Magazine

This week marks the 20th anniversary of Call of Duty. As part of a week of Call of Duty coverage, this feature takes an in-depth look at 'No Russian', the controversial mission from Modern Warfare 2. It contains discussion of content some readers may find disturbing.

Few video game missions can claim to be as well known or as polarising as No Russian. The fourth mission of Call of Duty: Modern Warfare 2 is the unforgettable story of a deadly terrorist attack. It infamously involves the mass shooting of civilians, a seemingly reckless idea for a piece of entertainment. But behind the shock value and bad press is the tale of a team that dared to push interactive storytelling to its very limits.

To find out how No Russian was put together IGN spoke to designer Mohammad Alavi, who created the mission alongside colleagues at Infinity Ward. With his insight, we examine how No Russian makes use of player discomfort, tightly-controlled pacing, and limited interactivity to create Modern Warfare 2s shocking twist.

Call of Duty is these days primarily seen as an online multiplayer hub, but it didnt always have this focus. When the series began in 2003 it was created with cinematic storytelling in mind. Across its first three games developer Infinity Ward found new and exciting methods through which to tell increasingly dramatic stories. In 2007s Modern Warfare, players were shocked as their character was killed off mid-way through the story in a nuclear explosion. For the sequel the team wanted something bolder.

No Russian places you at the centre of a terrorist attack in a Russian airport. Arriving less than a decade after the September 11 attacks, it was a deeply uncomfortable mission when it was released in 2009. It remains so to this day, not least because your role in the mission is not to prevent the attack, but to commit it. You play as Joseph Allen, an undercover CIA agent attempting to win the trust of Vladimir Makarov; a Russian ultranationalist who intends to stoke the fires of war between Russia and the USA through a false-flag attack. No Russian refers to Makarovs insistence that no one on his team reveals their nationality; people need to believe Russia was attacked by Americans, not a cell of its own people.

The idea for No Russian began with Steve Fukuda, one of the four design leads on Modern Warfare 2. Steve's original pitch was you're with a bunch of guys and they're all in Kevlar and they have M4s, recalls Alavi. And he knows all he has to say is M4 and everybody realizes, Okay, so we're the Americans.

But in Fukudas mind, these characters werent Americans. Packed into the back of an APC, he imagined the opening of the mission to be deathly quiet. And then before the doors open, the guy in front of you turns, he goes, Remember, no Russian, Alavi remembers Fukuda telling him. And the doors open. It's just a bunch of civilians in a mall. And he just starts mowing them down.

Alavi was fascinated by Fukudas ambition to flip player expectations in such a dramatic way. He saw it as an opportunity to create a powerful storytelling moment one that would not just be the catalyst for Modern Warfare 2s story, but something that would remain anchored in peoples minds for years to come.

I often got questions, says Alavi. Did you mean to make something controversial? And I was like, No. That actually wasn't my intention. What I meant to make was something memorable.

Alavi believed the key to making No Russian memorable lay with Makarov. Because of the first-person nature of Call of Duty, players would typically never be in the same room as Makarov the main characters were always two steps and often an entire country behind him. But by casting you as an undercover CIA operative, Alavi could put you within touching distance of Makarov during his bloodiest hour.

You're going to remember this guy, Alavi says. Because you're never going to see him again in first person, but he's got to be the through-line for at least the end of this game, if not all the way into the next game. So, it's got to be memorable.

I was like, I've got to just hammer this point home. So yeah, I was basically just trying to think of the most atrocious things that could happen.

And so Alavi and the team set to work creating what they hoped would become Call of Dutys most memorable moment. Designer Julian Luo laid down the levels geography, which shifted from Fukudas initial pitch of a shopping mall to Zakhaev International, a fictional Moscow airport. The APC was turned into an elevator, and the opening of its doors triggered Alavis script for what would become one of the most infamous sequences in video game history.

No Russian opens with its most horrifying act. Four gunmen plus the player, led by Makarov, open fire on a crowd of civilians at the airports security checkpoint. It comes out of nowhere; where most Call of Duty missions are prefaced by a briefing that explains what to come, No Russian keeps its cards completely hidden. Instead, all youre given is a few words from your superior, Lieutenant General Shepherd: It will cost you a piece of yourself. It will cost nothing compared to everything youll save.

The lack of a pre-brief makes the moment your gun rises to the ready position particularly gut-wrenching; you knew it was going to be bad, but you had no idea you were being asked to do this. As shocking as the slaughter is, though, its what comes after that feels the most harrowing. Makarov and his men continue forward through a waiting area, shooting fleeing and surrendering civilians. They scale stairs up to the shopping area of the terminal, still firing indiscriminately. The scene goes on, and on, and on. It is a living nightmare given digital form.

The uncomfortable length of No Russians massacre is what lends it its power. But that understanding only came later in development. The first version of the level began with just the checkpoint attack and then quickly transformed into a typical Call of Duty mission.

I have this bad tendency to be like, All right, I did the moment, let me go back to Call of Duty, Alavi confesses. So, immediately up the stairs from that beginning moment, it was a bunch of police coming in, they're shooting you, and [theres] riot shield people, and it was just regular Call of Duty for the rest of the level. And it just didn't feel right. It felt like we were just touching on something, just scraping the surface of something important and then just shy away from it.

On its own the checkpoint shooting was a crass gimmick. It risked being a throwaway moment that said nothing about the horror and the inhumanity of such an act. And so Modern Warfare 2s director, Jason West, asked Alavi and the team to think bigger.

He was like, You think this is bad? It's not enough, recalls Alavi. He was like, I want the whole airport to be like this.

Alavi eventually agreed with Wests advice. He recognised that This moment needs to breathe. Then I just started coming up with all these different things. People dragging other people to safety, the police trying to wade through the crowds of people. And it was just moment, after moment, after moment that I could think of to just sell this horrific thing.

Much of that horror was achieved through the use of new animation. Bespoke motion capture imbued the levels civilians and police with a sense of fear that wasnt usually required for Call of Dutys NPCs. But while those unique animations are vital to the experience, perhaps the most chilling thing about No Russian is not how the victims move, its how you move. In Call of Duty, you run by default. But in this mission you literally cant. Makarov, his men, and yourself all push forward at a slow, steady pace. It lends a frighteningly casual tone to the entire event.

You're in complete control of this situation, explains Alavi. And I couldn't figure out how to get that tone and that feeling if you could literally just sprint. So I just took the ability away from you. It's my least favorite thing about that level. I hated that I had to do it because I hate it in other games when I see it done now. But [...] I couldn't figure out a way around it.

The ability to run isnt the only thing No Russian takes away from you. It also strips away almost all of the traditional structures of a first-person shooter level. During the first half of the mission there is no genuine threat or challenge. You dont need to take cover or flank foes. You dont even have to fire a shot. You simply follow Makarov through the airport.

I'm about to say something terrible, but that level wasn't about gameplay, admits Alavi. It wasn't about solving puzzles. It wasn't about learning a new weapon or a new feature or anything like that. It was really about selling this moment and living in that moment.

And that's the whole feeling, this feeling of being a bully, he adds. It sucks, but that's the whole point of it. You don't need to rush.

The mission is a dark reflection of walking simulators. Much like Dear Esther or Firewatch, No Russian is all about experiencing a world first-hand and the emotional response that world provokes. Its success entirely hinges on how players respond to it, not its combat mechanics or gunfeel. To make sure this terrorism approach worked, Infinity Ward put the mission through extensive playtesting.

We do something called Kleenex testing, Alavi reveals, referring to one-off playtests conducted with random players (theyre one and done, hence the tissue monniker). And I knew I had something special when I would say 50% of the people that we Kleenex tested didn't shoot.

It wasnt that these players just didnt pull the trigger, though. Many of the testers would pretend to take part in the attack, but do so without killing anyone. They were firing at the ceiling, firing overhead, Alavi explains. I was like, you know what? I should reward people who do that. I should make it so you can make it through the whole thing without [killing anyone].

Being able to play No Russian without ever pulling the trigger is a complex moral issue. It can be seen as something that prevents the mission from becoming a callous, voyeuristic experience that enables the darkest indulgences of humanity. No Russians big question is How far should America go in the pursuit of homeland security?, and holding fire allows you to voice something of an answer through your actions. But theres no way to prevent this attack from happening. You cannot kill Makarov. Your actual agency is almost non-existent. And so for some people, the option to not take part in the shooting was still too much.

We had a veteran come in to play the game, Alavi remembers. And he gets to that level and the doors open, and he instantly recognizes that they're all civilians. And he just puts the controller down and leaves the room. He's like, I'm not playing that level. And I was shocked. I was like, Wow. Okay. No. This has a strong reaction with some people.

Such a negative reaction was not limited to just playtesters. Within Infinity Ward itself there were a number of voices that began to question if No Russian was a good idea.

There were definitely some people at our company that [objected to No Russian], says Alavi. I thought they were overreacting, but they were 100% right. I remember one person was like, This is offensive. I don't want to play this level.

The design team believed in No Russian and the power of its narrative, but concerns like these made them question if it should be mandatory that every player experience it. And so Jason West made a call: there would be a content warning at the start of the game that would allow players to skip No Russian entirely, without penalty.

I didn't want to do that, actually, because I felt like that was copping out, says Alavi. I felt that was almost being This is not worth you playing. But Jason West was the one that was like, No. We have to have this in. And he was right. He was like, This is not about it being a cop out. This is about allowing people to enjoy the rest of the game, even if they don't agree with this part.

Outside of Infinity Ward, several members of the media have disagreed with the decision. It's something of a cop-out, a side-step, rather than a pertinent justification, said Kieth Stuart in The Guardian. Kieren Gillen of Rock Paper Shotgun went even further, noting that the ability to skip the massacre be that through choosing not to shoot or play the level at all is the single thing that stops it ever being some manner of effective artistic statement and rendering the whole thing laughably pathetic. Even today, 14 years later, there is no general consensus on No Russian. It remains Call of Dutys most notorious mission.

The controversial massacre makes up just the first half of No Russian. Bridging it to the second half is an uneasy transition sequence that reflects on the events thus far. The terminals layout curves around to provide an overhead view of the departure lounge, its walkways filled with bodies. Makarovs men remain quiet as you descend the stairs and survey the scene. The uncomfortable silence makes one thing clear: You have done an unforgivable thing.

This downtime between the two halves is vital from a narrative and thematic perspective, but its an important soft reset of the gameplay, too. As Makarov and his team exit the terminal and begin their escape plan, the scope of No Russian shifts significantly. The slow, steady pace is exchanged for frantic firefights as Federal Security Service troops arrive and put up hard resistance.

This shift in atmosphere is signalled by an animation and AI switch. Makarov and his men move and behave completely differently when faced with aggressive opponents. During early development of this sequence, Alavi used the same animations for Makarovs men that were used for regular soldiers in the rest of the campaign. But it soon became clear that this generic army moveset didnt convey the right attitude.

Everybody was like, Yeah, there's something missing here, Alavi recalls. And they're already in suits, they're already in Kevlar, and the first thought that came to all of our minds was Heat.

The team studied Michael Manns crime movie in forensic detail to capture the tone of Val Kilmers group of bank robbers. They identified that it was the actors stance that separated them from classic military; where a regular soldier would run with their weapon down and fire from a centralised position, the criminals in Heat run with their guns up and then lean forward into their firing position.

We copied all of that, says Alavi. No joke, frame for frame, we're just going through and looking how they stood, how they reloaded, the dialogue they said to each other.

This transformation from casual killer to Val Kilmer flows in tandem with the missions second-half shift to action-focused gameplay. Out on the tarmac the level design adheres to the classic principles of Call of Duty. Luggage carts, plane wheels, and concrete building supports provide varying levels of cover. Jumbo jets block the scene, obscuring future threats. Enemies push and flank on the ground while their allies shoot from second floor windows, forcing you to assess your targets and find appropriate firing positions. And, of course, the entire sequence is tightly scripted with explosive events that keep the cinematic tension high.

I tend to make standard gameplay first, says Alavi. And then as I'm playing the game over and over and over again, I find out where I can pepper in these bombastic moments. That's actually where the idea for the exploding jet engines came from. I was like, Wouldn't it be cool if you could shoot the jet engine and explode and kill somebody? And Jason West was like, Why are the jets on? And I'm like, Because it's cool.

That approach gave birth to No Russians most memorable combat encounter: the line of FSB riot troops who emerge from the smoke clouds. This visually striking sequel signals to the player that the rules of engagement have changed, that there is now armed opposition. Its a sort of soft permission to shoot back that further blurs the lines of what is morally acceptable.

I was peppering in riot shield guys but I realized that I was making a mistake here because you'd never seen riot shield guys before, explains Alavi. And peppering them in wasn't giving them the proper fanfare that they deserved [...] They need to have their own thing where I basically force you to come out to a trench essentially, where it just naturally makes you want to just stop.

The riot shields in Modern Warfare 2 can soak up magazines worth of ammunition, and so simply taking aim and hosing down a riot trooper is ineffective. Thus they offer No Russians sole combat puzzle: how to eliminate a threat that can only be damaged from behind. The largely open tarmac setting, littered with small pieces of cover, makes it the perfect landscape for flanking manoeuvres. But there is a way to inflict rear damage to an enemy without going behind them yourself: grenades.

So we're animating the riot shield guys and [Infinity Ward animator] Chance Glasgow was holding onto the riot shield, Alavi remembers. We were trying to get animations of a grenade going off and how that reacts. And it didn't seem right. I was like, Okay. Close your eyes. So, [Chance was] standing there and he had his eyes closed. And our producer Dan, who's like 250 pounds, just tackles into him and completely knocks him off his feet, gives him whiplash. But it looks amazing when you throw a grenade at a riot shield.

With the final van load of FSB officers eliminated, the mission falls quiet once again. As you follow the team through a concrete service corridor youre given another moment to reflect on what youve just done. Shepard said this mission would cost a piece of you, and it most certainly has. But was that cost worth it? The answer, it turns out, is no. In No Russians final moments, Makarov reveals that hes known you were a US spy all along. He shoots you, leaving your dying body to be discovered by the Russian authorities. Theyll identify you as an American, and believe the attack was orchestrated by the US. A war will erupt the following day. You have been little more than a pawn in a game. Your sacrifice meant nothing.

Its an incredibly bleak ending to a horrifying mission. It makes its point loud and clear: the reckless choices of American foreign policy plays dice with the lives of civilians. And it has, quite rightly, been the topic of extensive debate. Modern Warfare 2s wider narrative struggles to justify the mission; why can you not just kill Makarov and prevent the attack? What further greater good could have been achieved that required those lives to be lost?

And then theres that darker question. For No Russian to truly confront you with its gut-wrenching, terrible statement, surely it should have forced you to shoot those civilians? Its questions like these that threaten to tear the mission apart. But, for all its problems, No Russian still has power. In a genre that typically asks players to fire without question, it elicits an incomparable emotional response.

I was like, I want to get people to actually maybe not pull that trigger, says Alavi. Maybe don't pull that trigger, just hesitate for a moment. I don't care if they pull the trigger later, but if I even get them to just stop for a second and be like, What am I doing? I felt like I had accomplished something."

No Russian was always doomed to be an imperfect mission. There is no ideal way in which to make a terrorist attack interactive. But Infinity Wards bold efforts produced one of the most important artefacts in video game history; a preserved example of the industrys ongoing struggle to address mature themes through play. Its walk along the knife edge of entertainment and critique is awkward in its message but brilliant in its execution. It forces you to endure darkness and demands you examine your feelings. It is, for all the right and wrong reasons, the most memorable moment in Call of Duty.

Matt Purslow is IGN's UK News and Features Editor.

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How No Russian Became Call of Dutys Most Memorable Mission ... - IGN

Dont walk on the grass. Only Fellows can walk on the grass, Asif warns us, unserious. I puncture the steadfast walls of immaculate stone, climbing through a tiny doorway punched out of the massive wooden gates a foot off the ground. The air is thick with the mist that bathed our walk from the Mathematics Institute.

I see Eleni walk up to the perfectly manicured lawn and defiantly plant her foot down. Nothing happens.

Magdalen College sprawls past the river bordering central Oxford. We walk over a small wooden bridge to a gravel trail encircling one of the Colleges two deer parks. The walk is lined with bright yellow flowers, eerie spots of color. Eleni is surprised they are so well-preserved: at Cambridge, the undergraduates usually leave none standing.

As the blooms sway in the wind and the water meanders past, I lose myself in gentleness. My body dissolves. Arms, legs, eyes and skin are not my own, and my consciousness pure heat and electricity spans across moments, heavy with history and place.

I see Oscar Wilde walk down the steps from his accommodation and stroll through the deer park on an April afternoon like this one, awash in quiet melancholy, the vastness of gray sky and green lawn. The green is strange for this Californian, acclimated to the yellows and browns of drought. I see all around me the billowing robes of 15th century Bible scholars the College is new, and so many pages are yet-unwritten.

My scattered shards of self shear and shatter in time's turbulence. I wonder where I am. I turn my head: the group is on to the next attraction, back toward the courtyard, the central artery between the dining hall, the common rooms, and the like.

I feel like we have to make a bet here, now; what should it be? Nader echoes from beyond the entryway, unanswered. We pass through the Colleges ancient walkways past rows of intricate arches, cramped doorways, shadowy corridors leading up toward faculty offices and classrooms for tutorials.

At the front, Asif turns a corner and heads up a couple flights of narrow stairs, past a sign reading Senior Common Room. He swipes his badge at the door, which clicks open after a foreboding delay. The five of us enter, passing rows of long black robes and brightly colored hoods.

We gather beside a low, backless chair, awkwardly stationed by the nearest window looking out onto the courtyard. The chair is unadorned except for a small sliding weight on the left arm a balance.

On the windowsill is a leather-bound ledger filled with dozens of dates, names, and weights in stones and pounds. Asif, our impromptu historian, points to an entry: Edwin Schrdinger, it reads.

This was his first High Table dinner here, his induction as a Fellow, we are told. Right before, from that phone he points to a 1930s telephone hanging on the wall they got the call that he had won the Nobel Prize.

I walk to a plexiglass case across the room, below a tapestry older than the Constitution. On the bottom shelf is a tasteful arrangement of four 18th-century flintlock pistols; above them sits a small jewelry case holding a beautifully polished Nobel. (Not Schrdingers, Im told.)

One by one, the others sit in the chair, reading off their weights in those awkward British units. On my turn, I stare into the brown leather upholstery, and feel nothing but tension. I decline; it is an honor I havent earned.

Nader has settled on a bet now. How about: In five years, many-worlds will be the dominant quantum interpretation.

Id take that bet, Asif responds, smiling wryly, perusing an ancient dissertation pulled from a bookshelf.

Oh yeah? How will you measure that? Gabriel is characteristically blunt, through his thick Portuguese accent.

I guess when Jim says its true. Nader chuckles; then, the four physics grad students all start laughing. Jim will never say its true.

I met Jim the day before in a spotless seminar room in the Wiles building, conspicuously beautiful for a math department. He was confident perhaps overly so, perhaps not that language does not live on a line.

Meaning a yarn ball of strings and boxes, concepts and relationships seems vastly bigger than the jumble of symbols we throw around at each other. I wonder now if mind does not live on a line, either. Perhaps the focus of this conference the mathematics of consciousness is missing the point too, settling for the shiny veneer to avoid the boundless ocean beneath.

But then I remember my own sloppy anarchism, my fear of groups of more than four people. I wonder where my distaste for this enterprise really comes from.

We never settle on terms for the bet. Instead, we walk outside toward the outskirts of town in search of some decent non-British food. Eleni is 21 and doing her second masters; she tells me that the most pressing concern for humanity is to end death.

She strategizes about transitioning from quantum theory to neuroscience, about unlocking the secrets of immortality. I recall my own stint with transhumanism a dinner at a kitschy diner in Baltimore with Aubrey de Grey and a few giddy philosophy majors, a plastic baby staring down at us from the technicolor ceiling.

What happened to that passion? I think. End death thats a real goal.

I am in that cold Maryland December twelve years ago a late night in the library, huffing espresso fumes to force myself awake, flailing feverishly to get a brain decoder working to impress the grad student supervising me.

The blue fluorescents and vomit-colored carpet in the windowless basement stacks tinge pixelated traces of a patients hand position, squiggling back and forth in a Matlab figure window. I feel like solving this will solve everything.

The sun has set on the narrow, wet Oxford street. In twelve years, my ambition has sunk to mocking Andrew Huberman's three-hour pitch for testosterone-enhancing yerba mate, self-righteously sipping tequila-sodas at my neighborhood haunt. But then again, I remind myself, I quite like that ritual.

We settle on a Persian place. They close in 15 minutes, but the staff are too polite not to seat us. As the drinks and appetizers come out, Gabriel looks over to me and asks, So, how about you. Whats your metaphysics?

Im an idealist, I tell him, taking a sip of tea. The four look at each other.

Really? Asif asks, incredulous, his teeth showing through a broad smile.

Alright. Sell it to me, then. Gabriel is deadpan, gesturing to me with both arms.

Well, I dont know if its right. But its nice to think about.

Gabriel looks off to the side and upward toward the ceiling moldings. He scratches his chin, then looks straight into me. So what then, material reality is correlations in experience structure, or something? I enjoy the way he says correlations, wiggling his fingers together to illustrate.

More or less, yeah. The waitstaff start stacking chairs on the other tables.

Gabriel purses his lips and nods a little. Interesting he trails off. Our lamb platters arrive, barely squeezing onto the thin table. Then the group asks me whats up with Americans and guns.

* * *

Looks good; Dr. A will be in to see you in a minute, the technician says, pulling the blood pressure cuff off my arm.

I double-check that I have everything. My turquoise journal is open next to me, Session 26 scrawled at the top of the page. I unlock my phone; up pops the article I was reading on the Muni over:

Under basal conditions, activation of cortical extra-synaptic GluN2B-selective NMDARs acts through the mTOR signaling pathway to suppress protein synthesis, which maintains synaptic homeostasis

I dismiss the word salad and open Spotify instead. Muscle memory takes over: gear, playback, 12 second crossfade. Library, KAP IM Session 3downloaded. Play, pause. Shuffle on, off, on, off.

The doctor comes in, and after a brief chat about my travels, he hands me the first spray. I blow my nose, lean back, and snort the meds right nostril first, then left. I recognize the subtle metallic taste of the ketamine in the back of my throat; these days, its more of a comfort than a nuisance.

I think back to the intention I had written in my journal. The trip had been hard God, that first night in London.

I am back, alone, lying in my tiny Airbnb, walls spray-painted with gold Rustoleum. In memory, I am half-dreaming, looking up from the twin bed filling the room at the shadow of a seven-year-old child, a haze in scattered light from a clip-on LED desk lamp.

I can feel his foot pressing my face into the dirt at the edge of the schoolyard. I know he knows no one can see. I see myself from outside, alone in the shimmering darkness, wandering through my pocket universe.

I watch myself get up and walk down the quiet Islignton backstreet to the nearest bodega, lodged in the negative space between a cafe and an auto repair shop. I ask the clerk for a vape pen; he points wordlessly to the dizzying rainbow of flavors behind him, distracted by something happening on a head-sized CRT television crammed into a haphazard shelf.

I have no idea, man; whatever people seem to like, I tell him. He smiles, pulls one down, and hands it to me. Watermelon. I roll my eyes toward the cool fluorescents and fork over the foreign plastic money. I walk down to the canal by myself, leaving behind only a cloud of horrific flavor floating past the houseboats, backlit by yellow sodium streetlamps.

My mind is brought back to the office as the doctor hands me the second spray. On the far wall I notice the familiar, comically small print of a snow-capped mountain, lit in pink-purple alpenglow.

But I didnt fall apart. I plug my left nostril. I loved that trip.

It had felt to me like being in those first uneasy talks about Hilbert spaces in quantum mechanics a hundred years ago. I sniff in. It is so early now before history has broken the symmetry, setting us down one path, free but predetermined. I sniff in the other nostril. I recall that the last year of treatment has been during my Saturn return.

Saturn, the Old One, melancholy from the weight and the guilt of history. Saturn wise in suffering, gold transmuted from lead. Saturn does not seek to end death; Saturn sees death for what it is.

The doctor leaves. I turn off the light, put my headphones on, and lay down in the massive chair. I close my eyes. This time, I see only swirling silhouettes; I wonder if perhaps Im finally developing a tolerance. The come-on is gradual. But then it is sudden, and all at once, Im undeniably in it.

I see a shard of light, which I think must be a living cell, dividing in two. As the sister shards squirm and separate, they remain connected; I see their trajectories in spacetime, rotated and sliced through a different axis. I watch the eons of evolution unfold in form, connected and whole. Immobilized by ketamine, I relinquish a thin smile at the geometry of Darwin.

Lying there in the clinic, I walk into a clearing surrounded by wide trees. It is deep night, so dark that I can see every star in the Milky Way the traces left over from that Tree of Life, enshrouded in clouds of purple. As I kneel in the tall grass, a ray of light passes through my pineal gland.

Not cells. Ideas.

There! in Orion's belt, I see the birth of Beethovens 5th, a supernova condensing into a star-lineage that extends far beyond the angular resolution of the Sight behind my eyelids. I look around me, out into that awesome web of crystalline light piercing the infinite black. I am awash in fire.

God, I say to myself, and reach for the gold Mbius strip hanging from my neck. My God.

See the original post here:
Don't Walk on the Grass - UC San Francisco

Safety on the Water

All users of the navigations are strongly recommended to make themselves aware of safety on the water for whatever activity they are involved in and to read the advice offered by the various governing bodies and by:

The Dept. of Transport, Ireland: http://www.gov.ie/transport and The Maritime and Coastguard Agency, UK, The RNLI Water Safety Irelandfor information in terms of drowning prevention and water safety.

All vessels using the Shannon Navigation, which includes the Shannon-Erne Waterways and the Erne System must be registered with Waterways Ireland. Only open undecked boats with an engine of 15 horsepower or less on the Shannon Navigation, and vessels of 10 horsepower or less on the Erne System, are exempt. Registration is free of charge.

Craft registration should be completed online at:https://www.waterwaysireland.org/online-services/craft-registration

All vessels using the Grand and Royal Canals and the Barrow Navigation must display appropriate valid Permit(s) i.e A Combined Mooring and Passage Permit (126) and if not intending to move every five days, an Extended Mooring Permit (152).

Permit applications should be completed online at: https://www.waterwaysireland.org/online-services/canal-permits

For boat passage through the locks east of Lock 12 into / out of Dublin on either the Royal or Grand Canals, Masters are requested to contact the Waterways Ireland Eastern Regional Office (M-F 9.30am-4.30pm) on tel: +353(0)1 868 0148 or email [emailprotected] prior to making passage in order to plan the necessary lock-keeping assistance arrangements.

On the Grand Canal a minimum of two days notice prior to the planned passage should be given, masters should note that with the exception of pre-arranged events, a maximum of 2 boats per day will be taken through the locks, travelling either east or west.

Movements in or out of the city will be organised by prior arrangement to take place as a single movement in one day. Boaters will be facilitated to travel the system if their passage is considered to be safe by Waterways Ireland and they have the valid permit(s) for mooring and passage.

On the Royal Canal two weeks notice of bridge passage (Newcomen Lifting Bridge) is required for the pre-set lift date, and lock assistance will then also be arranged. A minimum of 2 boats is required for a bridge lift to go ahead.

Waterways Ireland Eastern Regional Office (Tel: +353(0)1 868 0148 or [emailprotected] ) is the point of contact for the bridge lift.

A maximum number of boats passing will be implemented to keep to the times given above for the planned lifts (16 for the Sat / Sun lifts & 8 for the weekday lifts). Priority will be given on a first come first served basis.

On day of lift, boaters and passengers must follow guidance from Waterways Ireland staff about sequence of passage under bridge & through Lock 1, and must remain within signed and designated areas.

All organised events taking place on the waterways must have the prior approval of Waterways Ireland. This is a twelve week process and application forms must be accompanied with the appropriate insurance, signed indemnity and risk assessment. The application should be completed on the Waterways Ireland events page at :

https://www.waterwaysireland.org/online-services/event-approval

On the Shannon Navigation and the Shannon-Erne Waterway craft may berth in public harbours for five consecutive days or a total of seven days in any one month.

On the Erne System, revised Bye Laws state that: No master or owner shall permit a vessel, boat or any floating or sunken object to remain moored at or in the vicinity of any public mooring, including mooring at any other public mooring within 3 kilometres of that location, for more than 3 consecutive days and shall not moor at that same mooring or any other public mooring within 3 kilometres of that location within the following 3 consecutive days without prior permission by an authorised official.

Winter mooring may be availed of by owners during the period 1 Nov to 31 Mar by prior arrangement and payment of a charge of 63.50 per craft. Craft not availing of Winter Mooring must continue to comply with the 5 Day Rule. Winter Mooring applications should be completed online at : https://www.waterwaysireland.org/online-services/winter-moorings-booking

Owners should be aware that electricity supply and water supply to public moorings is disconnected for the winter months. This is to protect against frost damage, to reduce running costs and to minimise maintenance requirements during the winter months.

Vessel owners are advised that advance purchasing of electricity on the power bollards leading up to the disconnection date should be minimal. Electricity credit existing on the bollards will not be recoverable after the winter decommissioning date. Both services will be reinstated prior to the commencement of the next boating season.

Waterways Ireland smart cards are used to operate locks on the Shannon Erne Waterway, to access the service blocks, to use the pump-outs along the navigations, to avail of electrical power at Waterways Ireland jetties.

Masters are reminded of the following:

Masters of vessels should not berth on passenger vessel berths where it is indicated that an arrival is imminent. Passenger vessels plying the navigations generally only occupy the berths to embark and disembark passengers and rarely remain on the berths for extended periods or overnight.

Lead-in jetties adjacent to the upstream and downstream gates at lock chambers are solely for the purpose of craft waiting to use the lock and should not be used for long term berthing.

Vessel wake, that is, the wave generated by the passage of the boat through the water, can sometimes be large, powerful and destructive depending on the hull shape and engine power of the vessel. This wake can be detrimental to other users of the navigation when it strikes their craft or inundates the shoreline or riverbank. Masters are requested to frequently look behind and check the effect of their wake / wash particularly when passing moored vessels, on entering harbours and approaching jetties and to be aware of people pursuing other activities such as fishing on the riverbank.

A vessel or boat shall not be navigated on the Shannon Navigation at a speed in excess of 5 kph when within 200 metres of a bridge, quay, jetty or wharf, when in a harbour or canal or when passing within 100 metres of a moored vessel or boat.

Vessels navigating the Shannon-Erne Waterway should observe the general 5 kph speed limit which applies along the waterway. This is necessary in order to prevent damage to the banks caused by excessive wash from vessels.

Vessels navigating the Erne System should observe the statutory 5kt / 6mph / 10kph speed limit areas.

A craft on the Royal and Grand canals shall not be navigated at a speed in excess of 6km per hour.

A craft on the Barrow Navigation shall not be navigated at a speed in excess of 11km per hour except as necessary for safe navigation in conditions of fast flow.

Narrow sections of all the navigations are particularly prone to bank erosion due to the large wash generated by some craft. Masters are requested to be vigilant and to slow down to a speed sufficient to maintain steerage when they observe the wash of their craft inundating the river banks.

Unusual waterborne vessels may be encountered from time to time, such as, hovercraft or amphibious aircraft / seaplanes. Masters of such craft are reminded to apply the normal Rule of the Road when they meet conventional craft on the water and to allow extra room to manoeuvre in the interest of safety.

Mariners will encounter large numbers of sailing dinghies from late June to August in the vicinity of Lough Derg, Lough Ree and Lower Lough Erne. Sailing courses are marked by yellow buoys to suit weather conditions on the day. Vessels should proceed at slow speed and with due caution and observe the rules of navigation when passing these fleets, as many of the participants are junior sailors under training.

Mariners should expect to meet canoes and vessels under oars on any part of the navigations, but more so in the vicinity of Athlone, Carrick-on-Shannon, Coleraine, Enniskillen and Limerick. Masters are reminded to proceed at slow speed and especially to reduce their wash to a minimum when passing these craft as they can be easily upset and swamped due to their very low freeboard and always be prepared to give way in any given traffic situation.

Canoeing is an adventure sport and participants are strongly recommended to seek the advice of the sports governing bodies i.e Canoeing Ireland and the Canoe Association of Northern Ireland, before venturing onto the navigations.

Persons in charge of canoes are reminded of the inherent danger to these craft associated with operating close to weirs, sluice gates, locks and other infrastructure particularly when rivers are in flood and large volumes of water are moving through the navigations due to general flood conditions or very heavy localised precipitation e.g. turbulent and broken water, stopper waves. Shooting weirs is prohibited without prior permission of Waterways Ireland.

Canoeists should check with lockkeepers prior entering a lock to ensure passage is done in a safe manner. Portage is required at all unmanned locks.

Masters of powered craft are reminded that a canoe trail network is being developed across all navigations and to expect more organised canoeing along these trails necessitating slow speed and minimum wash when encountering canoeists, rowing boats etc

It is expected that work on Rockingham and Drummans Island Canals on Lough Key will be completed in 2021. Access to these canals will be for non-powered craft only, eg canoes, kayaks, rowing boats.

Masters of Fast Powerboats (speed greater than 17kts) and Personal Watercraft (i.e.Jet Skis) are reminded of the inherent dangers associated with high speed on the water and especially in the confines of small bays and narrow sections of the navigations. Keeping a proper look-out, making early alterations to course and /or reducing speed will avoid conflict with slower vessels using the navigation. Personal Watercraft are not permitted to be used on the canals.

Masters of vessels engaged in any of these activities are reminded of the manoeuvring constraints imposed upon their vessel by the tow and of the added responsibilities that they have to the person(s) being towed. These activities should be conducted in areas which are clear of conflicting traffic. It is highly recommended that a person additional to the master be carried to act as a look-out to keep the tow under observation at all times.

Swimming in the navigable channel, particularly at bridges, is dangerous and is prohibited due to the risk of being run over by a vessel underway in the navigation.

In the Republic of Ireland, Statutory Instrument 921 of 2005 provides the legal requirements regarding the minimum age for operating of powered craft. The Statutory Instrument contains the following requirements:

- The master or owner of a personal watercraft or a fast power craft shall take all reasonable steps to ensure that a person who has not attained the age of 16 years does not operate or control the craft

- The master or owner of a pleasure craft powered by an engine with a rating of more than 5 horse power or 3.7 kilowatts shall take all reasonable steps to ensure that a person who has not attained the age of 12 years does not operate or control the craft.

Lifejackets and PFDs are the single most important items of personal protective equipment to be used on a vessel and should be worn especially when the vessel is being manoeuvred such as entering / departing a lock, anchoring, coming alongside or departing a jetty or quayside.

In the Republic of Ireland, Statutory Instrument 921 of 2005 provides the legal requirements regarding the wearing of Personal Flotation Devices. The Statutory Instrument contains the following requirements:

- The master or owner of a pleasure craft (other than a personal watercraft) shall ensure, that there are, at all times on board the craft, sufficient suitable personal flotation devices for each person on board.

- A person on a pleasure craft (other than a personal watercraft) of less than 7 metres length overall shall wear a suitable personal flotation device while on board an open craft or while on the deck of decked craft, other than when the craft is made fast to the shore or at anchor.

- The master or owner of a pleasure craft (other than a personal watercraft) shall take all reasonable steps to ensure that a person who has not attained the age of 16 years complies with paragraph above.

- The master or owner of a pleasure craft (other than a personal watercraft), shall take all reasonable steps to ensure that a person who has not attained the age of 16 years wears a suitable personal flotation device while on board an open craft or while on the deck of a decked craft other than when it is made fast to the shore or at anchor.

- The master or owner of a pleasure craft (other than a personal watercraft) shall take all reasonable steps to ensure that a person wears a suitable personal flotation device, at all times while (a) being towed by the craft, (b) on board a vessel or object of any kind which is being towed by the craft.

Further information is available at: http://www.irishstatutebook.ie/eli/2005/si/921/made/en/print

The attention of mariners is drawn to the Irish Defence Forces Firing Range situated in the vicinity of buoys Nos 2 and 3, on Lough Ree on the Shannon Navigation. This range is used regularly for live firing exercises, throughout the year, all boats and vessels should stay clear of the area marked with yellow buoys showing a yellow "X" topmark and displaying the word "Danger".

No attempt should be made by Masters of vessels to pay the bridge toll while making way through the bridge opening. Payment will only be taken by the Collector from Masters when they are secured alongside the jetties north and south of the bridge.

The navigation from Killaloe to Limerick involves passage through Ardnacrusha locks, the associated headrace and tailrace and the Abbey River into Limerick City. Careful passage planning is required to undertake this voyage. Considerations include: lock passage at Ardnacrusha, water flow in the navigation, airdraft under bridges on Abbey River in Limerick, state of tide in Limerick

Users are advised to contact the ESB Ardnacrusha hydroelectric power station (00353 (0)87 9970131) 48 hours in advance of commencing their journey to book passage through the locks at Ardnacrusha. It is NOT advised to undertake a voyage if more than one turbine is operating (20MW), due to the increased velocity of flow in the navigation channel, which can be dangerous. To ascertain automatically in real time how many turbines are running, users can phone +353 (0)87 6477229.

For safety reasons the ESB has advised that only powered craft with a capacity in excess of 5 knots are allowed to enter Ardnacrusha Headrace and Tailrace Canals.

Passage through Sarsfield Lock should be booked on +353-87-7972998, on the day prior to travel and it should be noted also that transit is not possible two hours either side of low water.

A Hydrographic survey in 2020 of the navigation channel revealed that the approach from Shannon Bridge to Sarsfield Lock and the Dock area has silted up. Masters of vessels and water users are advised to navigate to the Lock from Shannon bridge on a rising tide one or two hours before High Tide.

The attention of all users is drawn to the Users Code for the Lower Bann, in particular to that section covering Flow in the River outlining the dangers for users both on the banks and in the navigation, associated with high flow rates when the river is in spate. Canoeists should consult and carry a copy of the Lower Bann Canoe Trail guide issued by the Canoe Association of Northern Ireland. Users should also contact the DfI Rivers Coleraine, who is responsible for regulating the flow rates on the river, for advisory information on the flow rates to be expected on any given day.

DfI Rivers Coleraine. Tel: 0044 28 7034 2357 Email: [emailprotected]

A No Wake Zone exists on the Lower Bann Navigation at Newferry. Masters of vessels are requested to proceed at a slow speed and create no wake while passing the jetties and slipways at Newferry.

All Masters must be aware of the dangers associated with overhead power lines, in particular sailing vessels and workboats with cranes or large air drafts. Voyage planning is a necessity in order to identify the location of overhead lines crossing the navigation.

Overhead power line heights on the River Shannon are maintained at 12.6metres (40 feet) from Normal Summer level for that section of navigation, masters of vessels with a large air draft should proceed with caution and make additional allowances when water levels are high.

If a vessel or its equipment comes into contact with an OHPL the operator should NOT attempt to move the vessel or equipment. The conductor may still be alive or re-energise automatically. Maintain a safe distance and prevent third parties from approaching due to risk of arcing. Contact the emergency services for assistance.

Anglers are also reminded that a minimum ground distance of 30 metres should be maintained from overhead power lines when using a rod and line.

Masters of vessels are reminded not to anchor their vessels in the vicinity of submarine cables or pipes in case they foul their anchor or damage the cables or pipes. Look to the river banks for signage indicating their presence.

Low Water Levels:

When water levels fall below normal summer levels masters should be aware of:

Navigation

To reduce the risk of grounding masters should navigate on or near the centreline of the channel, avoid short cutting in dog-legged channels and navigating too close to navigation markers.

Proceeding at a slow speed will also reduce squat effect i.e. where the vessel tends to sit lower in the water as a consequence of higher speed.

Slipways

Reduced slipway length available under the water surface and the possibility of launching trailers dropping off the end of the concrete apron.

More slipway surface susceptible to weed growth requiring care while engaged in launching boats, from slipping and sliding on the slope. Note also that launching vehicles may not be able to get sufficient traction on the slipway once the craft is launched to get up the incline.

Bank Erosion

Very dry riverbanks are more susceptible to erosion from vessel wash.

Lock Share

Maximising on the number of vessels in a lock will ensure that the total volume of water moving downstream is decreased. Lock cycles should be used for vessels travelling each way.

High Water Levels:

When water levels rise above normal summer level masters should be aware of:

Navigation

Navigation marks will have reduced height above the water level or may disappear underwater altogether making the navigable channel difficult to discern.

In narrow sections of the navigations water levels will tend to rise more quickly than in main streams and air draft at bridges will likewise be reduced.

There will also be increased flow rates particularly in the vicinity of navigation infrastructure such as bridges, weirs, locks etc where extra care in manoeuvring vessels will be required.

Due care is required in harbours and at slipways when levels are at or near the same level as the harbour walkways' as the edge will be difficult to discern especially in reduced light conditions. It is advised that Personal Flotation Devices be worn if tending to craft in a harbour in these conditions.

Slipways should only be used for the purpose of launching and recovering of water craft or other objects from the water. Before using a slipway it should be examined to ensure that the surface has sufficient traction/grip for the intended purpose such as launching a craft from a trailer using a vehicle, that there is sufficient depth of water on the slipway to float the craft off the trailer before the concrete apron ends and that the wheels of the trailer do not drop off the edge of the slipway. That life-saving appliances are available in the vicinity, that the vehicle is roadworthy and capable of coping with the weight of the trailer and boat on the incline. It is recommended that slipway operations are conducted by two persons.

The aids to navigation depicted on the navigation guides comprise a system of fixed and floating aids to navigation. Prudent mariners will not rely solely on any single aid to navigation, particularly a floating aid to navigation. With respect to buoys, the buoy symbol is used to indicate the approximate position of the buoy body and the ground tackle which secures it to the lake or river bed. The approximate position is used because of the practical limitations in positioning and maintaining buoys in precise geographical locations. These limitations include, but are not limited to, prevailing atmospheric and lake/river conditions, the slope of and the material making up the lake/river bed, the fact that the buoys are moored to varying lengths of chain, and the fact that the buoy body and/or ground tackle positions are not under continuous surveillance. Due to the forces of nature, the position of the buoy body can be expected to shift inside and outside the charted symbol.

Buoys and perches are also moved out of position or pulled over by those mariners who use them to moor up to instead of anchoring. To this end, mariners should always monitor their passage by relating buoy/perch positions with the published navigation guide. Furthermore, a vessel attempting to pass close by always risks collision with a yawing buoy or with the obstruction that the buoy or beacon/perch marks.

Masters of Vessels are requested to use the most up to date Navigation guides when navigating on the Inland Waterways.

Information taken from Special Marine Notice No 1 of 2023

Excerpt from:
Concerns Over Proposed Changes to Inland Waterways Bye-Laws - Afloat

Steelwork and bridge deck construction are now complete on Griffiths' new Dyfi Bridge project in Wales.

Building work on the Welsh Government scheme began in spring 2021.

The site team are now working on the viaduct finishes, including deck waterproofing, parapets and combined kerbing installation.

Road surfacing, street lighting, and signage installation are also underway, ensuring safety and convenience for the travelling public. Griffiths is also working on drainage and scour protection to guarantee the bridges longevity.

The bridge is located on the A487 near Machynlleth in Wales. The existing 19th century Pont-ar-Ddyfi bridge was not designed to carry the current volume of traffic, and the road is often closed due to frequent flooding.

The scheme will see the A487 realigned away from the Pont-ar-Ddyfi bridge, a Grade II-listed and Scheduled Ancient Monument, and routed onto a new viaduct structure 480m upstream to reduce the pinch point.

As such, the project has been designed to improve road safety, strengthen links between communities, provide active travel opportunities and build resilience against flooding.

The bridge will make it easier to cross the River Dyfi and provide better access to employment opportunities, healthcare and education. In addition, it will make sure Machynlleth remains a vibrant centre of the community and preserve historic landmarks and buildings.

The new 725m long viaduct, with a 74m span over the River Dyfi itself, was designed by Arup for contractor Griffiths. Work to minimise the flood risk and impact on the river was undertaken with Wallingford HydroSolutions.

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Read more:
Griffiths completes steelwork and deck construction on 46M Welsh ... - New Civil Engineer

In some ugly scenes this evening at their pre-fight press conference, bitter enemies and opponents, Logan Paul and Dillon Danis were corralled and escorted off stage in Manchester after the latter appeared to hit the former in the face with a water bottle ahead of a planned face-off.

Slated to co-headline a MisFits boxing event in England, Bellator MMA grappler and 2-0 professional mixed martial artists, Danis makes a professional boxing debut in Manchester taking on professional wrestler and podcast host, Paul in a bad-blooded clash inside the square circle.

Currently involved in legal proceedings with Pauls fiance, Nina Agdal ahead of the boxing match, Dillon Danis has continued to post expletive photos of the latter on his official social media, as well as a slew of pictures of her alongside prior boyfriends and partners, in a bid to promote his clash with Ohio native, Paul.

And sharing the stage today in a heated back-and-forth ahead of this weekends co-main event bout in Manchester, Danis who showed off his Brazilian Jiu-Jitsu ability during last nights openworks, appeared to launch a water bottle at the face of Paul ahead of a staredown, with Paul covering his head as the two were escorted off stage with security scuffling.

Sidelined from active competition since 2019, Danis, who has since undergone a series of surgical procedures to address a myriad of knee injuries, boasts a 2-0 professional mixed martial arts record, landing a pair of back-to-back submission wins in two outings with Bellator MMA.

Across social media last night to boot, footage emerged of Danis choking out OnlyFans model and boxing influencer, Elle Brook, who asked to be choked unconscious before describing the feeling as so much better than drugs.

Who wins this weekend in Manchester: Logan Paul or Dillon Danis?

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Video - Dillon Danis Decks Logan Paul With Water Bottle To The ... - LowKick MMA

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