The world’s number-one Fibonacci trading guru delivers a revolutionary new system for finding that one, great trade a day Using the revolutionary, easy-to-learn methods outlined in this book, the full power of Fibonacci trading will be yours to command. Michael Jardine, one of the world’s acknowledged experts on Fibonacci trading and author of the international bestseller, New Frontiers in Fibonacci Trading, draws upon his decades of experience with Fibonacci trading theory and practice to develop a simple, easy-to-use system that allows you to find that one great trade a day that every trader hopes for—day after day, year after year. Combining his original Jardine Range and what he has dubbed the “Universal Chart,” Jardine’s trading system will deliver greater consistency and objectivity to your trading, indicate key trend reversals, optimize your exits and much more. Clearly explains how to use the Universal System right out of the box with any trading instrument and in any time frame Demonstrates how to use the system in conjunction with other tools and strategies to complement your current trading methodology Shows how to use Market ProfileTM and Points of Control to more reliably determine comfort levels in the markets and anticipate trending moves with uncanny accuracy Uses detailed simulations to help clarify the theory behind the Universal System and to let you observe how it works in practice Packed with real-life examples Jardine’s and includes a 500-day trading summary/journal demonstrating just how profitable this time-tested system has been for him
Mankind is threatened by normal microbial life in 2014 crossing the species barrier from fruit bats to humans, particularly when the Ebola virus, disturbed by new roads entering primeval jungle and then overtaking human slums in Conakry, Guinea, Freetown, Sierra Leone and in Monrovia, Liberia. This book documents the response to Ebola, flu, Bubonic plague and other pathogens. Updated Ebola Viral Disease outbreak in DRC and Congo with crucial updates on Covid-19 2020 and the future of mankind.
This fresh analysis of the England&–Australia "e;Bodyline Controversy"e; of 1932-33 uncovers hypocrisy on both sides of the furore, drawing on exclusive interviews with English "e;villain of the piece"e; (and Australian emigre) Harold Larwood. At the time, Australia was a young, isolated country where sport was a religion, winning essential, and the media prone to distortion. In England, the MCC was pressurised by a British government fearing trade repercussions, leaving Harold Larwood and Douglas Jardine to be hung out to dry on a clothes-line of political expediency. The Bodyline Hypocrisy analyzes the influence of Australian culture on events, and on exaggerations and distortions previously accepted as fact. It reveals that the MCC granted Honorary Membership to Larwood in 1949, influenced by its Australian president. And now even Ian Chappell has stated that Jardine's leg-theory tactic was simply playing Test cricket with whatever weapons were available. Times change and the truth emerges.
This book is about a single image - the frontispiece to Thomas Sprat’s History of the Royal-Society of London (1667). Designed by John Evelyn, and etched by Wenceslaus Hollar, it is arguably the best-known representation of seventeenth-century English science. The use of such plates to celebrate and legitimise the ‘new’ science of the period falls into a tradition that was well-established both in Britain and in Europe more generally, and which has increasingly attract attention from historians. Nevertheless, there are many questions to be asked about it and how it came into being. Was it an original composition by Evelyn, or is it based on earlier exemplars? Can all the scientific instruments, books and other objects that appear in it be identified, and what significance should be attached to their inclusion? Above all, how did the plate come to be designed in the first place, and what is its true relationship with Sprat’s book? In order to assess such issues, this study provides a full analysis of Evelyn’s image in its Royal Society setting and the wider world of early-modern science. The book first considers the overall iconography of the image and its message concerning Evelyn’s conception of the society’s role, before moving on to examine the myriad of details included in the plate and their significance. It concludes by considering the print’s history after publication, including the extent to which Evelyn used copies to exemplify the combination of technological and artistic accomplishment to which he believed the society should aspire.
Life Story is an animated and visually provocative installation of 100 paintings by Michael Kane. The paintings cover a very broad range of subject matter. They are rendered in ink, acrylic and collage, on arbitrary newssheet and glossy magazine pages. These paintings are overlaid on the text and images with no conscious or deliberate implications. The title, Life Story, has only a peripheral reference to the artists own life - some images that depict work-a-day minutiae are drawn from his personal lexicon. The installation as a whole is melancholy; the seemingly unrelated image strips articulate the transitory nature of most experiences, the insubstantial trivia that propel an individual and the brevity of an ordinary life. There is more than a hint of the propensity of humans to transgress: to find a slender place on the verge of society to play out fantasies or brutalities.
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