Global Online Gambling Market: Industry Analysis & Outlook 2017-2021 Featuring William Hill Plc., Paddy Power Betfair Plc., 888 Holdings Plc. and Kindred Group – Research and Markets

DUBLIN–()–The “Global
Online Gambling Market: Industry Analysis & Outlook (2017-2021)”

report has been added to Research and Markets’ offering.

Global Online Gambling Market: Industry Analysis & Outlook
provides an extensive research and detailed analysis of
the present market along with future outlook. The report discusses the
major growth drivers and challenges of the market, covering Europe, Asia
and North America region along with the global market.

The global online gambling market is expected to grow in future with
increasing smartphone users, rising demand for internet of things and
growth of mobile gaming. Key trends in this market include growing
number of online women gamblers, changing consumer gambling habits, use
of alternative cash options, market consolidation, and technological
advancement. However, there are some factors which can hinder the growth
of market including stringent regulations, security issues, and high tax

Europe is the main contributor to the online gambling market with
increasing disposable income and mobile use. Asia has great potential in
the years ahead with new technologies and increasing accessibility of
the internet. In addition, easing government regulations would help in
fuelling the market growth for online gambling in this region.

The report profiles the key players of the market including William Hill
Plc., Paddy Power Betfair Plc., 888 Holdings Plc. and Kindred Group Plc.

Market Dynamics

Growth Drivers

  • Increasing GDP Per Capita
  • Rising Number of Smartphone Users
  • Increasing Demand for Internet of Things (IoT)
  • Growth of Mobile Gaming

Key Trends & Developments

  • Growing Number of Online Women Gamblers
  • Changing Consumer Gambling Habits
  • New Technologies
  • Use of Alternative Option to Cash
  • Market Consolidation
  • Significant Acquisitions


  • Stringent Government Regulations
  • Security Issues
  • High Tax Rates

Key Topics Covered:

1. Market Overview

2. Global Online Gambling Market

3. Regional Market

4. Market Dynamics

5. Competitive Landscape

6. Company Profiles

For more information about this report visit

WE Charity to Announce First-Ever Sock Collaboration with Friendship Socks

    VANCOUVER, BC, November 24, 2017 /24-7PressRelease/ — Friendship Socks is proud to announce its first ever charity collaboration in partnership with WE Charity to create two limited edition pairs of socks with 50% of profits going to benefit children’s education in Kenya.

Friendship Socks, the social sock gifting company that lets you send a gift through social media, is dedicated to connecting friends around the world to make a positive impact. This collaboration with WE Charity is an opportunity for both brands to enact change and inspire consumers to send a gift that gives back this season.

Launching online in November 2017, the brand collaboration will span the holiday season and the new year. The limited-run styles will also be available as a gift with purchase to the first 50 customers that visit the WE Store at CF Toronto Eaton Centre or CF Rideau Centre. This brick and mortar launch will introduce the product over the holiday season for customers shopping in store.

The first collaboration collection will feature classic styles by the Friendship Socks design team that integrate elements of WE’s branding. There will be two sock options available in cream and navy blue.

“At Friendship Socks, we couldn’t be more proud to partner with a charity like WE that shares in so many of our core values. Working closely together on this project to impact the lives of children in Kenya is a dream of ours, and I think the unique sock styles reflect that,” said Friendship Socks Co-Founder Marc Herman.

“This holiday season, we are delighted and grateful to collaborate with Friendship Socks, to connect friends around the world, while creating positive change in the lives of others,” said Craig Kielburger, co-founder of WE. “Together, we are celebrating the holidays in a unique way, creating lasting memories with friends both near and afar, and most importantly, supporting the

education of children in Kenya.”

The socks will be exclusively sold online at Customers can choose to buy a pair for themselves and give a pair to a friend, or simply gift a pair.

This is the first of many future collaborations between WE Charity and Friendship Socks, and the two organizations are seeking an ongoing partnership for social change.


Friendship Socks is a social sock gifting platform. By utilizing social media, Friendship Socks lets you connect and send a gift to friends anywhere in the world. They’re not your average sock brand. Friendship Socks was founded to make a positive difference in people’s lives by connecting friends around the world. Friendship Socks are sold exclusively online at


WE Charity is part of WE – a family of organizations making doing good, doable. WE is made up of WE Charity, empowering domestic and international change, ME to WE, a social enterprise that creates socially conscious products and experiences to help support the charity, and WE Day, filling stadiums around the world with the greatest celebration of social good. WE enables youth and families to better the world – supporting 2,500+ local and global causes by volunteering millions of hours of service, shopping daily with an impact, and raising millions of dollars that directly benefit their local communities and the world. Globally, our teams in Asia, Africa, and Latin America have provided more than 1 million people with clean water, built 1,000 schools and schoolrooms overseas, and empowered more than 200,000 children with access to education. WE was founded more than 20 years ago by social entrepreneurs, brothers Craig and Marc Kielburger. Join the movement today at

Contact: Marc Herman

Cell Phone: (778) 855 5703



Events Across the Southland Mark 26th Annual World Day of Remembrance for Road Traffic Victims

When it comes to fatal traffic crashes, Los Angeles is #1 and over the last few years, the problem has gotten worse. Three days of World Day of Remembrance for Road Traffic Victims activities were held across Los Angeles by a coalition of nonprofits called the L.A. Vision Zero Alliance. This years theme centered around the realization that they are not accidents but in at least 93% of the cases they are preventable.

Los Angeles, CA, November 24, 2017 –(– When it comes to fatal traffic crashes, Los Angeles is #1 – the deadliest of nine peer cities in the United States. Over the last few years, the problem has gotten worse. As the U.S. economy improved and gas prices declined, more people took to the roads than ever before. Here in Los Angeles, they merged onto streets that have not been re-designed since the 1950’s. The result: fatal traffic collisions in L.A. have increased by 28 percent in the last two years. More than 1,000 people suffered severe injuries in traffic collisions in L.A. in 2016 and 263 were killed.

In 1995, European nations also faced this public health problem, as traffic fatalities occurred at an alarming rate. In response, the European Federation of Road Traffic Victims (FEVR) held the first World Day of Remembrance for Road Traffic Victims, known as “World Day,” on the third Sunday of November. The day honored the lives of hundreds of thousands of people killed in preventable traffic collisions that year. Within a few years, annual World Day events were held not only across Europe but Africa and Asia as well. By 2005, the United Nations recognized and ratified World Day of Remembrance for Road Traffic Victims as an official “UN Day” to be recognized by all member nations. Last year, the number of recognized World Day events increased to 100.

Of the top 10 richest countries in the world, the United States is the deadliest for traffic fatalities. More than 40,000 people died on U.S. streets and highways in 2016, a jump from the roughly 35,000 annual fatalities that had become standard. World Day of Remembrance only gained traction here recently, though. 2016 was the first year that advocates marked World Day in Los Angeles, where traffic collisions are the leading cause of death for children.

Today, more funding than ever before is dedicated to traffic safety improvements in Southern California, where this problem is being recognized as a public health crisis affecting everyone. The City of Los Angeles has embarked on an ambitious effort to eliminate traffic fatalities and severe injuries by 2025 through a program called Vision Zero.

In this context, World Day of Remembrance activities expanded in Los Angeles this year. Across three days, the theme of World Day events centered around the realization that fatal and severe traffic collisions are preventable – a core principle of the Vision Zero program. Numerous studies have found that between 93% and 99% of all traffic crashes are caused by human error. World Day events held simultaneously across the country highlighted these facts.

The first Los Angeles event was held Friday, the 17th of November outside City Hall East in Downtown Los Angeles. Called #inourshoes, the event was a collaboration of Southern California Families for Safe Streets and the L.A. Vision Zero Alliance, both led by Los Angeles Walks. SoCal Families for Safe Streets is a group of individuals who have lost loved ones in traffic crashes or have suffered their own traffic-related injuries. The L.A. Vision Zero Alliance is a coalition of community-based organizations, non-profit special interest groups, and concerned citizens that supports and influences the City of Los Angeles’ Vision Zero initiative. Members include: AARP of Southern California, Advancement Project CA, Los Angeles County Bicycle Coalition, Youth Policy Institute, Streets Are For Everyone and many more organizations.

Together, they hosted an interactive memorial that honored the more than 500 people killed on L.A. city streets since August 2015, when the city launched Vision Zero. SoCal Families for Safe Streets, Alliance partners, and event participants spray painted 503 footprints to represent those killed in preventable traffic crashes. They also added shoes and personal mementos to the memorial and were asked to consider what life is like for families shattered by preventable traffic deaths. They encouraged passersby to sign a safe streets pledge that urged Mayor Garcetti and Los Angeles City Council members to use all of the tools available to create safer streets.

On Saturday, November 18th, Streets Are For Everyone (SAFE) hosted a Finish The Ride® Memorial Ride around the one-year anniversary of the death of Jeff Knopp — a military veteran, father and Sunland-Tujunga resident who was struck from behind and killed while riding his bicycle on a particularly dangerous stretch of Foothill Boulevard with no bike lane. While this memorial ride was touted as a celebration, there was not a dry eye in the crowd of hundreds when (as part of the opening ceremony) Jeff’s widow, Jennifer Knopp, brought Joshua (the driver who killed Jeff) onto the stage, publicly forgave him and hugged him. Joshua then went on to tell all in attendance how his life was also crushed the day he hit Jeff and how he now stands with Jennifer in efforts to make streets safer for all road users.

Joshua closed his speech by saying, “I thank God for Jennifer’s forgiveness, for the opportunity to be here to face all of you, and to tell you that in whatever way I can, I will fight for safer streets so none of you become another Jeff Knopp.”

The three days of events wrapped up on Sunday, November 19th with a vigil on the steps of Pasadena City Hall lead by Pasadena Complete Streets Coalition and Day One. Members of SoCal Families for Safe Streets shared stories about the loved ones they’ve lost forever; encouraged people to be responsible, respectful drivers; and urged policymakers to take action to create a safer street system that no longer results in death and severe injury.

Emilia Crotty, Executive Director of Los Angeles Walks, explained the motivation behind the events, “The tragic and horrific deaths and severe injuries that occur every single day on Los Angeles streets are Fully preventable. As a city, we can no longer accept the status quo and need to apply every tool available to prevent these traffic collisions.”

Information about traffic fatalities in Los Angeles and the Los Angeles Vision Zero initiative can be found at For more information on the L.A. Vision Zero Alliance go to For information on Southern California Families for Safe Streets go to

Information about the nonprofits featured in this release can be found on their respective websites. Additional interviews are available upon request. Please contact Emilia Crotty at:

© 2017 Los Angeles Walks. Finish The Ride is a Registered Trademark owned by Streets Are For Everyone and used with its permission.

Valor of Law Enforcement Community at Route 91 Concert Tragedy Honored with $25,000 Grant from Cox

Las Vegas, NV, November 24, 2017 –(– The Injured Police Officers Fund (IPOF) receives a $25,000 grant from Cox Communications of Las Vegas. Top officials from Cox made a check presentation on behalf of the Company’s 1,550 Las Vegas-based employees to representatives of IPOF during the opening of a national Cox Care and Field Leadership Summit at Encore Las Vegas on Oct. 25, 2017.

“Cox Communications is a wonderful community partner, and we are grateful for this grant and the many individuals we can assist with this money,” said Lieutenant Erik Lloyd, LVMPD, Vice President of the Injured Police Officers Fund. “We will be partnering with a variety of programs and it is our job to maximize these funds to the fullest extent; and we will.”

Michael F. Bolognini, Vice President and market leader of Cox Las Vegas, said, “The employees of our organization are making this check presentation as a way to express our gratitude for the valor, courage and selfless sacrifice of the law enforcement community in the wake of the somber events of the October 1st Route 91 concert tragedy. Our thoughts are with those who provided great service to our safety and well being.”

You can help the IPOF by making a tax-deductible contribution through their website Or contact us for more information at, via telephone at 702-380-2840, or via mail at 9330 W. Lake Mead Blvd. Suite 130, Las Vegas, NV 89134.

The mission of the Injured Police Officers Fund is to help reduce the financial burden suffered by Police Officers and their families in the event of a line of duty injury or death by providing monetary assistance to these Officers and their families. The Injured Police Officers Fund (IPOF) was formed in October of 1982 when LVMPD Motor Officer James MacLaren was shot in the head during a traffic stop. Fortunately, Officer MacLaren survived his injuries however; he was forced into medical retirement.

YI Technology’s High Quality, Live 360 VR Camera Now Available in the UK

The pocket-sized camera is the first to shoot 360-degree video in 5.7K at 30fps, with instant in-device stitching for 4K footage and live-streaming

London, UK, November 24, 2017YI Technology (YI), the leading provider of advanced, intelligent imaging technologies, today announced the release of the YI 360 VR, a 360-degree, VR-enabled camera on Amazon UK. The YI 360 VR makes high-end virtual reality video easy and accessible to anyone, regardless of ability or budget.

With a simple, handheld and mountable camera design, the YI 360 VR is the first VR-enabled camera to combine high-fidelity, 360-degree video capture, an easy mobile application along with 4K instant, in-device stitching and 4K live-streaming to a number of channels/platforms. With these innovations, the YI 360 VR provides a complete solution for creating immersive, 360-degree video experiences easily, quickly and anywhere.

Already known for its YI 4K+ Action Camera, the YI M1 Mirrorless Digital Camera and the YI HALO professional 3D camera, YI’s launch of the YI 360 VR Camera offers users a consumer-grade, affordable yet professional quality option for capturing and sharing 36O degree footage.

Other key features for the YI 360 VR include:

  • Two 220ᵒ 8-Glass lenses include 2 aspheric glass lenses, each with an f/2.0 aperture
  • In-camera video stitching for up to 4K/30fps
  • PC application for 5.7K/30fps video stitching
  • Built-in 2.4GHz and 5GHz Wi-Fi for live-streaming in 4K
  • Five video preview options within the app including stretched view, little planet, round, panoramic and dual VR view
  • Up to 60-minutes battery life recording at 4K/30fps
  • Compatible with Oculus Rift and HTC Vive VR headsets

Sean Da, CEO of YI Technology, says: “At YI Technology we challenge ourselves to bring the most innovative technologies together in a way that is simple, enjoyable and useful for anyone, from kids to professionals, and VR is no exception. Previous solutions for 360-degree video capture forced users to choose between having an affordable yet low-quality product, or an expensive and highly complicated product. That is why we worked so hard to perfect the YI 360 VR. By combining the best components, rigorous industrial design and many years of testing, we have eliminated the cables, confusing interfaces and bulky components that people were used to, and replaced them with 5.7K resolution, 4K in-device stitching and 4K live-streaming — all in a handy and affordable package.”

To find out more about the YI 360 VR, visit the product page or watch the YouTube video.

Pricing and availability:
The YI 360 VR is now available at a discounted price today and tomorrow for GBP 324.99 Amazon UK when you use the code: V1030OFF

Special Black Friday deals on Amazon will run also on YI Technology’s action, home and dash cameras with 20% to 30% discounts.

About YI Technology:
YI Technology is a leading, international provider of advanced, intelligent imaging technologies, products, services and platforms. Its development team consists of industry-leading experts from the US, China, Japan, Israel and Europe with several decades of combined experience in imaging technology, algorithms, data analysis, cloud computing and mobile applications. YI is committed to using innovative technology to make everyday life safer, richer and more fun. Also, visit for more information and updates on this and our other exciting imaging devices and services.

Find and like us on social media:

Elise Ivens-Barnes
+44 (0) 1252 727313


Amplience powers rich media production with SAP® Hybris® Commerce

24th November 2017, London, U.K.Amplience today announces the release of Amplience Extension for SAP® Hybris® Commerce. Designed to accelerate and simplify the implementation of Amplience Dynamic Media solutions for retailers, the update extends the SAP Hybris solution to allow for the delivery of rich, engaging product and promotional media to customers’ devices. The Amplience Extension is SAP-certified for integration with SAP Hybris Commerce.

Whether serving apparel, grocery, pharmaceutical products or more, retailers are increasingly dependent on their ability to deliver high-quality content, ensuring quality shopping experiences across any device. The delivery of persuasive content, including product images, video and UGC, is absolutely key, as is the process by which retailers produce content. Being responsive to customers’ needs and delivering content which is timely, contextual and rich, is now the key to retail engagement in an increasingly mobile-first world.

“Amplience understands the retail engagement challenge that comes with content and commerce integrations and management,” said James Brooke, CEO, Amplience. “Content is an imperative for engaging customers today, and we want to help retailers improve the customer experience by ensuring they have the best tools for the job. The Amplience Extension for SAP Hybris Commerce accelerates time-to-market for retailers, reducing implementation risk and driving down cost. Creative and site operations teams can enjoy the benefits of powerful automated image and video management workflows, dynamic imaging and more.”

“We have a large inventory that our customers need access to,” said Steven Suddarth, eCommerce Manager at Heritage Parts. “They expect our website to be fully responsive – allowing them access from across all devices, with speedy loading of images. The best advantage of having the Amplience Extension for SAP Hybris Commerce is the simplified integration. We now have the support structure for our content production, ensuring that our website delivers excellent performance and satisfaction all round.”

Amplience Dynamic Media
Amplience Dynamic Media makes it easy for ecommerce teams using SAP Hybris Commerce to enrich the customer experience. Any channel and device combination can be supported with engaging images and videos that work responsively — improving site speed and quality.

Dynamic Media additionally supports five advanced use cases:

  • Product Badging – which generates image badges that highlight sale, stock levels, newness and other associated attributes
  • Dynamic Bannering – which simplifies the production of personalised campaign and promotional media
  • Product Customization – which enables colourisation, monogramming and rich product configuration
  • 360- / 720-Degree Spin Sets – which provide accurate visualisation of technical products, enabling purchasing with confidence, ideal for many B2B applications
  • Mobile-Ready Hero Images – making it easy for consumer goods retailers to deliver optimised product images that significantly improve engagement and conversion on mobile devices

Mobile-Ready Hero Images
When shoppers are using their mobile devices to buy consumer goods, they need to recognize brand, product type, pack size and variant type. The problem for some consumer products is that, when viewed on a mobile screen, the product hero image is very small, leading to a failed customer experience and poor conversion as a result. This is particularly the case in the grocery retail.

The University of Cambridge Design Group in conjunction with Unilever have created a set of standards designed to help solve this problem. These Mobile-Ready Hero Images deliver the visual information that shoppers need in order to make immediate and informed buying decisions.

The creation of Mobile-Ready Hero Images can be an arduous post-production challenge. However, Amplience Dynamic Media allows clients wishing to adopt these standards with an automated set of tools to create and deliver mobile-ready hero images across product ranges at any scale.

Social and User-Generated Content
The Amplience Social and UGC solution allows retailers to curate the high-value authentic content that brand advocates create on social channels such as Instagram and Twitter. With integration with SAP Hybris Commerce, UGC and social content can be added to pages using a specialized widget. This enables content teams to curate and publish shoppable social images into a wide range of environments including media-walls on landing pages, carousels on product detail pages, as well as style guides and inspirational look-books.

Amplience Dynamic Media is available on the SAP App Center, the SAP digital marketplace where customers can buy solutions directly from partners and centrally manage purchases, billing and vendor communications. The SAP App Center provides customers with real-time access to nearly 1,500 innovative partner solutions that complement and extend their SAP solutions, enabling digital transformation of their business.

About Amplience
The Amplience platform signals the end of today’s content production and publishing bottlenecks, accelerating processes and transforming assets into reusable, highly engaging digital content that can be delivered consistently across every customer segment, channel and locale. With Amplience, retailers finally have the velocity of continuously fresh content required to convert customers at every point of inspiration, driving higher sales and productivity – all without scaling up the team.

More than 200 of the world’s leading brands, including Shop Direct, Liberty of London, Mulberry, and Boohoo benefit from Amplience’s specialized digital shopping expertise.

For more information, visit

SAP, Hybris and other SAP products and services mentioned herein as well as their respective logos are trademarks or registered trademarks of SAP SE (or an SAP affiliate company) in Germany and other countries. See for additional trademark information and notices.

All other product and service names mentioned are the trademarks of their respective companies.

For more information, please contact:
+44(0) 20 7802 2626

BIXOLON adds the SRP-Q300H B-gate Solution to its Dynamic mPOS Line-Up

BIXOLON Co., Ltd, a leading global mobile, label and POS printer manufacturer, today announced the addition of the SRP-Q300H 3-inch Direct Thermal B-gate mPOS printer to its innovative SRP-Q300 series. Offering flexible receipt and ticket printing from Android™, iOS™ and Windows® devices, the SRP-Q300H creates a complete mPOS solution with a smaller footprint with competitive pricing.

Sporting the ultra-compact design of the SRP-Q300 series to free up counter space and compliment the latest mPOS system, the SRP-Q300H also features BIXOLON’s intelligent mPOS hub B-gate. The mPOS hub seamlessly connects to the host tablet device via Bluetooth or Wi-Fi wireless communication while supporting one charging port and up to four USB peripherals (scanner, cash drawer, customer display, RFID reader, scales, etc). Eliminating the time and cost of developing multiple POS peripheral drivers.


The SRP-Q300H is also proficient in printing receipts or online orders through native, web and cloud-based mPOS applications through its comprehensive SDKs. Allowing programmers to easily build mPOS printing applications.

Native App Print™ – The ability to print data from an installed native app of a smart device. Accompanying BIXOLON’s B-gate SDK’s for Android™, iOS™ and Windows®, programmers can easily build mobile applications to control the printer and connected peripherals.

Web App Print™ – Technology to print data from a POS application on any smart device browser through a web server. With BIXOLON’s B-gate SDK for JavaScript, programmers can easily build web-based applications for controlling the complete mPOS solution.

Cloud Server Print™ – Enabling online printing flexibility, the ability to print data from a POS application through a cloud server to a designated printer. With BIXOLON’s SDK for JavaScript, programmers can easily build in-house applications as well as customer applications while using a cloud server controlling B-gate.

“Supporting USB and LAN connectivity as standard with optional Bluetooth and WLAN models plus NFC for Android™ functionality, the SRP-Q300 Series can be tailored to any POS application,” explains John Kim, BIXOLON Director of Marketing. “The SRP-Q300 NFC Bluetooth functionality is ideal for initial printer setup and configuration with Android smart devices running on Android OS V3.1 or higher. Enabling user convenience throughout the printer setup, the BIXOLON Android Q300 Utility Software application on the Google Store provides exclusive pairing compatibility with the SRP-Q300.”

To download BIXOLON B-gate SDKs for Android, iOS and Windows, please visit For further information on the B-gate JavaScript SDK, contact your regional BIXOLON Sales Manager.

– o –

BIXOLON is a leading global manufacturer of innovative, advanced printing technologies including point-of-sale receipt, label, Auto ID and mobile printers for a wide range of environments. Millions of BIXOLON printers are used today in retail, hospitality, healthcare, banking, ticketing, post/parcel, warehousing and other transaction-intensive industries. In 2017, for the fourth consecutive year BIXOLON was named global mobile receipt printer market leader by Japanese research company Chunichisha, securing a 32.9% market share.

For more information, contact us at, or follow us on these social channels: Twitter, Facebook and YouTube.

For more information contact:
Jada Kim

Senior Marketing Manager
Bixolon Co., Ltd.
Tel: +82-31-218-5500

Annette Carr
European Marketing Manager
Bixolon Europe GmbH
Tel: +49-211-68-78-54-0

Kristina Bacelic
Marketing & Account Manager
Bixolon America
Tel: +1 858-764-4580

SIPHON Networks (part of the Nuvias Group) Wins Place in the 2017 Deloitte Technology Fast 50 for Third Consecutive Year

Further growth for Unified Communications specialist SIPHON Networks (part of the Nuvias Group) in the UK and EMEA – 539% increase in last four years

Cwmbran: 24/11/17 – SIPHON Networks (part of the Nuvias Group) has been named in the 2017 Deloitte UK Technology Fast 50, a ranking of the 50 fastest-growing technology companies in the UK, based on percentage revenue growth over the last four years. SIPHON, now part of the Nuvias Group, grew 539 per cent during this period and was ranked at number 46.

Deloitte Technology Fast 50

“We are delighted to make it into the Deloitte UK Technology Fast 50 for the third consecutive year,” said Steve Harris, Managing Director SIPHON Networks and EVP Unified Communications for Nuvias. “Our sustained revenue performance has been achieved by staying focused on driving success through helping our channel partners deliver innovative, profitable and high-quality products and services. Our best-in-class strategy to deliver end-to-end unified communications solutions and specialist services sets us apart from other distributors.”

Paul Eccleston, CEO Nuvias Group, added: “Since becoming part of the Nuvias Group, SIPHON has continued to show significant ongoing growth and, over the last year, has expanded further across EMEA with major Unified Communications vendors such as BroadSoft, Lifesize, Polycom, Oracle and AudioCodes. SIPHON forms the bedrock of the Nuvias Unified Communications Practice and the leadership team continues to have the drive, vision and technical expertise to maximise the opportunities in the rapidly growing Unified Communications marketplace, both in the UK and across EMEA. This third consecutive Deloitte Fast 50 placing reinforces our successful approach and our strong commitment to further expansion.”

David Cobb, lead partner for the Deloitte UK Technology Fast 50, said: “The Deloitte UK Technology Fast 50 gives a great profile to technology companies and is internationally recognised as being one of the most important business awards in the sector. These awards are an opportunity for businesses to gain recognition for their successes and achievements over the last four years. The 50 fastest growing UK technology companies, as ranked by Deloitte, generated around £1bn in total annual revenues in the year 2016/17, employing more than 9,000 people, including 1,800 in R&D alone. The Deloitte UK technology Fast 50 recorded an average four-year growth rate of 3,756 per cent.”

About SIPHON Networks (part of the Nuvias Group)
Based in Cwmbran, Wales, SIPHON Networks (now part of the Nuvias Group) is a leading, international UC solutions and technology integrator for the channel. The award-winning company was first established in 2009 as a systems integrator to support service providers in launching innovative cloud telephony services, to create a single, integrated and centralised platform. SIPHON is now at the forefront of innovation in this area, and in supporting customers in the move towards delivering a complete unified communications (UC) experience.

The product portfolio now includes a wide range of customer premise equipment (CPE), an extensive range of products and services focused around the Microsoft Lync/Skype for Business environment, and a broad suite of video & collaboration solutions. When combined with the thorough range of consultancy services, plus the exceptionally high level of field engineering and technical support services available, SIPHON today can truly act as a full UC “Technology Enabler” for customers.

About the Deloitte UK Technology Fast 50
The Deloitte UK Technology Fast 50 is one of the UK’s foremost technology award programmes. Now in its twentieth year, it is a ranking of the country’s 50 fastest-growing technology companies, based on revenue growth over the last four years. The UK Fast 50 awards are all about growth driven by leading intellectual property and are a celebration of innovation and entrepreneurship. The UK Technology Fast 50 is part of an international programme run by Deloitte and qualifying entrants of the UK Fast 50 will be put forward to the Deloitte Technology Fast 500 EMEA (Europe, Middle East and Africa) programme. Previous winners have come from across the UK, are both large and small, and included some of the most dynamic players in all areas of technology, from internet specialists to biotech, digital media technology to life sciences, computers to semiconductors and software to telecommunications.

For more information visit

The full list of this year’s winners and winner breakdown by region and sector is available at


For further press information, please contact Annabelle Brown on +44 (0)1326 318212, email

#PoemResearch: Notes on Researching as a Poet

By Hai-Dang Phan
Late in Leaving the Atocha Station, Ben Lerner’s novel about a young American poet on a prestigious fellowship in Madrid, we receive this capsule description of the research project our narrator has successfully evaded and talked around:

Maybe if I remained I would pursue the project described so many months ago in my application, composing a long and research-driven poem, whatever that might mean, about the literary responses to the Civil War, exploring what such a moment could teach us about ‘literature now.’ My Spanish would rapidly improve; I would not read Ashbery or Garnett or anything else in English, but hurl myself headlong at the Spanish canon; I would become the poet I pretended to be and realize my project. I would buy a phone and consummate my relationship with Teresa.

Through his fictional proxy Adam Gordon, Lerner gives us an experience of what it feels like to be on prestigious fellowship—if you were, say, a talented young poet with an almost crippling self-awareness of the privileges afforded by race, class, and gender, but not so crippling as to take the fellowship, then novelize your paralysis. Your predicament is hilariously summed up by the phrase: “the experience of experience sponsored by my fellowship.” For you, experience never appears without modifiers or within square quotes. You worry the difference between research and experience, or perhaps their increasing interchangeability. Everything and everyone for you is potential research. You need critical distance from your life. The novelization of your unsentimental education will be conceptualized, divided, and ironized into “phases,” a technique that will allow you to acknowledge institutional formations, structure the novel around a research plot, and gesture toward questions about the ways in which modern poetry has been affected by scientific rationality. Like a good poet, you want to defend imagination against scientific rationality but the new language is not yet there for you. You fake it until you make it, and then when you have seemingly made it, you remain haunted by the ghost of the genuine—its possibility in art, in life, and in love. Reader, I have felt like Adam Gordon.
I’m a poet and not a researcher is something I said in a recent conversation with an editor. The editor thought I encompassed both. I balked at the idea, even though they meant it as a favorable observation, even though it was a perceptive recognition of my intellectual preoccupations, mixed materials, and impassioned methods. To my selective ears, researcher still sounded too much like a job description; it made me seem too industrious, purposeful, methodical, like I was working on a project. I’m a lazy poet, a lazier scholar. But the editor was a good reader of my poetry and helped me become a better reader of my own work, so I felt compelled to give the question more thought. I also knew that my repulsion was a defense mechanism. I associated research with the academic articles and monographs I was trained to produce as a graduate student in literature and those I am expected to produce as an English professor. Then and now, research is often the enjoyable and stimulating part; it is the academic writing part I find difficult and resistant to my creative impulses and intuition. My research has often found its way into my poetry. Many of my poems explore the memory, history, and legacy of the Vietnam War from my perspective as a second generation Vietnamese American, a subject I researched and wrote about for my dissertation. My scholarship and my creative writing share much of the same archives. It’s what I do with the research that differs. As a poet, that means making poems.
But how ought a poet research? What do poets talk about when we talk about research? Why is it that when poets talk about research it is either a joke or cloaked in an aurora of seriousness? Type the hashtag and see for yourself. You’ll find tweets by poets along the lines of What’s the Spanish word for hickey? What causes ringing in the ear? There is an entire Wikipedia page about dust. There are five distinctive morphological patterns of necrosis. Has anyone out there ever sucked the caviar from a live fish? (Salmon). If so, is it cold or warm? Thanks! Is research for poets another technique to create experience, like sex or intoxication?
Three poets who use research in reflexive and reflective ways:
Susan Howe shattered two images at once for me when I first encountered her work as an undergrad. The first image was that of the poet as untutored beatnik haunting dimly lit cafés. The second was the scholar as passionless brain in lab coat or tweed jacket. She gave me permission to be what Coleridge calls “a library cormorant.” In Howe’s hybrid work research creates situations that increase chance correspondences and triggers involuntary memories. Her recent book Spontaneous Particulars: The Telepathy of the Archives, “a collaged swan song to the old ways” of researching, is a remarkable splicing of passion and intellect, re-collected documents and recollected experience:

Reading Paterson reminds me of walking barefoot across a small strip of common land near my house that’s littered with beach glass, broken oyster shells, razor clams and kelp. It’s called a beach, but no one swims there because even at high tide what is euphemistically referred to as “sand” quickly becomes marl, mud, and marsh grass. I feel the past vividly here—my own memories and the deeper past I like to explore in poems. As I look across Long Island Sound I can imagine it as an open ocean.

Reading and walking. The page and the landscape. In Howe’s work we find research and poetry so intertwined as to be indistinguishable, a formal experimentalism that trespasses the laws of genre. The bit of prose quoted above characteristically breaks off into a line of lyric flight—“O Thalassa, Thalassa! / the lash and hiss of water // The sea!” from William Carlos Williams’s Paterson, Book III, The Library. In Howe’s title you hear echoes of Williams’s “to make a start / out of particulars” and think: No research but in things! For Howe, researching and writing are complementary, mutually affecting acts. Howe’s poet-researcher is a scout, a rover, a trespasser unsettling the wilderness of American literary history. Her poems and essays continually enact that anticipatory moment before discovery, of making connections, before anything is ever fixed into ideas. “If you are lucky,” she writes, “you may experience a moment before.” Reading her writing you experience the feeling of thinking: “Each collected object or manuscript is a pre-articulate empty theater where a thought may surprise itself at the instant of seeing. Where a thought may hear itself see.”
Natasha Trethewey’s Native Guard is a rescue mission, like Howe’s work, to lift human voices out of historical silence. The title poem, based on the poet’s research into the history of the first black regiments during the Civil War, adopts the historical personae of the Louisiana Native Guards. I think of her “Native Guard” as Civil War reenactment pieces in sonnet form. Here is how the first sonnet, “November 1862,” opens the sequence:

Truth be told, I do not want to forgetanything of my former life: the landscape’ssong of bondage—dirge in the river’s throatwhere it churns into the Gulf, wind in treeschoked with vines. I thought to carry with mewant of freedom though I had been freed,remembrance not constant recollection.

Better perhaps to call “Native Guard” a monument of sonnets, as Trethewey uses her technical mastery of the formal verse to memorialize the black Union dead. In the corona (crown)—the last line of the initial sonnet acts as the first line of the next, and the ultimate sonnet’s final line repeats the first line of the initial sonnet—Trethewey finds a form to represent intersecting lines of history and the essential mixing that makes American identity. If “Native Guard” at times telegraphs its meaning and mission, the poems nonetheless seem willing to risk their more formulaic statements in order to achieve their re-visionary force as counter-narratives. “Some names shall deck the page of history / as it is written on stone. Some will not,” as it is written in the sonnet for “June 1863.” These poems do not engrave names (the speakers of the sonnets remain nameless), but instead they imagine past lives in the present tense. Other sonnets log the nightmare of history (“Last night, / I dreamt their eyes still open – dim, clouded / as the eyes of fish washed ashore, yet fixed – / staring back at me”). Trethewey describes her process of researching as a poet in an interview: “Then, before I could write I had to shove it all aside. I had to forget everything from the front of my brain, or at least in the foreground of my thinking, to forget all that I had read. But it was still there for me to access as I tried to write poems. It didn’t go away, but I had to get out of the mode of researcher and back into the mode of poet.” Trethewey has had to rely on her own intuition, invention, and imagination to conjure these voices from the past as if they had been passed down and collected in a research library. That is the melancholy of these sonnets as imagined documents. The sonnets stand in not only a proxy witness, but also as proxy documents for what has been lost or uncollected.
Robin Coste Lewis’s Voyage of the Sable Venus and Other Poems combines the experimentalism of Susan Howe with the formalism of Natasha Trethewey into a remarkable unity of autobiographical lyric, archival research, and literary activism. Structured as a triptych, the collection begins and ends with autobiographical lyric poems. The central panel is “Voyage of the Sable Venus,” an archival lyric made up entirely of the titles of artworks, from ancient times to the present, that feature or comment on the black female figure in Western art. The title poem is divided into eight sections, or “Catalogs,” a keyword that points back to the libraries, archives, and museums listed in the final “Notes” section of poem. In “Catalog 4: Medieval Colonial,” the list is one of numerous representational strategies:

The slaves escaping throughthe swamp, The Slave watchingher pursuers in for e—
Ground Black Woman walking in frontof a Board Fence Background Plantation Houseand Outbuildings (or Slave Quarters).
In a Grove of Trees Slave Woman wearing Runaway.Collar with Two Children, emaciated.Negro Man eating Dead.
Horseflesh in the background.Negro Man strapped to a ladder, Being.Lashed Slave Woman seen

In Coste Lewis’s work a reader must constantly negotiate the meaning of what is being named and seen in a shifting “for e / Ground” that, as glimpsed in the above lines, becomes unsettled as words are pulled apart, isolated, and recombined, or punctuation errors and random capitalization disrupt the flow of reading. Here and elsewhere “Voyage” runs interference against the descriptive violence of representations of the black female figure in Western art—that is, descriptions of scenes of violence, but also descriptions that reveal ways of looking at, categorizing, ordering, and subjugating that rationalizes acts of violence. She uses the poetic catalogue against the colonial order of things, disordering the sight, sound, and sense of words. Researching for Coste Lewis—as it is for Howe and Trethewey—means researching back, a critical and creative strategy to interrogate the past and to write poetry that shifts our knowledge in the present.
Let’s remember what Frank O’Hara says in his poem “Having a Coke with You”: “what good does all the research of the Impressionists do them / when they never got the right person to stand near the tree when the sun sank / or for that matter Marino Marini when he didn’t pick the rider as carefully / as the horse / it seems they were all cheated of some marvelous experience / which is not going to go wasted on me / which is why I’m telling you about it.” Research desires touch. Research does no good without the kind of intimate knowledge we associate with lovers. And also what Guy Davenport discovers in his essay “Finding”: “I learned from a whole childhood of looking in fields how the purpose of things ought perhaps to remain invisible, no more than half known.” I want a research that follows the unsystematic, lackadaisical, and serendipitous zig-zag of walking through an oak savanna or reconstructed prairie. Finally, for now, I return to Susan Howe after Leaving the Atocha Station. Unlike Adam Gordon, Howe does not go in fear of experience. “In this room I experience enduring relation and connection between what was and what is,” she writes. Language remains the quarry, truth and beauty still the quest.

Tags: Ben Lerner, Frank O’Hara, Natasha Trethewey, Robin Coste Lewis, Susan Howe, William Carlos Williams Posted in Featured Blogger on Tuesday, February 14th, 2017 by Hai-Dang Phan.

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Wondrously Disruptive Conclusions to AWP 2017

Poetry News
By Harriet Staff
Publishers Weekly’s Claire Kirch went to the Candlelight Vigil for Freedom of Expression, held in Lafayette Park, across from the White House, on the final day of AWP. The vigil, organized by Split This Rock, and co-sponsored by 30 literary organizations and creative writing programs, featured nine speakers, “most of them prominent poets, [who] addressed a crowd of over 1,000 people, with one, Carolyn Forché, declaring that it was the ‘best AWP panel ever.’” More:

“It was wondrously disruptive,” Spartanburg, S.C.’s Hub City Press editor Meg Reid told PW, “That’s what makes this year’s AWP such a rich experience. We’re not just living in our bubble. We’re engaged with the outside world. There’s a lot more engagement. Everyone’s talking politics.”
“I think our attendees welcome the opportunity to voice their frustrations among their peers,” AWP conference director Christian Teresi said, “AWP values free press and freedom of expression: we’re happy the attendees are here to exercise those rights. There has never been a more important time for writers to assemble.”
Despite the outpouring of political sentiment throughout all three days, AWP remains both an academic conference and an opportunity for literary presses and literary organizations to display and sell their offerings to consumers in the book fair area, while universities promote their MFA programs.

That doesn’t mean all was peachy: A document that got wide circulation during and post-AWP brought to light the myriad reasons NOT to buy into the conference. In “(Might As Well) Give Away the Books,” Matvei Yankelevich crunches the numbers (and the free labor) for a hypothetical small press with a table at the bookfair, and comes up short:

In essence, the “sale” of these 65 books has allowed the publisher to be seen at the AWP, with an official badge and table sign and a listing in a 200+ page catalog. To “sell” these 65 books, the publisher has spent $975 in cash and 3 eight-hour days selling books in a corporate convention center hall (24 hours free labor), and incurred additional expenses for overpriced convention center food and coffee, housing in a corporate hotel room or Air B&B, and travel from another city.
Previously, the publisher had likely spent between 65 to 130 hours on each of the 5 titles they brought to the book fair — a combination of editing, designing, typesetting, proofing, publicizing (and in some cases printing and binding by hand), i.e. another 325 to 650 hours of free labor.
This labor, in itself, cannot be seen as a problem if the publisher is giving that labor freely, with no expectation of remuneration for their time. However, when a larger institution with a paid staff profits from that free labor, then we are dealing with a kind of exploitation — an exploitation of the good will that cultural laborers such as small publishers exhibit for the enrichment of cultural discourse.

It’s the beginning of a worthy dialogue…

Tags: Association of Writers & Writing Programs, AWP 2017, Claire Kirch, Matvei Yankelevich, Publishers Weekly Posted in Poetry News on Tuesday, February 14th, 2017 by Harriet Staff.

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