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Dubai: Victoria Azarenka admits that her bid to win two Middle East tournaments in as many weeks is an emotional one as the young Belarusian returns to Dubai where she nearly quit the game a year ago.

This time last year, the 22-year-old from Minsk thought she would quit the women’s tour after early defeats in Doha and Dubai.

But after achieving one of the most astonishing turn-arounds in the modern game, she returns to the region as a stunning new world number one.

Azarenka is top seed both at this week’s Qatar Classic, where last year she lost in the first round to Daniel Hantuchova, and at next week’s Dubai Open, where she lost second round to Flavia Pennetta, and which starts tomorrow.

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Story By: Fresh Air from WHYY

Actress Michelle Williams was recently nominated for an Academy Award for her performance in Blue Valentine. In Meek’s Cutoff, she plays a bold settler named Emily Tetherow.

This interview was originally broadcast on April 14, 2011. Michelle Williams just received a Best Actress nomination for her performance in My Week With Marilyn.

Kelly Reichardt’s frontier drama Meek’s Cutoff opens in the year 1845, on the wide-open plains of Oregon, where a wagon team of three families has set out on a journey along the Oregon Trail. After their guide, a suspicious man named Stephen Meek, tells them about a shortcut across the Oregon desert, the settlers, led by Michelle Williams and Paul Dano, become lost.

Williams joins Fresh Air‘s Terry Gross for a discussion about the film, a dusty Western with long, sweeping shots of the landscape and virtually no dialogue.

‘Meek,’ ‘Creek,’ And Michelle Williams, Buster Of Cultural Myths

Ryan Gosling: Fully Immersed In ‘Blue Valentine’

On her improvisational acting opposite Ryan Gosling in Blue Valentine

“I think with that kind of improvisation, the camera’s there to catch it, which is why when we were working the way we were working, we never worked on the script. We never explored the scenes or the beats or talked about what it was about or what it meant. All of our world circled around it, like a line around its prey, waiting to pounce. Because you only have to get that right once — and when the camera is on, ideally.”

On working on Blue Valentine

“It felt like such a rare opportunity and one that … I know I’ll probably never have again. … I have dreamed [of] working [that way] since I was a kid because it was such a throwback. When I read all of those biographies of Marlon Brando and James Dean and this idea of the method, it was so alluring to me and it really got a hold of the 13-year-old me. So I’d had a longtime desire to experiment with that way of working, and this fulfilled it.”

On rejection

“I think that’s the most dangerous part [of the business] and why it’s something I wouldn’t want for my own daughter, family or friends, because that rejection really leaves its mark on you.”

On getting a GED when she was 15

“I feel like I missed out on a good education, but it’s a trade-off. The plus is that then afforded me 6.5 years of practice, of work and acting class, being on Dawson’s Creek and being able to experiment and say, ‘Am I better when I know all of my lines, and I’ve really known them?’ or ‘Am I better when I’m kind of off-balance a little bit because I’m tired?’ It’s that Malcolm Gladwell thing of 10,000 hours [to achieve proficiency in a subject]. I definitely have 10,000 hours in front of a camera, thanks to that show. So I got a different kind of education, but I do find myself — now I’m 30 — feeling frustrated with the limitations of my own mind.”

On legally emancipating herself from her parents at age 15

“It was done for work. There was a notion that it makes you more appealing because you don’t have to pay for a teacher or guardian on set, and you can work the same number of hours as an adult. … It got me Dawson’s Creek. All the other kids were 18, and I was 16 when I got the show. And I don’t think I would have been hired had I been a minor. But there’s obviously a lot of danger in that — a kid on their own on a film set [which are] very adult places.”

February 16
Michael Roach
7pm-8pm

Michael Roach sings and plays guitar in an East Coast style of blues that dates back to the 1920s. After spending several years learning directly from such well-known figures as John Jackson, John Cephas and Jerry Ricks, Roach has developed his own style and is now an exceptional performer. He interacts with his audience and entertains as he plays.

Acoustic Alchemy
8.30pm-10pm

Formed in England in the early 1980s, Acoustic Alchemy have pushed the limits of the acoustic guitar’s potential by embracing a spectrum of musical styles ranging from straight jazz to folk to rock to world music and beyond. In the two and a half decades since their earliest recordings, the group has assembled and sustained a vast and loyal following that stretches well beyond their UK origins.

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Story By: by Ann Powers

The improbable pair of country star Taylor Swift and rapper Nicki Minaj sitting together at the Staples Center Sunday night.

Everyone hated it, but everyone watched it. That seems to be the takeaway from this year’s Grammy Awards telecast. Top critics called the program discordant, bloated and full of fumbles. The Internet belched in frustration as the Foo Fighters (nice guys, but overplayed) and Chris Brown (problematic, to say the least) made multiple appearances. Yet people tuned in — boy, did they tune in — and kept watching all the way through the Paul McCartney-led five-man effort to resuscitate rock that was the finale.

So what gives? Are we who tune in to these entertainment industry beauty pageants simply connoisseurs of television-induced torture? Or was there a way in which the 2012 Grammys show worked, despite (or even because of) the weird combo numbers, the stretches of incoherent spectacle and the dearth of awards presented?

Here’s what I think: the difference lay in the devices viewers cradled in hand or lap.

I’m talking about mobile phones and laptops — the instruments that allow entry to the magically reactive realm of social media. It’s been a while since media trend followers first identified Twitter (and, for some, Facebook) as a source of renewed interest in awards shows. This year’s Grammys struck me as the first major event designed, at least in part, to cash in on that trend.

17 performances crammed into four broadcast hours touched upon nearly every potential viewer/Tweeter’s favorite style of pop, though Bon Iver‘s reticence created a gap where indie was concerned, and it would have been nice if Latin music, suffering from the recent cutbacks in awards categories, had received some airtime. Many were the wacky, genre-hopping collaborations that producer Ken Ehrlich has long preferred. (Think that’s new? Behold this one from 2006.)

The show was also jam-packed with controversial bookings, notably Brown’s and the odd, rockist tribute to electronic dance music; “historic moments” including the Beach Boys reunion and Glen Campbell appearance and real news, topped by Adele’s comeback after throat surgery.

Instead of even trying to structure this wild array into a coherent narrative, the show’s creators opted for an utterly non-linear, rapid-fire approach that juxtaposed acts from opposite ends of the pop music spectrum. Bruce Springsteen and Bruno Mars are both ebullient performers, but the Boss’s gritty, political anthem rock and the Smeezingtons’ shiny Broadway-flavored soul are hair oil and water, affect-wise. Taylor Swift‘s gingham tribute to O Brother, Where Art Thou was bookended by Brown’s videogame-inspired dance routine and Katy Perry’s sci-fi erotica.

Adele Sweeps The Grammy Awards

We all well know that this is how mainstream pop music survives in the single-download age. No one style dominates, and as artists compete for attention, they’re turning ever more hyperbolic. At the Grammys, this was best illustrated by Nicki Minaj’s wild debut of the title track from her upcoming second album, Roman Holiday. A tribute to The Exorcist that more closely recalled a florid Dario Argento horror opera, the number included mock clergy, levitation and Minaj singing “I Feel Pretty” in an accent that would horrify Downton Abbey admirers. “Roman Holiday” sent the Twitterverse into hysterics. And it’s impossible to think that wasn’t part of the reason it was approved.

Neck-breaking variety kept those of us sharing the night on social media engaged, excited and frequently enraged. Never did the show lag into a predictable rhythm, despite the fact that the unscripted part of the show — the contest for Grammy statues — were a foregone conclusion. The major wins by Adele, the industry-beloved Foo Fighters and even dance music leprechaun Skrillex, well-augured by the media, came to pass. Bon Iver accepted the prize for Best New Artist, and was uncomfortable doing so. I could have written those last two sentences a week ago; I knew what was coming.

Instead of tapping into the anticipatory mood that greets most public contests, the Grammy telecast encouraged Tweeters to participate in a parallel awarding process based on snap judgments of the performances and grounded in personal taste. Twitter, after all, is like a T-shirt whose slogan you can keep changing: every new tap of the keyboard trumpets your tastes.

Love classic pop? The Grammys gave you a chance to gush about Joe Walsh and Brian Wilson. Don’t get Deadmau5? Hey, there he is! Slap out an incredulous 140 characters. Tweeters live to spout, and spout they did, as proven by the night’s most popular roundups from the platform — some of which were hilarious (“who is Bonnie Bear?”), others, disturbing. Never did my feed read, “This is boring,” because the Grammys left no space for ennui.

The placement of controversial elements similarly kept stimulation levels high. Brown’s heavy presence was foremost among them: since his assault on ex-girlfriend Rihanna after a pre-Grammy party three years ago, the R&B star has become one of pop’s most contentious characters. The show’s producer, Ehrlich, has expressed the view that enough time had passed, and Brown deserved a “second chance.” Yet to play that return so strongly, with two featured numbers augmenting an award win, is to craft a mini-narrative that guarantees intense reaction.

The folks I follow on Twitter hurled their disgust at every glimpse of Brown. Elsewhere, his fans shouted support — most upsetting were the women who made light of his history of abuse by declaring their willingness to have him beat them. Were these responses serious? I pray not. Their rawness and insensitivity seemed more like a drunken football chant than a well-considered apology for Team Breezy.

Maybe I’m being cynical, but the Grammy double-shot of Brown struck me as a ploy to keep both fans and haters on boil. The Foo Fighters’ ubiquity was more benign, yet also pointedly attention-getting. Dave Grohl has been mouthing off in favor of “real rock” over electronic pop enhancements for months, if not years. To put a guy guaranteed to make a speech dripping in disdain for synthesizers in a segment dedicated to celebrating them was maniacally brilliant. Twitter went … oh, you know.

Some might criticize the disjointed, all-peaks mood of the Grammys as a matter of poor design, just as others have protested the elimination of many categories as yet another step away from meaningful influence. I think it’s more deliberate.

Two strong conventional narrative arcs could have dominated the telecast: Adele’s return and expected sweep, and the mourning of Whitney Houston. One was available from the start; the other arose suddenly. Decisions were obviously made, however, to prevent either from dominating the evening. Host LL Cool J‘s opening prayer for Houston established a calm mood that extended to Jennifer Hudson’s performance of the late star’s signature song. Adele’s fine turn on “Rolling In the Deep” was almost upstaged by the bigger number that followed it — the lively and sweet country tribute to the ailing Glen Campbell, who also appeared.

This is what Twitter does to us; it makes us crave the next amazing thing just after we’ve consumed the last one. Any pause to absorb unfolding events offers a chance for observers to turn away. This year’s Grammys made sure that didn’t happen. Should we be dismissive of this? Only if we’re willing to put down our smart phones.

Release Date: 01/05/2012Contact Information: Latisha Petteway (News Media Only), petteway.latisha@epa.gov, 202-564-3191, 202-564-4355; En español: Lina Younes, younes.lina@epa.gov, 202-564-9924, 202-564-4355

WASHINGTON – The U.S. Environmental Protection Agency (EPA) is releasing its annual national analysis of the Toxics Release Inventory (TRI), providing all Americans with vital information about their communities. The TRI program publishes information on toxic chemical disposals and other releases into the air, land and water, as well as information on waste management and pollution prevention activities in neighborhoods across the country. Total releases including disposals for the latest reporting year, 2010, are higher than the previous two years but lower than 2007 and prior year totals. Many of the releases from TRI facilities are regulated under various EPA programs and requirements designed to limit human and environmental harm.

“We will continue to put accessible, meaningful information in the hands of the American people. Widespread public access to environmental information is fundamental to the work EPA does every day,” said EPA Administrator Lisa P. Jackson. “TRI is a cornerstone of EPA’s community-right-to-know programs and has played a significant role in protecting people’s health and the environment by providing communities with valuable information on toxic chemical releases.”

Citizens have a right to know what toxic chemicals are being released into their communities. Over the past 25 years, the TRI program has helped citizens, emergency planners, public health officials, and others protect human health and the environment by providing them with toxic chemical release and other waste management data they need to make decisions that affect the safety and welfare of their communities.

The 2010 TRI data show that 3.93 billion pounds of toxic chemicals were released into the environment nationwide, a 16 percent increase from 2009. The increase is mainly due to changes in the metal mining sector, which typically involves large facilities handling large volumes of material. In this sector, even a small change in the chemical composition of the ore being mined — which EPA understands is one of the reasons for the increase in total reported releases — may lead to big changes in the amount of toxic chemicals reported nationally. Several other sectors also reported increases in toxic releases in 2010, including the chemical and primary metals industries.

Total air releases decreased 6 percent since 2009, continuing a trend seen over the past several years. Releases into surface water increased 9 percent and releases into land increased 28 percent since 2009, again due primarily to the metal mining sector.

EPA has improved this year’s TRI national analysis report by adding new information on facility efforts to reduce pollution and by considering whether economic factors could have affected the TRI data. With this report and EPA’s Web-based TRI tools, citizens can access information about the toxic chemical releases into the air, water, and land that occur locally. Finally, EPA’s first mobile application for accessing TRI data, myRTK, is now available in Spanish, as are expanded Spanish translations of national analysis documents and Web pages.

TRI data is submitted annually to EPA and states by multiple industry sectors including manufacturing, metal mining, electric utilities, and commercial hazardous waste facilities. Facilities must report their toxic chemical releases to EPA under the federal Emergency Planning and Community Right-to-Know Act (EPCRA) by July 1st of each year. The Pollution Prevention Act of 1990 also requires information on waste management activities related to TRI chemicals.

More on the 2010 TRI analysis and TRI Web-based tools: http://www.epa.gov/tri

More on myRTK: http://www.epa.gov/tri/myrtk/Receive our News Releases Automatically by Email

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Red fish, also known as red drum, red bass or channel bass are a well known fish for Key West fishing charters that fish the backcountry plus the flats of Key West. Red fish is usually discovered in the estuaries and brackish rivers all along the Eastern coast with the United States from Maine down Key West. They’re discovered all about Key West, up through the Gulf of Mexico and as far because the Northern parts of Mexico. The larger fish will stay much more out in the deeper channels and may even be discovered on the reefs.

Red fish are frequently pretty modest, weighing 8 to ten lbs. but catching a 40 lb. red fish is not uncommon. The biggest red fish on record weighed in at 94 lbs. So as you’re able to see, even though they are generall pretty modest, red fish, specifically about Key West can get pretty huge.

Your optimum bet for catching red fish could be the by taking advantage with the backcountry Key West fishing charters. As you may anticipate, you frequently catch red fish in shallow water. You are frequently going to look in the modest channels among the mangrove trees. You will prefer to make an effort to fish in an outgoing tide when the fish are moving out into the channels and bays toward the ocean. To catch the bigger fish, stay out in the deeper channels. Appear for locations that show signs of bait. You are searching for minnows, fish jumping and for birds that happen to be hunting for modest fish and crustacians. Make an effort to find oyster bars and estuaries that flow out of marshes. These are outstanding locations to locate red fish. When you fish for 15 or 20 minutes in a spot and don’t get a bite, move on and try somewhere else.

The potential for engineering, procurement and construction contractors in the Middle East energy sector over the next 18 months and beyond will be huge, with at least $63bn-worth of spending planned for 2012-13.

By Adal Mirza, MEED Energy Reporter

US investment bank Morgan Stanley estimates that the region will account for 26% of the global capacity additions until the end of the decade, with projects worth in excess of $200bn.

Much of this spending is likely to be in Iraq as the country moves ahead with its ambitious plans to raise capacity to more than 12 million barrels a day (b/d), from less than 3 million b/d today.

International oil companies are now actively launching tenders for new facilities and rehabilitating existing infrastructure at most of the fields awarded in Iraq’s first and second hydrocarbon licensing rounds in 2009. The development of the Rumaila oil field by the UK’s BP and China National Petroleum Corporation will be the biggest draw, with a potential spend of up to $34bn by 2020.

Work could also start in 2012 on the long-delayed gas capture and utilisation project, being led by UK/Dutch oil major Shell Group. After waiting for approval from the Iraqi government since late 2008, the $17bn scheme finally got the green light at the end of November 2011. Shell will want to make up for lost time building the facilities that will capture associated natural gas in four southern oil fields.

This year will also see Iraq hold its fourth oil and gas licensing round at the end of January, with 12 exploration sites up for offer. As many as 46 companies have been prequalified to bid. Security concerns, which have slowed the pace of development in Baghdad over the past few years, remain, however. The security situation has improved immensely compared with the peak level of violence seen in 2007, but analysts say the situation has worsened since 2010. Attacks on oil and transport infrastructure have been a major problem in 2011 and remain a target for insurgents in 2012.

Saudi Arabia looks to bring new capacity online

Saudi Arabia will continue to draw attention from engineering firms, with an estimated 5-6 million man hours a year planned for the general engineering services plus (GES-plus) signatories, a sign of the scale of Saudi Aramco’s ambitions. The GES-plus firms will work with state-owned Saudi Aramco’s project management team to provide engineering and construction management services for a wide range of Aramco projects, including oil and gas, and infrastructure.

The firm plans to add some 250,000 b/d of new production capacity at the Shaybah field as well as implementing enhanced recovery techniques at the giant Ghawar oil field. Work is also due to start on the planned onshore and offshore facilities for Khafji Joint Operations in the neutral zone between Saudi Arabia and Kuwait.

In Kuwait, the focus will be on the downstream sector next year. The country is tentatively moving towards launching two enormous refining schemes worth up to $30bn. The schemes have been planned since 2005, but have faced a multitude of set-backs due to political wranglings.

Other regional refining schemes have also faced delays. Abu Dhabi’s International Petroleum Investment Company (Ipic) is now undertaking a feasibility study for an integrated refinery and petrochemicals complex in Duqm in Oman, a project it aims to develop with state-owned Oman Oil Company. Ipic awarded the project management consultancy contract to US-based Shaw Group in April. The state investment arm had previously stalled its refining plans when oil prices slumped in 2009. Its interest in downstream projects was rekindled as prices started to climb again.

This extract was taken from MEED’s Yearbook 2012, to read the full article please visit Meed.com

NEW YORK (Reuters) – Fat Tuesday. Shrove Tuesday. Mardi Gras. No matter what you call it, the last day before Lent’s 40 days of repentance (between Ash Wednesday and Easter Sunday) brings out a wild side in populations around the world.

As the party season of carnival nears its end, events heat up and online travel adviser Cheapflights offers its top 10 list of places to enjoy a last fling with hedonism before it’s over for 2012. Reuters has not endorsed this list:

1. Mardi Gras – New Orleans, Louisiana, United States

Thousands of tourists flood The Big Easy annually for Mardi Gras in New Orleans, deemed “the biggest free party on earth.” The entire city loosens its (already loose) reins, and douses itself with endless strings of beads, colorful floats and costumes to celebrate the naughtiest time of year. Floats of all sizes roll through the streets in spectacular parades for two weeks prior to Mardi Gras. Endymion (Saturday), Bacchus (Sunday), Orpheus (Monday), Zulu (Tuesday morning) and Rex (Tuesday night) are the most famous of the parades, drawing rowdy attendees to partake in song and dance free of inhibition.

2. Carnival of Binche – Binche, Belgium

It’s an honor for a man from Binche to be picked to join the Gilles on Shrove Tuesday. Gilles are clown-like performers – dressed in fanciful costumes, wax masks and plumed hats – who dance throughout the city starting in the wee hours and lasting through the night. The 1,000-plus men are the centerpiece of Binche’s carnival, named a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO.

3. Trinidad and Tobago Carnival – Trinidad and Tobago

Its vibrant history and French roots set the tone for Trinidad and Tobago’s most significant celebration each year: Carnival. The Monday and Tuesday before Ash Wednesday draw the Caribbean destination’s population to the streets to show off elaborate costumes that groups take months to create. Bands compete against one another for the title of Band of the Year as individuals vie to become Calypso Monarch, one of the greatest honors in the country.

4. Carnival of Brazil – Rio de Janeiro, Brazil

There’s really no comparison when it comes to Carnival celebrations when Rio is thrown in the mix. Brazilians take their weeks before Lent very seriously, putting on large-scale parades and festivities that in 2011 drew nearly 5 million people. The most famous holiday in Brazil features samba schools, or large groups of dancers and performers, who build spectacular floats and compete in one of seven divisions based on music, costumes and theme. Individual neighborhoods more and more are seeing smaller-scale parades, blocos, which feature drum parades, samba and other high-octane sights and sounds.

5. Mardi Gras – Sydney, Australia

Sydney takes the opportunity during pre-Lent celebrations to support its LGBT community through more than 60 must-attend events at Sydney Gay and Lesbian Mardi Gras. The most popular spectacle, of course, is the evening parade down Oxford and Flinders streets. Other musts on the lineup include drag races on Bondi Beach, Fair Day at Victoria Park, a sunset cruise, and a harbor-side dance party on Sydney Harbor.

6. Notting Hill Carnival – London, United Kingdom

It’s not until August, but London is the place to be in 2012. Though the Olympics will be most folks’ focus, the Notting Hill Carnival will come a close second for more than a million visitors. Trinidadian and Tobagonian Brits lead the charge, directing musicians and participants clad in colorful costumes through Notting Hill’s narrow streets. Claustrophobic travelers should consider staying home – Caribbean-flavored festival lassos large crowds over the course of two – typically hot – summer days.

7. Quebec Winter Carnival – Quebec City, Quebec, Canada

Quebec City comes to life every February for the Quebec Winter Festival. Outdoor sports like snowboarding and dog sledding, snow sculpture contests and masquerade balls are all on the schedule each year as Canadians celebrate a winterized version of Carnival. Visitors bundle up during the coldest time of year for a reason: zip lines, concerts and ice skating make for tons of fun for kids and adults alike. Like with most pre-Lent celebrations, the parades – both during the day and at night – are the highlight of Quebec’s ode to Carnival.

8. Carnival of Venice – Venice, Italy

Beginning 40 days before Easter, thousands of Venetians and visitors to the City of Water alike disguise themselves in ornamental masks, a site to be seen for anyone planning a trip to Italy. What used to blur the lines among social classes has evolved into a festival that could rival any other Carnival in the world. Fashion designers from around the globe sit on a panel to vote for “la maschera piu bella” or “the best mask” as events like the silent water parade and the Flight of the Angel take place across the city.

9. Mardi Gras – Universal Studios, Orlando, Florida, USA

Though Orlando may not be the first town that comes to mind when you think of Mardi Gras, Universal Studios puts on a celebration of beads and live music that the whole family can enjoy. For nearly two months on Saturdays and certain nights, the park entertains with headliners like Kelly Clarkson, and dishes up Cajun treats like jambalaya and shrimp gumbo – a wonderful homage to New Orleans’ French Quarter.

10. Carnival – Montevideo, Uruguay

Uruguayans have the longest Carnival celebration in the world, letting loose for more than 40 days every year, most vibrantly in the country’s capital, Montevideo. Theaters throughout the city are assembled and locals take to the stage to present the social and political climate of the country through operas known as tablados. Taking the real spotlight, though, are two colorful parades where musicians show their skills – and African roots – through the drum-based rhythm known as candombe.

(Editing by Paul Casciato)

QITCOM 2012, the pre-eminent platform for the information and communication technology (ICT) sector in Qatar, is preparing to host discussions on the country and region’s most relevant ICT issues from the 5-7th March at the National Convention Centre, Qatar.

With Next Generation Broadband investment high on the agenda for most governments and Qatar’s national broadband plan envisaging a broadband network which will deliver Fiber-to-Home (FTH) to 95% of the population by 2015, the event’s conference on “Broadband, Network and Infrastructure” is expected to attract large numbers of industry experts, ICT stakeholders and business leaders.

Mr. Ali Al-Khulaifi, QITCOM organising committee chairman said, “As broadband takes its place as an infrastructure, it must meet universal coverage, it must be high-performance, and open to a variety of user characteristics. The future broadband network should see development of these trends, feature high bandwidth, be open, and affordable. These issues will all be covered in detail during the first day of QITCOM 2012′s conference and we look forward to sharing global best practices and insights for the advancement of the National broadband infrastructure.”

Main speaker for the topic, Dr. Stagg Newman, Mckinsey Advisor and expert in providing technology, regulatory, and strategic advice will be leading discussions on Next Generation Broadband, and sharing his extensive experience and knowledge of broadband technology with a range of industry experts to set the agenda for debate and best practice sharing.

In addition, QITCOM 2012 will be hosting a range of relevant showcase and have asked Qatar Broadcast, a website presenting Qatari TV and radio channels, to be part of the show under this theme. Launched live on the internet on May 30, 2011, and utilizes the latest technologies in live Internet broadcasting; providing the public with local, Arab and international news, and children with stories of interest. The website’s objective of popularising online content aligns perfectly with the QITCOM 2012′s vision to showcase technology which connects and engages the community with service providers and technology developers.

“QITCOM is a one of a kind exhibition and conference in the region; it offers a platform for local ICT stakeholders to engage with global industry leaders and see first-hand the latest offerings and advances from major ICT enterprises, bringing together the private and public sector together to work as one,” Mr. Al-Khulaifi concluded.