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Journal #105 - Zakiyyah Iman Jackson - Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh's Trophallaxis
Detail of Simone Leigh, Trophallaxis, 2008–2017. Terracotta, porcelain, epoxy, graphite, gold and platinum glazes, and antennas. Dimensions variable. Copyright: Simone Leigh. Courtesy of the artist and Luhring Augustine, New York.
Simone Leigh's stated interest in "black women as a kind of material culture" has generated a career-spanning and award-winning meditation on black women as containers of trauma and knowledge.1 This essay will offer some brief comments on Simone Leigh's Trophallaxis. The sculpture recalls not only racializing and imperialist histories of the breast, but also social insects as figured in political philosophy and scientific discourse. It evokes these associations by performing and inciting an investigation of a long-standing practice: the making of societal/organismic analogies, in particular the comparison of human societies to those of social insects such as ants and bees. Feeding behavior has played a key role in this tradition, which relates wholes and parts of various species in nature, generally within a political idiom.2 While entomologists' precise interpretations of trophallaxis vary, what they share is the idea that soma is none other than trophic exchange. If the understanding of trophallaxis is the giving of soma to an Other, I ask: what does the history of the breast, with its attendant racializing cleavages of being, do to traditions of comparison? Thinking across the scale of the cell, the breast, and embattled human sociality, this essay shifts black feminist critical attention from the posterior to the breast and suggests that thinking sociogenically troubles utopic interpretations of trophallaxis in the biological sciences and beyond.
While an axiom of contemporary social theory readily acknowledges that our received categories of race are relational and grounded in histories of slavery and empire, it is worth considering how the distribution of soma itself, across demarcations of race, is the outcome of racial reasoning's circuit of comparison and hierarchical division of flesh and mammary labor. I suggest that Leigh's Trophallaxis is fructuous for thinking about how black female flesh un/gendered gives flesh both to bodies and to our prevailing categories of species and sex/gender and their systems of notation. Ultimately, Trophallaxis suggests the productive and explosively generative potential of intertwining histories of social insects and the mammary politics of transmission for Western origin stories of society and ontologies of the human.
A fusion of fecundity and cataclysm, Leigh's Trophallaxis recalls melons, bombs, and an insect egg sac. The sculptural work is at once a singular and collective breast. Composed of black porcelain and terracotta, the individuated breasts have gold and platinum nipples. The placement of antennae on mammary forms suggests conductivity or alternately exploding shrapnel. Hung from the ceiling in a chandelier-like formation, Trophallaxis hangs low enough to reveal a lattice of skin cells as well as tears in the skin, boot marks, and other signs of brutalization and distress. Taken as a whole, its pendulous shape is one fraught with racializing history.
As Jennifer Morgan has shown in "'Some Could Suckle over Their Shoulder': Male Travelers, Female Bodies, and the Gendering of Racial Ideology, 1500–1770," the imagined proof of the African's incivility and degraded humanity was frequently located in the perceived shape of the breast.3 The key to African females' purported childbearing and child-rearing practices was thought to be emblematized by the breast. In this context, the breast took on mythic proportions: "European writers turned to black women as evidence of a cultural inferiority that ultimately became encoded as racial difference. Monstrous bodies became enmeshed with savage behavior as the icon of women's breasts became evidence of tangible barbarism."4 African females' breasts were depicted as exaggeratingly pendulous, even as bestial additional limbs. The European imaginary equated African females' purported fecundity and propensity for easy birth and breastfeeding with their projected astonishing capacity for manual labor. Painless, meaningless, and mechanical childbirth, in their estimation, was the measure of the black female sex and of blackness, more generally.5
Londa Schiebinger, writing about the starting point of modern zoological nomenclature, reminds us that Linnaeus, the so-called "father of modern taxonomy," coined the term Mammalia in 1758, meaning "of the breast," a term capacious enough to embrace humans alongside a wide-ranging class of vertebrates.6 In the same volume, Linnaeus also introduced the term Homo sapiens, "man of wisdom," to distinguish humans from other primates. For Linnaeus, female mammae become the icon of Homo sapiens for reasons, Schiebinger argues, "that have less to do with the uniqueness and universality of the female breast than with eighteenth–century politics of wet-nursing and maternal breastfeeding, population growth, and the contested role of women in both science and society" in an era defined by debates concerning "universality" and "equality."7 As to the matter of adjudication, it was held that if evidence could demonstrate that social hierarchies issued from natural hierarchies, this assumption of "fact" could stem the leveling tide of democracy and abolitionism without moral opprobrium. As Schiebinger notes, it is strikingly odd that Linnaeus would base the name of a class on mammae, considering that they are only typically active in half the group and only for short periods of time (during lactation) or not at all. Linnaeus not only could have chosen a more sex- and gender-neutral trait (Aurecaviga, "the hollow-eared ones," or even Lactentia, "the sucking ones," for example), he could have also have chosen a term based on the conservative conventions of the day: scientific nomenclature usually conserved suitable terms, and new terms were derived from modifying traditional ones, commonly Aristotelian. Mammalia observed neither convention.8
This idiosyncrasy can perhaps be explained by the fact that Linnaeus was involved with the struggle against wet-nursing. He joined a vocal group of politicians and physicians who argued that elite European women should end their dependence on peasants and, in overseas colonies, native and Negro women.9 The latter emblematized the historic bestial connotations of female nature. Wet-nursing, during the mid and late eighteenth century, became associated with infant mortality and depopulation, and even national depravity and ignoble character were thought to transfer from diseased, unclean, and morally corrupt wet nurses drawn either from lower racial classes or impoverished European economic classes.10 What is more plausible, Schiebinger notes, is that economic considerations may have pushed some wet nurses to take on more babies than they could adequately nurse. The abolishment of wet-nursing was also instrumental to gynecology's and obstetricians' displacement of midwifery. Medicine established its authority over pregnancy and birth, in part, through anti-wet-nursing campaigns.11
Linnaeus's term Mammalia, according to Schiebinger, helped to legitimize the restructuring of European society by emphasizing that nature itself dictated that elite European females suckle and rear their own children. Rather than rendering nature universally comprehensible, Linnaeus's systematics projected exclusively upper- and middle-class European notions of gender, such as gender-role complementarity, onto nature.12 As Schiebinger suggests, one could argue that in coining the term Mammalia, Linnaeus broke with longstanding traditions that saw the male as the measure of all things. In the Aristotelian tradition, the female was considered an error of nature or a monster. In Linnaeus's system mammae became the sign and symbol of the "highest class" of animals.13 However, I would counter this by saying that assigning a new value to "the female" and elevating women's reproduction (understood as European and elite) was purchased at the price of transferring and deepening teratological associations of "the female" with the "African female," which ultimately racially calcified into the singularity I term blackfemale.14
Both Morgan and Schiebinger have shown that the comparative anatomization of the breast played a crucial role in determining and differentiating both the matter of species and the matter of sex—"hemispherical" and firm breasts were thought to be racial characteristics of European and Asian women.15 The idealization of the "hemispherical" breast is effectively a version of mapping that implied that the earth and its inhabitants could be divided into two halves and that an essential hierarchical racial division could conveniently be read in the perception and comparison of breast shape. The African female's purported characteristic pendulous breasts provided evidence that the indeterminate and contested (yet inferior) ontology of the blackfemale with respect to the discourses of species and sex/gender issued from nature itself. In both discourses, the blackfemale, and often the "Hottentot" female specifically, was the incarnation of the matrix for systems of classification.
Leading up to the eighteenth century, within the logics of comparative anatomy, racialized and racializing comparisons of the female sexes were sought to answer the question of the boundary of the species and the means of species reproduction. Additionally, because females were burdened with the idea that they directly shape racial traits and characteristics, such as those compared by phrenologists, this made the blackfemale responsible for black inferiority in general. However, it is important to note that during the eighteenth and nineteenth centuries, scientists and physicians did compare males, almost exclusively, in fields like craniometry and phrenology, which attempted to gauge intelligence and rationality—in short, fitness for civic life and the affairs of politics.16 This exclusivity stemmed from the view that reason is what qualifies humanity and from the contention that females of all races were irrational and unfit for politics and science. Thus, while comparisons between males determined rank within the species of humanity, the "African female" was defined as the boundary of the species and thought to shape the inferior characteristics of African-derived people as a class, precisely because of her ontologized positionality as blackfemale.
The discourses of sex/gender and race worked in conjunction, or to put it more precisely, the discourse of sex/gender operating as racial (which is to say as species) discourse depicted blackness and black femaleness, in particular, as limit cases because African females were not so much deemed masculine, as is often claimed, but rather because African females failed to differentiate at the registers of sex and gender according to the emergent modern terms of these discourses, for which they were the foils; they were thought to develop neither feminine temperaments, such as delicacy, purity, chastity, passionlessness, and moral and spiritual virtue, nor feminine sex characteristics, including so-called racial characteristics such as redness of lips, length and style of hair, skin color, and shape of nose and skull—features placed alongside breast shape and assessments of the posterior, pelvis, and pudendum.17 In sum, ascriptions of racially black femaleness administered and disciplined categories of species, sex, and gender. Mechanistic childbirth and feeding were thought to provide evidence of the underdevelopment of the African female's gender and sex. The antinomy of the idealized "angel in the household," "the African female" as a discursive formation materialized in the context of Europe's need for productivity; in response to this need, mechanistic childbirth and utilitarian breastfeeding would ultimately become forcefully located in the globalizing economies of slavery.
The title of Leigh's sculpture, Trophallaxis, refers to transferring of liquid food between adult social insects or between them and their larvae. The shared contents is sometimes called "crop milk."18 In 1918, William Morton Wheeler coined the term "trophallaxis." Not simply a nutritional fluid exchange, trophallaxis can involve the transfer of pheromones, organisms such as gut endosymbionts, and information to serve as a form of signaling.19 In a choreography that synchronizes eusociality and the division of labor, trophallaxis enables some ants to stay and look after the nest whilst others forage for food. The sharing behavior is a means of resource distribution, dispersal of chemical messages around the nest, and the creation of a unified colony odor.
Early twentieth century entomologists, imagining humans as social insects, linked trophallaxis to the origin of human society. As historian of science Charlotte Sleigh has shown, feeding behavior in particular, including trophallaxis, was seen as the key to the riddle of the origin of sociality. Though generated to explain a specifically myrmecological phenomenon, trophallaxis from the outset was understood to cover general features of society. Wheeler suggested that mutual feeding relations were the true, necessary cause of social forms of life.20 More precisely, as historian of myrmecology Abigail Lustig asserts, for Wheeler, "the center of the vortex, always remained the relationship between mother and offspring; all the other possible permutations of relationships were somehow extensions or subversions of this primal instinct."21 Trophallaxis did not even have to entail an immediate reciprocation; the important thing was that the exchange had the ultimate function of maintaining society in equilibrium.22 Wheeler posited that the only difference between the two species was that humans, an evolutionary novelty compared to ants, had not had time to incorporate their functional division of labor into their "heritable morphology."23
However, per my discussion of Jennifer Morgan's and Schiebinger's work, precisely what antiblack discourse suggested was that race divides the female sex into separate black and white female sexes, such that black breasts were divergent at the register of morphological sex and that they were peculiarly suited for slavery and mechanical reproduction. Moreover, the question of heritability was forcefully resolved by the seventeenth-century Virginia slave code known as partus ventrem sequitur—"that which is brought forth follows the womb"—effectively catalyzing an emergent discourse of race that would equate morphology with social ontological status.24 Indeed, given its definitional context is parental care, mammalian nursing is sometimes considered trophallaxis.25
Auguste Forel, pioneering entomologist and eugenicist, in his The Social World of the Ants Compared with that of Man, has a romantic and utopic reading of trophallaxis. Forel saw its human significance as confirming his optimistic faith in socialism.26 His concept of the "communal stomach" observes that in some ant species individual colony members store food in their crops, or second social stomach, and transfer it to larvae and other community members. In the process of doing so, pheromones travel alongside food, thus demarcating the perimeter of community. Wheeler's conception of the trophallactic circuit recalls the regulatory function of a membrane dividing and mediating inner and outer worlds.27
In Interstices, Hortense Spillers draws our attention to a singularity legally established under slavery by telling us that black femaleness in flesh and symbol primarily acts as a regulating function rather than a self-willed agent: She is "the principal point of passage between the human and the non-human world. Her issue became the focus of cunning difference—visually, psychologically, ontologically—as the route by which the dominant modes decided the distinction between humanity and 'other.'"28 In Monstrous Intimacies, Christina Sharpe emphasizes a crucial distinction between the mother's breast and the wet nurse's breast under slavery, whereby for the wet nurse "neither blood nor milk ensured familiarity," nor the rights of maternity nor privileges of womanhood.29 Thinking with Sharpe, I argue that this division of labor does not simply assure the denial of rights of motherhood for the enslaved; it also reinforces racially ontologizing cleavages in the semiotics of sex and gender in the felt and lived experiences of the flesh that passes on sociogenically as mother's milk.30
According to Forel, trophallaxis sustains the nest as a social entity. However, if we consider the mereological communal violence of the breast on command under slavery, then it troubles Forel's eutopic conception of trophallaxis and the notion of community that underwrites it. Partial objects are prior to the coalescence of identity, or the sense of a bodily ego one acquires upon entering into the symbolic order (iconography of civilization, history, culture); slavery attempts to effect the privation of a "body" and lock one in a state that is prior to the felt sense of bodily integrity. "Before the 'body' there is the 'flesh,'" Spillers writes.31 Here, the before has spatial as well as temporal significance, as before recalls that the master class gains a sense of proprietary embodiment and sovereign "I" retroactively. Thus, the ekphrastic scenes of enfleshment Spillers describes act as a mirror stage such that the other is spatially before the lash, and her ensuing fragmentation hypostatizes—by that I mean converges literal and figurative meaning—in the abstractions made of flesh. The gold and platinum nipples of Leigh's sculpture mark the conversion of the nipple and its labor into somatic currency.
At/as the meeting point of morphe and logos, blackfemale flesh un/gendered functions as the constitutive outside of normative femininity and gendered humanity, more generally, in its normativized genre. From the perspective of dominance, normative—i.e., white bourgeois—femininity is arguably the only womanhood there is. However, in order to protect and uphold this exclusivity, it is necessary to repress the material and symbolic supplementarity of black female flesh. For it is a supplementarity produced along very different gendered and material lines: terms and conditions of enslavement and scientific discourse that subtend and rupture corporeal integration, ontological integrity, binarisms of sex and gender, and logics of gender-role complementarity. At the same time, a breast on command or the flesh as a repository of transgressive pleasure rather than bodily integrity differentiate gender and/or recourse to chastity and virtue. Thus, the blackfemale de-essentializes gender and shows the arbitrary relation between flesh and symbol.
In Toni Morrison's 1988 Pulitzer Prize–winning novel Beloved, Schoolteacher "arrived to put things in order."32 A man who "always wore a collar, even in the fields," Schoolteacher was an emblem of both the epistemic powers and abuses of scientific and biblical authority under slavery.33 In the world-making Schoolteacher produced by letter and lash, it is Sethe who makes the ink. The ink was made of "cherry gum and oak bark," recalling the chokecherry tree on her back.34 She is a figure constitutive to Schoolteacher's transubstanting pedagogy. The ink and the notebook need Sethe and her avatars for its alchemy of being and world. The scent of the ink haunts Sethe's memory, recalling the atmosphere of slavery.35 When Sethe overhears her name in one of Schoolteacher's many lectures, he instructs his nephew, who was writing in one of his books, to "put her human characteristics on the left; her animal ones on the right. And don't forget to line them up."36 In doing so, Schoolteacher establishes the measure and metrics of being and world, indeed of being-in-the-world. Sethe's mammary rape soon follows. This is an allegory of world history.
No, this is not a figure to confuse with any commonsensical conception of a queen bee.37 Logician and grammarian Charles Butler, sometimes called the "Father of English Beekeeping," in The Feminine Monarchie, Or the History of Bees, saw in bee sociality a matriarchal thesis synonymous with the moniker: queen bee displacing Aristotle's king bee thesis.38 But as Spillers shows, such monikers, when applied to black women, have historically functioned with pernicious irony: "the black woman" is a term of "overdetermined nominative properties."39 The nominative is a grammatical case of a noun that generally marks the subject of a verb or predicate, as opposed to its object. But "the black woman" is an ironic nominative in that the modifier "black" actually functions to objectify and aims to foreclose the actional agency of the nominative such that the case and its normative deployment would seem to suggest that the putative referent is the causal agent of her objectification, or at the very least introduces confusion into the terms of agency itself. The qualifier "black" not only functions to objectify and confuse the causal relations of agency, but also to un/gender.
Under slavery black female flesh un/gendered is produced by the order as an actant: actants have affect and modify actors, but without the pretense of liberal humanist notions of will or self-directed agency—however attenuated, relative, and relational. Spillers argues that those ascribed as black females are a fleshly metaphor whereby "the human body as a metonymic figure" and "resource for metaphor" is essential for "an entire repertoire of human and social arrangements."40 In short, the foreclosure and/or abjection of this figure make possible the transmission of the social as a hierarchy. And as it turns out, the name "queen bee" is a misnomer. Contrary to what the name implies, a queen bee does not reign over or directly control the hive. While she is primary to the reproduction of the community, everything else that is claimed to be known about her is a matter of perception and myth.
In Nancy Leys Stepan's well-known essay "Race and Gender: The Role of Analogy in Science" (1986), she argues that scientific analogies construct the very similarities and difference supposedly "discovered" by scientific methods.41 So if analogies in science, historically, have functioned due to the imperceptibility of their arbitrariness and through a metaphorical system that structures the experience and understanding of difference such that the entities compared acquire new meanings in their analogical meeting, then we have to ask what are the social conditions of science that naturalize "nature" and generate the reality effects of arbitrary comparisons.42
The analogies that project abject somatic difference onto the blackfemale figure, in the making of this figure, have enabled the metaphor linking white womanhood to blackness even in her seeming absence. Without this chain of metaphors, much of the data on "women's" bodies
(length of limbs, width of pelvis, shape of skull, weight or structure of brain) would have lost their significance as signs of inferiority and would not have been gathered, recorded, and interpreted in the way they were. In fact, without the analogies concerning the "differences" and similarities among human groups, much of the vast enterprise of anthropology, criminology, and gender science would not have existed. The analogy guided research, generated new hypotheses, and helped disseminate new, usually technical vocabularies.43
While new analogies produce new research questions and scientific "facts" by directing the course of empirical research, they do so in the context of histories that generate change as well as continuity and often assume the literalness of metaphor due to science's perceived objectivity and verdicality. As discussed here, the consequences of science's metaphoricity are not simply intellectual but also political and moral. The imbuing of insect/societal analogies with moral weight, Lorraine Datson explains, "were attempts to turn dross into gold, to create value out of the least promising materials," namely insects—and, I would add, per the gilded nipples of Leigh's sculpture, African females, differentially and relationally.44
During the late seventeenth and eighteenth century, ridicule was heaped on naturalists who devoted time, resources, and passion to what were considered unworthy objects. It was held that such misguided attention would spoil one for polite society and the serious duties of family, church, and state.45 In turn, naturalists countered that the intensity and direction of their attention was warranted because what observation revealed was the inner workings of divine handiwork.46 Mastery of the disciplines of attentive observation and the texture of description, or what we typically understand as empiricism, increasingly defined who was a naturalist worthy of the name.47
Accused of idolatry, naturalists, particularly entomologists, justified their rapt attention in terms of creaturely love, claiming that "divine providence could be discerned in the design of a fly's wing or the industry of the beehive—in part to defend themselves against the charges of triviality, but also in part to redeem even the most lowly objects as repositories of divine artistry and benevolence."48 What ultimately elevated ants and bees in the scales of value, however, was the perceived (hierarchical) complexity of their societies: recall "the feminine monarchie."49
In the case of the African female, denuded of a civilizational claim and genitrix of the primal horde, moral weight was attached to her, to her nakedness, as an object of study without the ennoblement and sympathy entomology typically extended to ants and bees. When insects are referred to as "queens" in this tradition, it is typically without the mocking irony that the moniker holds in the history of ascriptions of the blackfemale. In other words, unlike ants and bees, the blackfemale's status as specimen neither led to an elevation of axiological status nor produced subjects of sympathetic identification.
The blackfemale figure has historically been perceived as either exaggeratingly large, or synecdochically. As Susan Stewart notes, enlargement is often deployed as a stratagem to imply menace, and representations of the gigantic often end up synecdochic.50 The synecdochic fissuring of the blackfemale may indeed gesture toward the sublime function of this figure: uses too numerous and too vast and too overwhelming to depict in a representationalist image. Mythologized as mammy, the blackfemale figure, with or without the bulk, with or without the headscarf, with or without her apron, domestic busyness, and simple moral correctives but stuffed with this peculiar mater(nal) function to the point of fissuring, embodies the threat of rupture. She, Sharpe instructs,
becomes large, superabundant, splits into more of herself. Impossible to contain her in one body, impossible not to see her, she circulates widely but remains invisible nonetheless … Having no place in the memory of her creators as a creation she becomes a realized figment of collective imagination, an avatar of the collective unconscious. A phantasmatic figure, she is everywhere, in every place.51
The evocative power of Leigh's Trophallaxis would suggest that abstract artwork is an appropriate vehicle for that which exceeds the representationalist frame and cannot be captured by the mind's eye. The sculpture's antennae evoke the reception and transmission of energy. If sexuating antiblackness is imagined as an electromagnetic wave, then it theoretically, potentially amplifies into infinity. However, the munitions suggest this process of absorption and emission could redirect antiblack sexuating energy in such a way that it splits, and its trace and successive fissures might act as a bomb rupturing sex, gender, species, and the world.52 Viewed from one perspective, this is a baleful unspeakable cataclysm; but from another perspective, such an event provides the leveling conditions that make (possible) a different future.
All images: Details of Simone Leigh, trophallaxis, 2008-2017. Terracotta, porcelain, epoxy, graphite, gold and platinum glazes, and antennas. Dimensions variable.Copyright: Simone Leigh; Courtesy of the artist and Luhring Augustine, New York.
Zakiyyah Iman Jackson is an assistant professor of English at the University of Southern California. Working at the intersection of African diasporic literature and art, continental philosophy, contemporary critical theories, and feminist philosophies of science and biomedicine, her research explores historical and emergent linkages between the humanities and the sciences on the questions of being and knowing. She has published work in Gay and Lesbian Quarterly (2011 and 2015), Feminist Studies (2014), Qui Parle: Critical Humanities and Social Sciences (2016), Catalyst: Feminism, Theory, and Technoscience (2016), and South Atlantic Quarterly (2018). Professor Jackson's forthcoming book, titled Becoming Human: Matter and Meaning in an Antiblack World will be published with NYU Press, Sexual Cultures series, in April 2020.
Conversations - Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh's Trophallaxis
Notes - Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh's Trophallaxis
Simone Leigh, "Knowledge as Collective Experience," Creative Time Summit 2015 →.
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See Charlotte Sleigh, "Brave New Worlds: Trophallaxis and the Origin of Society in the Early Twentieth Century," Journal of the History of the Behavioral Sciences 38, no. 2 (2002): 133–56. Entomologists such as Auguste Forel, Adele Fielde, and William Morton Wheeler alternately drew principles of "social hygiene," slavery, primitivity, blackmail, bribery, internationalism, and pacifism from the life of ants. My observations, in this essay, are perhaps especially true for early entomologists in search of the origin of sociality.
Jennifer L. Morgan "'Some Could Suckle over Their Shoulder': Male Travelers, Female Bodies, and the Gendering of Racial Ideology, 1500–1770," William and Mary Quarterly, no. 54 (1997): 167–92.
Morgan, "'Some Could Suckle over Their Shoulder,'" 191.
Londa L. Schiebinger, Nature's Body: Gender in the Making of Modern Science (Rutgers University Press, 2004), 53. See chapters 2 and 3, in particular, on the comparative anatomization of the breast.
Schiebinger, Nature's Body, 4–5.
Schiebinger, Nature's Body, 41–42.
Here, in using the conjoint "blackfemale," I am thinking with a previous model, namely Toni Morrison's Beloved (i.e., "whitefolks"). In reaching for language we find that the conjoin(ing) noun underscores the specificity of social positioning.
Schiebinger, Nature's Body, 148.
Schiebinger, Nature's Body, 156, 158–59. We can see this kind of thinking even in the work of Darwin. See Darwin's comments on the role of racial characteristics in sex selection in The Descent of Man, and Selection in Relation to Sex (1871).
In birds, feeding via regurgitation is sometimes called "crop milk." See the following for an early, if not the earliest, use of the term: Oscar Riddle, Robert W. Bates, and Simon W. Dykshorn, "A New Hormone of the Anterior Pituitary," Proceedings of the Society for Experimental Biology and Medicine 29, no. 9 (1932): 1211–12.
Mark E. Suárez and Barbara L. Thorne, "Rate, Amount, and Distribution Pattern of Alimentary Fluid Transfer via Trophallaxis in Three Species of Termites (Isoptera: Rhinotermitidae, Termopsidae)," Annals of the Entomological Society of America 93, no. 1 (January 2000): 145–55.
Sleigh, "Brave New Worlds," 133.
Abigail J. Lustig, "Ants and the Nature of Nature in Auguste Forel, Erich Wasmann, and William Morton Wheeler," in The Moral Authority of Nature, eds. Lorraine Daston and Fernando Vidal (University of Chicago Press, 2003), 302.
William Morton Wheeler, "The Social Insects: Their Origin and Evolution," Nature, no. 122 (1928); and Sleigh, "Brave New Worlds," 146, 150.
Indeterminancy and flexibility has been emphasized in scholarship on the question of race in early colonial slavery, but Morgan demonstrates that the process of imagining black women as vectors of racial inheritance and, thus, slave status began several decades before this code was enacted into law. As Morgan argues, it is through the bodies of black women that assumptions about race and status were conferred, formalized, and navigated. The Virginia legislative pronouncement, she argues, only belatedly codified hereditary racial slavery into English colonial law. See Jennifer L. Morgan, "Partus sequitur ventrem: Law, Race, and Reproduction in Colonial Slavery," Small Axe: A Caribbean Journal of Criticism 22, no. 1 (2018): 1–17.
On this point, this essay is informed by social systems biologist Adria LeBoeuf's work on trophallaxis. See LeBouef, "On Mammalian Breast Feeding" (n.d.); and her video "What is Trophallaxis?" →.
But in order to see it this way, Forel had to emphasize trophallaxis as a means of social bonding and kin survival over its associations with communal boundary regulation, caste, and immunity. Moreover, some forms of trophallaxis have been described in less communitarian terms, particularly that of parasitism. Some species of wasps have been described as nest invaders that restrain and force trophallaxis on captive hosts. See Hal C. Reed and Roger D. Akre, "Usurpation Behavior of the Yellowjacket Social Parasite, Vespula austriaca (Panzer) (Hymenoptera: Vespidae)," American Midland Naturalist 110, no. 2 (1983): 419–32; and Reed and Akre, "Colony Behavior of the Obligate Social Parasite Vespula austriaca (Panzer) (Hymenoptera: Vespidae)," Insectes Sociaux 30, no. 3 (1983): 259–73.
Sleigh, "Brave New Worlds," 149–50.
Hortense Spillers, "Interstices: A Small Drama of Words," in Spillers, Black, White, and in Color: Essays on American Literature and Culture (University of Chicago Press, 2003), 155. Here I draw on this essay, as well as the essay "Mama's Baby, Papa's Maybe: An American Grammar Book" in the same volume, to tease out some of the implications of Spillers's thought, in light of Lacan's mirror stage and Bruno Latour's concept of an actant as that entity or activity which "modif(ies) other actors." Bruno Latour, Politics of Nature, trans. Catherine Porter (Harvard University Press, 2004), 75. Jacques Lacan, Écrits: The First Complete Edition in English, trans. Bruce Fink (W. W. Norton, 2006).
Christina Sharpe, Monstrous Intimacies: Making Post-Slavery Subjects (Duke University Press, 2009), 165.
Building on the work of Frantz Fanon, Sylvia Wynter suggests that sociogeny defines (human) being in a manner that is not reducible to physical laws. In fact, said laws are redefinable as sociogenetic or nature–culture laws because culture is not only what humans create but also what creates human being. Sociogeny suggests that cultural codes hold the potential to redirect "biology." If the organismic body delimits the human species, then the body is itself culturally determined through the mediation of the socialized sense of self as well as through the "social" situation in which this self is placed. Wynter limits her discussion of what she calls the "sociogenic principle" to the activities and efficacies of the nervous system. See Wynter, "Towards the Sociogenic Principle: Fanon, Identity, the Puzzle of Conscious Experience, and What It Is Like to Be 'Black,'" in National Identities and Sociopolitical Changes in Latin America, eds. Mercedes F. Durán-Cogan and Antonio Gomez-Moriana (Routledge, 2001), 30–66. In my forthcoming book, Becoming Human: Matter and Meaning in an Antiblack World (NYU Press, 2020), I extend and revise her theorization of sociogeny by considering what venturing beyond the nervous system reveals about the entanglement of semiosis and the organismic body.
Spillers, "Mama's Baby, Papa's Maybe," 206.
Toni Morrison, Beloved (Knopf, 1987), 11.
Morrison, Beloved, 44.
Morrison, Beloved, 6.
Morrison, Beloved, 228.
An earlier version of Leigh's Trophallaxis bore the title Queen Bee. My reading of Trophallaxis suggests an ironic meaning to the earlier title.
Butler's The Feminine Monarchie (1634) was actually a revision of a text originally published by Joseph Barnes in 1609, which was itself the first full-length English-language book about beekeeping. However, Barnes and Bulter were not the first to describe the largest honeybee as a queen. Luis Mendez de Torres did so in 1586. His observation was later microscopically confirmed by Jan Swammerdam in 1670. As Cyrus Abivardi explains, although Aristotle noted that some authorities referred to the large ruler bee as the hive's mother, he found the hypothesis unlikely, since "nature only arms males." Because the hive's "ruler" has a sting, Aristotle concluded that it must be the king, and the defenseless drones were, therefore, the females. See Cyrus Abivardi, "Honey Bee Sexuality: An Historical Perspective," Encyclopedia of Entomology (Springer, 2008): 1840–43.
Nancy Leys Stepan, "Race and Gender: The Role of Analogy in Science," Isis 77, no. 2 (June 1986): 264.
Stepan, "Race and Gender," 265–67.
Stepan, "Race and Gender," 272.
Lorraine Datson, "Attention and the Values of Nature in the Enlightenment," in The Moral Authority of Nature, 100.
Datson, "Attention and the Values of Nature in the Enlightenment," 104.
Datson, "Attention and the Values of Nature in the Enlightenment," 108–12.
By the 1920s, darker peoples of Africa, South America, and Asia were arguably at times depicted as more savage than "races" of ants—that is, morally inferior to ants. Examples include the work of Belgian entomologist Eduouard Bugnion, and H. G. Wells's short story "The Empire of the Ants." As Charlotte Sleigh puts it, "Psychologically speaking, ants were a paradox, for they shared brutishness with the 'Negro' or 'Indian' and a complex social order with the European." See Sleigh, "Empire of the Ants: H. G. Wells and Tropical Entomology," Science as Culture 10, no. 1 (2001): 64. I have extended this observation by identifying the manner in which sex/gender qualifies this insight.
Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Duke University Press, 1984), 71.
Sharpe, Monstrous Intimacies, 161.
A number of Black Studies scholars are currently in the midst of an exciting conversation concerning a reconsideration of the idea of "world." See, in particular, the work of Denise Ferriera da Silva and her important ethical call, on behalf of planetary existence writ large, for an "end to the world as we know it": Da Silva, "An End to 'This' World," interview by Susanne Leeb and Kerstin Stakemeir," Texte Zur Kunst, April 12, 2019 →; and Da Silva, "Toward a Black Feminist Poethics: The Quest(ion) of Blackness Toward the End of the World," The Black Scholar 44, no. 2 (2015): 81–97. In my work, on the question of the destructive/creative power of the black mater(nal), as mater, as matter vis-à-vis the metaphysics of "world," I have focused on the particular problem of the definite article "the," as a qualifier of "world." In light of the work of Quentin Meillasoux and other realist approaches to "world" and anti-correlationist stances (i.e., some New Materialist approaches), I have argued for a disenchantment of the idea(l) of "the world" as a knowable concept while holding on to the notion of incalculable and untotalizable worldings. I argue that "the world," and especially "the world as such," fails as a concept, fails at knowability, but succeeds as an idea(l) of imperialist myth predicated on the absent presence of what I call the black mater(nal). This critique is not limited to any particular representation of "the world," but is a rejection of the concept of "the world." See Zakiyyah Jackson, "Sense of Things," Catalyst: Feminism, Theory, Technoscience 2, no. 2 (2016). This argument is extended in my forthcoming book, Becoming Human.
Share - Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh's Trophallaxis


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Is Winter really here?
Posted on: 4th February, 2019
Category: Farming
Contributor: Tommy Moyles
In his farming diary, West Cork suckler farmer and columnist with the Irish Farmers Journal, Tommy Moyles covers the lay of the land across all agri and farming enterprises – news, views and people in farming across West Cork and further afield.
From a farming perspective the last few weeks have been fantastic. Since the middle of December temperatures have consistently been between eight and 14 degrees Celcius. It's perfect early season grass growing weather – the kind that farmers longed for most of April 2018.
In the last few weeks I saw daffodils flowering on New Year's Day, sycamores budding in December and, to top it off, I saw a hedgehog crossing the road a few nights ago.
Just to put a downer on it, I think nature will balance this out and there is a long winter ahead yet.
Slurry-spreading season
Anyone driving through the countryside recently will tell you slurry-spreading season has reopened. It's a job off the list here and it was unusual to go for the more challenging paddocks first. But with ground dry, a decision was made with the contractor to aim for the hillier paddocks and get them out of the way.
Around West Cork, you can see more cows out grazing than would be normally seen at grass this early in the year. If weather holds up those numbers will grow as calving season moves into gear.
There are an extra 30,000 additional dairy calves expected this spring. This rise in numbers has been consistent since the abolition of milk quota in 2015. From 2016 to 2018 there have been an extra 64,000 calves born in the months of February and March.
This has led to an increase in demands on labour at farm level and also. To take pressure off farmers, Bandon mart will be holding a second weekly sale for calves. This venture will begin on the last Thursday in February.
Mart manager, Tom McCarthy explained the reasons behind it. "A lot of farmers were saying we have to try and help them in anyway that we can. Mondays are probably stretched to the limit, as it is we're dealing with 1,500 to 1,700 calves at the peak sales, which is a long day on the calf and on the farmer.
"We're going to try a second sale on Thursdays. We hope that this will take some of the pressure off farmers at peak calving time. Labour is scarce in yards and they'd like to move off calves as quick as possible."
Some rule changes to the movements of calves came into effect at the start of February. One of the main ones is that calves can't be moved before they are ten days old. That's something farmers will have to watch because many have compact calving systems. This will see anywhere from 60 to 85 per cent of cows calve within a six week period.
Because of this, calf numbers will build up quickly in yards and farmers will want to move them quickly to reduce labour pressure. On the purchasing side Tom said: "All the buyers are happy with it as Thursdays are an export day. If exporters want to use it we have an export lairage here and they can export directly out of Bandon mart on the day. It has all the right ingredients so hopefully it will work."
Live export of calves to the continent is a major outlet for Irish dairy calves however it is not always straightforward for a variety of reasons. An upcoming challenge will be lairage space at Cherbourg port in France. The lairage space is the area to rest calves when they arrive after the ferry crossing.
New rules could hamper the number of calves that can be exported during the peak of mid-March to mid-April. Veterinary rules state that calves ferried from Ireland must be rested, fed and watered for 12 hours at Cherbourg.
Currently the facilities in Cherbourg can handle 4,000 calves every 12 hours. This is the equivalent of 12 or 13 modern trucks
Until 2018, calves were rested in two approved lairages at Cherbourg or, if these were full, the next available one en route to Holland, Belgium, Italy and Spain.
However, welfare groups complained that some Irish calves, by travelling to the next available lairage, were exceeding maximum journey times.
As a result, for 2019 the Department of Agriculture will insist that all calves are rested at Cherbourg. So the new rules mean that no more than 13 lorries, or 4,000 calves in all, can stop there on any one day.
This will be adequate for most of the year but during the peak three or four weeks, exporters could send up to 20 lorries on a busy day. When there is stormy weather at sea, calf transport id suspended and this can cause a backlog.
In an ideal scenario, the 2019 sailings from Dublin to Cherbourg would alternate with Rosslare sailings, spreading out demand for the Cherbourg lairage. However, that will not be the case in February, March, April and early May.
This spring there will be three weekly sailings, on Tuesday, Thursday and Saturday, from Rosslare to Cherbourg. There will also be three weekly sailings from Dublin to Cherbourg on the same days.
The transport of calf trucks on ferryboats is strictly regulated on health and welfare. In lay persons' terms, calves must have plenty of fresh air and be on a large, stable boat. Calf trucks can only be taken on board if forecast sailing weather is calm. Ferries also must have facilities to tie down trucks to ensure stability.
Milk Price
On the financial side for dairy farmers, Carbery maintained its base milk price for December milk, but has removed the 1cpl support payment, which it has been paying to its four shareholder co-ops over the past few months. Based on the November price, this would result in a December milk price of 31.8c/l excluding VAT. Neighboring co-op, Dairygold, announced that it will hold their December milk price at 30.36c/l excluding VAT.
Speaking at the Irish Grassland Associtaion dairy conference in Charleville, Carbery CEO, Jason Hawkins said he expects the milk supply coming into Carbery to continue to grow by three to four per cent per year.
Now over a year in the job, the Kerry native gave an assurance that they will continue to process all the milk that is offered to them and that if, as seems likely, extra processing capacity is needed in three to four years' time, the cost of that extra capacity will be met from the group's own resources and there will be no levy or other charges imposed on farmers.
I attended two meetings in West Cork regarding the upcoming CAP (Common Agricultural Policy) review. They were hosted by the IFA and Macra na Feirme to enable both organisations consult their members. Debate about the definition of a genuine farmer featured at the IFA meeting in Macroom, while environmental issues were raised by Macra members in Dunmanway. In all honesty it was a case of everyone trying to look after their own corner. One farmer I spoke to afterwards summed the proceedings up nicely: "Everyone was bringing their own bullocks to the fair".
All the signals from Brussels are that there will be more of a focus on environmental issues in the next CAP. There was more awareness of this at the Macra event as younger farmers are more than likely going to have to farm to farm with more awareness of their environment if not increased environmental controls.
Redistribution of payments and retirement options were to the fore of farmers' minds at the IFA event.
The historical reference years of 2000 to 2002 still rankle with some farmers, particularly those on lower payments, and this was made clear to IFA president Joe Healy in Macroom.
These farmers were wary about whether redistribution would happen and to what extent.
Generational renewal and the need for linking payments to some form of retirement option was a common denominator at both venues. It's a subject that could warrant a meeting of its own, especially given the potential challenges ahead in some farming sectors and land types. At present, Brussels does not look favourably on a retirement scheme due to the long-term nature of it.
Part of the proposals from the EU includes each country defining what an active farmer will be. That will be another challenging debate for those involved. There was an appetite for using information available from previous Single Farm Payment applications to determine the activity levels of a farmer.
The final outcome on how EU funds will make their way to farmers and rural communities won't be known for some time yet. The unknown entity of Brexit doesn't help speeding up the proceedings either.
CAP thoughts will be more to the back of my mind than front and centre for the next while as activities within the farm boundary take over. The first calf isn't due on the ground here for another month but preparations are under way. Cows are now getting pre-calving minerals and my priorities now are to get facilities on order. Fail to prepare, prepare to fail and all that.
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text:
Q: Необходимо объяснение ошибки При выполнение программы возникли следующие ошибки, что они означают и как их можно исправить?
[SUREFIRE] std/in stream corrupted
java.io.IOException: Command NOOP unexpectedly read Void data with length 4.
    at org.apache.maven.surefire.booter.MasterProcessCommand.decode(MasterProcessCommand.java:130)
    at org.apache.maven.surefire.booter.CommandReader$CommandRunnable.run(CommandReader.java:391)
    at java.base/java.lang.Thread.run(Thread.java:833)

System.exit() or native command error interrupted process checker.
java.lang.IllegalStateException: Cannot use PPID 10756 process information. Going to use NOOP events.
    at org.apache.maven.surefire.booter.PpidChecker.checkProcessInfo(PpidChecker.java:155)
    at org.apache.maven.surefire.booter.PpidChecker.isProcessAlive(PpidChecker.java:116)
    at org.apache.maven.surefire.booter.ForkedBooter$2.run(ForkedBooter.java:214)
    at java.base/java.util.concurrent.Executors$RunnableAdapter.call(Executors.java:539)
    at java.base/java.util.concurrent.FutureTask.runAndReset(FutureTask.java:305)
    at java.base/java.util.concurrent.ScheduledThreadPoolExecutor$ScheduledFutureTask.run(ScheduledThreadPoolExecutor.java:305)
    at java.base/java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1136)
    at java.base/java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:635)
    at java.base/java.lang.Thread.run(Thread.java:833)

A: Разберем все по порядку:

std/in stream corrupted

Дословно: поток ввода-вывода поврежден.
В целом уже лучше...понятно, что что-то случилось со стандартным потоком ввода-вывода, но пока еще непонятно почему.
Разбираем дальше:

java.io.IOException: Command NOOP unexpectedly read Void data with length 4.

Тут говориться что какая-то команда NOOP вдруг неожиданно вторглась в наши планы и начала считывать данные.
Кто такая эта NOOP'а?

NOOP - это простейщий планировщик ввода-вывода в UNIX, без возможности переопределения порядка операций, основанный на обычной очереди (FIFO).
https://en.wikipedia.org/wiki/Noop_scheduler

Уже понятнее:
получается уже не что какая-то непонятная команда прервала наше безмятежное существование, а сам планировщик ввода-вывода решил нам прервать сеанс этого самого ввода-вывода.
Почему? С какой стати? И кто это сделал?
Сделал это Surefire Plugin
Собственно, вот здесь:
org.apache.maven.surefire.booter.ForkedBooter
private static ScheduledFuture<?> listenToShutdownCommands( CommandReader reader )
{
    reader.addShutdownListener( createExitHandler( reader ) );
    AtomicBoolean pingDone = new AtomicBoolean( true );
    reader.addNoopListener( createPingHandler( pingDone ) );
    return JVM_TERMINATOR.scheduleAtFixedRate( createPingJob( pingDone, reader ),
                                                   0,PING_TIMEOUT_IN_SECONDS, SECONDS );
}

Собственно вот строка в которой добавляется Noop Listener
reader.addNoopListener( createPingHandler( pingDone ) );

И далее самое страшное:

*

*обращение к JVM_TERMINATOR
как следует из названия он убивает JVM

*и там происходит планирование этого события на конкретный таймаут

Surefire plugin отправляет ping процессу и если тот не отвечает за определенное время то происходит то, что произошло у Вас.
По данному кейсу есть таска в Jira:
https://issues.apache.org/jira/browse/SUREFIRE-1302

Что со всем этим делать?
Насколько я понимаю:

*

*Во-первых они позволили настраивать размер этого самого таймаута, чтобы мы могли его увеличить

*Во-вторых можно изменить способ проверки процессов

*В-третьих, как говорят, начиная с версии 3.0.0-M4 проверку процессов отключили.

Поэтому можете:

*

*обновить плагин

*установить таймаут пробросив forkedProcessTimeoutInSeconds
mvn test -Dsurefire.forkedProcessTimeoutInSeconds={кол-во секунд}
см:

*

*https://maven.apache.org/surefire/maven-surefire-plugin/test-mojo.html#enableProcessChecker

*https://maven.apache.org/surefire/maven-surefire-plugin/faq.html#kill-jvm

redpajama_set_name: RedPajamaStackExchange


text:
S U R V I V E's Kyle Dixon & Michael Stein Detail Soundtrack for 'Native Son'
The Rashid Johnson film arrives on HBO in April
After making a name for themselves scoring the first two seasons of Stranger Things, S U R V I V E's Kyle Dixon & Michael Stein have shared the details behind their first feature film score.
Dixon and Stein will deliver the soundtrack to director Rashid Johnson's Native Son on April 5 through Milan Records. The film will also premiere on HBO April 5 via HBO Films/A24, following its initial debut at Sundance earlier this year.
Based on Richard Wright's 1940 novel of the same name, Native Son follows Bigger Thomas, a young African-American man whose life changes after being hired as a chauffeur for a wealthy Chicago family.
You can hear the duo's "Affluenza" and can watch a trailer for the film below.
Dixon and Stein delivered RR7400 : LA041717 with S U R V I V E last year.
Native Son (Original Motion Picture Score):
1. Anxious Man
2. Affluenza
3. Panem et Circenes
4. The Accident
5. Furnace
6. Pussy Oreo
7. The Dalton Collection
8. Not the People
9. They're All Blind
10. Manhunt
11. Tunnel
12. A Good Spot
More Kyle Dixon & Michael Stein
More S U R V I V E
More Rashid Johnson
Kyle Dixon & Michael Stein
Kyle Dixon & Michael Stein Unveil 'Stranger Things 3' Score
While we already have one Stranger Things 3 soundtrack headed our way, we now have a second. This time, it's the score by S U R V I V E memb...
'Stranger Things' Announces Season 3 Soundtrack
Stranger Things returns for its third season next month, and the hit Netflix show has just revealed plans for an accompanying soundtrack — t...
Kyle Dixon & Michael Stein's 'Stranger Things 2' Soundtrack Gets Vinyl Release
While we already got the digital release of the soundtrack to Stranger Things Season 2, details have now been revealed for its upcoming viny...
Unsound Presents Halloween Hangover: GAS / Kyle Dixon and Michael Stein / Księżyc Bluma Appel Theatre, Toronto ON, November 3
One week after immersing audiences in a surreal dose of existential social commentary, "Halloween Hangover" — the second and final instalmen...
S U R V I V E "Other" (Justin K. Broadrick remix)
Following the newly released soundtrack to Stranger Things Season 2, Kyle Dixon & Michael Stein are shifting back to their S U R V I V E pro...
S U R V I V E
Ryuichi Sakamoto Gets Arca, Oneohtrix Point Never, Andy Stott for 'Async Remodels'
After sharing songs from async reworked by the likes of Arca, Fennesz and Oneohtrix Point Never last year, Ryuichi Sakamoto has now revealed...
S U R V I V E Drop 'RR7349' Remix EP
Kyle Dixon and Michael Stein have gained wide acclaim for their roles as the musical minds behind Stranger Things, but they haven't abandone...


Lovely Photos of Peter Okoye With Family and Friends.
Peter, his wife Lola and kids are enjoying Sunday with friends at a beach house in Lagos.
This comes after Peter decided to rest from his Solo tour. See photos below..


text:
Tag Archives: PlayStation 4
Games of a generation
Posted on February 6, 2021 by Craig M
I thought I'd look back on the last gen of gaming. The generation I am talking about of course, is PlayStation 4, Xbox One, as well as Nintendo Switch. Between these consoles there have been many quality games released, but the games/franchises detailed below are the titles that overall impressed me the most.
Dishonoured 2 – Arkane Studios deliver one of the finest sequels ever. A highly detailed and absorbing steam-punk inspired world, gorgeous visuals and the best stealth gameplay in the business. A ton of ways to play it and rewards replaying sections over and over. A game that got rather ignore upon release and really shouldn't have been.
Rise of the Tomb Raider – I've always been a fan of Lara Croft and have played many of the games she has starred in. However this sequel to the rebooted Tomb Raider is the most cinematic, exciting, puzzle filled and action packed than anything that came before. It's also endlessly playable, with perfectly implemented stealth and with many areas you can revisit and explore.
Titanfall 1 & 2 – for me the best multiplayer shooters ever made. The combination of on foot shooting mixed with giant mech carnage is done so well, it was always thrilling. Add to this the brilliantly cinematic gameplay of the sequel's single player campaign, and despite games like Call of Duty remaining the popular vote – this series for me is far superior.
Life is Strange – one of the only story-driven adventure games that held my interest. This absorbing episodic game about a teenage girl's return to her home town and the strange things that happen was really involving and cleverly done, so much so that its sequel couldn't quite deliver whatever it was that made this game work. For something a bit different but still compelling, I'm really glad I played this.
Assassin's Creed Unity – despite technical issues at launch, I didn't pick this up until those issues were fixed. The only 'Creed game to hold my interest all the way to the end. It didn't feel bloated, had interesting characters, finely tuned gameplay and a fantastic world, with a stunning Paris boasting some of the most detailed visuals of the generation (the crowd physics are still yet to be beaten).
The Witcher 3: Wild Hunt – one of the deepest most absorbing RPGs I've ever played. A huge, intricate world to explore, rich story telling, a brilliant protagonist in 'Geralt of Rivia' – and brilliantly crafted action, gorgeous visuals and just plenty to see and do … for months.
Red Dead Redemption 2 – live out all your wildest cowboy fantasies in Rockstar's stunning Wild West action adventure. A deep and involving story, memorable characters and one of the most detailed, life-like worlds ever put into a video game. This will take some beating.
The Last of Us Part II – raw, cinematic, pulls no punches, devastating – takes video game storytelling into bold, uncharted waters. One of the most absorbing and powerful games I've ever experienced. All aided by industry defining combat, stunningly detailed visuals and characters that truly felt alive to me. One of the all time greats.
The Legend of Zelda: Breath of the Wild – the game I put more hours into than any other in the generation. The huge world, atmosphere and finely-tuned gameplay is endlessly absorbing. It's also jam-packed full of secrets and things to do, but never feels overwhelming. One of the most perfectly designed and enjoyable games I've ever played.
Destiny 1 & 2 – for an ongoing game I always keep returning to, the world here and concept is amazing. A sci-if epic where customising my 'guardian', doing missions and exploring just kept me glued. Add to this constant additional content, industry defining combat and the fact it's now free to play and on Gamepass means this is still a great go-to experience that keeps on giving.
Honourable mentions:
Resident Evil 7: Biohazard,
Metro: Exodus,
So, there you have it. I'm sure there are many games I failed to mention. If some of your favourites aren't here that'll be because I either didn't play them or they didn't quite grab me as much. The games in this list show that last generation was both ground breaking and a hint at the promise of the new generation and what games we can look forward to. I've always found it hard to pinpoint exactly what it is that makes me fall in love with a game… but for one reason or another the games above all had 'it'.
Craig.
Posted in Blogging, Gaming | Tagged Generation, Microsoft, Nintendo, Nintendo Switch, Playstation, PlayStation 4, PS4, Sony, Videogames, Xbox, XBOX ONE | Leave a reply
Next gen begins here.
Posted on September 20, 2020 by Craig M
I've pre-ordered a PlayStation 5. Yeah, as someone who primarily plays on Xbox, that kind of surprises me too, but stay with me here. I have every intention of getting an Xbox Series X at some stage, but my existing Xbox One X isn't that old and with nothing that essential coming to the Series X at launch (that isn't also coming to Xbox One) I did feel there was little reason to upgrade just yet. Over on the PlayStation, Sony seem to have delivered a bit more next-gen excitement this time and games like Spider-Man Miles Moralis , Ratchet & Clank: A Rift Apart and Demon's Souls look great and show off what is possible with these machines (ray tracing, super-fast loading) … and when put simply, my PS4 is getting rather old and sounds like a jet engine when in use. I am looking forward to playing PS4 titles like The Last of Us Part II on it with faster loading and more stable frame rates.
I'm under no illusion that next-gen isn't going to entirely knock my socks off this side off Christmas or well into next year but I wanted an upgrade to my PS4 and also enjoy keeping up with technology developments. Entering a new generation is always exciting and boarding that ship is something I love doing. Also technology gimmicks like the haptic feedback on the new PS5 'dual-sense' controller will be fun to explore, even if in the long/run it's a feature that will get used less and less (I'm guessing).
There's still some element of the unknown here, how games will perform and what features they'll have (and not have), and how third party games will compare between PlayStation and Xbox. Xbox has a lot of promise still, what with all the new studios they've acquired and the consumer-friendly services they're offering. I just don't feel we've really seen much games-wise to truly excite (Halo Infinite's delay went along with aiding my decision to hold off on Microsoft's console right now). Either way us gamers have much to look forward to in the coming years and the rivalry between the big console names will deliver some great games as a result I'm sure. For now though PlayStation 5 will be my starting point.
Roll on November 19th.
Posted in Gaming, Hardware | Tagged Microsoft, next-gen, Playstation, PlayStation 4, PlayStation 5, PS4, PS5, Sony, XBOX ONE, Xbox Series X | 2 Replies
The Xbox situation
I've been an Xbox fan since the OG Xbox back in the day, and supported them to this day. I love my Xbox One X but it's certainly been a shame to watch its nearest rival PlayStation and also the Nintendo Switch soar away from it in sales figures and all-round positive buzz. The Xbox One got off to a poor start, touted as an all-round media device rather than a games console that was both weaker than PS4 and more expensive with its at the time mandatory Kinect add-on. Despite best efforts from the team ever since, with the inception of Gamepass etc,, they still failed to turn things around … not helped by a shortage of major exclusive games that could compete with what PS4 has been offering. Although franchises like Forza, Gears of War have still been well received.
Going into the new gen, it's become clear that Microsoft and Xbox head Phil Spencer's philosophy is very different to PlayStation. Sony are riding high on massive sales and extremely positive feedback, so are happy to go full-on into PS5 and kiss PS4 goodbye – safe in the knowledge that millions of fans will likely follow. Xbox however seem reluctant to abandon Xbox One in favour of Series X and are delivering a confusing, worrying message to their fans and anyone interested in next-gen. Phil Spencer says 'exclusive games are anti-consumer'. They don't want any game coming Xbox Series X that's not also coming to Xbox One for at least a year (if not two), and are relying on a subscription service as the way forward rather than asking consumers to have to pay £50-£60 for new games. They also insist on everything coming to PC, ruining any 'exclusivity' their games could potentially boast. On one hand it's very consumer-friendly, but on the other hand it suggests a lack of confidence.
Recently both Sony and Microsoft have shown their hand with regards to the future of their respective brands. Sony chose to hold off the reveal of their console, whilst Microsoft showed theirs early on. Sony showcased plenty of in-game footage and showed off the potential of their super-fast SSD storage solution in games like the dimension-jumping Ratchet & Clank. Microsoft revealed Halo Infinite in a rather current-gen state. Instead they boasted that all their games were coming to Gamepass. That's cool, I'll admit. Both consoles will be of course be very powerful, boast (amongst other features) ray-tracing that brings game visuals to life in a way never before seen on a console. Yet something about Sony's marketing is exciting, whilst Microsoft's is simply 'safe'.
I feel that Xbox have good things in store, the Series X will still be a very capable machine, and long-term they may well turn things around. They have some good ideas to pave the way and place them in a good position for the future. Gamepass, X-Cloud etc is the way the industry is going. They have the development studios now more than ever. It's just currently, PlayStation has the buzz, Microsoft should be focused on selling their new console, not just their brand. I'll be interested to hear the prices of the new consoles, which could prove a major factor, and launch games line-up of which at this stage, Xbox has the numbers. We'll see what happens.
Posted in Blogging, Gaming | Tagged Microsoft, PlayStation 4, PlayStation 5, PS5, Videogames, Xbox, XBOX ONE, Xbox One Series X | 4 Replies
Let's talk about: The Last Of Us Part II
Posted on July 6, 2020 by Craig M
Never in the history of at least my gaming life have I experienced such backlash and a dividing of the audience as I've seen with this game. Having now finished it and enjoyed it, I've been trying to figure out and understand some of the negativity and hate thrown at this game which on a whole has been a massive critical and commercial success. Below I'll give a short review on the game, and tackle some of the issues people are having. Warning: SPOILERS ahead.
A woman scorned…
This is a revenge tale that follows the character of Ellie, in a world struck by a virus who herself is immune from, and having to deal with the revelation that Joel, her friend and father-figure from the last game saved her from being killed by doctors who wanted to create a vaccine from her blood. Set 4 years after, Ellie's out to avenge the death of someone she cares about on a journey where violence and hate prove a corrosive pursuit. It's not a new idea, many movies have tackled a similar subject but in video games it's quite unique but handled well here. At its heart it's a stealth / action based journey set in a world not dissimilar to The Walking Dead. Characters and the performances are incredibly nuanced and deliver emotions more convincingly than any game I've played (it's even better than Hellblade or for it's time Half-Life 2). Production values and visuals are incredible, easily some of the best on PS4 (if not ever) and gameplay is slick, brilliantly realised with intense action, great atmosphere and tons of memorable encounters. It's also particularly daring with its twists, which brings me to the criticisms, some of which I do understand.
SPOILERS AHEAD: stop reading if not finished TLOU2
Final warning….. SPOILERS
A beloved character from the first game, Joel is killed early on. Online leaks spoilt this and caused many fans to make their mind up about the game before even playing it. Also, at certain points you take control of the main antagonist, Abbie who is painted early on as bitter and evil, but as you play through her segments her driving force becomes more understandable. Yes, I took a while to warm to her and her segments take up a bit too much of the game with some parts (the skyscraper) feeling padded out or unnecessary. However her relationship with the two Scars members proves a worthwhile highlight. Yet the game asks a great deal of the player to be onboard with this character, and I can see those shocked or offended by Joel's death, would find the Abbie segments too big an ask. I almost wanted to stop playing when the game had me controlling Abbie whilst fighting Ellie. But I persevered and am glad I did. Where it went with it's revenge ark – was incredibly powerful even if it made for quite a bummer ending.
the face of evil…?
Yet the hate levelled at this game … sigh. Threats to the game makers and performers, petitions to have it remade. Entitled much? I agree it won't be a story everyone can get behind, I may even have ideas how it could have played out differently to get the same result without 'forcing' the player to do certain things in the name of hammering home it's message. Yet for daring storytelling, assured game design that may not break the mould but polishes it to near perfection … I found very little to complain about. There is no room in this industry for such hate and threatening behaviour though. If you don't like the game, just don't buy it, don't play it, express your opinion but keep the bile and hate to yourself. Not many game designers have the audacity to deliver a story in this way, and such a backlash might only cause the industry to shy away from such bold manoeuvres in the future.
Beauty in dark times…
I personally loved this game and have found myself coming back to many sections again for collectibles, the gameplay and for the rich and (at time's ridiculously) detailed world these brilliantly realised characters inhabit. Is it perfect? No, structurally I'd have liked some of the fat trimmed here and there as well as more 'choice' given to the player rather than just violence as the only action. But with that said it's a game I won't easily forget.
Posted in Blogging, Gaming, News, Reviews | Tagged Naughty Dog, Playstation, PlayStation 4, PS4, Sony, The Last Of Us, The Last Of Us Part II, TLOU2 | 1 Reply
Gaming in 2018
Posted on December 30, 2018 by Craig M
This was the year that I embraced the Nintendo Switch further and also upgraded my Xbox One to the Xbox One X. It's also been fairly packed as far as actual games are concerned, and although I haven't finished that many games, I have experienced a rather wide variety of gaming than I have for a while.
I dipped my toe into the narrative-lead genre with Life Is Strange and enjoyed following a story primarily rather than shooting or hitting things. It was refreshing. The award winning Hellblade: Senua's Sacrifice took a similar narrative focus but also brought with it intelligent examinations of mental illness mixed with nors mythology. Both are games I intend to go back to and finish at some stage.
Finishing (at least as far as their stories are concerned) The Legend of Zelda: Breath of the Wild, Super Mario Odyssey, Dishonoured 2 and Shadow of the Tomb Raider this year were also some of my fondest gaming memories in the last twelve months, and especially Zelda being now one of the best games I've ever played. It feels a good time to be a gamer.
Sony's PlayStation 4 I confess has taken a significant back seat this year with even titles like God of War not really holding my interest. I think it's just the fact it's the most talked about and most popular games consoles on the market that leaves me cold and I often find myself shunning that which is treated as such and well, who doesn't like to back the under-dog? So yes, Xbox has got far more of my attention and although I've only slightly dipped my toe into the consoles admittedly lacking exclusives (Sea of Thieves seemed cool at first 'till I realised it had nothing to offer the single player, and Forza Horizon 4 is superb but racing games don't hold my interest. However I did really like State of Decay 2 and should get back into it at some stage). Yet I admit it hasn't been a great year for Xbox despite their Gamepass service being terrific and a great way to play lots of different games I may otherwise pass up. I have my hopes for 2019, but Crackdown 3 or possibly the next Halo isn't going to win them a console war they've already lost. Roll on next gen I say.
Recently I've been getting into Pokémon. In the run up to Nintendo Switch exclusive Pokémon Let's Go, I've been playing the mobile game Pokémon Go. I really like the concept and can see it being a new thing for me and am really enjoying the Switch game since having it for Christmas. In addition to this I've been playing Super Smash Bros Ultimate (I'm a complete novice to the series but am certainly impressed with what this version offers as far as modes and gameplay not to mention the graphical detail on show). Also I've been playing the much hyped Red Dead Redemption 2 which is THE showcase for the Xbox One X, with native 4K resolution and the most detailed and impressive gaming world I have ever experienced.
There's been a fair few games I've had to leave on the back burner, and whether or not I return to them I can't say but games such as Xenoblade Chronicles 2 and Assassin's Creed Origins are two I hope to dip back into as I was enjoying them a great deal but with so many gaming distractions throughout the year, it's easy to get side tracked.
So there you have it, my thoughts on gaming for me in 2018. I'm excited for what 2019 will have to offer and am sure I'll get to play many more great games. For now I've got my work cut out with the games I have got.
Posted in Blogging, Gaming, Hardware, News | Tagged Microsoft, Nintendo, Nintendo Switch, Playstation, PlayStation 4, Pokémon, Sony, Tomb Raider, Videogames, Xbox, XBOX ONE, Xbox One X | 3 Replies
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Mensen maken de samenleving en nemen daarin een positie in. Deze website geeft toegang tot een diversiteit aan artikelen die gaan over 'samenleven', belicht vanuit verschillende perspectieven. De artikelen hebben gemeen dat er gezocht wordt naar wat 'mensen bindt, in plaats van wat hen scheidt'.
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writ·ing ˈrīdiNG/ noun 1. the activity or skill of marking coherent words on paper and composing text. 2. written work, especially with regard to its style or quality.


Book Club Resource - "..a complete guide to Book Clubs and Reading Groups. On this site you will find an outstanding collection of links and information for readers who love to talk about books."
BookMovement - A book club planner. Find out what other book clubs are reading and raving about. Use the planner to send email reminders and book discussion guides to your group members.
Book Muse - Provides adult and children's book reviews, literary criticism, book discussion questions & topics, help for book discussion leaders.
Book Spoke - A social network for readers and writers.
BookSpot's Book Discussion Center - Links to online book discussions, publishers guides, guides for selected titles.
Library Booklists - "This website consists of four sections: original booklists on various topics, primarily but not entirely focused on themes, places, characters, and plots of crime novels; annotated lists of other booklists, primarily but not entirely focused on fiction, for adults, kids, and teens; a growing calendar of authors' birthdates, organized by month, with links; and some resources for reading groups (discussion questions, recommended books, how to start a group, etc.)."


Your invitation suite says a lot about your wedding day, so set the right tone with the sweet and sophisticated look of the new Aurora Floral Invitation Suite from Shine Wedding. This brand new design for 2018 features carefully arranged floral accents for a light and airy feel perfect for an elegant wedding. In fact, there are twelve new floral designs to choose from so you can easily customize to match your wedding florals. A vellum jacket, secured with a wax seal in your choice of color and floral belly band ties it all together beautifully. Your guest's jaws will hit the floor when they open this gorgeous suite!
Shine Wedding also offers guest addressing and return addressing services, so you don't have to write and rewrite addresses over and over again. Your invites will have a clean polished look when they arrive at their destination. Best of all? You can utilize the time saved on more important things for your big day, like wedding dress shopping! Shop now.
All together this suite includes the personalized invitation, inner/outer envelope for extra protection, vellum jacket, wax seal, floral envelope liner, and floral stamp designs, which are available in small, medium, and large sizes (postage sold separately).
Want to add that extra special touch? You can also include floral belly bands, 100% silk charmeuse ribbon, and response cards to complete your suite. So what are you waiting for? Shop now to customize your invite and see all the stylish options Shine Wedding has to offer.
We partnered with Shine Wedding to share with you their beautiful new Aurora invitation suite. As always, thank you for supporting our sponsors!


text:
Sage 5 Folding Knife Carbon Fiber/G10 L
C123CFPCL
Blade Length: 3.03
Cutting Edge: 2.64
Closed Length: 4.17
Overall Length: 7.2
Blade Thickness: 0.118
Blade Material: CPM S30V Stainless Steel
Blade Grind: Full-Flat
Blade Edge: Plain
Handle Material: Carbon Fiber / G10 Laminate
Locking Mechanism: Compression Lock
Pocket Clip: Tip-Up
Model Number: C123CFPCL
Model Name: Sage 5
Spyderco's Sage Series™ is a unique family of knives that showcases the innovative lock mechanisms that have helped define modern folding knife technology. Every knife in the series features the same basic design parameters—a full-flat-ground, leaf-shaped CPM® S30V® blade, an ergonomic handle design with textured forefinger choil and thumb ramp, and a reversible tip-up wire clip. However, each knife is distinct in that it highlights a specific lock mechanism and acknowledges the trendsetting knifemaker or designer who invented it. A portion of the sale of every Sage Series folder is also donated to the National Alzheimer's Association of Denver, Colorado.
The Sage™ 5 highlights Spyderco's own Compression Lock mechanism. Although often mistaken as a "LinerLock on the back of the handle," the Compression Lock is actually radically different. In a Compression Lock, the blade's tang ramp faces upward toward the handle's spine, rather than toward the butt of the handle as in a LinerLock. When the blade is opened, the lock bar is sandwiched between the ramp and the knife's stop pin. Pressure that challenges the lock is transferred to the width of the bar—not its length—and literally tries to crush it between the blade ramp and the stop pin. This patented mechanism is substantially stronger than most LinerLocks and its location allows the knife to be safely closed with only one hand without placing your fingers in the path of the edge.
The skeletonized stainless steel liners that form the framework of the Sage 5's lock are nested into textured carbon fiber/G-10 laminate scales. Open-backed construction reduces the knife's weight and allows easy cleaning, while a reversible deep-pocket wire clip provides convenient tip-up carry on either side of the body. Showcasing one of Spyderco's proudest contributions to modern knife technology, the Sage 5 is an extremely capable all-purpose cutting tool.
National Alzheimer's Association
Spyderco will donate approximately 5% of sales of the Sage to the National Alzheimer's Association Denver, Colorado Chapter. The Alzheimer's Association is the leading voluntary health organization in Alzheimer care, support and research. Their mission is to eliminate Alzheimer's disease through the advancement of research; to provide and enhance care and support for all affected; and to reduce the risk of dementia through the promotion of brain health. Contributions to the Alzheimer's Association provide care and support to families in Colorado coping with Alzheimer's disease as well as fund national programs and research to ultimately find a cure. Visit www.alz.org/co to learn more about how your support makes a difference.


text:
"""Tests for flax.examples.imagenet.train."""

import pathlib
import tempfile

from absl.testing import absltest
from absl.testing import parameterized

import jax
from jax import random
import tensorflow as tf
import tensorflow_datasets as tfds

# Local imports.
import models
import train
from configs import default as default_lib

jax.config.update('jax_disable_most_optimizations', True)

class TrainTest(parameterized.TestCase):

  def setUp(self):
    super().setUp()
    # Make sure tf does not allocate gpu memory.
    tf.config.experimental.set_visible_devices([], 'GPU')

  def test_create_model(self):
    """Tests creating model."""
    model = train.create_model(model_cls=models._ResNet1, half_precision=False)  # pylint: disable=protected-access
    params, batch_stats = train.initialized(random.PRNGKey(0), 224, model)
    variables = {'params': params, 'batch_stats': batch_stats}
    x = random.normal(random.PRNGKey(1), (8, 224, 224, 3))
    y = model.apply(variables, x, train=False)
    self.assertEqual(y.shape, (8, 1000))

  def test_create_model_local(self):
    """Tests creating an unshared convolution model.

    Uses smaller inputs than `test_create_model` to due to higher compute.
    """
    model = train.create_model(model_cls=models._ResNet1Local, half_precision=False)  # pylint: disable=protected-access
    params, batch_stats = train.initialized(random.PRNGKey(0), 64, model)
    variables = {'params': params, 'batch_stats': batch_stats}
    x = random.normal(random.PRNGKey(1), (1, 64, 64, 3))
    y = model.apply(variables, x, train=False)
    self.assertEqual(y.shape, (1, 1000))

  @parameterized.product(
      model=('_ResNet1', '_ResNet1Local')
  )
  def test_train_and_evaluate(self, model):
    """Tests training and evaluation loop using mocked data."""
    # Create a temporary directory where tensorboard metrics are written.
    workdir = tempfile.mkdtemp()

    # Go two directories up to the root of the flax directory.
    flax_root_dir = pathlib.Path(__file__).parents[2]
    data_dir = str(flax_root_dir) + '/.tfds/metadata'

    # Define training configuration
    config = default_lib.get_config()
    config.model = model
    config.batch_size = 1
    config.num_epochs = 1
    config.num_train_steps = 1
    config.steps_per_eval = 1

    with tfds.testing.mock_data(num_examples=1, data_dir=data_dir):
      train.train_and_evaluate(workdir=workdir, config=config)

if __name__ == '__main__':
  absltest.main()


text:
<?php

/**
 * Interface for module handler objects
 *
 * Provides an interface for working with the modules
 */
interface IModuleHandler {

	/**
	 * Get an array of all the module infos of a particular type
	 *
	 * @param $type The string of type (network|gateway)
	 * @return array of module infos; otherwise an empty array
	 */
	public function getInfoList($type);

	/**
	 * Check if module of type is in a valid state
	 * @param $type String of module type (network|gateway)
	 * @param $module String name of module
	 * @return true if valid; otherwise false
	 */
	public function isValid($type, $module);
}


The charges were served on Pell's legal representatives in Melbourne on Thursday and they have been lodged also at Melbourne magistrates court. He has been ordered to appear at the court on 26 July.
In a statement released by the Catholic archdiocese of Sydney 90 minutes after the charges were announced, Pell announced he would "return to Australia, as soon as possible, to clear his name".


Pacific is a wonderful location to own a home, raise a family, or operate a commercial or industrial business. You can choose the advantages of locating in any one of three counties, Franklin, Jefferson, or Saint Louis that call Pacific home.
Living in Pacific, you have all the benefits of a large city close by, while maintaining a small town atmosphere. St. Louis is 30 minutes away, allowing easy access to all that a major metropolitan area has to offer. Pacific is centered around Historic Route 66 and has a rich history dating back to the 1800s.
Residents and business owners get the best of both worlds in Pacific, Missouri.
Pacific hosts a large variety of businesses. Over fifty manufacturing and industrial businesses occupy industrial parks throughout the city. You might be surprised what is produced in Pacific.
Businesses and commuters have quick access to the surrounding area via Interstate 44, which parallels historic Route 66 which runs through the heart of our community. Pacific is an easy drive to downtown Saint Louis and the metropolitan area, and the doorway to the Ozarks to our southwest.
Pacific is located near two airports. Lambert-St. Louis International Airport is forty-five minutes away allowing easy access to domestic and international destinations.
Living in Pacific is comfortable. There are modern residential developments spread out in the city and acreage available to build your own house, if you prefer the secluded setting. Pacific is also supported by an outstanding public school system.


The Illaroo Campground, Yuraygir National Park, Minnie Waters comprises 2 options, the North and South camps. Our stay was in the Illaroo North Campground.
Only a few kms from the Illaroo Campground is Wooli on the NSW Coast and it is not far from Grafton.
The road in is bitumen to the turnoff with the last 2kms on dirt road which had many potholes when we were there. Take it easy and you will have no issues.
Bins are available and there are toilets. A BBQ overlooking the beach is also available.
There is no Telstra Phone coverage at Illaroo North Campground however Optus does work here. This is National Park and therefore pets are prohibited.
Our site was quite large and most come with a fire pit. Also you will need a NSW National Parks vehicle pass for $8 per day or we have the annual pass for $65.
Cost to stay is $12 per adult per night. Children are $6 per night. Visitors are $8 per day.
192. Woody Head Campground in the Bundjalung National Park is just 5 kms from Iluka in NSW.
All sites at the Woody Head Campground are unpowered but all other facilities are provided including Toilets and Showers, water to each site, bins and a dump point. There's even a boat ramp and the boaties were catching heaps of fish.
Kangaroos roam the park and aren't scared away by humans.
There's a beautiful bay to fish, snorkel and swim.
Fire pits are located in various positions around the large campground which has 94 campsites.
On arrival just check in at the office and book your site.
We had good Telstra and Vodafone reception.
The cost to stay is $34.85 per night for 2 adults. Additional adults are $17 and children 5-15yo are $8.50 per night. Children 4 and under are free.
Our stay was 22-23rd October 2018.
191. Black Rocks Campground is in the Bundjalung National Park in northern NSW approx a 40km drive south from Evans Head. A short stroll to the beach from your campsite to the beach and you quickly know where they got the name from.
It is a beautiful beach with stunning contracts from rock formations. Access to the beach from the campground by 4wd is not possible but you can drive there from Iluka which is a bit further south.
A short walk will also take you to Jerusalem Creek nearby where you can swim and fish or take an 8km walk to discover it's full beauty.
The road in to the Campground includes approx 15kms of dirt road however it is in pretty good condition and we had no problems driving in with our Motorhome.
The campground has drop toilets and BBQ's and each site includes a Fire pit and clothesline.
There is No water available at the Campground, you will need to bring your own. It is National Park and therefore No pets are allowed. A dump point is available.
The cost to stay is $24.60 for 2 adults per night. It is $8 for children and you will need a National Parks vehicle pass which is $8 per day or we bought a 12 month pass for $65.
Our stay was 19th-21st October 2018.
188. We came across this place, the Cobb & Co Nine Mile Campground, on a day trip north of the Sunshine Coast and had to do a video. It looks like a really awesome place to stay, especially if you have children travelling with you.
There are no powered sites at the Cobb & Co Nine Mile Campground however there are good amenities, water, bins, BBQ's and fire pits.
The camping areas are huge, you will certainly find space for a rig of any size.
The children's play areas are certainly unique. Jumping pillows are replaced by boats to play on, Flying foxes, great bike tracks with jumps and lots more.
There are animals, horse and cart rides and a train ride available.
It is pet friendly. We had Telstra coverage.
Cost to stay is $15 per adult and $10 per child.


Manage Program from Concept thru Final Product Delivery.
We can handle all of your corporate branded apparel needs from On Line Company Stores through Golf Outings and Customer Events.
No "Cookie Cutter" Programs like the Large Chains. We will develop a customized program per company, division or department.
Large Availability of Female Specific Apparel Items to select from.
Apparel options available for Shop Floor employees through C-Level Executives.
These two core competencies explain a large part of the Value Added Capabilities Custom Threads can bring to your business.
Custom Threads is not constrained by outside vendors in delivering on the look that your internal or external customers see. We have the ability to deliver your Branding to your specifications.
You will be working with business professionals who take the time to understand how your business operates.
Every business has a unique brand that they want to both grow and protect. We will take the time to understand and deliver on Your Brand requirements.


Very little information is available about Astrolemo other than he apparently hails from 'space'. So may I be the first to welcome our new alien overlord by saying how much I dig his tune, even if 'Living on Your Sofa' seems to be concerned with quite Earthly matters. Its hazy downtempo intro and staggered bleeps suggest some Tru-Thoughts-style breaks but the song instead opens out into a lovely flourish of chilled house, with more than a wisp of The Beloved about it. All temperate beats and serene melody, 'Living on Your Sofa' is a delicious appetiser for the new EP from Astrolemo, wherever in the universe he may be.


Film description: A remake of the 1988 comedy Dirty Rotten Scoundrels, in which two down and out con artists engage in a loser leaves town contest.
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