Here are the pics of that pocket watch I have.
The first is of the face. There are no markings on the face other than the numbers for the time. It could be that the face was replaced at some time. I believe the material to be porcelain. Note also that it has a winding key.
This is the part that gets me. The fine intricate marking. It doesn't look engraved. It looks more like it was etched. I believe it's 10 jewel movement. As you can seen it has two square posts, one for the main spring and one for the setting of the hands.
Note that there is another hinged cover. This had a piece of plastic in it when I got the watch. I am assuming it must have had a crystal in it at one time. Also the key is on the main spring.
Here's a bad picture of the only inscription I can find on the watch. It looks oriental to me.
That's about all I can tell of the watch other than I got it at a clock auction and it does run. The size of the watch is 62.25mm (2.450") in dia. and 11.4mm (.450") thickness.
Here are a few more pics of some of the wife's clock collection.
4 pocket watches, 2 small clocks, a small version on the right of a mission clock. Then there is the bird in the cage clock. This is rather a novel piece. It has a bird the moves back and forth. A small ball with a time scale and pointer tell the time.
Atmos clock with round face.
Atmos with square face and crystal regulator.
And a time stamp clock. This clock was used to stamp your time clock. Still works.
What's it like a noon and mid-night around here? Really can't tell you. I've gotten used to the noise.
Really like the Dent 8 day skeleton clock. If you find time, could you post a few more pictures of it.
I agree on the skeleton clock, I am always attracted to this type as well. They are very popular among amateur clockmakers, I even got a book on how to make one, for someday in the future. John Wilding's book "The Construction of an Elegant Scroll Frame Skeleton Clock." An image of the clock he shows how to make, it is quite similar to yours.
Thanks Jere. That is the first info I have ever gotten on this watch. I'll check out the site you provided.
A few years ago Bill Smith of clock fame wrote an article in, I believe it was Home Shop Machinist on building a skeleton clock. I know your interrested, right? I'll start digging out the issues.
More pics coming. Stay tuned.
Here's a link to Bill Smith's clock page. http://www.wrsmithclocks.com/books.htm Go down about half way for the skeleton wall clocks.
When I was selecting which clock I wish to make, or at least slowly start, it was down to John Wildings - The Construction of an Elegant Scroll Frame Skeleton Clock and Colin Thornes - Skeleton Timepiece. I decided upon Thornes's as it does not have a strike as Wildings does, therefore presumed it would be a little easier or at least have fewer complications to the build.
Bernd - is it not John Wildings skeleton that is in home shop machinest or perhaps it may have been model engineer? I thought most of Wildings books were actually based on magasine articles rather than specifically for books. I could be totally wrong.
The disadvantage of Thornes skeleton clock is that it is plans only with no documentation of a possible build. I have recently purchased Thorne's "Clockmaking for the Model Engineer" which in my opinion, goes through all the methods of making parts for a simple clock. I purchased Wilding's book on his Gearless Clock many years ago and it seemed overly specific to a build on the Myford 7.
Bernd - I would like to see more pics of that clock as I really do like it and I could possible get some ideas for mine for the asthetics.
Wilding's books, at least the ones I have, appear to be the compilations of the articles that were published in magazines.
Bernd, you and your wife have a nice collection.
I hope this is not too far off topic, but this has been on my to do list for some time and would look nice sitting next to your skeleton clock.
Your more than welcome to build it and send it to the wife to set next to her clock. I'm sure she would appreciate it.
And it's right on topic. Thanks for posting that link. I'm going to download the article.
"How to Make a Skeleton Wall Clock" is comprised of twelve chapters which originally appeared in serial form in the "Home Shop Machinist" from Nov.1993 through Oct. 1995. There are 85 pages of text, and 280 photos and drawings."
So yes he did do a write up and now has it in book form.
Pictures of the Dent will be posted in the next day or so.
Here ya go Chris. More pics.
Thanks for the extra pics it has given me some ideas. I really like that - how long have you had this clock?
Without studying the concept, call me lazy if you like but I'm studying and researching so many other things at the mo. How does a time device keep accurate time.
I assume a spring is the motor, but how is it regulated?
The power can be either a spring or simply a hanging weight. In a mechanical clock, the escapement and pendulum keep the "time". Hugely simplyfying, the escape wheel is a wheel with teeth cut differently to the norm, there is normally a pallet which inteferes with the teeth on the escapement. The pallet is attached to the pendulum which allows the wheel to be released one tooth at a time - tick and tock! the image below is a recoil escapement but you can get deadbeats, in which you do not see the recoil.
I suppose it's the energy of the falling weight that keeps the pendulums momentum from coming to a halt.
Ah, so you mean it's the time between swinging from left to right that regulates time.
How is that controlled to alter the rate, thus accuracy?
The escape wheel teeth are cut cleverly to give the pendulum a little "push" as it releases the wheel! It is really clever, if it didn`t, friction would eventually grind it to a halt. As the pallet disengages with the escape wheel, the "power" or drive from the motion train gives the pallet a little push which in turn keeps the pendulm moving.
- as the pendulum goes to one side, the pallet releases a tooth and moves around a little, the pendulum swings back and engages the pallet back and stops the escape wheel. And so it continues. The rate at which the pendulum swings dictates the release of the escape wheel and timing of the clock. Since the equation for the period of pendulum only really involve length and not mass, the wheel ratio is based on the length of the pendulum as this is going to ultimately dictate the release of the escape wheel and hence the time.
There are few ways of regulating the clock but really it is due to the length of the pendulum. And we are talking about small amounts. The pendulum can be moved slightly up and down on the clock to change the period and therefore the time. Thats is why before I said that you need to take into account the gear ration when selecting the pendulum length or vice versa! Say you want gear ratio X for your mantle clock but that requires a 1m long pendulum, it is no use but in a longcase clock it would be fine for the gear train! The gear ratio needs to be selected to suit to pendulum length OR you can add to the motion train to gear the ratio down to suit. But this adds more wheels, more friction etc etc.
There are tables which say the ideals or suggestions and many clock use similar motion trains and ratios.
So to adjust the speed you adjust the length of the pendulum?
yes, because the pendulum is attached to the pallets, the pallet regulates how fast the escape wheel turns and in turn these dictates how fast the wheels turn and consequently how fast the hands turn since the wheels are ultimately attached to these!
For a pendulum clock it the length of the pendulum, not quite shur what it is for a spring clock i'll have to look that one up.
I have somewhere in my house an old solid silver pocket watch, I think from the 1880's. It has a very nice chain driven fusee movement. Retailed by a jeweller who traded at some time in my home town, so it hasn't travelled far in it's life. By the scratched on markings inside the case, it has been repaired and regulated a few times.
The value in the UK, the scrap value of the case, around 30 to 40 squid. The insides are discarded and the cases melted down. It is better value to have it as a keepsake and talking point rather than selling it.
I must root it out one day and see if it is still telling good time.
Stew, when fixing a few spring clocks, there is a little lever that moves up and down and contacts the spring at various positions. Effectivelty, it makes the recoil of the spring faster or slower. With the lever contacting to make less spring length, the balance moves faster and vice versa. I don`t know any of the physics behand it but when looking at one for real it does make sense.
Part 2 on the picture shows the lever I was talking about that makes contact with the spring to shorten or lengthen its length.
We got that clock at an auction at least 5 years ago. Needs a bit of tender care. It runs but stops often. There are many loose fitting parts that need a bit of tightening up. It's on my to do list way near the bottom.


This is a short review because Rokuwata Tomoe's Windward is a short book. Most doujinshi publications tend to be on the short side, but I do try to aim for ones that have at least 20 pages, unless I just really like the artist or can get it for cheap.
Don't get me wrong, the illustrations are beautiful. Rokuwata Tomoe (六羽田トモエ) has a way of giving the characters some depth with the soft shading and shadows on the face and hair. It's a consistent style that you can see with Rokuwata's sword girl in the Moeru Japanese Sword Girls review.
This doujinshi showcases a total of 12 illustrations, including the cover art, which also re-appears in a two page spread on the inside. Most (but not all) of the illustrations in this book re-appear in Rokuwata Tomoe's winter 2008 release called CONTRAIL, which at the moment is much easier to get, has more illustrations in total and is also a great start to collecting Rokuwata's works.
Not worth it if it's that short, nice artwork for what it is though.
Well if you could somehow pay $3 without shipping it would be a must have for me!


To access this jump puzzle, take the waypoint at Behem Waypoint and then run all the way to the right following the path. There are some spiders that you will need to defeat along the way.
Once you are inside the cave, jump up a couple rocks to get access to the next section of the cavern and then just run up the rocks on the right. Once you are at the top (make sure you are not in combat), make the leap to the other side that will take you to the start of the puzzle.
Inside the big cavern, you will want to jump towards the first rock hanging down from the ceiling and then aim downwards to jump on the ledge below.
From here on, you can just go left, past some bats until you can are blocked from doing so. There should be a couple ledges below that you can jump down. Make sure to not jump all the way to the bottom as there may not a way to get back up! Look to your right as you jump down, you will see the chest. Jump on that ledge and run towards it. Use swiftness or something for the last jump if you want to play it safe!


text:
Nowokrzepice (daw. Krzepice Nowe) – dawne miasto (1788–1810), obecnie fizycznie niespójna część miasta Krzepice.

Układ urbanistyczny
Krzepice Nowe stanowią odrębną jednostkę urbanistyczną od Krzepic właściwych (Starych), z którymi połączone są niezabudowaną drogą, przecinającą rzekę Liswartę. Położone są w odległości 1 km od rynku starokrzepickiego. Krzepice Nowe mają mało rozbudowany układ urbanistyczny, usytuowany wokół kwadratowego rynku.

Historia
Krzepice Nowe otrzymały prawa miejskie w 1788 r. W 1808 r. miasto liczyło 519 mieszkańców (50% Żydów), podczas gdy Krzepice Stare były dwa razy większe i były zamieszkane prawie wyłącznie przez chrześcijan. W 1808 r. należały do powiatu częstochowskiego w departamencie kaliskim w Księstwie Warszawskim. Prawa miejskie Krzepice Nowe utraciły w 1810 roku w związku z połączeniem ich z sąsiednimi Krzepicami Starymi w jedno miasto o nazwie Krzepice.

Przypisy

Bibliografia
 Miasta polskie w Tysiącleciu, przewodn. kom. red. Stanisław Pazyra, Zakład Narodowy imienia Ossolińskich, Wrocław – Warszawa – Kraków, 1965–1967.

Linki zewnętrzne

Dawne miasta w województwie śląskim
Krzepice
Miasta w Polsce lokowane w XVIII wieku

redpajama_set_name: RedPajamaWikipedia


text:
Big Brother wants to vaccinate you (MUST-READ)
It is crucial to remember, as John Stone helps us do, that the Rockefeller Foundation was a major funder of eugenics—not just in the US but in Nazi Germany. (On that sorry history, and more, see Edwin Black's great War Against the Weak.)
The ID2020 Alliance: The Global Totalitarian Project Hiding Behind The Vaccine Drive
By John Stone
These days history happens by stealth: the big shifts in power are often only incidentally reported in our mainstream news-media and can be hard to detect even by experienced watchers. Until a year ago almost no one had heard of the Global Health Security Agenda, although the project started in 2014 under the Obama administration and has already destabilised nations: something which is neither conjecture or "conspiracy theory" but easily established from public documents [1, 2] . Late last year I highlighted a column in electronic BMJ by J Stephen Morrison "senior vice president at the Center for Strategic and International Studies and director of its Global Health Policy Center" [3]:
"The term "smart power" was new to me when I encountered it recently in a British Medical Journal blog as part of the new-speak vocabulary of J Stephen Morrison 'senior vice president at the Center for Strategic and International Studies and director of its Global Health Policy Center". Morrison's article is interesting both because it discloses explicitly how 9/11 was made an opportunity to draw health into the global security agenda of the United States while failing to understand how such a move might result in the shattering of "consensus" and the post war "Western post-war liberal order": "smart power" even if it is smart is not "liberal" and will not lead to consensus. But it also spells out that the global vaccine program has become a covert instrument of US power. If Morrison by any chance laments the passing of the centre-left government in Italy, then perhaps the White House putting Italy and its health minister, Beatrice Lorenzin, in charge of global vaccine strategy was an error.
"Morrison thinks it is a paradox but it is scarcely so if a government is seen to pursue coercive health measures over its citizens at the behest of a foreign power – even those who favor vaccination could be concerned at the state's new found powers over their bodies (which might also be indefinitely extended). If that was not so smart a political move perhaps the technology is not so smart either – as I remarked to Steven Salzberg a few years ago: "The unwelcome news is that the "cruise missiles and drone helicopters" of the war on disease often hit the wrong target, and the more cruise missiles and drone helicopters you unleash the greater the risk".
"Frankly, no one knows what they are going to be injected with next. Smart bombs become too easily the agents of international chaos and mistrust: just so the smart bombs of the war on disease, both for what they can do to your body and what they can do to the political landscape, including destabilizing friendly governments. "Smart power" is also duplicitous: Italy is just the surrogate of the US. Why could the citizens of the world not have it directly from the mouth of Obama saying in effect 'your bodies are not your own and we inject into them what we like?'."
But the heat was turned up again at the beginning of 2019 when the World Health Organization declared "the vaccine hesitant" to be a threat to world health [2], and the Global health terror over measles was launched despite inadequate evidence either for the spread, or the casualties[1,4-6]. Also, of course, pinned to the tails of the largely artificial measles scare, was the demand for compliance with a host of other products to combat other diseases. Implausibly, health officials continue to stick to the baseless proposition that a two-month old infant can benefit from unlimited barrage of biological products without risk of harm, and never seem to have heard of the concept of "over-medication" [7].
And just in the last weeks, without publicity, the European Commission have published a document designed to lead to a vaccine ID being attached to the European passport by 2022 [8]. What is perhaps most alarming about this is that none of it has come into place with any democratic mandate at all: Obama's manoeuvres were entirely executive, no one elected the European Commission and there has been no popular demand for such measures, in Italy one government was voted out having brought in mandates in the preceding months and another voted in committed to repealing them, and reneged on its promise. Where did it come from? Meanwhile, everywhere citizens who speak out are loaded with hatred and abuse by the mainstream media: journalists who were not there, do not know what happened, and do not know or apparently care about the complexity of the scientific literature.
But now from behind the scenes a consortium has emerged: the ID2020 Alliance with founder members Accenture, GAVI, Microsoft, the Rockefeller Foundation and IDEO.org [9], formed in 2017 with the apparent object of tagging every global citizen by the year 2030 [10]. GAVI in turn is in partnership with every vaccine manufacturer, and plainly global vaccination is at the heart of this agenda: it was also in 2017 the director of GAVI, Seth Berkley, who called for "anti-vaxxers" to be excluded from social media – which meant in ad hominem terms anyone who was critical of the vaccine program in any respect. Berkley, it may be remembered was nominated by the Mail on Sunday as "the fattest charity fat cat of them all" while GAVI's activities are heavily bank-rolled by the British government [12]. Whatever these people are doing it is well outside the scrutiny of the global public, and not all necessarily for their benefit.
There must also be a shiver at the inclusion of the Rockefeller Foundation. As recorded in Wiki [13]:
"Beginning in 1930 the Rockefeller Foundation provided financial support to the Kaiser Wilhelm Institute of Anthropology, Human Heredity, and Eugenics, which later inspired and conducted eugenics experiments in the Third Reich.
"The Rockefeller Foundation funded Nazi racial studies even after it was clear that this research was being used to rationalize the demonizing of Jews and other groups. Up until 1939 the Rockefeller Foundation was funding research used to support Nazi racial science studies at the Kaiser Wilhelm Institute of Anthropology, Human Heredity, and Eugenics (KWIA.) Reports submitted to Rockefeller did not hide what these studies were being used to justify, but Rockefeller continued the funding and refrained from criticizing this research so closely derived from Nazi ideology. The Rockefeller Foundation did not alert "the world to the nature of German science and the racist folly" that German anthropology promulgated, and Rockefeller funded, for years after the passage of the 1935 Nuremberg racial laws."
We may also recall (again from Wiki) the involvement in the Third Reich of another great American company, IBM:
"As the Nazi war machine occupied successive nations of Europe, capitulation was followed by a census of the population of each subjugated nation, with an eye to the identification and isolation of Jews and Romani. These census operations were intimately intertwined with technology and cards supplied by IBM's German and new Polish subsidiaries, which were awarded specific sales territories in Poland by decision of the New York office following Germany's successful Blitzkrieg invasion.[2]:193 Data generated by means of counting and alphabetization equipment supplied by IBM through its German and other national subsidiaries was instrumental in the efforts of the German government to concentrate and ultimately destroy ethnic Jewish populations across Europe.[2]:198 Black reports that every Nazi concentration camp maintained its own Hollerith-Abteilung (Hollerith Department), assigned with keeping tabs on inmates through use of IBM's punchcard technology.[2]:351 In his book, Black charges that "without IBM's machinery, continuing upkeep and service, as well as the supply of punch cards, whether located on-site or off-site, Hitler's camps could have never managed the numbers they did.""
Perhaps, late in 1929 (though it was a bad time) few could have quite imagined the dark misadventure on which the planet was embarked. Here we are 90 years on and we have to be alert.
[1] John Stone, 'Information and Misinformation: the Global Health Security Agenda', 5 March 2019, https://www.bmj.com/content/364/bmj.l981/rr
[2] Childrens Health Defense Team, 'Vaccine Mandates for Everyone – A Globally Coordinated Agenda', https://childrenshealthdefense.org/child-health-topics/health-freedom/vaccine-mandates-for-everyone-everywhere-a-globally-coordinated-agenda/
[3] John Stone, 'Smart Power: Reasons for Disaffection in Italy, and the Destruction of the Post-War Liberal Order', AoA 10 December 2019, https://www.ageofautism.com/2018/12/smart-power-reasons-for-disaffection-in-italy-and-the-destruction-of-the-post-war-liberal-order.html
[4] John Stone, 'Re Measles cases rise by 300% globally in the first few months of 2019 – how long is a piece of string' 17 April 2019, https://www.bmj.com/content/365/bmj.l1810/rr
[5] John Stone, 'Re Measles cases rise by 300% globally in the first few months of 2019, 23 April 2019, https://www.bmj.com/content/365/bmj.l1810/rr-3
[6] John Stone, 'Re: Philippines measles outbreak is deadliest yet as vaccine scepticism spurs disease comeback',26 February 2019, https://www.bmj.com/content/364/bmj.l739/rr-0
[7] John Stone,AoA Written evidence to House of Commons Health and Social Care Committee Inquiry into Antimicrobial Resistance, http://data.parliament.uk/writtenevidence/committeeevidence.svc/evidencedocument/health-and-social-care-committee/antimicrobial-resistance/written/86156.pdf
[8] European Commission, 'ROADMAP FOR THE IMPLEMENTATION OF ACTIONS BY THE EUROPEAN COMMISSION BASED ON THE COMMISSION COMMUNICATION AND THE COUNCIL RECOMMENDATION ON STRENGTHENING COOPERATION AGAINST VACCINE PREVENTABLE DISEASES', https://ec.europa.eu/health/sites/health/files/vaccination/docs/2019-2022_roadmap_en.pdf
[9] https://id2020.org/alliance
[10] https://www.windowscentral.com/microsoft-universal-digital-identification-and-you
[11]https://www.gavi.org/about/partners/industrialised-country-vaccine-industry/
[12] Ian Birrell, 'The fattest charity fat cat of them all: Foreign aid boss who has made MILLION out the £1.5billion handed to his charity by British taxpayers', 31 December 2016, https://www.dailymail.co.uk/news/article-4078904/amp/The-fattest-charity-fat-cat-Foreign-aid-boss-MILLIONS-1-5billion-handed-charity-British-taxpayers.html
[13] https://en.wikipedia.org/wiki/Rockefeller_Foundation
[14] https://en.wikipedia.org/wiki/IBM_and_the_Holocaust
Scrubbed reports reveal new secrets re: Prince Andrew's relationship with CIA/Mossad's man Jeffrey Epstein (remember him?)
If Jeb Bush steals the White House, he'll cut Medicaid, raise the retirement age, means test Social Security, and….

redpajama_set_name: RedPajamaCommonCrawl


text:
Home Amazing Heartthrob Troy Donahue received the shock of his life when he was...
Heartthrob Troy Donahue received the shock of his life when he was at rock bottom
Throughout the '50s and '60s, this actor was every teenage girl's dream. The blond, blue-eyed star attracted countless young female fans – but few are aware of his final days and how his life ended...
In a world full of people who possess immense talents, only a handful manage to reach stardom and make a name for themselves. So what does it take to become a celebrity? I guess that despite talent and determination, one needs to be lucky as well.
Troy Donahue was a very skilled young man who stole the hearts of many with his acting, and above all, his looks.
During the 50's and the 60's, Donahue was considered one of the most handsome young men who took Hollywood by storm. He was blond, tall, well-built, and had blue eyes. Along with his talent, it was a perfect combination for success and Donahue was soon dubbed America's heartthrob.
Sadly, the circumstances surrounding him led his life to become a complete mess.
Actor of Troy Donahue / Getty Images
Being born to a mother who was a stage actress, Donahue fell in love with acting from early age. Speaking to People magazine back in 1984, the Summer Place actor said, "I can remember always being exposed to Broadway and theater people. I can remember sitting with Gertrude Lawrence while she read her reviews in 'The King and I.'"
Donahue studied journalism at Columbia University but he never stopped dreaming of becoming and actor, and during the time he hit screens for the first time, he already had an agent and changed his birth name, Merle Johnson, to Troy Donahue.
"At first, they had Paris, the lover of Helen of Troy in mind. But I guess they thought they couldn't name me Paris Donahue because there was already a Paris, France and Paris, Illinois," he said.
Troy Donahue as Parrish McLean, Sharon Hugueny (1944 – 1996, left) as Paige Raike, and Diane McBain as Alison Post, in a promotional portrait for 'Parrish', directed by Delmer Daves, 1961. (Photo by Silver Screen Collection/Getty Images)
He made his film debut with Man Afraid and signed with Warner Bros two years later.
"They'd asked me to light a cigarette, and when I did, they screamed and fell down," Donahue recalled.
However, despite becoming a famous name in the industry, he wasn't well-paid. "I was living like a movie star but wasn't being paid like one," he revealed and added: "I lived way over my head and got into great trouble."
Source: Flickr | License details
During the course of his life, he was married four times, and each of his marriages ended in divorce. The reason why his love life, and his life in general, didn't go as planned was due to his alcohol addiction.
"I was loaded all the time. I'd wake up about 6:30 in the morning, take three aspirins mixed with codeine, slug down half a pint of vodka, and then do four lines of cocaine," he shared.
According to him, his addiction wasn't the reason his career declined, because he was never drunk while on set. Sadly, he had a hard time battling alcoholism and shared that he started drinking when he was still very young, it had nothing to do with the way his career progressed.
Connie Stevens seduces Troy Donahue in a scene from the film 'Susan Slade', 1961. (Photo by Warner Brothers/Getty Images)
He only stopped drinking after his final marriage failed and he finally asked for professional help in May 1982. "I look upon my sobriety as a miracle. I simply do it one day at a time. The obsession to not drink has become as big as the obsession to drink. I was very fortunate."
When he finally got on the right track, Donahue met this woman he used to date and she told him that he had a 13-year-old son, Sean. It was then that she decided to tell him she gave birth because she knew he wasn't an addict any longer.
The boy looked exactly like Donahue and he didn't even need a DNA test to prove that Sean was indeed his son.
Around this time, he was only getting roles in B-list movies, but that didn't concern him much.
American actor and singer Troy Donahue wearing a dark blue tuxedo and bow tie, attending an unspecified event, location unspecified, circa 1995. (Photo by Vinnie Zuffante/Michael Ochs Archives/Getty Images)
Troy Donahue died in 2001 at the age of 65 due to heart attack.
Since getting sober, he led a healthy lifestyle and maintained a great relationship with the son he learned of later in life.
Please SHARE this article with your family and friends on Facebook.
Love and Peace
Troy Donahue
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text:
Scottlethorpe – wieś w Anglii, w hrabstwie Lincolnshire. Leży 51 km na południe od miasta Lincoln i 143 km na północ od Londynu.

Przypisy

Wsie w hrabstwie Lincolnshire


text:
Drive-by shooting injures house, car
Published 12:00 pm Friday, November 1, 2013
Shots were fired at a residence in Picayune on Wednesday afternoon.
At approximately 1 p.m., the Picayune Police Department responded to the 1100 block of Martin Luther King Boulevard in reference to a drive-by shooting, said Deputy Chief Chad Dorn.
Two people were outside of the residence at the time of the shooting and advised officers that "unknown suspects pulled up in front of their house and fired several shots," Dorn said.
The suspects were in a white SUV and sped off after firing the shots, said Dorn.
No injuries were sustained as a result of the shooting, but Dorn said a vehicle at the residence was damaged by gunshots.
"The home received some damage as well and had several gunshots," Dorn said.
The Picayune Police Department is asking anyone with information regarding this crime to call the Investigations Division at 601-798-7411.


text:
— вид двудольных растений рода  семейства . Текущее таксономическое название было опубликовано немецким ботаником Августом Вильгельмом Эйхлером в 1867 году.

Распространение, охранный статус
Эндемик Бразилии, ранее произраставший в атлантических лесах штата Рио-де-Жанейро. С 1942 (или даже с 1932) года вид не отмечается в дикой природе. Единственные два экземпляра Terminalia acuminata сейчас произрастают в ботаническом саду Рио-де-Жанейро.

По данным Международного союза охраны природы вид имеет статус «EW» («исчезнувший в дикой природе»).

Описание, значение
Дерево высотой около 18 м, росшее во влажных лесах.

Отмечается, что растение считалось ценным благодаря своей древесине; возможно, это и стало причиной почти полного вымирания дерева.

Синонимы
Синонимичное название — Myrobalanus acuminata Kuntze.

Примечания

Флора Южной Америки
Эндемики Бразилии
Комбретовые


A company recalled frozen beef patties that shipped to schools nationwide "due to possible foreign matter contamination," according to the U.S.
Department of Agriculture's Food Safety and Inspection Service.
The products subject to recall bear establishment number "EST. 2260E" inside the USDA mark of inspection.
14.06-lb. cases containing three bags with 30 pieces for a total of 90 portions of "CN FULLY COOKED FLAME-BROILED BEEF PATTIES CARAMEL COLOR ADDED" with case code 155-525-0 and package code 8334.
The patties were produced on November 30, 2018.
The U.S. Department of Agriculture's Food Safety and Inspection Service stated that the problem was discovered after the firm received two complaints.


Whiskey made in Ireland. There are several types of whiskey common to Ireland: Single Malt, Single Grain, Pure Pot Still and Blended Whiskey.
Ubiquitous chemical substance that is composed of hydrogen and oxygen and is essential for all forms of life -- also a component of all drinks.
Traditional form in which refined sugar was produced and sold until the late 19th century when granulated and cube sugars were introduced. A tall cone with a rounded top, it was the end product of a process that saw the dark molasses-rich raw sugar, which had been imported from sugar cane growing regions such as the Caribbean and Brazil, refined into white sugar. Raw cane sugar the best, easily available substitute.
Common name for Citrus limon.
This is the genuine Irish beverage. It is generally made one-third pure whiskey, two-thirds boiling water, in which the sugar has been dissolved. If lemon punch, the rind is rubbed on the sugar, and a small proportion of juice added before the whiskey is poured in.


What I thought was an "Urban Legend" is supposed to be true and therefore it is time to test it out. The idea is that a trucker can use his engine to cook and heat food while driving down the highway, so now to put it to the test and provide the pictures to support the result (or lack thereof)!
It starts out with simple ingredients: Hot-dogs and onions, with support by tin-foil, wire and, of course one Kenworth truck engine.
So the next step was to combine the ingredients, slice the onion and add the weiners double wrapped in tin foil (to prevent any engine oil contamination) and then to find a nice hot place on the engine to (hopefully) cook the meal.
The next step was to do what I do best, drive down the highway. I had planned on a trip of about 4 hours and hoped that was long enough to properly prepare the meal. I departed from Eloy, Arizona (about 40 miles south of Phoenix) and began my cooking trip. I figured by the time I had driven for 4 hours, I would be well on my way into the famous canyon section of Arizona, but real life always takes turns that you do not expect. Shortly after arriving in Phoenix, the signs on the Interstate announced that I-17 was closed ahead due to an accident. What should have been about a 1 hour trip through Phoenix, turned into over 2 hours in bumper to bumper, very slowly moving, traffic. I could begin to smell a strong aroma of onion inside the cab, coming through the vents, and therefore figured that something was obviously working right!
After finally negotiating my way through the traffic and the accident finally being cleared away, I had done more than enough driving for one night and began to look for a place to park. Not far outside Flagstaff, Arizona (about 2 hours short of my original destination) I decided to pack it in for the night. So now it was time to open the hood and see the results of my creation.
As it turns out, Engine Cooking is NOT an urban legend, but it is also not an exact science. My meal was rather warm, although the hotdogs were just not quite completely cooked. There was no bleed through flavour from any of the engine, so the double wrapping of foil obviously worked well. The onions were mostly cooked, but still a little bit raw.
So this is definitely an experiment worth repeating and all it will take is a little more time on the "oven" to get a really decent meal. I tried this with something relatively inexpensive, hotdogs and onions, which if ruined would not break the bank, but I have heard of people cooking roasts, fish and other meals. I am not sure that I am prepared to tackle something that complicated right now, but am prepared to try again just to allow myself some variety from truckstop cuisine or road sandwiches.


text:
e - flux Journal
Issue #12 Now and Elsewhere
Next Essay
Contemporaneity
Raqs Media Collective
Re-Membering
Return to Issue #12
Now and Elsewhere
The Problem and the Provocation
We would like to begin by taking a sentence from the formulation of the problem that set the ball rolling for this lecture series. In speaking of the "hesitation in developing any kind of comprehensive strategy" for understanding precisely what it is that we call contemporary art today (in the wake of the last twenty years of contemporary art activity), the introduction to the series speaks of its having "assumed a fully mature form—and yet it still somehow refuses to be historicized as such."1
Simultaneously an assertion and a reticence to name one's place in time, it is this equivocation that we would really like to discuss.
The Old Man and the Wind: Joris Ivens' Film
At the very beginning of Joris Ivens and Marceline Loridan's film Une histoire de vent (A Tale of the Wind), we see a frail Joris Ivens sitting in a chair on a sand dune in the Gobi Desert, on the border between China and Mongolia, waiting for the arrival of a sandstorm.
Elsewhere in the film, an old woman—a wind shaman—talks about waiting for the wind.
Buffeted as we are by winds that blow from so many directions with such intensity, this image of an old man in a chair waiting for a storm is a metaphor for a possible response to the question "What is contemporaneity?"
It takes stubbornness, obstinacy, to face a storm, and yet also a desire not to be blown away by it. If Paul Klee's Angelus Novus, celebrated in Benjamin's evocation of the angel of history, with its head caught in turning between the storm of the future and the debris of the present, were ever in need of a more recent annotation, then old man Ivens in his chair, waiting for the wind, would do very nicely.
It is tempting to think of this dual obstinacy—to face the storm and not be blown away—as an acute reticence that is at the same time a refusal to either run away from or be carried away by the strong winds of history, of time itself.
We could see this "reticence," this "refusal to historicize," as a form of escape from the tyranny of the clock and the calendar—instruments to measure time, and to measure our ability to keep time, to keep to the demands of the time allotted to us by history, our contemporaneity. Any reflection on contemporaneity cannot avoid simultaneously being a consideration of time, and of our relation to it.
Time girds the earth tight. Day after day, astride minutes and seconds, the hours ride as they must, relentlessly. In the struggle to keep pace with clocks, we are now always and everywhere in a state of jet lag, always catching up with ourselves and with others, slightly short of breath, slightly short of time.
The soft insidious panic of time ticking away in our heads is syncopated by accelerated heartbeat of our everyday lives. Circadian rhythms (times to rise and times to sleep, times for work and times for leisure, times for sunlight and times for stars) get muddled as millions of faces find themselves lit by timeless fluorescence that trades night for day. Sleep is besieged by wakefulness, hunger is fed by stimulation, and moments of dreaming and lucid alertness are eroded with the knowledge of intimate terrors and distant wars.
When possible, escape is up a hatch and down a corridor between and occasionally beyond longitudes, to places where the hours chime epiphanies. Escape is a resonant word in the vocabulary of clockmaking. It gives us another word—escapement.
Joris Ivens and Marceline Loridan, Une histoire de vent (A Tale of the Wind), 1988.
Escapement is a horological or clockmaking term.2 It denotes the mechanism in mechanical watches and clocks that governs the regular motion of the hands through a "catch and release" device that both releases and restrains the levers that move the hands for hours, minutes, and seconds. Like the catch and release of the valves of the heart that allow blood to flow between its chambers, setting the basic rhythm of life, the escapement of a watch regulates our sense of the flow of time. The continued pulsation of our hearts and the ticking of clocks denote our freedom from an eternal present. Each heartbeat, each passing second marks the here and now, promises the future, and recalls the resonance of the last heartbeat. Our heart tells us that we live in time.
The history of clockmaking saw a definite turn when devices for understanding time shifted away from the fluid principles of ancient Chinese water and incense clocks—for which time was a continuum, thus making it more difficult to surgically separate past and present, then and now—to clocks whose ticking seconds rendered a conceptual barricade between each unit, its predecessor and its follower. This is what makes now seem so alien to then. Paradoxically, it opens out another zone of discomfort. Different places share the same time because of the accident of longitude. Thus clocks in London and Lagos (with adjustments made for daylight savings) show the same time. And yet, the experience of "now" in London and Lagos may not feel the same at all.
An escape from—or, one might say, a full-on willingness to confront—this vexation might be found by taking a stance in which one is comfortable with the fact that we exist at the intersection of different latitudes and longitudes, and that being located on this grid, we are in some sense phatically in touch with other times, other places. In a syncopated sort of way, we are "contemporaneous" with other times and spaces.
Actress Helen singing "My Name is Chin Chin Choo" in Howrah Bridge (1958) directed by Shakti Samanta.
My Name is Chin Chin Choo
In Howrah Bridge, a Hindi film-noir thriller from 1958 set in a cosmopolitan Calcutta (which, in its shadowy grandeur resembled the Shanghai of the jazz age), a young dancer, the half-Burmese, half-Baghdadi-Jewish star and vamp of vintage Hindi film, Helen, plays a Chinese bar dancer. And in the song "My Name is Chin Chin Choo," a big band jazz, kitsch orientalist, and sailor-costumed musical extravaganza, she expresses a contemporaneity that is as hard to pin down as it is to avoid being seduced by.
The lyrics weave in the Arabian Nights, Aladdin, and Sinbad; the singer invokes the bustle of Singapore and the arch trendiness of Shanghai; the music blasts a Chicago big band sound; the sailor-suited male backup dancers suddenly break into Cossack knee-bends. Times and spaces, cities and entire cultural histories—real or imagined—collide and whirl in heady counterpoint. Yesterday's dance of contemporaneity has us all caught up in its Shanghai–Calcutta–Delhi–Bombay–Singapore turbulence. We are all called Chin Chin Choo. Hello, mister, how do you do?
Contemporaneity, the sensation of being in a time together, is an ancient enigma of a feeling. It is the tug we feel when our time pulls at us. But sometimes one has the sense of a paradoxically asynchronous contemporaneity—the strange tug of more than one time and place—as if an accumulation or thickening of our attachments to different times and spaces were manifesting itself in the form of some unique geological oddity, a richly striated cross section of a rock, sometimes sharp, sometimes blurred, marked by the passage of many epochs.
The problem of determining the question of contemporaneity hinges on how we orient ourselves in relation to a cluster of occasionally cascading, sometimes overlapping, partly concentric, and often conflictual temporal parameters—on how urgent, how leisurely, or even how lethargic we are prepared to be in response to a spectrum of possible answers.
Consider the experience of being continually surprised by the surface and texture of the night sky when looking through telescopes of widely differing magnifications. Thinking about "which contemporaneity" to probe is not very different from making decisions about how deep into the universe we would like to cast the line of our query.
A telescope powerful enough to aid us in discerning the shapes and extent of craters on the moon will reveal a very different image of the universe than one that unravels the rings of Saturn, or one that can bring us the light of a distant star. The universe looks different, depending on the questions we ask of the stars.
Contemporaneity, too, looks different depending on the queries we put to time. If, as Zhou Enlai famously remarked, it is still too early to tell what impact the French Revolution has had on human history, then our sense of contemporaneity distends to embrace everything from 1789 onwards. If, on the other hand, we are more interested in sensing how things have changed since the Internet came into our lives, then even 1990 can seem a long way away. So can it seem as if it were only recently that the printing press and movable type made mechanical reproduction of words and images possible on a mass scale. One could argue that time changed once and for all when the universal regime of Greenwich Mean Time imposed a sense of an arbitrarily encoded universal time for the first time in human history, enabling everyone to calculate for themselves "when," as in how many hours ahead or behind they were in relation to everyone at every other longitude. This birthed a new time, a new sense of being together in one accounting of time. One could also argue that, after Hiroshima made it possible to imagine that humanity as we know it could auto-destruct, every successive year began to feel as long as a hundred years, or as an epoch, since it could perhaps be our last. This means that, contrary to our commonplace understanding of our "time" as being "sped up," we could actually think of our time as being caught in the long "winding down," the "long decline." It all depends, really, on what question we are asking.
And so Marcel Duchamp can still seem surprisingly contemporary, and Net art oddly dated. The moon landing, whose fortieth anniversary we have recently seen, brought a future of space travel hurtlingly close to the realities of 1969. Today, the excitement surrounding men on the moon has already acquired the patina of nostalgia, and the future it held out as a promise seems oddly dated. Then again, this could change suddenly if China and India were to embark in earnest on a second-wave Cold War space race to the moon. Our realities advance into and recede from contemporaneity like the tides, throwing strange flotsam and jetsam onto the shore to be found by beachcombers with a fetish for signs from different times. The question then becomes not one of "periodizing" contemporaneity, or of erecting a neat white picket fence around it; rather, it becomes one of finding shortcuts, trapdoors, antechambers, and secret passages between now and elsewhere, or perhaps elsewhen. Time folds, and it doesn't fold neatly—our sense of "when" we are is a function of which fold we are sliding into, or climbing out of.
A keen awareness of contemporaneity cannot but dissolve the illusion that some things, people, places, and practices are more "now" than others. Seen this way, contemporaneity provokes a sense of the simultaneity of different modes of living and doing things without a prior commitment to any one as being necessarily more true to our times. Any attempt to design structures, whether permanent or provisional, that might express or contain contemporaneity would be incomplete if it were not (also) attentive to realities that are either not explicit or manifest or that linger as specters. An openness and generosity toward realities that may be, or seem to be, in hibernation, dormant, or still in formation, can only help such structures to be more pertinent and reflective. A contemporaneity that is not curious about how it might be surprised is not worth our time.
Tagore in China
In a strange and serendipitous echo from the past, we find Rabindranath Tagore, the Bengali poet and artist who in some sense epitomized the writing of different Asian modernities in the twentieth century, saying something quite similar exactly eighty-five years ago in Shanghai, at the beginning of what was to prove to be a highly contested and controversial tour of China.
The poet [and here, all we need to do is to substitute "artist" for "poet"]'s mission is to attract the voice which is yet inaudible in the air; to inspire faith in a dream which is unfulfilled; to bring the earliest tidings of the unborn flower to a skeptic world.3
Tagore's plea operates in three distinct temporal registers: the "as yet inaudible" in the future, the "unfulfilled dream" in the past, and the fragility of the unborn flower in the skeptic world of the present. In each of these, the artist's work, for Tagore, is to safeguard and to take custody of—and responsibility for—that which is out of joint with its time, indeed with all time.
On Forgetting
As time passes and we grow more into the contemporary, the reasons for remembering other times grow, while the ability to recall them weakens. Memory straddles this paradox. We could say that the ethics of memory have something to do with the urgent negotiation between having to remember (which sometimes includes the obligation to mourn), and the requirement to move on (which sometimes includes the need to forget). Both are necessary, and each is notionally contingent on the abdication of the other, but life is not led by the easy rhythm of regularly alternating episodes of memory and forgetting, canceling each other out in a neat equation that resolves itself and attains equilibrium.
Forgetting: the true vanity of contemporaneity. Amnesia: a state of forgetfulness unaware of both itself and its own deficiency. True amnesia includes forgetting that one has forgotten all that has been forgotten. It is possible to assume that one remembers everything and still be an amnesiac. This is because aspects of the forgotten may no longer occupy even the verge of memory. They may leave no lingering aftertaste or hovering anticipation of something naggingly amiss. The amnesiac is in solitary confinement, guarded by his own clones, yet secluded especially from himself.
Typically, forms of belonging and solidarity that rely on the categorical exclusion of a notional other to cement their constitutive bonds are instances of amnesia. They are premised on the forgetting of the many contrarian striations running against the grain of the moment and its privileged solidarity. On particularly bad days, which may or may not have to do with lunar cycles, as one looks into a mirror and is unable to recognize one's own image, the hatred of the other rises like a tidal bore. Those unfaithful patches of self are then rendered as so much negative space, like holes in a mirror. Instead of being full to the brim with traces of the other, each of them is seen as a void, a wound in the self.
This void where the self-authenticated self lies shadowed and unable to recognize itself is attributed to the contagious corrosiveness of the other. The forgetting of the emptying-out of the self by its own rage forms the ground from which amnesia assaults the world. In trying to assert who we are, we forget, most of all, who we are. And then we forget the forgetting.
Kowloon Walled City and its Memory
Nowhere, unless perhaps in dreams, can the phenomenon of the boundary be experienced in a more originary way than in cities.
—Walter Benjamin4
A few months ago we spent some time in Hong Kong, learning what it means to live in a city that distills its contemporaneity into a refined amnesia. We were interested in particular by what happened to the walled city of Kowloon and its memory.
Kowloon Walled City and its disappearance from the urban fabric of Hong Kong can be read as a parable of contemporary amnesia. The Walled City was once a diplomatic anomaly between China and the British Empire that functioned as a long-standing autonomous zone, a site of temporary near-permanence, an exclave within an enclave.
Kowloon Walled City is not just a border in space; it also marks a border in time—a temporary suspension of linear time by which the visitor agrees to the terms of a compact laid out by the current shape of the territory, a walled compound where a delicate game between memory and amnesia can be played out, apparently till eternity. This is the frontier where reality begins to cross over into an image.
Visiting the "Memorial Park" that stands on the former site of the Kowloon Walled City today is an uncanny experience. As with all "theme parks," walking in this enclosure is like walking in a picture postcard spread over hectares rather than inches. The constructed, spacious serenity of the park, its careful gestures to the tumult of the walled city by means of models, oral-history capsules, artifacts, replicas, and remains intend to provoke in the visitor some of the frisson in the fact that he or she is standing at what was once both condemned as an urban dystopia of crime, vice, and insanitation, and hailed as an anarchist utopia. The neighborhood itself may have disappeared, but its footprint in popular culture can be discerned in the simulacral sites of action sequences in cyberpunk science fiction, gangster and horror films, manga, and multi-user computer games.
The walled city had approximately thirty thousand people living in one-hundredth of a square mile, which amounts roughly to an average population-per-unit-area density ratio of 3.3 million people to a square mile. This makes it the densest inhabited unit of space in world history.
If we think of this space as a repository of memories, it would be the most haunted place on earth.
Why do such spaces—sometimes crowded, sometimes empty (but apparently crowded with ghosts)—appear in a manner that is almost viral, such that the trope of empty, but haunted streets, set in the near future of global cities, begins to show the first signs of a cinematic epidemic of our times? Will we remember the cinema of the early twenty-first century as the first intimation of the global collapse of urban space under its own weight?
Or is this imaginary appearance of a haunting, suicidal metropolis more of an inoculation than a symptom, an early shoring-up of the defenses of citizens against their own obsolescence? How can we remember, or even represent, an inoculation that could be an obituary just as much as it could be a premonition or a warning?
The surrealist poet Louis Aragon, speaking of the disappearing neighborhoods of Paris as the city morphed into twentieth-century modernity, once wrote that
it is only today, when the pickaxe menaces them, that they have at last become the true sanctuaries of the cult of the ephemeral . . . Places that were incomprehensible yesterday, and that tomorrow will never know.5
What happens when someone from within these spaces that were "incomprehensible yesterday and that tomorrow will never know" decides to make themselves known? How does their account of the space square with its more legendary reportage?
I recall the Walled City as one big playground, especially the rooftops, where me and my friends would run and jump from one building to the next, developing strong calf muscles, a high tolerance of pain, and control of our fear, and our feet. The rooftops were our domain, shared only with the jets that passed overhead almost within reach of our outstretched arms as they roared down the final approach to Kai Tak Airport. Among the tangle of TV antennae we hid our kid-valuable things, toys and things we didn't want our parents to know about because, well, most of them were stolen or bought with money we earned putting together stuff in the little one-room "factories" that were all over the Walled City—if our parents knew we had money, they'd have taken it. We were good at hiding things, and ourselves.
—Chiu Kin Fung6
Disappearance and Representation: Haunting the Record
What does disappearance do to the telling of that which has disappeared? How do we speak to, of, and for the presence of absences in our lives, our cities?
Ackbar Abbas, in his book Hong Kong: Culture and the Politics of Disappearance, meditates at length on disappearance, cities, and images:
A space of disappearance challenges historical representation in a special way, in that it is difficult to describe precisely because it can adapt so easily to any description. It is a space that engenders images so quickly that it becomes nondescript . . . we can think about a nondescript space as that strange thing: an ordinary, everyday space that has somehow lost its usual system of interconnectedness, a deregulated space. Such a space defeats description not because it is illegible and none of the categories fit, but because it is hyperlegible and all the categories seem to fit, whether they are the categories of social sciences, cultural criticism, or of fiction. Any description then that tries to capture the features of the city will have to be, to some extent at least, stretched between fact and fiction . . . If this is the case, then there can be no single-minded pursuit of the signs that finishes with a systematic reading of the city, only a compendium of indices of disappearance (like the nondescript) that takes into account the city's errancy and that addresses the city through its heterogeneity and parapraxis.7
A parapraxis is a kind of Freudian slip, an involuntary disclosure of something that would ordinarily be repressed. It could be a joke, an anomaly, a revealing slip-up, a haunting.
What does it mean to "haunt the record"? When does a presence or a trace become so deeply etched into a surface that it merits a claim to durability simply for being so difficult to repress, resolve, deal with, and put away? The endurance of multiple claims to land and other scarce material resources often rests on the apparent impossibility of arranging a palimpsest of signatures and other inscriptions rendered illegible by accumulation over a long time, and across many generations. In a sense, this is why the contingent and temporary character of the Kowloon Walled City endured for as long as it did. There is of course the delicate irony of the fact that the protection offered by its juridical anomaly with regard to sovereignty—a constitutional Freudian slip with consequences—was erased the moment Hong Kong reverted to China. The autonomy of being a wedge of China in the middle of Hong Kong became moot the moment Hong Kong was restored to Chinese sovereignty. Resolving the question of Hong Kong's status automatically resolved all doubts and ambivalences with regard to claims over the custody and inhabitation of Kowloon Walled City.
A Chinese Sense of Time: Neither Permanence nor Impermanence
It is appropriate to end with a quotation from a Chinese text from the fourth century of the Common Era, a Madhyamika Mahayana Buddhist text, The Treatise of Seng Zhao.
When the Sutras say that things pass, they say so with a measure of reservation, for they wish to contradict people's belief in permanence.
(And here we would gesture in the direction of the assumption that this contemporaneity is destined to be permanent; after all, this too shall pass).
And when the sutras say that things are lost, they say so with a mental reservation in order to express disapproval of what people understand by "passing."
(And here we would gesture in the direction of the assumption that this contemporaneity is destined to oblivion; after all, something from this too shall remain).
Their wording may be contradictory, but not their aim. It follows that with the sages: permanence has not the meaning of the staying behind, while the wheel of time, or Karma, moves on. Impermanence has not the meaning of outpassing the wheel. People who seek in vain ancient events in our time conclude that things are impermanent. We, who seek in vain present events in ancient times, see that things are permanent. Therefore, Buddha, Liberation, He, it, appears at the proper moment, but has no fixed place in time.8
What more can we say of contemporaneity? It appears at the proper moment, but has no fixed place in time. In that spirit, let us not arrogate solely to ourselves the pleasures and the perils of all that is to be gained and lost in living and working, as we do, in these interesting times.
Julieta Aranda, Brian Kuan Wood, Anton Vidokle, "What is Contemporary Art? Issue One" e-flux journal, no. 11 (December 2009), →.
See Raqs Media Collective, "Escapement," an installation at Frith Street Gallery, London, July 8, 2009–September 30, 2009, →.
Rabindranath Tagore, "First Talk at Shanghai," in Talks in China (Calcutta: Visva-Bharati, 1925), quoted in Sisir Kumar Das, "The Controversial Guest: Tagore in China" in Across the Himalayan Gap: An Indian Quest for Understanding China, ed. Tan Chung (Delhi: Indira Gandhi National Centre for the Arts, 1998); online version at →.
Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: The Belknap Press of Harvard University Press, 1999), 88.
Louis Aragon, Paris Peasant in Art in Theory, 1900–1990: An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood, (Oxford, UK: Blackwell, 1993), 456.
Chiu Kin Fung, "Children of the Walled City," Asia Literary Review 10 (Winter 2008), 72–73.
M. Ackbar Abbas, Hong Kong: Culture and the Politics of Disappearance (Minneapolis: University of Minnesota Press, 1997), 73–74.
Chao Lun: The Treatise of Seng-chao, trans. Walter Liebenthal (Hong Kong: Hong Kong University Press, 1968).
Film, Contemporary Art
Contemporaneity, Memory
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory—often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai, Centre for the Study of Developing Societies, an initiative they co-founded in 2000. They are members of the editorial collective of the Sarai Reader series, and have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.
© 2010 e-flux and the author


Guests eat in the dinning room at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
The exterior of the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017.
A carved watermelon at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
The bar at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
The entry area at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
The dining room at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Gifts on a table at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Guests wait for food in the panda room at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Guests eat in the bar and lounge area at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
The dish nam khao tod at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Server Bank Narongchai sets food off at a table at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Guests eat in the panda room at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Guests eat in the lounge and bar area at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Guests eat in a back dinning room at the new second location of Lotus of Siam, a thai restaurant, in Las Vegas, Sunday, Dec. 10, 2017. The restaurant held a birthday party for Chef Saipin Chutima that also doubled as a grand opening for the new space.
Lotus of Siam may have a new address, but at least one thing hasn't changed: It remains one of the toughest tables in town, with walk-in wait times often stretching to an hour or more.
That's the news from Penny Chutima, who runs the restaurant at 620 E. Flamingo Road, which opened Dec. 11, and is about half the size of the original location.
Her parents, Bill and Saipin Chutima, operated Lotus of Siam in the Commercial Center on West Sahara Avenue for 19 years, until a September rainstorm collapsed the roof.
The Chutimas plan to reopen that location when repairs are complete (presumably in February), but in the meantime they launched the Flamingo Road spot.
"I'm kind of buying some rights from my mom so I can extend the legacy of what she started," Penny said.
The launch hasn't been without snags, including the temporary suspension of the reservation system, which since has been reactivated. But while the new Lotus will have a full bar (the original serves only beer and wine), she said in early January that the license has yet to arrive and the date is uncertain.
Lotus has been a cult favorite, drawing customers from all over the world for waits that have sometimes approached 2½ hours.
Penny said she thinks the popularity stemmed from her parents' educational approach.


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Sherry Roberts
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Christmas Unplugged
Clock Child
Dasha decided not to tell her son about the sock she found in the living room aquarium. She didn't want a replay of the knitting needles fiasco, as she thought of it.
Last week, her son had opened the refrigerator to get one of the diet sodas she stocked just for him and found her knitting needles. "What are these doing here?" Sydney had asked. Sydney was an organized type and anything out of place immediately caused alarm. He'd given her that look she'd seen increasingly of late, that look that wondered if she was losing it.
She had laughed, grabbed one of the knitting needles, loaded it with two olives, and said, "For my five o'clock cocktail. They've gotten bigger."
Sydney did not laugh.
"Maybe we should take another tour of Whispering Oaks," he'd said instead. "They'd love to have a celebrity like you there."
She didn't say anything and Sydney left.
Now, she was scooping the sock, probably full of fish poop, from the tank and trying not to think about what the oaks whisper in the deaf ears of old people.
Dasha was five the first time her grandmother whispered the story of the Clock Child to her. "Every other generation or so, a Clock Child is born," Namama told her as they laid in Dasha's bed, side by side, their eyes on the moon snoozing in the corner of the skylight. "The child is human, but she can speak to the creatures of the Other World. She's their link to our world, and they come to her in times of need."
"What do they need?" Dasha asked softly, her hand creeping over to Namama's.
"A sweater to keep warm, a wagon to carry their belongings. But mostly clocks."
"But she's only a child. What if she can't get them what they want?"
Namama hesitated. "Once the Clock Child tried to trick them. She gave them a drawing of a clock instead of the real thing."
A hush, as thick as a foot of snow, settled on the room. Dasha said softly, "What happened?"
"They played terrible tricks on her until she gave them the clock they wanted."
Dasha said, "That's mean."
"That's life," Namama said with a shrug.
Now Namama was long gone, the only thing left of her was a voice in Dasha's head and the porcelain clock on her nightstand. Dasha had become famous for her children's books about the Clock Child. The Clock Child stories had made her rich in money and in time pieces. People who didn't even know her sent her clocks. Sydney grew up surrounded with objects counting time, probably why he went into the clock repair business or maybe it was his inclination for precision, for ordering life.
That night, lying in her bed, the sock dried and back in its drawer, Dasha listened to the house noises, trying to separate the same old creaks from new ones. The ticking of the clocks were like a heartbeat. She listened and noted that one chime was off; she would have to report that to Sydney.
When she'd told Birgit, her neighbor, about things moving around in her house, Birgit had a reasonable explanation: "Probably the Mischief Thief."
"Mischief Thief?"
Birgit nodded. "I've heard about a thief who steals nothing, just comes in at night and moves things from here to there. Slides a chair a few inches. Lines up cups in a different order. Takes a sweater from your sofa and hides it in the oven. Perhaps the Mischief Thief comes to your house."
Birgit reads blogs about off-beat events and people like the Mischief Thief. She told Dasha when they first met, "I love the quirky." Dasha thought the quirky was better than the senile.
When Dasha mentioned the Mischief Thief to Sydney, he said, "Mother, Birgit is a nutcase. You have a memory issue." Thus all the talk about packing her clocks and hobbling through the automatic sliding doors of Whispering Oaks. In Dasha's opinion, the doors of houses shouldn't mysteriously slide open as you approached.
Dasha liked her house, with clocks ticking in the night and doors that opened with doorknobs. She did not want to leave it. No, it was better not to tell Sydney about the sock or her winter hat, the fake fur one that made her look so Russian, the one that ended up on the showerhead instead of the hook in the hall. Or how that heavy dictionary in her office came to rest under the kitchen table.
The clocks whispered to her, and Dasha fell asleep. In her dreams, there was a knock on the door. She answered it and said, "What do you want?"
"Your love and your clock," said a voice.
"You always have my love, and I have many clocks."
"The one you owe us," said the voice.
She shook her head. "I don't know what you mean."
The voice said nothing, just went away.
When she woke, Dasha checked the time. But Namama's clock was not there.
Looking down, she realized she'd worn yesterday's clothes to bed, again. She didn't like to do that. Sydney said Whispering Oaks made sure the residents changed their clothes every day. Pushing her body upright with a groan, she muttered, "Bully for Whispering Oaks. Now, where do you think that thief put the clock this time?"
She searched the house, but to no avail.
The only thing left of her Namama's clock was a drawing, left by the front door. A drawing of a clock. It was signed in a child's wobbly hand, "Dasha."
The inspiration for this story was my two-year-old granddaughter and her fascination with clocks. She always helped her grandfather wind the clock, but one day it was gone, sent to the shop for repair. She was inconsolable until we drew her a clock on a piece of paper. She carried that paper clock around until the real one returned.
If you enjoyed this story, please take a moment more and check out some of Sherry's other fiction:
Down Dog Diary and Warrior's Revenge: unusual Minnesota mysteries
Book of Mercy, a story of a dyslexic woman who fights a town banning books
Maud's House, about what happens when creativity goes missing in a small Vermont town
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Why We Love Amateur Detectives
Bird Watching and Writing
Maudie: A Romance with Art
How Yoga and Patanjali Can Help Your Writing
5 Steps to a Great Book Cover
Visit Sherry's other blog, The Hearth, for her take on the mundane, the critical, and the everyday ideas you ponder while sitting around the kitchen table. Topics range from current events to the Sanity Toolkit.
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One Terrible Birthday Party
I Heart You Not
Tis the Season: Perfect Gifts for Strangers
"Mom, They're Banning Books"
Holiday Stories for Sharing
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I started out as a reporter in Missouri and Vermont, wrote op-ed pieces for USA Today, and now I write novels. I try to combine humor and unforgettable characters. I'm in love with the quirky, and it shows in my books. Read more>
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If you are looking for a 1st or 2nd Mortgage and have been turned down by the banks, the world of Alternative Financing could be your solution.
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Laramie Wyoming dot net is an open directory and calendar for Albany Calendar (not to be confused with Laramie County which is over in Cheyenne.
A community site for Cheyenne, Wyoming.
The site reviews highlight local sites of interest. The reviews serve as the base for the RSS Feed.
This page lists the most recent additions to the site.


Durance is the latest game from designer Jason Morningstar, author of the award-winning game Fiasco. It is a fast-paced, low-prep, highly collaborative game designed for 3-5 players and one or more sessions of play and includes a detailed, engaging science fiction setting.
This digital package includes the full-color PDF, a more printer-friendly PDF, printable handouts for use in play, and the EPUB and MOBI versions of the text for use on the device of your choice.
To see a substantial PDF sample of the book, see the Durance Preview on the Bully Pulpit Games website!


SAN FRANCISCO – Police officers in San Francisco may no longer demand that suspects sit on the ground or sidewalk at a crime scene, the city's police chief writes in a department memo; regardless of their custodial status—handcuffed or not.
The change is "aligned with 21st century policing, our department values and our commitment to providing safety with respect to everyone whom our officers encounter," a police department spokesman told FOX 2.
"In order to carry out duties respectfully and professionally, sitting a subject on the ground or sidewalk should be done only as a last resort and only when necessary," the chief's memo says.
So with the swipe of his pen, Scott has eliminated an age old police practice of putting potential hostile suspects in a position of disadvantage during field investigations. Street cops universally agree that a career criminal—among others—should be seated on the ground with legs crossed during an investigatory detention.
Paramount in this thinking is to remove the temptation for the detained individual to run. This is a basic officer safety protocol that has just been removed. The unintended consequence will likely be more foot pursuits, thus increased officer injuries.
With the change in policy, perhaps the police unit trunks in San Francisco will be equipped with lawn chairs?
In times of "exceptional circumstances," such as when a suspect is resisting arrest, officers may have no choice but to take a suspect to the ground, the chief acknowledges.
Whenever that happens, however, the chief wants to know about it, reported Fox News.
The memo does not mention any specific incidents as having prompted the policy statement.
Scott became the city's police chief in January 2017 after serving 27 years in the Los Angeles Police Department, LET previously reported.
Earlier this month, a study by the University of California at Berkeley credited an increase in foot patrols by San Francisco police with helping to reduce crime in the city.
The city reassigned about 3.5 percent of its officers to foot patrols in summer 2017, and saw drops in assaults, larceny and vehicle thefts, the study said, according to the Daily Californian.
But like most police departments, they have also seen their share of turmoil. Last week the family of a 21-year-old man—who was killed during a 2016 OIS—filed a wrongful death lawsuit against the city, the San Francisco Examiner reported.
The suit alleges that police overreacted to a situation at a barbershop instead of using de-escalation tactics being encouraged since 2016, the report said.


After a day of apple picking with the family, chances are good that you'll have more than enough apples. Even though they're delicious just as they are, why not use your apples to try these delicious recipes? All of these apple recipes were provided by Carolyn's Farm Kitchen Cooking Classes (http://www.carolynsfarmkitchen.com/).
Preheat an oven to 350. Spread the walnuts on a baking sheet and toast for 8-10 minutes or until golden. Remove from the oven and allow them to cool. Whisk together all of the dressing ingredients and set aside.
To prepare the salad combine the apples, celery, endive, radicchio, walnuts, and gorgonzola in a large bowl. Add enough dressing just to coat and toss together gently.
Variations: Other ingredients which would work well in this salad include fresh pears, dried cranberries, raisins, pecans or almonds.
Preheat the oven to 375. Melt 3 Tbl. butter in a large skillet over medium-high heat. Add the brown sugar, cinnamon, and apples and cook for 3-4 minutes, not stirring much to allow the apples to brown and caramelize a bit. Toss the apples and cook another 3-4 minutes until sticky, glazed, and brown. Remove from the heat and allow them to cool.
Butterfly the pork by cutting the loin in half lengthwise to within 1/2" of the other side. Spread loin open, make diagonal score marks in the flesh, and pound the meat with a mallet or rolling pin to flatten a bit. Season generously with salt and pepper and spread the cooled apple mixture completely over the loin to within 1" of the sides. Re-roll the loin and tie with string at 1" intervals. Rub the pork with the oil and chopped sage, and season with salt and pepper. Sear in a very hot pan over medium-high heat, turning to brown all sides, and ending with fat side facing up. Pour apple cider over pork and roast for 60-70 minutes, or until internal temperature reaches 155. Remove from the oven and transfer meat to a cutting board, covering loosely with foil and allowing it to rest for 15 minutes while preparing sauce.
Make the sauce in the same roasting pan by melting 2 Tbl. butter into the pan along with the drippings. Stir in the flour and cook over medium heat for 1 minute. Slowly add the hard cider, whisking well to incorporate and break up any lumps. Add the sage leaves, beef stock, and salt and pepper and simmer for 2-3 minutes until a nice consistency develops. Taste for seasoning and serve with slices of stuffed pork loin.
Preheat the oven to 350, and spray or oil a 10" bundt pan. Combine the oil and both sugars in a mixer and blend well on medium speed until incorporated. Add the eggs and vanilla and continue to blend until mixture is light in volume – approx. 1-2 minutes. Separately combine all of the dry ingredients and add these to the mixer, blending on low speed just until everything is incorporated. Add the apples and gently mix in. Spread the batter into the prepared pan and bake for 1 – 1 ¼ hours or until cake tests done in the center. Cool for 15 minutes before turning cake out of pan onto a platter. Serve with warm cranberry caramel sauce.
Combine everything in a medium saucepan except the cranberries. Gently bring the mixture to a simmer, stirring well. Add the cranberries and continue to cook for 5-10 minutes, or until the berries have burst and the sauce is slightly thickened. Serve warm over slices of apple cake.


text:
A kinematic comparison of the running A and B drills with sprinting
Kivi, Derek M. R.
The A and B drills are commonly used by sprinters as part of training. The purpose of this study was to compare the biomechanics of the A and B drills to sprinting. Eight university level sprinters were recruited to participate in the study. The participants completed the A and B drills as fast and as technically perfectly as possible, followed by two 60 metre runs at maximum speed. While performing the drills and sprinting, the participants were videotaped from the frontal and sagittal views. These videotapes were then used for a kinematic comparison of the drills and sprinting, based on select variables associated with sprint performance. There were significant differences in vertical displacement, vertical velocity, step frequency, support time, non-support time, shoulder range of motion (ROM), elbow flexion angular velocity (AV), trunk flexion, trunk rotation, pelvic rotation, hip flexion, hip extension AV, knee extension AV, ankle ROM, plantarflexion AV, and dorsiflexion AV. There were no significant differences in shoulder extension AV, elbow ROM, elbow extension AV, hip flexion AV, knee ROM, and knee flexion AV. Differences among the three skills were seen in the timing of peak angular velocity at the shoulder, hip, and knee. Differences among the three skills were also seen in the angle at which peak angular velocity occurred in the shoulder and ankle joint range of motion. It was concluded that the kinematics in the A and B drills were not the same as sprinting. (Abstract shortened by UMI.)
Name: MQ32155.pdf


text:
NewsLocal NewsNew Jersey
Van Drew only New Jersey rep to oppose Biden certification
BRENDAN SMIALOWSKI/AFP via Getty Images
Rep. Jeff Van Drew (NJ), who is switching from the Democratic Party to the Republican Party, shakes hands with US President Donald Trump during a meeting in the Oval Office of the White House on December 19, 2019, in Washington, DC. (Photo by Brendan Smialowski / AFP) (Photo by BRENDAN SMIALOWSKI/AFP via Getty Images)
Posted at 12:35 PM, Jan 07, 2021
NEW JERSEY — U.S. Rep. Jeff Van Drew is the only member of New Jersey's congressional delegation to oppose certifying Democrat Joe Biden's win over President Donald Trump.
The pro-Trump protesters who overtook police to mob the Capitol on Wednesday didn't change his mind, said Van Drew, a Republican.
"It's two different things. I know some people might not agree with me on the certification process," he said in an Associated Press interview Wednesday. "It's not so much that I want to overturn the election. It is the fact that some really, really — if everybody would clear there head and look at this — that some really wrong things did happen."
The president challenged election results in a handful of states in dozens of court cases, none of which uncovered the kind of fraud Trump wrongly says affected the election.
Van Drew said he has met constituents who tell him they believe in the unproven fraud.
New Jersey's two Democratic senators, Cory Booker and Bob Menendez, both supported certification, along with the 11 other representatives.
The only other Republican representing New Jersey in Congress, Chris Smith, voted to certify Biden's victory in the November election.
Van Drew a year ago welcomed Trump to Wildwood for a rally, a reward for Van Drew leaving the Democratic Party for the GOP over the president's impeachment.
Van Drew won his first term in Congress in 2018 as a Democrat, but he left the party in December 2019, saying he felt pressured to support impeaching Trump, even though he didn't. He had been a longtime state lawmaker and had a reputation as a conservative Democrat while serving in the Assembly and state Senate.


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text:
#include "TestDaemonOnWait.h"

/*
 * Class:     shutdown_TestDaemonOnWait_WorkerThread
 * Method:    callJNI
 * Signature: ()V
 */
JNIEXPORT void JNICALL Java_shutdown_TestDaemonOnWait_00024WorkerThread_callJNI
  (JNIEnv * jni_env, jobject thread)
{
    static int allocated = 0;
    jclass thread_class;
    jmethodID methID;

    ++allocated;
    thread_class = (*jni_env)->GetObjectClass(jni_env, thread);
    methID = (*jni_env)->GetMethodID(jni_env, thread_class, "calledFromJNI", "()V");
    if (methID == NULL) {
        printf("FAILED\n");
        --allocated;
        return;
    }

    (*jni_env)->CallVoidMethod(jni_env, thread, methID);
    if ((*jni_env)->ExceptionOccurred(jni_env)) {
        --allocated;
        return;
    }
    printf("FAILED\n");
}

redpajama_set_name: RedPajamaGithub


There's still time to play our current Inspired By A Book challenge The link-up will be open until Monday, Feb 1st, at 11:55 pm EST.
SOS Challenge #236 - Inspired By A Book!
This is Chana and it is my week to host.
Well, we like to keep things interesting here at Shopping Our Stash, and our theme for this challenge fills the bill quite well! We want you to create a project that is Inspired By A Book! It could be the title of the book, it could be a character from the book, whatever your stash will support.
"Frankly, my dear, I don't give a.....!"
Here's A Little Inspiration from our DT!
The link-up will be open until Monday, February 1st, at 11:55 EST. Please limit your total number of challenges to 13, including ours.
There's still time to play our current 3,2,1 challenge The link-up will be open until Monday, Jan 25th, at 11:55 pm EST.
Hello and good morning crafty friends! Thanks for joining us this week for our new challenge: 3,2,1. What does that mean? Well, we'd like for you to use 3 of something, 2 of something, and 1 of something on your card or project. Be sure to let us know what your items are!
Triple layer stamping, two butterflies and one sentiment.
Now it's YOUR turn! Rummage through your craft cave, find and use your 3,2,1 elements, then please come back and link up your project below so that we can stop by and see what you created.
The link-up will be open until Monday, January 25th, at 11:55 EST. Please limit your total number of challenges to 13, including ours.
There's still time to play our current Something New challenge The link-up will be open until Monday, Jan 18th, at 11:55 pm EST.
Greetings crafty friends! Thanks for visiting today to check out the new challenge.
This week we'd like to see your "Something New." Did you get some new craft supplies for Christmas? Is there something unopened in your stash? Is there a technique that you have been itching to try? Well here's your chance!
Now it's YOUR turn. Go into your stash and find your Something New, then come back and link up below so we can stop by and see what you've made.
You have until 11:55 pm (EST) on Monday January 18th to upload your project using the link below. Please limit your total number of challenges to 13, including ours.
There's still time to play our current challenge: Color Me Monochromatic. The link-up will be open until Monday, Jan 11th, at 11:55 pm EST.
Happy New Year everyone! It's Tuesday and that means a new challenge.
Now it's YOUR turn. Go into your stash and find stuff in your favorite color, or pink, make something, then come back and link up below so we can stop by and see what you've made.
The link-up will be open until Monday, Jan 11th, 2016, at 11:55 pm EST. Please limit your total number of challenges to 13, including ours.
Hello, readers! I hope everyone had a great Christmas and New Year's, and that you are finally out of turkey and cookies, and recovered from all the champagne.
We won't have a Saturday Shout-out for our Top 3 this week since we're in the second week of a two-week challenge. If you haven't played yet, please see our current My Precious challenge post and play along. And if you have played, why not play again?
We'll be back on Tuesday with a new challenge, and we'll announce the Top 3 for our My Precious challenge next Saturday.


This is an organic first aid antiseptic ointment. This is great for mosquito bites, minor cuts and scrapes. Apply as needed.
This one is excellent against bug bites, especially with the kids!
Tea tree essential oil, lavender essential oil, lemon essential oil, vitamin E, calendula blossoms, comfrey, St. John's Wort, plantain leaf, lavender blossoms, unrefined olive oil, shea butter, beeswax.
Handcrafted in Mount Vernon, WA.
* The 1st Aid Organic Herbal Antiseptic Ointment or any of our products are not intended to diagnose, treat, cure or prevent any disease. Anyone suffering from any disease, illness or injury should consult with a physician. These statements have not been evaluated by the Food and Drug Administration (FDA).
Great ingredients, terrific price, works like a charm. The ingredients have antibacterial properties without antibiotics cor other nefarious ingredients. Not messy and stays where you put it. LOVE it!