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Who Sold Nigeria To The British For £865k In 1899?
apr-news-History-on-Nigeria
APRNEWS - This is the story of the first oil war, which was fought in the 19th century, in the area that became Nigeria.
All through the 19th century, palm oil was highly sought-after by the British, for use as a industrial lubricant for machinery. Remember that Britain was the world's first industrialised nation, so they needed resources such as palm oil to maintain that.
Palm oil, of course, is a tropical plant, which is native to the Niger Delta. Malaysia's dominance came a century later.
By 1870, palm oil had replaced slaves as the main export of the Niger Delta, the area which was once known as the Slave Coast. At first, most of the trade in the oil palm was uncoordinated, with natives selling to those who gave them the best deals. Native chiefs such as former slave, Jaja of Opobo became immensely wealthy because of oil palm. With this wealth came influence.
However, among the Europeans, there was competition for who would get preferential access to the lucrative oil palm trade. In 1879, George Goldie formed the United African Company (UAC), which was modelled on the former East India Company. Goldie effectively took control of the Lower Niger River. By 1884, his company had 30 trading posts along the Lower Niger. This monopoly gave the British a strong hand against the French and Germans in the 1884 Berlin Conference. The British got the area that the UAC operated in, included in their sphere of influence after the Berlin Conference.
When the Brits got the terms they wanted from other Europeans, they began to deal with the African chiefs. Within two years of 1886, Goldie had signed treaties with tribal chiefs along the Benue and Niger Rivers whilst also penetrating inland. This move inland was against the spirit of verbal agreements that had been made to restrict the organisation's activities to coastal regions.
By 1886, the company name changed to The National Africa Company and was granted a royal charter (incorporated). The charter authorised the company to administer the Niger Delta and all lands around the banks of the Benue and Niger Rivers. Soon after, the company was again renamed. The new name was Royal Niger Company, which survives, as Unilever, till this day. To local chiefs, the Royal Niger Company negotiators had pledged free trade in the region. Behind, they entered private contracts on their terms. Because the (deceitful) private contracts were often written in English and signed by the local chiefs, the British government enforced them. So for example, Jaja of Opobo, when he tried to export palm oil on his own, was forced into exile for "obstructing commerce". As an aside, Jaja was "forgiven" in 1891 and allowed to return home, but he died on the way back, poisoned with a cup of tea.
Seeing what happened to Jaja, some other native rulers began to look more closely at the deals they were getting from the Royal Nigeria Company. One of such kingdoms was Nembe, whose king, Koko Mingi VIII, ascended the throne in 1889 after being a Christian schoolteacher. Koko Mingi VIII, King Koko for short, like most rulers in the yard, was faced with the Royal Nigeria Company encroachment. He also resented the monopoly enjoyed by the Royal Nigeria Company and tried to seek out favourable trading terms, with particularly the Germans in Kamerun (Cameroon).
By 1894, the Royal Nigeria Company increasingly dictated whom the natives could trade with, and denied them direct access to their former markets.
In late 1894, King Koko renounced Christianity and tried to form an alliance with Bonny and Okpoma against the Royal Nigeria Company to take back the trade. This is significant because while Okpoma joined up, Bonny refused. A harbinger of the successful "divide and rule" tactic.
On 29 January 1895, King Koko led an attack on the Royal Niger Company's headquarters, which was in Akassa in today's Bayelsa state. The pre-dawn raid had more than a thousand men involved. King Koko's attack succeeded in capturing the base. Losing 40 of his men, King Koko captured 60 white men as hostages, as well as a lot of goods, ammunition and a Maxim gun. Koko then attempted to negotiate a release of the hostages in exchange for being allowed to chose his trading partners. The British refused to negotiate with Koko, and he had forty of the hostages killed. A British report claimed that the Nembe people ate them. On 20 February 1895, Britain's Royal Navy, under Admiral Bedford attacked Brass and burned it to the ground. Many Nembe people died and smallpox finished off a lot of others.
By April 1895, business had returned to "normal", normal being the conditions that the British wanted, and King Koko was on the run. Brass was fined £500 by the British, £62,494 (NGN29 million) in today's money, and the looted weapons were returned as well as the surviving prisoners. After a British Parliamentary Commission sat, King Koko was offered terms of settlement by the British, which he rejected and disappeared. The British promptly declared him an outlaw and offered a reward of £200 (£26,000; NGN12 million today) for him. He committed suicide in exile in 1898.
About that time, another "recalcitrant King", the Oba of Benin, was run out of town. The pacification of the Lower Niger was well and truly underway. The immediate effect of the Brass Oil War was that public opinion in Britain turned against the Royal Nigeria Company, so its charter was revoked in 1899. Following the revoking of its charter, the Royal Niger Company sold its holdings to the British government for £865,000 (£108 million today). That amount, £46,407,250 (NGN 50,386,455,032,400, at today's exchange rate) was effectively the price Britain paid, to buy the territory which was to become known as Nigeria.
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Jaja of Opobo
United African Company
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Automatic Loveletter was a rock band, with acoustic influences, based in the United States of America. The band formed in Tampa, Florida, in 2007, led by vocalist and guitarist Juliet Simms, her older brother and lead guitarist Tommy Simms, drummer Ryan Metcalf, and bassist Clint Fowler. Playing both the main Bamboozle and Bamboozle Left in 2008 and the 2008 Vans Warped Tour, with 10 Million Listens on Myspace and over 300 live shows, Automatic Loveletter has earned their upcoming debut release . Read more on Last.fm …read full bio
Automatic Loveletter was a rock band, with acoustic influences, based in the United States of America. The band formed in Tampa, Florida, in 2007, led by vocalist and guitarist Juliet Simms, her older brother and lead guitarist Tommy Simms, drummer Ryan Metcalf, and bassist Clint Fowler. Playing both the main Bamboozle and Bamboozle Left in 2008 and the 2008 Vans Warped Tour, with 10 Million Listens on Myspace and over 300 live shows, Automatic Loveletter has earned their upcoming debut release . "Paramore is the female-fronted draw of the day here at Bamboozle Left, but Automatic Loveletter's Juliet Simms more than held her own on the Nokia Ticket Rush stage. Clad in an obligatory black hoodie and strumming an acoustic guitar, she wailed her way through a frenetic half-hour set split by a solo acoustic ballad. Get this band on a main stage and she'll be receiving automatic love letters by the truckload." LA Times Automatic Loveletter was formed with Juliet Simms on guitar and lead vocals, Daniel Currier on drums and brother Tommy Simms playing bass and producing, with bassist Sean Noll sitting in on occasion in Tommy's home studio in the Tampa Bay area. The band was first called Stars and Scars and recorded its first rock song together in December 2005, naming the song after the band but written by lead singer Juliet Simms. They also recorded "Tin Lizzy", written by Tommy. Juliet also finally acoustically laid down all of the songs she had been writing over the last three years for consideration for her first major label album. Signed by Allison Hagendorf now host of Fuse TVs "The Pop Show", then working at Epic Records, Juliet went on to form Automatic Loveletter while Epic struggled with the 2005 Payola Scandal and internal problems finally dropping over 70 bands in 2007. With Allison as Juliet's champion, Automatic Loveletter was not dropped but was also not supported for the next year and 1/2 touring in the drummer's Ford Excursion and making feather hair clips and burning their own copies of their Epic Produced CD with hand painted slip covers to help fund their tours. Automatic Loveletter did record their album in 2007 with producer Matt Squire (Panic at the Disco, Boys Like Girls, All Time Low, Cute is What We Aim For, The Cab, The Maine). "He challenged me and I challenged him," Simms said. "I felt very comfortable and that's when the best of me comes out. The entire time was playful and fun and that's what rock n roll's about to me -- having a good time." Simms took her massive songbook to Squire and narrowed down the right tunes and crafted them to fit together, sometimes taking songs in entirely new directions. "The Answer," for instance, was originally a ballad, but became one of the more upbeat numbers on the album. Daniel Currier and lead guitarist Joe Nelson both played on the album, Sean Noll officially joining just before some of their first tours together and big brother Tommy occasionally touring with the band to play lead, or rhythm guitar in larger venues and outdoor concerts filling up the sound and the stage. But the Squire Album was never fully released, however tracks like "The Answer", "Parker", "August 28Th 3:30 A.M.", "Hush" and "Make-up Smeared Eyes (Acoustic)" were all released on an EP Recover' and sold through Hot Topic and on-line distribution. Up to and while touring with 2008 Vans Warped Tour, Automatic Loveletter held #1 or #2 position on the Myspace Music Emo chart for 6 months, hitting 10 Million Listens, hit #2 on Smart Punk for three weeks and Artisan News Reported them as The Next Big Thing. But after the tour when Epic was scheduled to release the album Automatic Loveletter (acronym A.LL.) were told to continue touring and asked by then President Charlie Walk to write more upbeat music. Instead, Juliet submitted a fan favorite "Black Ink Revenge" which was rejected several times for re-write until it became "My Goodbye" one of the tracks off the upcoming Sony release. "I had been signed to Epic for going on three years, toured in cars with my completely broke band and was feeling like I disappointed my fans who had been promised music for over a year so I sat in my room for four days re-writing and re-submitting that song like 5xs. I like "My Goodbye" a LOT but it was the result of a lot of pressure and the desire to get an album released." "My Goodbye", "The Day that Saved Us" and "Hush (New Version)" were quickly released as another self titled EP just before the final chapter with Epic Records when they fired all the members except Currier before the first headlining tour, held auditions for new members, hired Jacob Fatoroochi, James Bowen and Wayne Miller then half way through the tour called Juliet and told her that all of the pay for the band she was on tour with was being withdrawn and the band was dropped. A.LL.went on to sell out venues like the Knitting Factory in LA and San Francisco.."It was very liberating. After crying my eyes out for a couple hours I had some of my best shows ever on that tour." Almost immediately the band was picked up by RCA and Juliet asked to write for a new album produced by Josh Abraham (Weezer, 30 Seconds to Mars, Velvet Revolver). Automatic Loveletter's first full length album, "Truth or Dare", was released on June 22nd just before heading out on Vans Warped Tour 2010. In the summer of 2011, Juliet released an acoustic Automatic Loveletter EP titled, "The Kids Will Take Their Monsters On", on Paper - Plastick Records. Again, touring on Vans Warped Tour 2011 and promoting the new acoustic album. In the winter of 2011, Juliet was asked to audition for the second season of NBC's, "The Voice". Juliet's audition wowed the judges and she chose become a member of Team Cee-lo. Juliet decisively won her Battle Round and will be performing live on April 9th for Team Cee-lo's first Live Round. Simms' voice can be heard on records from LoveHateHero's "Theatre of Robots", Secondhand Serenade's "Fix You" / "Hear Me Now", All Time Low's "Remembering Sunday", and Cartel's "Lose It". Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
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Right now I am a member of a few online Transplant communities. Its amazing to see how many people there are that have had or know someone who has had a transplant. Its amazing to hear their stories of how hard they fought to live and amazing how their gift of life has changed their lives. But outside those groups I have never seen anything promoting awareness for us. That needs to change. I want to see banners on Facebook and for #Donate Life to be trending on Twitter. I want to see our stories on the front page of MSN and yahoo. And I want to help spread that awareness. Through this blog and anywhere else I can. Educating people on the importance of being organ donors is critical to us. We could have all the money in the world for the best research and studies, but its the people, its the donors who save us. When I say that we could not live with out them, its the straight truth. Its people saving people. With out more organ donors, more of us will die. Waiting.
Please visit Donate Live America and register to be an organ donor. Be a hero!


When you are ready to start the building process and create the home of your dreams in Cave Creek, you might start compiling a list of general contractors, architects, and designers to execute the entire scope from start to finish. However, doing so very well could be a mistake, costing you time and money, and making the entire experience extremely stressful and unpleasant.
Instead of hiring a multi part equation for what should be considered one process, you can just hire one contractor: The design builder. In doing so, you create one point of contact for your entire project, which forces a single source of responsibility throughout. By doing this it not only allows you to focus exclusively on the necessary information needed, but to have one person who's highly invested, and to see that everything is completed with the highest satisfaction to you.
When you hire multiple contractors, their focus is on their own part of the project. These contractors won't be making decisions with the group in mind, but will be concerned instead with how each decision impacts their own timeline and costs.
By hiring a design builder, you consolidate the process. You work with one person from conceptual design to finished product, thereby minimizing the chances that miscommunication can derail your project. You will be able to focus your project so that you save time and money. You won't waste time managing multiple vendors and aspects of the project.
A design builder can also provide a more accurate estimate of materials, costs, and timelines. This allows for lower overall cost, increased quality, and a project to be completed seamlessly and on time. You'll be able to budget better, and you won't have any unexpected costs or delays.
When choosing the right design builder, communication will be easy, open, and honest regarding what you envision for your home. This will allow design builder and team to develop a real understanding of what you want in your project and deliver the best results. The design build team will also consider future wants and needs when executing conceptual designs, to allow for optimization of any future planning. Highly accurate architectural blueprint designs will be provided until a design has been generated that is exactly what is envisioned.
With the innovation of 3D modeling and rendering, highly accurate 3D models will be produced, allowing you perspective views of your dream home from any angle. Once completely satisfied with the modeled design, photo realistic 3D renders will be produced. This exciting process will produce photo quality image of exactly what your home will look like within existing topography and landscapes.
John Anthony Drafting & Design strives to make the design build process as easy as possible for our Cave Creek clients. We want you to have the home of your dreams, and we will do everything we can to bring your vision to life. We'll get to know you through extensive conversations, and include you in every step of the process to make sure that every detail is just as you imagined. You'll feel more confident throughout the process, and the streamlined operations will help save you time and money, while ultimately producing the highest quality. Call us today to get the conversation started. We're ready to help create your beautiful Cave Creek home.


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Q: how to integration Ziggeo Sdk to Ionic App I want to integrate the Ziggeo' sdk into my ionic app,I spend 2 day on it but
I'm not able to integrate  Ziggeo' sdk into my ionic app.
I downlade demo ionic project from github(source:- https://github.com/Ziggeo/ionic2-ziggeo-demo),I can't understated how i can include this to my project?

A: It is quite simple.

*

*Install the Ziggeo Client SDK via npm.

*
<link rel="stylesheet" href="build/ziggeo.css" />
<script src="build/ziggeo.js"></script>

Then, you need to specify your API token:
<script>
    var ziggeoApp = new ZiggeoApi.V2.Application({
        token: "APPLICATION_TOKEN"
    });
</script>

Note: You will get the Api_token either through Ziggeo, or you can upload a video and receive one.

*Now, at last, you can either record or play a video by doing the following:
<ziggeorecorder></ziggeorecorder>

To embed a player for an existing video, add:
<ziggeoplayer ziggeo-video='video-token'></ziggeoplayer>

*Finally, if you use Angular in Ionic, I suggest you use the angular-ziggeo package from npm. It makes things much simpler.

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Бусел ( — аист) — белорусский беспилотный летательный аппарат, разработанный физико-техническим институтом НАН Белоруссии.

История
Разработка и проектирование начались в конце 2000-х годов. В декабре 2011 года белорусские специалисты провели первый полёт для многоцелевого беспилотного летательного аппарата «Бусел». По другой информации, тестировка началась в 2010 году на российском полигоне. Испытания прошли успешно, вскоре проект получил одобрение и поступил в серийное производство. В 2013 «Бусел» поступил в продажу.

Характеристики
Аппарат имеет длину , размах крыльев — , высоту — . Крейсерская скорость полёта у «Бусела» достигает . На пределе дрон может развить скорость до , дальность полёта — , при этом подняться в высоту на .

Назначение
Дрон может применяться для различных задач, в том числе:
 контроля и определения мест тепловых потерь на теплотрассах, промышленных объектах и в городской инфраструктуре;
 мониторинга территорий вокруг особо важных объектов, контроля правопорядка в местах массовых мероприятий и на дорогах, розыск автомобилей;
 обнаружения возгораний, радиационного контроля, контроля магистральных трубопроводов, оценки развития чрезвычайных ситуаций, поиска потерявшихся людей в труднодоступных местах;
 мониторинга территорий национальных парков, заповедников, водных акваторий, борьбы с браконьерством;
 контроля границы и прилегающих территорий;
 изготовления проектной и изыскательской продукции землеустройства, земельного кадастра и мониторинга земель.

Эксплуатанты

  Министерство по чрезвычайным ситуациям
  Вооружённые силы
  Министерство внутренних дел
  Государственный пограничный комитет

Примечания

Ссылки

Воздушные суда, осуществившие первый полёт в 2010 году
Беспилотные самолёты Белоруссии

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Dr. Shahram Rahimi is currently the Department Head and Professor at the Department of Computer Science and Engineering at Mississippi State University. Prior to that, he was Professor and Chair at the Department of Computer Science at Southern Illinois University (SIU) for six years. Dr. Rahimi has extensive background in both academia and industry. He is a recognized leader in artificial intelligence with over 190 peer-reviewed publications and several patents or pending patents in this area. He has served as the Editor-in-Chief of the International Journal of Computational Intelligence and sits on the editorial board of many other journals. He is also an integral part of the IEEE's Committee for New Standards.
Shahram has organized over 15 conferences on Artificial Intelligence and multi-agent systems over the past decade and has served as Principal Investigator for several federally funded and industry-funded research projects. Shahram has been contributing to advancements in AI and Computational Intelligence over the past 20 years.
Norman Carver is a distinguished technology research scientist specializing in the area of Multi-agent systems, distributed problem solving, sensor interpretation, knowledge-intensive control of AI systems distributed problem solving (DPS), machine learning, multi-agent learning, architectures for knowledge-intensive control of AI systems. As a research scientist with numerous publications and two grants by the National Science Foundation, much of Dr. Carver's theoretical work has been based on the use of Decentralized Markov Decision Processes (DEC-MDPs) for modeling MAS problems and producing minimum communication coordination strategies. Dr. Carver is the Chief Technology Officer at Potentia Analytics and a professor in the Department of Computer Science at Southern Illinois University in Carbondale with a Ph.D. in Computer Science from the University of Massachusetts.
Bonnie Kucharski is a dynamic operations leader with over 20 years of experience in the technology sector. She comes to Potentia Analytics from Liaison (OpenText), a leading provider of cloud-based enterprise application integration and data management solutions with a large footprint in healthcare data translation and harmonization. For nearly a decade she grew and led the technical integrations team responsible for the translation and architecture of data between two companies therefore optimizing interoperability.
Bonnie has held strategic positions within the technology sector at organizations including 3Com Corporation (formerly US Robotics) and Blackboard (formerly SchoolCenter). She has a Master of Arts degree in Organizational Management from Ashford University and a Bachelor of Arts degree in Business Management from DePaul University. She is also a certified Project Management Professional (PMP).
Amb. Michael Gfoeller (ret.) is an independent consultant on international politics and security matters.
He served for 26 years (1984 to 2010) as a US Foreign Service Officer. His career included service in Riyadh, Saudi Arabia; Manama, Bahrain; Iraq; Moscow, Russia; Yerevan, Armenia; Chisinau, Moldova; Warsaw, Poland; and Brussels, Belgium. From 2004 to 2008, he served as Deputy Chief of Mission and Charge' d'Affaires at the US Embassy in Riyadh, Saudi Arabia.
He served for two years (2008-2010) as the Senior Political Advisor to General David Petraeus, then Commander, US Central Command. He retired from the State Department with the rank of Ambassador. His foreign languages include Arabic, Russian, French, and German.
Amb. Gfoeller is a member of the Council on Foreign Relations, the Cosmos Club, the Union League Club of New York and a Board Member of Potentia Analytics. He is also a Founding Partner of Arabia Analytica, LLC.
https://potentiaanalytics.bitrix24.com/pub/form/12_foresight_product_page/e8q94s/
Dr. Shivji is the Founder of 123Dentist, the 2nd largest DSO in Canada in terms of the number of practices. He is responsible for providing overall strategic direction and leadership to his Executive Team and highly respected in the Canadian dental industry. Dr. Shivji has decades of clinical experience and many of successful partnerships with practitioners. He has a proven track record in deal making and managing a broad network of dental practices. Dr. Shivji graduated from University of British Columbia Dental School in 1993 with a Doctor of Dental Medicine degree.
Dr. Iscovich has served as Chief Executive Officer of the Qualitas Group of Envision Healthcare, focused on developing the healthcare workforce. Through acquisition of Vista Staffing Solutions, the merger of Qualitas Staffing and telemedicine, Dr. Iscovich created viable solutions for today's staffing issues.
Dr. Iscovich also served as the Chief Executive Officer of EmCare's largest division, extending from Missouri to Hawaii. He has broad experience in physician management, healthcare finance, healthcare technology, organizational development, and mergers & acquisitions.
Dr. Iscovich currently serves as the Board Chair of Direct Relief, recognized as one of the top charities in the world. Direct Relief provides billions of dollars in global humanitarian relief partnering with pharmaceutical and healthcare companies throughout the United States and the world.
Dr. Iscovich is a member of the board of directors of Office Works, a staffing company, and board chair of Potentia Analytics, a startup company providing healthcare, political, and financial analytics. He also served as an advisor to InTouch Health, a robotics and telemedicine company, and was the CEO and founder of First Medical Group.
Dr. Iscovich currently serves on the Investment Committees of Envision Healthcare and Cottage Health System. He has been a past member of the Board of Directors for Cottage Health and served as Chair of the Audit/Compliance Committee. He has also served on the Catholic Healthcare West Central Coast Board of Directors (now Dignity Health), president of the St. Francis Hospital of Santa Barbara Foundation, as State of California EMS Commissioner, assistant clinical professor at the Keck USC School of Medicine, and on the American Heart Association National Faculty.
Dr. Iscovich received his medical degree from the University of California at San Francisco and a bachelor's degree in philosophy and Chemistry (summa cum laude) at the University of Puget Sound. He lives with his wife Lisa in Santa Barbara, California.
Bill is a seasoned investment professional with over 40 years of experience in the global financial industry. He serves as an Independent Board Director and and/or Senior advisor to a range of organizations, both in the not-for-profit and for-profit arenas. His Wall Street career began in 1973 at Donaldson, Lufkin and Jenrette. He has a long-history of involvement within the hedge fund community, which began in 1983 when he met Julian H Robertson Jr. of Tiger Management. Bill has been investing in hedge funds ever since. He has lectured at the University of Virginia, Yale University, Harvard University and I.E. University in Madrid, Spain.
Bill serves on the board of the Jamestown Foundation which is widely considered one of the best resources on Terrorism and Russia. Bill was a U.S. Army Infantry Lieutenant in Vietnam and spoke Vietnamese. He is Chairman of the Governors Council of the Cerebral Palsy Alliance Research Foundation in NYC. He has a long history of involvement in causes related to Cerebral Palsy. He is an "Honorary Angel" of 100 Women in Hedge Funds. He is a Trustee of the Episcopal Academy, founded in 1785, in Newtown Square, Pennsylvania. Bill is also a Board Member of Potentia Analytics, a software company and is a Founding Partner of Arabia Analytica, LLC. He is on the Board of Rhymella, a children's book company.
Dr. Sean Bozorgzad operates at the nexus of computer science and Healthcare. He is a practicing emergency room physician with a passion for software and information technology. Sean is currently the Chief of Medicine and the Emergency Department Medical Director at Peace Health United General Medical Center in Sedro Woolley, Washington, as well as, an adjunct faculty at the University of Southern Illinois Department of Computer Science.
For over ten years, Sean has helped create some of the most innovative software solutions to optimize emergency medicine staffing and logistics. He is also passionate about education and routinely participates in international educational trips as a way of giving back to the world community. He received a Bachelor of Science in Genetics from the University of South Florida and a Doctorate of Medicine from the University of British Columbia.
Mr. Berardino Baratta has been involved with Potentia Analytics since 2015 working initially as a consultant before joining in 2017 as CEO. Previously, he was General Manager of the Multimedia Applications Division for Freescale Semiconductor where he turned the business around, achieving profitability and sustained growth with major design wins at Microsoft, Ford, Amazon, Sony, and Logitech.
Prior to this, he led Strategy, Marketing and Business Development for the $2B Wireless Mobile and Systems Group at Freescale. He began his career with Metrowerks Corporation, a leading provider of Software Development tools, where he led engineering through its growth from startup to public corporation through acquisition by Motorola Corporation. Mr. Baratta co-founded Specialized Equine Services, a 501(c)3 corporation focused on using horses to help children, adults and veterans with disabilities. He received his Bachelor of Mechanical Engineering (Honours) degree from McGill University in Montreal, Canada.


All of our vendors can ship to New Jersey. However, many of our vendors have distribution warehouses across the country, including the state of New Jersey.
The following Vendors and Manufacturers have a physical presence in New Jersey, or one of the adjoining states. While all of our vendors can ship products to New Jersey, these specific vendors may be more familiar with the area and often have a shorter shipping time-frame to get their products to you, without being forced to use an expedited shipping method.
Dukal offers a wide variety of wound care and specialty patient care products for all Medical, SPA, Dental and Veterinary markets.
Mydent International, has grown into a global leader serving over 43 countries in the manufacturing of high quality infection control products, disposables, preventatives and impression material systems.
Samalex International is located in Elma, NY, and is dedicated to exportation and distribution of Disposable Medical Supplies at affordable prices throughout the Americas.
These vendors ship to all the major cities in and around New Jersey, including but not limited to: Newark, Jersey City, Paterson, Elizabeth, Edison, Toms River, Trenton, Clifton, Camden and Cherry Hill.


As one of Hong Kong's largest employers, and inspired by the Club's values of world-class leadership, uncompromising integrity, serving the community and continuous development, the Club prides itself on offering rewarding careers with the opportunity to contribute to the betterment of Hong Kong in a truly unique way.
From racing, retail, broadcasting and event management, to information technology, property management, hospitality, community development and many more, there are a huge variety of careers to choose from. So why not join us?


Dry erase markers and whiteboards are commonly used in schools, offices and homes. Thankfully, when markings occur on painted walls, there are a few tricks to getting the dry erase marks off before resorting to repainting.... Got dry erase marker on some clothing or a piece of furniture? No worries! It's not ruined! I'll show you how to get dry erase marker out of clothes or other fabric easily!
After she left, I attempted to wipe off the marker with a micro fiber cloth I keep handy near the piano. To my dismay, most of the markings did not come off! A moist cloth did not help, either. I picked up the pen I'd used to check the details. Yes, it was a dry-erase marker, yet it …... Take your dry erase board erasers outside and turn on your garden hose. Spray the erasers directly. The power from the hose removes all of the marker, even in the cracks of the eraser.
In addition, dry erase boards have a static charge, which allows the pigment in dry erase markers to stick to the surface. But let's take it one step further. You may have also heard of wet erase markers .
13/06/2018 · How do you get dry erase marker out of clothes - Find out more explanation for : 'How do you get dry erase marker out of clothes' only from this channel.
Scribble over the old markings with a dry-erase marker, covering the old ink stains entirely with fresh ink. The solvents in the fresh ink can reactivate the ink of the old marker stains, thus allowing the old ink to come off with the fresh one.
To get dry erase marker out of suede, simply erase it! Use a white artist's eraser. I have a 3yr old who wrote on my new suede sofa with a black dry erase marker.


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Antique Print Club: Antique maps and prints. Classic-style reproductions and Limited Editions.
Antique Print Club has two separate galleries: - Antique Print and Map Company supplies rare old antique maps and antique prints. - Heritage Editions supplies single classic-style reproductions and Limited Editions, or multiple copies of prints for commercial decorating contracts or resale.
Early French hand-coloured fashion stencils
Clothes are designed to cover the body, but why not have more fun doing it? Styles constantly change and return with variations on a theme, but the period from 1912 to 1925 represented most changes that we can relate to today. Paris early established itself as the location of the finest fashion houses, and talented artists were employed to introduce the designers' fashions to the public. The Musée des Artes Decoratifs at the Louvre in Paris displays elegant illustrations by eminent fashion artists as well as actual costumes from previous eras.
The first luxury periodical that used the pochoir method of illustration was Journal des Dames et des Modes – Costumes Parisiens, published from 1912 to 1914. These small individually coloured stencils are now rarely seen. Couturier Paul Poiret employed the finest fashion artists, who between them created 180 different images over the two year period. Each image for each magazine utilized many different stencils for careful layering of gouache and watercolour by hand. Fashion notes and poetry were included in the periodical, but fashion illustrations were the drawcard.
Umberto Brunelleschii was a fashion illustrator as well as a designer, as was George Barbier who made his debut as a designer during the few years of this publication. Charming pochoir illustrations were also contributed by Armand Vallée, Roger Broders, Etienne Drian, and other fine artists. Journal des Dames et des Modes - Costumes Parisiens presented prominent designers' fashions in an appropriate setting. Each charming scene exemplifies elegant behaviour and privileged lifestyle, capturing the spirit of the era when they were painted, but many of the designs are still relevant today.
These delightful pochoir illustrations of Parisian fashion are still treasured by people of all ages, - particularly when enjoyed, framed on the wall. View and purchase from Antique Print Club online 24/7 at http://www.antiqueprintclub.com/, or visit the Brisbane Antique Emporium, open daily from 10am to 5pm at 794 Sandgate Road Clayfield (entrance off Junction Road). Email sales@antiqueprintclub.com or phone 61 (0)7 5525 1363 for more information.
Posted by Antique Print Club at 11:11 PM No comments:
1920's Fabulous Fashion: Journal of Good Style
Gazette du Bon Ton. Arte - Mode et Frivolités (Journal of Good Style. Art, Fashion & Fun), or.. Gazette du Bon Ton. Modes et manieres d'aujourd'hui (Journal of Good Style. Fashion and Manners of the Day). A coveted periodical by both names, it was intended to appeal to the elite and was expensive (annual subscription of 100 francs is more than $400 today). Published in Paris around ten times a year from 1912 to 1925, its editor Lucien Vogel and distributor Condé Nast took over Gazette du Bon Ton in 1925, and then began Vogue magazine.
Unlike Vogue today, fashion illustrations for Gazette were each painted by hand, and inevitably were more popular than the magazine's articles about privileged lifestyle. The finest fashion artists of the day were employed to draw and paint the latest elegant designs. Production of these pochoir was labour-intensive.
Each illustration required up to thirty individual zinc stencils to be cut. These were carefully overlaid for successive applications of ink, gouache and watercolour to build up the detail and mood of each image. Pochoirs were then attached to slips of paper for stapling into each paper cover, so that they would not be damaged. This enabled the 'fashion plates' to be removed easily for framing.
(Quarter to 7. Music Hour)
French for stencil, 'pochoir' is universally used for these images, in recognition of French mastery of this process for illustrating fashion.
Gazette du Bon Ton had exclusive contracts with seven of Paris's elite couture houses so that these designers' fashions were shown only in the pages of the Gazette. It was the first time that designers were publicly acknowledged for their fashion creations. A few of the artists were also designers and were allowed to include pochoirs of their own work.
(Lovely Secret)
Regular artists George Barbier, Pierre Brissaud, André-Edouard Marty, Thayaht (Ernesto Michahelles), George Lepape, Charles Martin, Étienne Drian, Maurice Taquoy, Eduardo Garcia Benito, and the David sisters, all had distinctive artistic styles (providing wide public appeal) - and on occasion they imitated each other's style. The most influential artist was George Barbier. The most modern interpretations were by Ernesto Michahelles who adopted the name 'Thayaht'.
(The Indiscretion..)
Occasionally a double-size image was included - with a more detailed fashion narrative and subtle social comment. Fashions were shown in a suitable setting to indicate how to where them, and the frequently humorous titles add to their enjoyment. They are charming and timeless images, enjoyed by all. We are particularly fond of them ourselves, and have a great collection available from our website http://www.antiqueprintclub.com/c-23-fashionpochoir.aspx – or from our exhibition at the Brisbane Antique Emporium in Clayfield on the corner of Sandgate & Junction Roads – open every day from 10am to 5pm.
Posted by Antique Print Club at 1:07 AM No comments:
Raphael brilliance at the Vatican
One of the finest artists of the Renaissance, Raffaello Sanzio da Urbino (1483-1520) designed magnificent frescoes for the Vatican private residence and its Loggia.
Raphael adorned the rooms of the apartment of Pope Julius II. Then, Pope Leo X commissioned Raphael to decorate the loggia adjoining the Pope's residence. With his assistants during 1518-1519 (the last two years of his life), Raphael painted his designs on the pilasters (supporting pillars), ceiling vaults and arches. A testament to his genius, they are a High Renaissance masterpiece of classical design.
250 years later, to record Raphael's brilliance, Pope Clement XIII ordered the intricate designs of Raphael's early 16th century frescoes to be engraved onto copperplates for Le Logge di Rafaele nel Vaticano (The Loggia by Raphael at the Vatican) published circa 1772-1777. An ambitious project, each of the very large engravings was superbly hand-coloured with gouache and watercolour.
In the loggia, at the base of each ceiling vault is a beautiful arch decorated with garlands of fruit and flowers, and friezes with architectural design embellished with gods, graces, and mythical beasts. The central vertical folds on the large copperplate engravings of the ceiling arches indicate the size of this grand publication. The images are approximately 33cm x 57cm
Each pilaster fresco was engraved on two large copperplates. Each joined pair measures 105cm x 44cm, and was superbly hand-coloured to accentuate Raphael's imaginative grotesque motifs of beribboned flowers and fruit, gods and graces of mythology, and fine architectural decoration. Where detail had deteriorated and was illegible, design elements from Raphael's Vatican tapestries were used.
The elegance and classical beauty of Raphael's design – in particular his grotesques - greatly influenced neo-classical style. The grand engravings of Raphael's pilasters were considered to be so important that ten years later they were engraved in pairs half the size of the first publication, so that each pair measured 37 x 50cm. Again in 1813, these exquisitely detailed copperplate engravings were published in Paris by Pierre-Philippe Choffard (1730-1809).
Once again they were brilliantly hand-coloured in gouache and watercolour. (Two pairs - each from sets of 6 - are shown here, framed in beautiful hand-made gold-leaf frames, or hand-made gilded antique veneered frames.)
These stunning 18th century engravings recording the brilliance of Raphael's fresco designs for the Vatican are of a style and quality more often seen in the Museums of Europe. It is rare that they are available to grace the walls and be enjoyed in your own home.
These magnificent original 18th century engravings of Raphael's beautiful frescoes at the Vatican are currently on display at the Brisbane Antique Emporium at Clayfield (open every day). Some of them can also be seen in the Antique Prints: Classical/Design section of our website at http://www.antiqueprintclub.com/c-22-classicaldesign.aspx.
For further information or assistance please contact Derek or Kathryn Nicholls at sales@antiqueprintclub.com
Easy but Thoughtful Present-buying
It's that time of year again! Knowing what someone likes makes finding a gift much easier. What do they wear, surround themselves with or talk about? What do they like? There's nothing nicer than recognition of someone's interests. Why not buy a picture of something that interests them? Antique prints cover most subjects.
Friends: Gold-rush c1853
Antique prints and maps can be large or small, expensive or not, conventional or strange, really old or surprisingly modern-looking. Antique means they are over 100 years old (and could be up to 400 years old). Rarity, condition and demand affect cost.
Australian historical antiques.
Colonial days in the Australian country and cities are fascinating reminders of how much our culture has evolved. Most people living here appreciate the early scenes of our country - even humorous engravings of experiences of immigrants from around the world - particularly during the gold-rushes.
Superb spray of orchids c1880
Botany, birds & animals.
From London and Paris c1800, we have engravings of the earliest flowers discovered in Australia. Gardeners who loves Australian native plants, or have a favourite plant or shrub in the garden, will surely appreciate an antique print that shows its flower all year round. As well as lithographs of Australian orchids, there are grand lithographs c1880 from H.G. Moon watercolours of orchids from all the world. Colours and shapes of foliage and flowers (even with finely engraved dissections), & almost-modern graphics of leaves, ferns, and fruit are decorative and timeless.
Phillip's Voyage. High-flyer c1789
Most people enjoy listening to and watching birds, but is it small or larger birds that appeal? Grand hand-coloured lithographs of Australian birds (and animals) are by John Gould c1840-1880. Small engravings by William Lizars c1840 are of exquisite detail and colour. Inexpensive but finely detailed are French hand-coloured engravings c1820-60 that have a few birds or animals to each page, or single bird portraits by Reverend Morris of the same period, - and groups of animals and birds. Children love the animals - as well as the more conventional choice of story book or nursery rhyme lithographs.
Faience. God of Wine c1870
Artefacts, Professions & Trades.
A porcelain collector might not have access to the finest Sevres or Faience, but will love beautiful porcelain lithographs to hang on the wall. Lithographs and engravings of early grand or simple furniture including those used by kings (including Egyptian tomb paintings) will appeal to more than interior designers and architects - as would the grace of classical building and landscape design, - and both flamboyant and simple 18th century design for furnishings, ceiling and wall decoration.
Aren't we beautiful! c1792
Builders might appreciate carved wood or stone architectural details from 17th to 19th century or early machinery illustration.
Early engravings of medical instruments c1800, and anatomy lithographs c1880, are startling and informative. Many have seen 19th century caricatures of the legal fraternity, but did you know this series also featured lithographs of politicians, sportsmen, and anyone else who was newsworthy?
Goethe. Must get dressed..
Not only musicians appreciate engravings and lithographs of ancient instruments. They add character to any décor - as will 1920s hand-coloured pochoir linking fashion with music in a group with string instruments. Golf is well-covered in humorous Punch cartoon woodcuts, and golf fashion pochoir c1912-1925.
Interrupted! ..19th hole?
Everyone enjoys the charming and elegant Gazette du Bon Ton fashion narratives from the early 20th century - particularly those with humorous captions!
Maps, Marine & Military.
Early military engravings are fascinating. They include 17thC small engravings of fortifications by Mallet and Bartoli's large engravings of Trajan's Roman battles (from the relief on Trajan's column in Rome), 18thC marine engravings of early voyages, 19thC finely-engraved battle scenes on land and sea, and naval and army portraits, engravings of the Crimean War, Bartlett's finely engraved English coastal scenes, and all manner of worldwide news.
Britain-China Opium War & Joss House
Allom's interesting views of China after the first Opium war with Britain, and the sailing ships that carried immigrants and cargo around the world in the19th century, all make wonderful groups for large wall spaces - or add interest to a corner.
Roman Empire.. Barbarians.. not Australia.
Antique maps show our history, and the political changes of boundaries and inaccurate geography can become quite engrossing – sometimes referred to as Map Pox. The east coast of Australia, discovered by James Cook in 1770, resulted in European settlement in Australia. We have engravings from Captain Cook's voyage, and a wonderful French map from 17 years earlier, where Jacques Nicolas Bellin 'supposes' where the east coast might be.. Antique maps from the 17th century to the 20th century are all affordable. There's a large choice of periods and styles – from as little as $40. A map in recognition of your ancestry, or a map of a country you visited, may not be as much in demand as a map of the world, so will cost less. Quality and rarity will also affect the value, but the finest are harder to find and will always appreciate more.
Buy securely online 24/7 from http://www.antiqueprintclub.com/
Antique Print Club is open in Brisbane EVERY DAY (unless public holiday)
North-side: Brisbane Antique Emporium 794 Sandgate Road, Clayfield (entry off Junction Road)
South-side: Brisbane Antique Centre [where there are also Heritage Editions reproduction prints/maps displayed separately] at Exit 30 of M1 motorway (Beenleigh-Redland Bay Road junction at Loganholme).
Imagination is the limitation in gift selection - and a knowledge of what is available.. Gift Certificates are always available! Please contact us directly for assistance in your selection from our thousands of antique maps and prints: Derek & Kathryn Nicholls: Email sales@antiqueprintclub.com or Phone +61 (0)7.5525 1363 (+61 (0)412 442 283).
Posted by Antique Print Club at 6:58 PM No comments:
The Brilliance of Early Frescoes
The Loggia and the Sistine Chapel are probably the best known early fresco paintings that are recognized today, but fresco wall decoration was not a new idea when the Vatican contracted hundreds of talented professionals during the main period of embellishment, during the 15th to 17th centuries. Pictures were painted on walls for thousands of years before this.
Raphael's frescoes at the Vatican were revered from the time they were painted early in the 16th century. 150 years after their creation, from
1670-1677 Pietro Santi Bartoli (1635-1700) endeavoured to capture the beauty and essence of Raphael's classical frescoes of maidens and men, centaurs and other mythological elements, from the Sistine Chapel in Rome.
A century later, Swiss architect and engineer Domenico Fontana (1543-1607) was responsible for much of Rome's redevelopment. In 1600 he accidentally discovered the buried region of Pompeii during tunnelling for the construction of a viaduct. Not then identified as a great municipium, dedicated excavation of these ruins did not begin until 1748 - and haphazardly continued for the next 112 years.
Another great municipeum of the 1st century, Herculaneum was not discovered until 1709 when men digging a well uncovered a decorated wall of the city. A town had been built above it, so excavation did not begin for 30 years. Artifacts and decorated walls from Pompeii and Herculaneum were illustrated as they were uncovered. Engravers were employed to transpose them onto plates for prints to be made to circulate the findings.
Some of the finest classical engravers of the day were employed to engrave the frescoes for the most important 18th century archaelogical work Le Antichita di Ercolano Esposta (The Antiquities of Herculaneum Exposed), published in Naples between 1757 and 1792.
Some of these wonderful copperplate engravings have cross-hatched shaded sections to show where paint or mosaic had been destroyed - and remind us of their source.
Not only is it amazing that these frescoes survived and were rediscovered, it is also amazing that the fine engravings depicting them survive today. They are, after all, "just pieces of paper" as someone pointed out the other day. These beautiful antique prints represent art forms from hundreds of years ago.
Before modern technology, circulation of any information had to be carved or drawn onto a plate for printing. (For more information on these early printing methods check out our website Library http://www.antiqueprintclub.com/t-library.aspx.)
If you would like to see and perhaps own your own beautiful 18th century classical artwork, please return to our website at http://www.antiqueprintclub.com/c-22-classicaldesign.aspx or better still, see them exhibited at the Brisbane Antique Emporium, 794 Sandgate Road in Clayfield - open every day unless a public holiday.
Visit our Antique Print Club Website
Antique Print Club
Our extensive inventory is available online 24/7at www.antiqueprintclub.com, or from our shops open daily from 10am to 5pm in Brisbane Antique Emporium in Clayfield, and Brisbane Antique Centre in Loganholme. Let us help you find a special gift - or if you prefer Gift Certificates that allow a choice from thousands of items either online or from our shops in Brisbane, Australia. We have been in this business for over 35 years, and GUARANTEE all items purchased from Antique Print Club are as stated. Commercial supply of suitable artwork for design contracts or resale is available (quantity Trade discounts apply). Email us at sales@antiqueprintclub.com. Enjoy your visit to our website www.antiqueprintclub.com.


text:
package viz_test

import (
	. "github.com/onsi/ginkgo"
	. "github.com/onsi/gomega"

	"testing"
)

func TestViz(t *testing.T) {
	RegisterFailHandler(Fail)
	RunSpecs(t, "Viz Suite")
}

redpajama_set_name: RedPajamaGithub


text:
What does it mean to do good archaeological interpretation?
Some reflections for Cambridge University Press on how we might foster creative & critical interpretations of the archaeological record in the field…
September 10, 2018 Sara Perry1 Comment
Screenshot from Cambridge University Press of my blog post on doing good archaeological interpretation. The photo features some of our CONCH Project collaborators at Uzikwasa's offices in Pangani, Tanzania, July 2018: http://www.conchproject.org
After the publication of my heritage interpretation article last month, I had the good fortune of being recommended by the Society for American Archaeology as 'article of the month'. Yay! This has allowed me to publish a follow up blog post that elaborates on some of my argument (and responds to certain critiques). It's also triggered a month of open access to the original journal article, which you can read or download here.
My blog post offers examples of some of the most inspiring work that I've been exposed to recently. Please read about it here, and if you have time to recommend other interesting and innovative examples of field-based interpretative experimentation, I'd be excited & grateful to hear from you!
I'd also like to acknowledge the following individuals who helped me to further think through aspects of my argument (although, of course, they are not responsible for the contents of my blog post!): Tessa Poller, Oliver Harris, John Swogger, Francesco Ripanti, Peter Dunn, James Dixon, Chris Walker, Bill Caraher and Harald Fredheim.
Tagged archaeology, creativity, fieldwork, heritage, interpretation
The power of making – or what it means to do archaeology through creative experimentation with media
July 17, 2014 Sara PerryLeave a comment
Poster by Ian Kirkpatrick
(Note that this post was produced for the Day of Archaeology & has been re-blogged here.)
I'm oodles of days overdue in contributing to the annual Day of Archaeology (11 July 2014). The delay relates in part to what I'll discuss below – The Heritage Jam – and in part to the fact that I'm simultaneously prepping to leave for fieldwork at Çatalhöyük on Sunday, finishing multiple articles and reports, and preparing for the adventure that will be the next five months of my life, wherein I'll be abroad for my sabbatical (more on that another time!). But being late in writing this post has given me a bit of time to reflect—and most importantly, to collate reports from others—on the event that consumed my Day of Archaeology, not to mention all of the days leading up to it, and all of the days immediately after.
On 11 July 2014, supported by the Department of Archaeology at the University of York, and the Centre for Digital Heritage, we hosted the first ever international Heritage Jam. The Jam was a variation on the jamming sessions common in the gaming industry, where adhoc groups congregate for intensive periods of time to produce game prototypes. But instead of games, we were keen to put a spotlight on the many different media that comprise the portfolio of heritage interpretation – from illustration and art to moving-imagery and animation to photography and design to sound and tactile interventions. And instead of live in-person sessions only, we were keen to open up participation to both remote and local registrants, weaving together the online and offline worlds.
Flo Laino and Julie Rugg discuss the York cemetery, gathering resources for the Heritage Jam
The Heritage Jam ultimately coalesced into a multi-part project, all of which is documented on our website, blog, Twitter and Facebook pages. The goal was for individuals or groups to create some kind of visual output (whose process of creation was also documented in a paradata paper) for upload to our online gallery and for physical display at the University of York. The entries were judged on a series of assessment criteria, and had to attend, in some fashion, to the theme of burial (literal or metaphorical, of humans or non-humans). For in-person contributors, we decided to focus the Jam Day efforts on a particular case study site—the York Cemetery—which was necessary to provide some focus to what was an otherwise vague directive (i.e., "work with an assigned group to make new interpretative materials").
And our team created a series of multi-media resources to support understanding of that site, including videos, photos and compilations of archival records.
By my reckoning, the day was a success, attested to not only by the phenomenal outputs submitted by an incredible range of contributors, but also by the feedback we've received from those involved and those who've viewed the gallery, some of whom have documented the constructiveness of the approach & its outputs on their personal blogs & Day of Archaeology posts (see links below). Coupled with a specific social media use/evaluation plan that we've designed for the Jam, we're analysing experiences and engagement with the project for a larger report that we'll file at the end of the month. But the superficial numbers (which will soon be blended with qualitative data to provide a rich, contextualised understanding of participation) indicate that we had 92 registrants from most continents of the world, 17 official entries submitted by 37 contributors, 249 Twitter followers & 161 tweets, and 474 Facebook followers from more than 40 countries, speaking more than 30 languages, with a total reach of posts to over 6600 people. Given that we only launched the project in May, we're pleased with the visibility it's received—but more so with the quality of the entries, which are truly fantastic.
You only need to browse the entries in the gallery to see the remarkable talent that infuses the tiny proportion of the heritage sector that registered for the Jam. This is important, because there is ample evidence that creative experts working in the heritage sector are undervalued, underpaid, underestimated and often undermined. Part of the intent of the Jam was to expose the depth and breadth of expertise amongst the professional community, and the possibilities that come with actually investing in such expertise. My colleague Anthony has worked to summarise each contribution, and others have gone further, with the brilliant Archaeogaming blog (a forum for exploring video games as they intersect with archaeology) reviewing in detail the winner of the Remote Team Heritage Jam category – Tara Copplestone and Luke Botham's Buried: An Ergodic Literature Game. Buried (created with the open-source, nonlinear, interactive storytelling tool Twine) is ingenious, thoughtful, fun and sensitive, and I encourage everyone to give it a try. As Archaeogaming's Andrew Reinhard writes, "Buried is both a game and not a game. It is a playable book, and one with exceptional replay value. Archaeologists and archaeology are both portrayed realistically, and at the same time are neither boring nor sterile, proof that archaeology can stand on its own without resorting to gimmicks or stereotypes…Buried is playful, but also provides plenty to discuss regarding what is a game, and how our personal experiences are brought to bear on choices made within this kind of media, and on this story specifically."
Equally astounding is the winning entry for the In-Person Group Heritage Jam category: Stuart Eve, Kerrie Hoffman, Colleen Morgan, Alexis Pantos and Sam Kinchin-Smith's Voices Recognition. As Morgan summarises it on her and Eve's joint Day of Archaeology post about the work, it was an effort "to create a cacophony in a cemetery — geolocated stories emanating from graves that would increase in intensity with the density of burials in different areas." In true collaborative fashion, it drew upon previous experimental efforts by the great Shawn Graham in partnership with Eve, which Graham describes in evocative fashion: "I want to develop an app that makes it difficult to move through…historically 'thick' places…with a lot of noise when you are in a place that is historically dense with information. I want to 'visualize' history, but not bother with the usual 'augmented reality' malarky where we hold up a screen in front of our face. I want to hear the thickness, the discords, of history. I want to be arrested by the noise, and to stop still in my tracks, be forced to take my headphones off, and to really pay attention to my surroundings."
This is exactly what Voices Recognition achieves in its prototype form, put together after a 30 minute trip to the York Cemetery and about 10 hours of intensive group work in a classroom at the university.
I have to admit that when the group presented their output at the end of the day, I was truly awestruck, so much so that it rendered me quite emotional. For it was a glimpse into what great things can be accomplished when you're able to nurture the right context: an incredible idea (tested out previously with Graham) comes together with an incredible team of people (some of whom were strangers to one another), all converging here into something with a real and profound power to resonate. As I said to Morgan after the event, it was inspirational – and it really was; it made you want to learn how to do such work; it made you want to use the app; it made you want to join their team, and create with them, and be energised and motivated by their ideas, and to experience the cemetery through this lens that they invented right there, in the moment, on the Day of Archaeology.
These entries are just two of 17 that deserve your attention and perusal, so please browse through the gallery, and add your comments to the site or to our Twitter or Facebook feeds. There are contributions from around the world, articulated via a plethora of media, submitted by both new and established practitioners.
Touring the York Cemetery for the Heritage Jam. Photo by Colleen Morgan
I won't pretend that all the comments we got about the Jam were positive (although the vast majority were), nor that there's no room for improvement. It was a massive amount of work; it depended on a team of 11 organisers; it required openness to creating things quickly, which means making mistakes and wrestling with practicalities and exposing one's process, and hence one's potential vulnerabilities and weaknesses; it demanded doing just as must as intellectualising, which can be problematic given how theoretical much extant 'archaeological representation' discourse is; and the in-person event hinged upon teamwork, which as any educator will tell you, can go horribly wrong—but, in the best cases, can equally blow you away in admiration.
In our effort to provide some definition to the exercise of heritage jamming, we did consciously choose to focus on a particular site – the York Cemetery – and this caused some concern around why we were privileging that environment. But archaeology has these tangible dimensions to it, and as much as we wanted to leave the Jam brief entirely open, we also wanted to create a project that knitted the material and the immaterial, the online and the offline, the tangible and the intangible, the process of abstract thinking with the real-world, concrete act of making.
To have eliminated the cemetery would have returned the event to the intellectual exercise that the subject of 'visualisation in archaeology' has long been. Moreover, to have deprived Jammers of the opportunity to visit the cemetery would have meant depriving them of a series of experiences—from the reflectivity that's encouraged through walking, to the camaraderie and knowledge that are built through shared embodied engagements with a physical landscape. In her blog post about the Jam, Holly Wright of the Archaeology Data Service, speaks about of the nature of the cemetery, a breathtaking and deeply reverberating space which is barely known in the York community (despite the fact that it houses the history of much of that community). There is value cultivated for heritage spaces through both our analogue and digital—and our physical and intellectual—engagements with them. The cemetery provided us with a site to experiment with the weaving together of it all.
I'm proud of what we achieved through the Heritage Jam and I would encourage others to consider this format for their own work, particularly if you're directing the outputs into larger, targeted, useable resources. The fleeting composition of the Jam belies a venture with a longevity to it that extends beyond the Day of Archaeology, so I hope you'll keep your eyes on the project to see how it develops from here.
Heritage Jamming at the University of York. Photo by Colleen Morgan, http://www.heritagejam.org
Tagged burial, cemetery, collaboration, creativity, exhibition, Visualisation in Archaeology, York
Taking time to think
March 14, 2014 March 14, 2014 Sara Perry3 Comments
Still frame from a video interview with K. Killackey – one of several artists working at the site of Çatalhöyük – used to inform "Crafting knowledge with (digital) visual media in archaeology"
I've been thinking a lot about time lately. I've been thinking about how I think, and the time I need to think, and the battle I have in safeguarding that time.
This issue has been on my mind for ages–it intersects with my research interests and features heavily (although relatively implicitly) in some of the publications and conference papers on which I've been working recently. What concerns me is that to create, to play, to invent, experiment, make, write, and do, takes time. Whether you're a researcher like me, or a creative producer like those with whom I work and study, you need time to craft and hone your art. Yet time is so elusive. It is occupied by so many niggling and pernicious demands. It is always slipping away, and always disturbed by a perpetual series of tasks that leave you frazzled and longing for even just a couple of unbroken hours to think.
In my quest to understand the relation between time and creativity, and time and productivity, I've read a lot of disturbing things. This began when I was in Rochester in September and a colleague began to reflect on the connection between time and experimentation (he's blogged about it here), which in some (often privileged) cases leads to innovation, and in others, harassment and deep, debilitating oppression. Then I was given a copy of Jonathan Crary's new book 24/7. (I'm a big fan of Crary's visual culture volumes, Techniques of the Observer, and Suspensions of Perception.) While I found 24/7 to lack some nuance and come across as overly deterministic in parts, Crary makes a passionate and worrisome argument about the "systemic colonization of individual experience"(52) by an increasingly unremitting pace that is destroying everyday life, and is now threatening to eliminate one of the only remaining times of respite: sleep. Crary talks about the consequent reduction of individuals into "a site of non-stop scrutiny and regulation"(32), and goes on to suggest that "24/7 denotes the wreckage of the day as much as it concerns the extinguishing of darkness and obscurity…24/7 is part of an immense incapacitation of visual experience…24/7 disables vision through processes of homogenization, redundancy, and acceleration"(33).
After reading Crary, everywhere I turned I saw a bleak tale about time. Philip Nel published a piece in Inside Higher Ed where he dissects the poisonous logic and structural systems that lead academics (but, really, people in general) to work so much. Then a friend referred me to Claire Shaw and Lucy Ward's Guardian piece on the rise of mental illness in academia, which is here partly related to poor work-life balance. Then another friend posted a link to an article by Konstantin Kakaes in Slate about the "absurdist culmination" of academic evaluation and publishing expectations that both lead people to rush and over-produce written work, and allow nonsense articles to survive peer review.
The subject of time came to a head for me recently when one of my colleagues asked me what I actually do as a researcher. The question was well-meaning, but it made me sad to think that what inspires and motivates me intellectually—and what drew me into academia in the first instance—is perhaps invisible to everyone around me. It's easy to see how this could happen. I direct 5 different undergrad and Master's-level university courses, and instruct on 2 others, and these all have a necessarily general orientation, catering to those who tend to be new to the topics of museums, audiences, heritage practice, media, visualisation and quantitative and qualitative research methods. This means that I often have to instruct at a level of abstraction that only scratches at the surface of the meaty and provocative ideas that underlie the larger thematic areas. While this seems to be productive for students—who then find a thread that interests them and push off to explore its epistemic depths—sometimes it leaves me feeling lost and distanced from my own research because I don't have the time to actually get into it.
My favourite class of the year, though, is the one that reminds me of what I'm passionate about. It's part of my colleague's Master's course Analysis & Visualisation, and I have two hours to teach the students about the history and future of realism, photorealism and hyper-realism in archaeology. In what's been a particularly difficult term for me with regards to teaching workload and lack of time, that two hours that I had a couple of weeks ago with these Master's students proved an incredible reprieve for me. I could teach again about the specificities of visualisation in archaeology that have been my concern for the past 10+ years. And it also gave me the final propulsion to complete an article that I've been having to piece together in small chunks of time carved out over the last six months.
That article is an important one for me, not only because it's for a forthcoming volume edited by the inimitable Robert Chapman and Alison Wylie, but because it brings together a series of theoretical tensions around visual practice (especially digital visual practice) that I've been trying to work out for a while now. What's critical is that it's impossible to sort through those tensions without time—without committing yourself to making time for thinking, and without the support and respect of others who help to protect this time for you.
The abstract of my paper is below. I'm interested in the devaluing of visual skill in archaeology, and the implication of visual practitioners themselves in this devaluing. Digital visualisation, for example, is often disparaged as being less soulful, less skilled and purportedly less meaningful than hand-drawn imaging in archaeology. But here I demonstrate the continuities between digital and hand-based crafts(wo)manship, and link this to the very long (at least half-millennium-long) history that visual producers have in pushing forward paradigm change across disciplines. I make the argument that visual production (whether digital or not) has deep consequences for the continued development and basic sustenance of archaeology. And to be ignorant of these consequences, I think, is to set the discipline up for obsolescence.
This chapter grows out of a larger project linked to my work at Çatalhöyük where I've been studying the nature of reflexivity as it's played out among the site's visual practitioners since the Mellaart era, but especially over the past 20 years. I gave a talk about these ideas at the Institute for Archaeologists conference last April 2013 (titled: Debating the legacy of postprocessualism: Visual reflexivity at Çatalhöyük, Turkey). There, I discussed the deleterious effects (which are somewhat ironic, given the 25-year-long excavation permit) of the lack of time and relentless, constant demands upon practitioners, and I ended with a proposal for a "slow archaeology movement" that would value time, rumination and the privileging and creation of spaces and methods to think. This built off of some conversations I'd had with colleagues at both Southampton and York about such a 'slow archaeology', and I've been keen then to see that the excellent Bill Caraher has separately begun to articulate some possible dimensions of such practice on his blog (here and here).
The topic of time and making time is one that I'll come back to in the future, but I'll end by saying that one of the most exciting things that's happened recently is the institution of a new 'Heritage & Play' group here at York, which has been spearheaded by Colleen Morgan. As Colleen described it in our inaugural email about the initiative, the aim is "to creatively experiment with cultural heritage and expression. Each meeting is loosely structured around a topic, theory, or making session, but focuses on Play as a productive means to engage with heritage in a new way."
What I see as at stake here is, to borrow from Crary's (2013:92) discussion of the film La jetée, the "indispensability of the imagination for collective survival…a mingling of the visionary capacities of both memory and creation." To put it differently, I think that it's in these playful moments that the best and most important things come about: friendships, collaborations, ideas and inspirations. They are the breeding ground for intellectual revolution and change. And, as this is what I would argue is one of the principle mandates of the university system, I believe we need to invest some of our work time in actually making these moments possible. Our thinking depends upon it.
Perry, S. (forthcoming) Crafting knowledge with (digital) visual media in archaeology. In Chapman, R. and Wylie, A. (eds.) Material Evidence: Learning from Archaeological Practice. Abingdon: Routledge.
Archaeologists have long drawn on the skill of visual producers (e.g. artists, illustrators, designers, photographers, filmmakers, etc.) to enable and extend their expert practice. The success of these alliances, however, is a matter for debate, as visualisers have often been consigned to the discipline's sidelines, their epistemic credibility and relevance challenged even by the visual community itself. Such tension is apparent with digital graphic producers whose craft skills, contributions to knowledge, and reliance on new technologies are not uncommonly subject to suspicion and misunderstanding. Moreover, these producers are often unaware of the extant representational scholarship—a predicament that exposes them to critique and to the reproduction of foreseeable errors. This chapter seeks to challenge the status quo and expose instances where practitioners are truly changing the nature of thinking. It considers digital reconstruction in action, tracing the collaborative knowledge-making process between artist and archaeologist, and by artist-archaeologists. I aim here to demystify this process, and in so doing, speak both to best practice in the application of visual technologies and theory, and to the epistemic productivity of visualisation in archaeology overall.
Crary, J. 2013. 24/7: Late Capitalism and the Ends of Sleep. London: Verso.
Tagged creativity, digital media, play, time, visual technologies, Visualisation in Archaeology


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And with that supine rationalization, Scotland's Justice Minister freed "on compassionate grounds" Abdel Basset Ali al-Megrahi, the only person convicted in the mass murder of 270 people in the explosion of a Pan Am plane in 1988. The problem is not just the obvious moral outrage, the misplaced compassion for a mass murderer, the anguish caused to the victims' families who live to witness their loved one's executioner free, feted and celebrated (a travesty well known to Israelis) or the obvious commercial benefit that will accrue to the UK through increased access to Libyan oil and gas that makes this mercenary trafficking particularly odious.
Add to that the moral confusion sowed by this Justice Minister by invoking the "higher power." The implication of the above-referenced statement is that until this killer dies, he cannot face divine justice. This is both false and dangerous. The Torah, for example, clearly posits that G-d elicits justice in this world, not only in the world after life – but in this world, human courts mete out justice. Thus, Jewish courts are explicitly permitted to execute convicts in a variety of cases, and some of them for deterrent and/or educational purposes. Non-Jews, as well, are authorized by the Noachide laws to establish courts of justice in order to administer and enforce the observance of those very laws, one of which proscribes homicide.
Indeed, human judgment is but a prelude to divine judgment – not a substitution for it – although in some cases, punishment by the human court can mitigate one's subsequent divine punishment. It is not an either/or scenario, but rather both systems work hand-in-hand in order to fulfill G-d's will for mankind.
There are certain instances wherein human justice is inappropriate or simply incapably of properly dealing with a moral outrage. For example, the Minister's theological musings notwithstanding, his release of this despicable creature was also a moral offense – for which he too should be judged. And as the move was more crassly commercial and politically motivated than it was sensitive and civilized, it is unlikely that he will ever face human justice (except maybe at the polls). So it is he who will ultimately face justice at the hands of the "higher power," along with the monster that he released.
I wonder if his theology extends as far as being able to look in the mirror.
In G-d's world, human justice is not always perfect but it is adequate when fairly and systematically carried out. The notion that we cannot or should not judge evildoers is the product of a faith system that itself brought much destruction and bloodshed into the world. G-d gave us permission to fight evil and thereby bring His world closer to perfection. The reluctance to do that, or the timidity that the weak-willed demonstrate under the guise of compassion, are both moral weaknesses that also endanger the rest of us, in a very dangerous world, at a very dangerous time in history.
Moral strength and rectitude beget political strength and courage – and true compassion as well. And all good people should protest, grieve – and pray and work for a better day and a better future.


https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/RCIA%20Rite%20of%20Election.jpg Rite of Election "For by your gracious gift each year your faithful await the sacred paschal feasts with the joy of minds made pure." Please keep our Catechumens and Candidates in your prayers.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Penelopes%20Palm%20Sunday%202019.jpg Ladies of the parish prepare the church for Palm Sunday.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/St.%20Louise%20Guild%20preparing%20for%20a%20Funeral%20reception..jpg "Many hands make for light work..." The parish St. Louise Guild makes preparations for a Funeral reception.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Adoration%20of%20the%20Blessed%20Sacrament%20%20Chapel.jpg Eucharistic Adoration Tuesdays: 8:00a.m. to 6:00p.m. (Divine Mercy Devotion 3:00p.m., Benediction with the Rosary 5:30p.m.) First Saturdays with the Rosary: 10:00a.m. to 11:00a.m.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Library%202.jpg Coming soon... Parish Librarians work hard to ready the parish library with a new check-out system and location.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Library%20shelves.jpg Thank you for your patience...Parish Library opening soon!
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Bulletin%20Stuffers.jpg "Many hands make for light work"...Parish office volunteers help with stuffing the weekly bulletins.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/St.%20Joseph%20Workers%20phase%20two%20Rectory%20Basement.jpg The parish Saint Joseph workers begin phase two of the Rectory basement.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/Rectory%20Basement%20staining%20with%20Fr.%20Lewis.jpg Fr. Lewis gives a hand to the parish St. Joseph workers as they continue phase two of the Rectory basement.
https://d2wldr9tsuuj1b.cloudfront.net/22058/slideshows/homeLarge/walk%20for%20life%20nw%202018%20after%20Mass.jpg Walk for Life Northwest Members of the parish Saint Gianna, Sanctity of Life Guild, gather at the foot of the Cathedral steps following the Respect Life Mass.
Please join us in welcoming new members to our parish family at an Ice Cream Social in our Parish Hall. The social will take place following 4:30 Mass on Saturday, May 4th. We would like to recognize everyone who has joined our parish since 2018. For further information please contact Jan Grayhek at 230-8535.
The St. Peter Parish Golf Classic will be held on Saturday, June 1, 2019 at Downriver Golf Course. Click the golf icon for more information. Questions please contact Bill Bayne at 448-8462.


text:
Q: Is there a word/phrase to describe a person "who hates someone rather than hate their views"? Let's say there is a person called X. X is a good person, in general. He has a problematic view about something, let's say, homophobia. So, here is the conversation between Y and Z.
Y: X is homophobic. I hate him.
Z: I don't support X's views, but I do not hate the person. I hate his views.
Is there a word/phrase/expression to describe Y?


text:
The Happy Depressive: In Pursuit of Personal and Political Happiness
By Alastair Campbell
Are you happy? Does it matter? Increasingly, governments seem to think so. As the UK government conducts its first happiness survey, Alastair Campbell looks at happiness as a political as well as a personal issue; what it should mean to us, what it means to him. Taking in economic and political theories, he questions how happiness can survive in a grossly negative media culture, and how it could inform social policy. But happiness is also deeply personal. Campbell, who su ... ffers from depression, looks in the mirror and finds a bittersweet reflection, a life divided between the bad and not-so-bad days, where the highest achievements in his professional life could leave him numb, and he can somehow look back on a catastrophic breakdown twenty-five years ago as the best thing that happened to him. He writes too of what he has learned from the recent death of his best friend, further informing his view that the pursuit of happiness is a long game. Originally published as part of the Brain Shots series, the pre-eminent source for high-quality, short-form digital non-fiction.
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As the UK government conducts its first happiness survey, Alastair Campbell looks at happiness as a political as well as a personal issue;
Are you happy? Does it matter? Increasingly, governments seem to think so. As the UK government conducts its first happiness survey, Alastair Campbell looks at happiness as a political as well as a personal issue; what it should mean to us, what it means to him. Taking in economic and political theories, he questions how happiness can survive in a grossly negative media culture, and how it could inform social policy. But happiness is also deeply personal. Campbell, who suffers from depression, looks in the mirror and finds a bittersweet reflection, a life divided between the bad and not-so-bad days, where the highest achievements in his professional life could leave him numb, and he can somehow look back on a catastrophic breakdown twenty-five years ago as the best thing that happened to him. He writes too of what he has learned from the recent death of his best friend, further informing his view that the pursuit of happiness is a long game. Originally published as part of the Brain Shots series, the pre-eminent source for high-quality, short-form digital non-fiction.
No. of pages
https://www.paperplus.co.nz/shop/books/non-fiction/biography-memoir/the-happy-depressive-in-pursuit-of-personal-and-political-happiness 9780099579823 The Happy Depressive: In Pursuit of Personal and Political Happiness https://static-ppimages.global.ssl.fastly.net/nielsens/9780099579823.jpg 19.30 NZD OutOfStock /shop/books /shop/books/non-fiction /shop/books/non-fiction/biography-memoir Are you happy? Does it matter? Increasingly, governments seem to think so. As the UK government conducts its first happiness survey, Alastair Campbell looks at happiness as a political as well as a personal issue; what it should mean to us, what it means to him. Taking in economic and political theories, he questions how happiness can survive in a grossly negative media culture, and how it could inform social policy. But happiness is also deeply personal. Campbell, who suffers from depression, looks in the mirror and finds a bittersweet reflection, a life divided between the bad and not-so-bad days, where the highest achievements in his professional life could leave him numb, and he can somehow look back on a catastrophic breakdown twenty-five years ago as the best thing that happened to him. He writes too of what he has learned from the recent death of his best friend, further informing his view that the pursuit of happiness is a long game. Originally published as part of the Brain Shots series, the pre-eminent source for high-quality, short-form digital non-fiction. 19.30 Alastair Campbell Paperback 0 0 https://static-ppimages.global.ssl.fastly.net/nielsens/9780099579823.jpg 10/28/2019 3:02:05 PM


We've had a long winter here. Blizzards and feet upon feet of snow, and it seemed as thought it would never end. Weeks cooped up with little ones, yards and sidewalks buried in snow and temperatures far too cold for outdoor play anyway.
It's funny how winter is so much fun at first -- hot cocoa! snow days! beautiful flurries falling past the windows! -- and then by March you can just be so done with it all. Here it is April, and it snowed yesterday. We were all just rolling our eyes about it. Seriously, winter?
But we've had a few warm days, too, enough to melt the snow down to brown, ugly grass in some places. And we have the promise of more warmth to come tomorrow and in the days that follow.
I've been realizing that with the promise of warm weather is coming a sort of warmth to my heart, too. I felt purpose in doing some much-needed spring cleaning recently. I've smiled at my kids more and enjoyed their giggles a little bit more than I think I did during the long days of February. I'm dreaming of long walks on spring and summer days, perhaps ice cream in the evenings from time to time, messy toddler art projects out-of-doors, and trips to water play places where the little ones can splash and we can all feel the warmth of the sun on our long-deprived skin.
Come on, summer! I can hardly wait!


Preliminary Checklist of mayfly families, genera and species known from Eastern Central Africa, with synonyms (including authors and dates for all specific name changes).
Research Associate Department of Zoology and Entomology, Rhodes Univesity, Grahamstown, South Africa.
This checklist aims to include all possible and known mayfly species occurring in Eastern Central Africa (sensu Barber-James and Gattolliat (2012) (Figure 1). These broad bioregions are adapted from Thieme (2005). This list is provisional and will need periodic updating. Not all species included here have been verified in this region but are expected; more fieldwork is needed to ground truth and expand this list. Several new genera and species are recognised as nymphs but need adult material for species confirmation before description is possible. The 254 mm per annum rainfall isohyet demarcates the approximate northern boundary of the Afrotropical region (adapted from Crosskey and White, 1977).
Figure 1. Bioregions of Africa.
Note that in the lists below, the current valid names of the species (indicated by •) are followed by subordinate names when these exist (indicated by ○). The subordinate names are followed by an abbreviation in parentheses, indicating their status. All names, valid or subordinate, are followed by the actual author of that name and the date that name was published. The authors responsible for the latest names changes are indicated at the end of each list of synonyms.
(syn.) synonym: another name that was proposed independently for the same species. Normally, the earliest published name takes priority.
(in part): some of the members of this species were originally described as another species.
Barber-James, H.M. and Gattolliat, J-L. 2012. How well are Afrotropical mayflies known? Status of current knowledge, practical applications and future directions. Inland Waters. 2: 1-9.
Crosskey, R.W. and White, G.B. 1977. The Afrotropical Region. Journal of Natural History. 11:541–544.
Thieme, M.L., Abell, R., Stiassny, M.L.J. and Skelton, P. 2005. Freshwater Ecoregions of Africa and Madagascar – A Conservation Assessment. Washington (DC): Island Press. 431p.


Watch a tree start blooming in about 1 hour to be fully grown in about 10 hours. Do you remember the classic Japanese Magic Tree? Just place the paper tree on the base and pour on the magical clear water to begin the amazing growth of a Magic Tree in Green ,Pink, Yellow or Orange. A classic dime store science project from the twentieth century. A special and retro Stocking Stuffer!