So, yeah, I've been eating too much bacon since I gave up keeping kosher. Something like three times a week worth of bacon. When I wandered into the Thrifty Sifter's C-Town Grocery Store and discovered that they have an excellent fish selection (even grouper!) I decided to make an all-fish dinner.
At the outset, I'm going to recommend leaving some of the seeds in as we could barely taste the spicy. Also, I know I made a no-no below with the garlic as it wasn't all the same size. I keep forgetting to bring my whet stone over to the Thrifty Sifter's house to sharpen up her cutlery.
At any rate, pre-heat your pan, then add the oil. When it's shimmering, add the chilis and garlic. Cook until just before the garlic starts to turn brown.
Add the shrimp or prawns. Stir-fry for 8 - 10 minutes.
Serve and eat! We ate this while I was cooking up the swordfish.
This swordfish. I bought all the main ingredients without consulting a recipe, so we had to figure them out on the fly. Having worked in a fish restaurant for nearly five years, I can cook most any seafood without a recipe, but prefer to try new things. Here we hit up Epicurious for pan-roasted swordfish steaks with mixed peppercorn butter. The Thrifty Sifter made up that butter for me while I was making the shrimp. She's a great chef de partie.
Cooking them up top of the stove in hot oil for three minutes.
And after they come out of the oven, they are fantastic! Wouldn't change a thing about these.
The side here is braised turnips with poppy seed bread crumbs. I would cut the lemon juice in half here as I found them to be too lemony. The Thrifty Sifter felt they were just right.
Your soundtrack for this entry: Judas Priest - Breaking the Law.


text:
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Main Menu < Fowler School of Engineering Menu
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»Tom Springer
» Tom Springer, Ph.D.
Assistant Professor, Fowler School of Engineering
Email: springer@chapman.edu
Ph.D. in Computer Science, University of California, Irvine. Emphasis in Embedded Systems.
Adjunct Faculty/Lecturer in Computer Science, California State University, San Marcos.
Embedded Software Engineer, The Boeing Company
RESEARCH/TEACHING INTERESTS
Tom Springer's teaching interests include operating systems, networking, computer architecture, embedded systems and mobile computing. Tom was an embedded software engineer with the Boeing company where he worked on numerous large-scale software projects for aerospace, military and commercial applications. Tom's research interests include Embedded Systems, Real-Time Computing, Cyber-Physical Systems, the Internet of Things (IoT) and Cyber-Security.

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redpajama_set_name: RedPajamaGithub


text:
Security Assurance Engineer
Chippenham, United Kingdom; Birmingham, United Kingdom; Manchester, United Kingdom; Derby, United Kingdom; York, United Kingdom; London, United Kingdom
Environmental Protection, Health & Safety
Siemens Mobility
Siemens Mobility requires a Cyber Security Assurance Engineer to perform cyber security assurance activities for Siemens Rail Infrastructure delivery projects. Reporting to the Head of Safety Assurance, the role is responsible for the development and provision of adequate and effective cyber security assurance processes according to company and client standards. This includes demonstrating to clients and appropriate regulatory authorities that the appropriate level of security assurance has been performed on projects.
The Security Assurance Engineer will be able to conduct the required security assurance for a portfolio of new and existing UK mainline and metro railway projects. The role requires the application of security assurance techniques and standards to projects throughout their lifecycle, according to company and client standards. It includes planning of security assurance activities, liaising with product and solutions security engineers and project RAMS engineers, gathering security assurance evidence, producing application cyber security case arguments and liaising with key stakeholders, including clients, external assessment bodies and appropriate regulatory authorities. The necessary technical and managerial support will be provided from the main project RAMSS team which is located at the Siemens Mobility Chippenham office.
Develop effective security assurance strategies to ensure our applications are secure.
Develop the security assurance plan to demonstrate compliance with regulatory, legal, and customers' security requirements and Siemens' security processes and procedures.
Execute security assurance activities in accordance with the security assurance plan
Effectively contribute to the security threat and risk analysis workshops led by the project's security engineers to identify and control security risks and deliver security risk management aligned to clients' security assurance frameworks and Siemens Engineering Security Handbook.
Support project RAMS engineers in the transfer of security hazards that impact safety into the project safety hazard record and vice-versa
Production of the cyber security case by managing and collating security assurance evidence from project engineers through meetings, trackers, and review cycles.
Liaise with clients and/or assessment bodies to achieve the required level of security accreditation for the projects.
Provide direction and support to the project teams to help them understand the security assurance requirements.
Conduct investigations into reported cyber security incidents, compile reports and recommend controls that address procedural or technical failures.
Assist the Head of Safety Assurance in maintaining compliance with customers' adopted security assurance certifications and standards and advising on the status of security assurance topics for engineering approvals.
Work closely with the project delivery teams to close out any outstanding security issues and to complete and gain acceptance of the security cases.
Support the Head of Safety Assurance in maintaining security standards, policies, and security assurance procedures.
Provide comprehensive and timely information to internal and external stakeholders regarding progress and status of cyber security assurance.
Job Skills, Experience and Qualifications:
Degree or equivalent in Electronic/Computer Science or related discipline.
A broad knowledge of cyber security design, application, and assurance.
Knowledge of technical assurance, ideally on UK railway infrastructure.
Knowledge of systems engineering and its implementation on a large railway infrastructure projects.
Knowledge of route-wide systems and their associated assurance requirements on a large infrastructure projects.
Understanding of the railway industry, including Network Rail's and London Underground limited's security assurance processes.
Excellent communication skills with the ability to work as part of security assurance team or alone as an individual contributor.
Membership of relevant professional organisation(s) aligned to information security or security assurance.
Experience of and successful track record in a similar role on a major rail or infrastructure project.
Substantial knowledge and experience of security assurance standards and accreditation in particular CENELEC 50701, Network Rail Security Assurance Framework, ISO 27001 and IEC 62443 or comparable government or industry standards.
We're Siemens. A collection of over 377,000 great minds who are all making the future and you could be one of them! We have offices across the UK, full of talented individual's helping us to challenge the today and work towards a brighter tomorrow.
Does creating the ways a new world moves sound like it requires your skills? How about ensuring we do it with net-zero emissions by 2050? Discover a engineering career combining innovation, sustainability and a rare opportunity to shape society at scale.
We are looking forward to receiving your online application. Please ensure you complete all areas of the application form to the best of your ability to help us review your suitability for the role. We will be in contact as soon as possible with an update on your application.
Our compensation package includes a competitive salary, holiday allowance and pension. We celebrate the fact that our employees are individuals and have different wants and needs. With this in mind, we have a flexible benefits scheme where you can tailor your benefits package to suit you.
If we all thought the same, we would never think of anything new! That's why we recruit great minds from all walks of life. We recognise that building a diverse workforce is essential to the success of our business, therefore we encourage applications from a diverse talent pool. We are proud to announce that we have partnered with VERCIDA, the UK's largest diversity and inclusion focused careers site where all our vacancies are in an accessible format. We welcome the opportunity to discuss flexibility requirements with our applicants to encourage agile working and innovation.
#LI-KO
Organization: Siemens Mobility
Company: Siemens Mobility Limited
Experience Level: not defined


text:
insert coin to proceed
OMULUS – FYP
A case for games
Final Pitch
khakang on Thoughts about Teamlab
khakang on SMART NATION
Ina Conradi Chavez on A study of fishes
Ina Conradi Chavez on INK
Kamarule on Drift – FINAL presentation
2017_S1 Project Development & Planning
FYP Proposals
DA9012 Media Art Nexus 2016/17 Sem 2
Research: Moodboard
FYP Interactive Media 2017-18
Game Design I
Interactive I
Interactive Spaces
Narratives for Interaction
Narrativity
Reading and reflection
Design Log
Category: Reading and reflection
FUTURE WORLD | TEAM LAB
April 21, 2016 / Zac / 0 Comments
TEAM LAB|FUTURE WORLDS
Our visit to Future Worlds was, without a doubt, an eye opener. My favorite would be the first part of the exhibition, Nature.
As an Interactive Media student, I was taken away by the level of immersion one can experience with the space. A few of us started looking up and around , searching for hidden projectors and cameras, wondering at how they managed to achieve such a feat.
As an audience, I was no less breath-taken. It is hard to put together the sense of awe one has for the piece, even when understanding how it works.
What intrigued me beyond the level of tech that was needed for the piece was the art itself.
Flowers and People, Cannot be Controlled but Live Together – A Whole Year per Year | Ever Blossoming Life II – A Whole Year per Year; Dark | Flutter of Butterflies Beyond Borders
This installation was actually made up of three works put together in a seamless space.
"Flutter of Butterflies Beyond Borders" was a screen where the Butterflies would fly in and out of the installation. When existing other of the screen, they can be touched and can die. When in the screen, they are protected.
"Ever Blossoming life " covered the wall and the floors with flowers. As we moved around the room and step on them, they wither .When we leave things untouched, they grow back.
Team lab basically created a space where the interaction mattered beyond just pushing buttons or waving hands. There was actually some meaning in the way we interacted with the space. Our interactions was hurting nature.
I thought that that was beautiful and very powerful. Having our actions reflect a kind of destruction and showing how our absence can allow things to be beautiful as they are felt like a stronger point and more provoking than the thousands of articles that people have post about global warming.
There's something very special about the works that Team Lab has done.
Firstly, using mechanics as a kind of metaphor helps us to make a statement clearer and such metaphors more weight.
It allows us to better understand and learn the effects of what we do. The nature of the works by Team Lab are very engaging and when given deeper thought, we began to understand better the weight of what they are trying to say.
However, one might argue that this level of engagement causes people to lose sight of what the project is about.
The interactive nature of the works draws us in and one can get carried away with it just because it is fun.
In fact, while we were there, it is no surprise to see kids stepping on the flowers and butterflies on purpose just to get a kind of feedback. We ourselves get carried away with the interaction simply because we want to see things happening in that space. They presented us a paradox that reflected not just the nature we are destroying, but the nature of men.
After a few moments inside, it felt like it was alright to just destroy everything since it was going to grow again, and upon knowing that the visuals change the seasons, I could not help but wonder if the meaning of this work was lost some where in it's own beauty.
Would I want to come back to an installation that was as beautiful as it was in a different season despite being constantly trampled on. Or would the work be more powerful if one day we return to the space only to find a desolated waste land.
For me, I do understand that the nature of the work and the space has to attract tourists to visit and that there is a lot less appeal in a waste land as compared to a garden. Yet I cannot help but wonder if the meaning of the work was lost in the ludic nature of the work…
March 16, 2016 / Zac / 0 Comments
Generative Forms
Art that has been generated by a system
wall Drawings , Sol Lewitt (1971)
Cut-up technique, Brion Gysin, Tristan Tzara, William Burroughs, Davd Bowie, Remix
Drawing machines, Jean Tinguely (1950s)
Designing Processess
Art Forms in nature, by Erst Haeckel
Stories in games – Papers, please and other story-telling games
Can we tell stories in games?
An age old question that many game designers have started challenging for decades, yet it is only recently we started to see more and more successful works that integrate the way stories are told into virtual worlds.
"Papers, please" is a brilliant example.
Would you play a game about a guy whose job is something as repetitive as clearing papers for customs? The nature of the job seems boring enough, yet underneath this exterior is an intricately woven story that makes you feel more about the world than some big budget block busters can even come close to.
A world filled with terror and legal constrictions, where your failure in your job can cost your family their lives. A world where a lot is showed, and little is told, giving players the points to let them draw the lines themselves. I recall in one level, after clearing a man and letting him through, he whispered, "My wife is behind. Please let her through."
The lady that came next suddenly was no longer just another character to clear, but someone else's wife. Suddenly there was so much weight in what I was doing. I could let her in at the expense of my own wages, possible leading to my family starving in later game, or I could deny her and separate the two couple. The story was in my control. My actions had real weight and for a second there, I did not know what to do.
I choose the former, and was punished with a pay cut but was rewarded with a token from the lady and a heartfelt thank you.
And I'll admit, even until now, it still feels good.
I believe that that should be the nature of narrative in game.
An interaction can be simple but yet the choices we make can have weight.
Another example is " This war of mine"
I never thought I'll ever play a game that was hard to play emotionally but the war torn world of the game changed my mind.
It took every element of a zombie survival game and removed the zombies and became one of the most powerful and gripping tales.
The choices I make comes back to haunt me.
Stealing from an old lady makes me sick. Choosing between running from a fight or helping another felt like a real choice.
A wrong move meant that I would die. Yet I didn't know what the right moves were either.
I believe that such interactions add layers of meaning into the story.
There is real weight in the decisions that we make in the game, we feel that it is real and hence the decisions in the game matter.
Spatial Narrative
March 5, 2016 / Zac / 0 Comments
Guy Debord's – The Naked City (1957)
Guy Debord's Naked City, present the most radical departure from the grid. In reaction to the rational city models embraced by Parisian postwar planners in the 1950s, he and his colleagues co-opted the map of Paris, reconfiguring the experience of the city through its authority. By manipulating the map itself, they intervened in the logic of the city, constructing an alternative geography that favored the marginalized, and often threatened, spaces of the urban grid. Torn from their geographical context, these areas were woven together by arrows inspired by the itineraries of the drift or "dérive." These "psychogeographic" maps proposed a fragmented, subjective, and temporal experience of the city as opposed to the seemingly omnipotent perspective of the planimetric map. As mapping is used as a tactic to bring together personal narratives about urban space, the Situationist maps provide a useful example of visualizing a subjective view of the city.
The central problem with these maps is not in the way in which they confront norms of cartography, but the duration to which they are bound. The ephemeral nature of psychogeographic space meant that these sites could quickly shift through the pressures of development. The Situationist maps in turn become an archive of a specific moment in the life of the city. However, if these maps incorporated time, they would be able to show the migration or disappearance of these psychogeographic spaces, highlighting and critiquing the urban trends that were / are shaping the city.
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I was introduced to The Naked City about a year ago by Luis, my 4d professor.
He introduced to us this concept of dérive which is "
an unplanned journey through a landscape, usually urban, on which the subtle aesthetic contours of the surrounding architecture and geography subconsciously direct the travellers, with the ultimate goal of encountering an entirely new and authentic experience. Situationist theorist Guy Debord defines the dérive as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances."
" Can maps be a form of narrative? What does maps actually tell us?
Designing an interface
In the book, the Dreamcatcher, one of the character described having a memory warehouse in his mind, able to retrieve and store any memory, this is also known as the method of loci (loci being Latin for "places"[1]), memory palace, mind palace. This method depends more on spatial memory than simply intelligence.
Having collected some images for my project, I've come to realize one of the greater challenges one must face when handling interactive narrative is not what story you wish to tell, but how to tell it.
If we understand our stories as routes, can we create a means of navigating through narratives? How would that change the way we experience stories than simply just buttons. What if we could actually see how the paths interlink and criss-cross. Would that change the way we navigate through stories?
The next step for this project is not so much to simple just take more images, but also to understand how these images can be shown.
Can we map it out several stories so that we can better see relationships?
What about choices we make in the experience? Does it even affect anything? And should it affect?
My goal now is to put the stories together and allow one to navigate it like a maze.
January 20, 2016 / Zac / 2 Comments
the quality or condition of presenting a narrative.
Perhaps we can understand narrativity is the way we deliver narratives. The nature of this notion is evolving with the experiments and explorations of technology and how we can use it to tell stories.
The nature of stories themselves are also changing. Stories , once only experienced in one dimension , can now be re visited and enjoyed with different outcomes.
Why do we tell stories?
The nature of stories have evolved but the nature of storytelling and why we tell stories have stayed very much the same. We tell stories differently but why we tell them is very much, at least I believe, the same.
We tell stories because it is who we are. Stories are the shared experiences that we have. We tell stories to share experiences.
Reflection on Narrative, Interactivity, Play and Games
January 19, 2016 / Zac / 1 Comment
A bit about the Author…
Eric Zimmerman makes games and teaches game design. Zimmerman has taught at universities including MIT, the University of Texas at Austin, Parsons School of Design, New York University, Rhode Island School of Design and School of Visual Arts. Beginning in 2010, he serves as an Arts Professor at the NYU Game Center, within the Tisch School of the Arts.[2]
http://ericzimmerman.com/portfolio/essays-and-articles/
Some interesting projects
http://ericzimmerman.com/portfolio/cross-my-heart-hope-to-die/
After reading this, i did a little google search about who this person is. I browsed through quickly some of his works and came upon this article, – Manifesto for a Ludic Century.
I took a quick look and found three interesting points
Gaming literacy can address our problems
In the Ludic Century, everyone will be a game designer.
Games are beautiful. They do not need to be justified.
I then drew parallels to what that meant for games and what meant for stories and came to a conclusion, which I will try explain.
I'll come back to this three points in a moment, let me first explain my feelings about the reading.
I found the given reading rather interesting as it redefines and even refines the idea of games and interactive narrative to me and one paragraph resonated with me, much more strongly than the others.
"What am I after? I'f I'm intersecting games and stories to create something new out of the synthesis of both, my aim with the concept of narrative should not be to replicate existing narrative forms but to invent new ones. The commercial game industry is suffering from a peculiar case of cinema envy at the moment…"
This made me think.
We cannot and should not define our understanding of game narrative by the way older mediums have defined their own narratives, this is not to say that there is no credit to that but games have to evolve beyond those experiences. We as game designers need to approach stories in a much different way than how a story teller or even a film maker would see the stories.
I used to define games by a spectrum, with two ending ranging from Narrative to Play. What interests me most as an artist is to look for ways where we can "play stories and read games". Zimmerman made me rethink this idea. There isn't just 2 elements, but 4. He also cleverly defines each of them to help us better understand this.
These four concepts overlap with each other, and instead of looking at what separates them, I would like to take a moment to look at what over laps.
I'll be talking about two of it for today, maybe some day when I find the will do write more, I'll finish it proper.
Let's look at the two overlaps.
1 Narrative + Play = Amnesia // the blank character story
2 Narrative +Interactivity = Between two doors // the space between choices
Here's something we seen way too many times. Amnesia games.
Characters who have no memory of who they are, where they come from or even their name. This is so common in game stories…
2 reasons.
1.It begins the story 'in media res', or in the middle of. While most stories start up in act 1, games typically start of in act 2, where the action is already happening and then player gets to play in the role of the character, either in a war zone or in a pursuit of a murder. Stories that start with this opening typically get into the action faster and hence, get to the 'play' faster.
2. The idea of a 'blank slate' in games. The idea that you ARE the character, and the idea that the blank slate is more immersive because they play as themselves or who they want to be.
TBC */
© 2023 z


Explore the outside together with your kid by assembly the birds of Duke Gardens. Every week options stories, songs, movement, observations, and artistic tasks that target birds in a special portion of the Gardens. For youngsters a long time 3-5; grownup chaperone required. Magnificence collection: Elegance meets for four consecutive Friday mornings, Sept. 12-Oct. 3, 10:30-11:30am. Charge: $50 according to 4-week consultation; Gardens individuals $40.


Battle of Britain Day 2018 - what happened on September 15, 1940 and how is it being remembered?
Battle of Britain Day 2018 – what happened on September 15, 1940 and how is it being remembered?
THE 78th commemoration of the Battle of Britain celebrates the defence of the United Kingdom by the RAF against the Nazi air force, known as the Lutftwaffe, in World War Two.
But what exactly happened in 1940 and how is it being marked. Here's all you need to know.
When is Battle of Britain Day 2018?
The annual Battle of Britain Day is celebrated on September 15.
The day is dedicated to the large-scale aerial battle that took place from July 10 until October 31, 1940.
The clash was said to be the first major military campaign fought entirely by air forces.
Britain's Royal Air Force defended the United Kingdom from attacks by Nazi Germany's Luftwaffe.
British allies from many nations including Canada, Australia, Poland and New Zealand also took part.
In honour of the momentous event, September 15 has become an annual day to commemorate the Battle of Britain in the UK.
In Canada, the commemoration takes place on the third Sunday of September.
In the past the day has been marked by many artists who often create artwork depicting the battle itself.
What happened on September 15, 1940?
September 15, 1940, saw the largest military air strike against the UK by the German Air Force, known as the Luftwaffe.
Nazi Germany hoped that by unleashing the large-scale bombing on London they would be able to coerce the UK into negotiating a peace settlement.
The British RAF deployed their fleet to tackle the 176 enemy aircraft that were destroyed during the raid.
British casualties were much fewer with only 13 pilots declared dead or missing and only 25 aircraft lost in the fight.
On the day itself, two major attacks were launched on London with smaller assaults on the southern coast in Portland and Southampton.
The German aircraft were met by a fleet of British RAF planes and many of the Germans reportedly turned straight around without deploying any bombs.
Buckingham Palace was hit by two bombs during the raid but neither exploded meaning the damage to the historic building was minimal.
Railway bridges between Victoria and Clapham Junction were hit, along with gas and water mains, causing great disruption to South London hospitals.
How is Battle of Britain Day being commemorated?
There are plenty of ways to celebrate the day, including joining many of the commemorations taking place.
Duxford in Cambridgeshire has a Battle of Britain Air Show on September 22 and 23.
A service of commemoration and Spitfire flypast is planned at the Battle of Britain Memorial at Capel le Ferne between Dover and Folkestone.
But the main way to mark the occasion is to remember the brave people who lost their lives trying to protect our family, friends and country.
The day is extra special this year as it is also the 100th anniversary of the RAF.


text:
person text lists
Tip: lists of awards, schools, organisations etc
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Hughes, John (1825–1885)
Drumshambo, Leitrim, Ireland
Elizabeth Bay, Sydney, New South Wales, Australia
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Mullins, Jane Mary Frances (daughter)
Hughes, Thomas (son)
Sharkey, Mary Ann (sister-in-law)
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Sydney College (student, 1840-1840)
benefactor (general) (1851-1885) New South Wales, Australia
grocer (1851-1862) New South Wales, Australia
general merchant (1862-1871) New South Wales, Australia
importer (1862-1871) New South Wales, Australia
property developer (1862-1871) New South Wales, Australia
magistrate (1867-1885) New South Wales, Australia
grazier (unspecified) (1871-1885) New South Wales, Australia
Knight of the Order of St Gregory the Great (recipient, 1882)
Knight Commander of St Gregory the Great (recipient, 1885)
Key Organisations*
Sisters of the Sacred Heart (NSW) (benefactor)
St Ignatius' College (Riverview, Sydney) (benefactor)
Key Places*
St Mary's Cathedral (Sydney) (benefactor)
Properties*
Narromine (NSW) (owner)
Stately Homes*
Kincoppal (Sydney) (owner, 1874-1885)
* Dates are approximate
© Copyright Obituaries Australia, 2010-2020


text:
BOAST
British watchmaker Vertex marks the 75th anniversary of the end of WWII with a re-issue of the top secret watch it made for the War Office
A campaign by Andy Lockley, Somewhere up north
In 1943 the Ministry of Supply sent out an urgent tender to any Swiss watch companies not already engaged with axis countries, for a waterproof wristwatch. The specifications were classified as it was to be issued to British forces.
One company to answer the call was based not in Switzerland, but a stone's throw from Whitehall in London's Hatton Garden. Vertex Watch Company still had capability, despite a 250kg bomb landing on its factory two years earlier. Its first obstacle to fulfilling the order was being able to obtain the necessary components from Switzerland which was surrounded on all sides by an axis blockade. But thanks to a clandestine operation as intricate as a watch movement, it managed to get the parts to London and assemble the watch which would become known as the 'Calibre 59 Waterproof Wristlet Watch'.
To honour the 75th anniversary of the official end of hostilities in Europe and Asia, and the soldiers, sailors and aircrew who wore its watches, Vertex has released a limited edition homage to the original in bronze.
Somewhere up north worked with Vertex to create a set launch materials befitting this beautifully crafted commemorative watch. Long copy print executions tell the story of the company's top secret work as a wartime watch suppler to British forces. A story that remained highly confidential for many years. Working with photographs from the 1940's and artefacts from the company's archives, which included spec drawings of the original watch, Somewhere up north created visual compositions inspired by the stories.
75 YEARS AGO WE WEREN'T EVEN ALLOWED TO TALK ABOUT THIS WATCH, LET ALONE TAKE OUT A FULL-PAGE AD.
In 1943 the British Ministry of Defence commissioned Vertex to make a military watch. Its specifications and even its existence were highly classified, and Vertex founder Claude Lyons was sworn to secrecy. Even in September 1945, when the military campaigns in Europe and Asia were finally over, he still never spoke about it. It wasn't until 2018, our centenary year, that Vertex first acknowledged the Calibre 59, with the creation of the M100. Now, to mark the 75th anniversary of the end of World War II, and as a tribute to all the soldiers, sailors and aircrew who wore Vertex watches, we have created a limited-edition Bronze 75. The official MoD Broad Arrow, an edition number, a store number and the W.W.W. stamp make it a faithful homage to its wartime predecessor, just not nearly as confidential.
TO BE A SKILFUL WATCHMAKER IN BRITAIN DURING WWII, YOU ALSO HAD TO BE A SKILFUL SMUGGLER.
When the British Ministry of Defence commissioned Vertex Watch Co. to make 15,000 field watches in 1943, our biggest challenge was how to obtain enough watch parts and movements. Even though Vertex had factories in both London and La Chaux de Fonds, the axis blockade of Switzerland made commerce between the two countries extremely challenging. Whilst Switzerland was officially neutral during WWII, she wasn't too neutral, and Vertex founder Claude Lyons knew ways to avoid unmarked boxes being inspected and dockets scrutinised too closely. The British government would have preferred the term 'unofficial trade route' rather than 'smuggling', but either way, the watch parts safely reached the Vertex workshop in Hatton Garden, albeit indirectly.
Shaping history
Once Britain's most prestigious watchmaker and a competitor to Rolex, the name Vertex had been forgotten by all but vintage watch collectors. Like many mechanical watchmakers, Vertex fell victim to the quartz revolution and was forced to pull down its shutters for good in 1972. However, in 2017, the brand that made one of the most important military wristwatches of the last century was re-incorporated by Don Cochran, the great grandson of its 1916 founder, Claude Lyons.
"Owning a Vertex Watch is as much about being part of something as possessing something. You not only appreciate the form and precision design of your timepiece, but you are joining the long line of distinguished British men and women who have relied upon its precision in the service of the British army, navy and air force in two world wars."
Don Cochran — Chairman, Vertex Watch Co.
"Vertex is one of those rare brands that has a genuine place in history, indeed its watches helped shape history. It's one of the only remaining companies of Britain's once thriving watch industry. Helping to tell the extraordinary story of its wartime exploits after all this time, is a real privilege and in doing so, we are helping to preserve precious history."
Andy Lockley — Creative Director, Somewhere up north.
Creative Agency: Somewhere up north
Creative Director: Andy Lockley
Copywriter: Andy Lockley
Art Director / Designer: Hugh Tarpey
Illustrator: Hugh Tarpey
Client: Don Cochrane, Chairman, Vertex Watch Company
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Published on: 24th August 2020
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