text:
List documents mentioning Bell Yard (Temple Bar)
Bell Yard, Temple Bar
Bell Yard, Temple Bar ran north-south between Fleet Street in the south and what is now Carey Street in the north. It was to the north of Temple Church and Temple Bar, to the west of St. Dunstan in the West, and to the east of St. Clement Danes. According to Harben, the name derived from the tenement called le Belle (65).
McLean-Fiander, Kim. Bell Yard (Temple Bar). The Map of Early Modern London, edited by Janelle Jenstad, U of Victoria, 20 Jun. 2018, mapoflondon.uvic.ca/BELL1.htm.
McLean-Fiander, Kim. Bell Yard (Temple Bar). The Map of Early Modern London. Ed. Janelle Jenstad. Victoria: University of Victoria. Accessed June 20, 2018. http://mapoflondon.uvic.ca/BELL1.htm.
McLean-Fiander, K. 2018. Bell Yard (Temple Bar). In J. Jenstad (Ed), The Map of Early Modern London. Victoria: University of Victoria. Retrieved from http://mapoflondon.uvic.ca/BELL1.htm.
A1  - McLean-Fiander, Kim
T1  - Bell Yard (Temple Bar)
UR  - http://mapoflondon.uvic.ca/BELL1.htm
UR  - http://mapoflondon.uvic.ca/xml/standalone/BELL1.xml
A1 McLean-Fiander, Kim
T1 Bell Yard (Temple Bar)
LK http://mapoflondon.uvic.ca/BELL1.htm
<bibl type="mla"><author><name ref="#MCFI1"><surname>McLean-Fiander</surname>, <forename>Kim</forename></name></author>. <title level="a">Bell Yard (Temple Bar)</title>. <title level="m">The Map of Early Modern London</title>, edited by <editor><name ref="#JENS1"><forename>Janelle</forename> <surname>Jenstad</surname></name></editor>, <publisher>U of Victoria</publisher>, <date when="2018-06-20">20 Jun. 2018</date>, <ref target="http://mapoflondon.uvic.ca/BELL1.htm">mapoflondon.uvic.ca/BELL1.htm</ref>.</bibl>
Fleet Street runs east-west from Temple Bar to Fleet Hill (Ludgate Hill), and is named for the Fleet River. The road has existed since at least the 12th century (Sugden 195) and known since the 14th century as Fleet Street (Beresford 26). It was the location of numerous taverns including the Mitre and the Star and the Ram.
Fleet Street is mentioned in the following documents:
Gazetteer (E)
Gazetteer (F)
Survey of London: Law Schools
Temple Church
A church used by both Middle and Inner Temples.
Temple Church is mentioned in the following documents:
Temple Bar was one of the principle entrances to the city of London, dividing the Strand to the west and Fleet Street to the east. It was an ancient right of way and toll gate. Walter Thornbury dates the wooden gate structure shown in the Agas Map to the early Tudor period, and describes a number of historical pageants that processed through it, including the funeral procession of Henry V, and it was the scene of King James I's first entry to the city (Thornbury 1878). The wooden structure was demolished in 1670 and a stone gate built in its place (Sugden 505).
Temple Bar is mentioned in the following documents:
Arundel House
St. Dunstan in the West
St. Dunstan in the West is mentioned in the following documents:
Hare House
St. Clement Danes
St. Clement Danes is mentioned in the following documents:
Documents using the spelling Bell Yard, Temple Bar


ER Editor: On the topic of South African farmers fleeing racial persecution, Lauren Southern has produced an excellent documentary about this titled Farmlands. I suppose it isn't too much of a stretch to figure out why our MSM is not giving coverage to this topic in our age of forced multiculturalism and forced mass migration.
As the violent attacks and death threats against white farmers in South Africa ramps up, many of those affected are seeking refuge. A delegation of 30 South African farming families has arrived in Russia's Stavropol region as the South African government continues to steal their land.
According to RT, up to 15,000 Boers, descendants of Dutch settlers in South Africa, are planning to move to Russia amid rising violence stemming from government plans to expropriate their land, according to the delegation.
A report by DieselGasOil.com stated that the new South African government led by racist President Cyril Ramaphosa has pledged to return the lands owned by white farmers since the 1600s to the black citizens of the country. The government said it is planning to put an end to what it calls the "legacy of apartheid." Most of South Africa's farming land is still in the hands of its minority white population. Human rights groups have said the initiative incites violence. There were 74 farm murders and 638 attacks, primarily against white farmers, in 2016-17 in South Africa, according to data by minority rights group AfriForum. South Africa will face the real threat of famine in the absence of experienced farmers – regardless of their race.
The farmers have been facing racial genocide in South Africa, and many say moving to Russia has become a "life or death" matter, Rossiya 1 TV channel reported.
"It's a matter of life and death — there are attacks on us. It's got to the point where the politicians are stirring up a wave of violence," Adi Slebus told the media.
The farmers who faced execution and violence in South Africa are ready to make a contribution to Russia's booming agricultural sector, according to Rossiya 1. Each family is ready to bring up to $100,000 to help them lease the land required to add to Russia's farming industry.
Russia has around 43 million hectares of unused farmland, reported RT. The country has recently begun giving out free land to Russian citizens to cultivate farming. The land giveaway program, which began in 2014, has been a huge success. Increases in food production in Russia will boost the economy as South Africa will face famines as their food production drops in the absence of reliable and experienced farmers.


The committee is comprised of four independent directors: Dennis J. Letham, Thomas C. Freyman, James S. Metcalf and Jane L. Warner. All members meet the independence standards for audit committee membership under the NYSE listing standards and applicable SEC rules. Mr. Letham serves as Chairman.
The Board of Directors has determined that the chairman of the committee, Mr. Dennis J. Letham, and Mr. Thomas C. Freyman qualify as "audit committee financial experts," as defined in the SEC rules, and the remaining members of the Audit Committee satisfy the NYSE's financial literacy requirements.
The committee has the responsibility, among other things, to: (1) select and approve the compensation of the Company's independent public accountants; (2) review and approve the scope of the independent public accountants' audit activity and all non-audit services; (3) review with management and such independent public accountants the adequacy of the Company's basic accounting system and the effectiveness of the Company's internal audit plan and activities; (4) review with management and the independent public accountants the Company's certified financial statements and exercise general oversight over the financial reporting process; (5) review with the Company litigation and other legal matters that may affect the Company's financial condition and monitor compliance with business ethics and other policies; (6) review the independence, qualifications and performance of the Company's independent auditors; (7) provide an avenue of communication among the independent auditors, management, the internal auditors and the Board of Directors; and (8) prepare the audit-related report required by the Securities and Exchange Commission to be included in the Company's annual proxy statement.
By its Charter, the committee meets at least quarterly and additionally as often as the committee deems appropriate, usually the day before a full board meeting. In practice, the committee generally meets twice per quarter, before the Company's quarterly earnings release and before the Company files its Form 10-K or Form 10-Q, as applicable, with the SEC. Representatives of management, internal audit and the independent auditors are generally invited to attend committee meetings, and the committee periodically meets with these persons privately in executive session.
The committee has adopted policies and procedures governing the pre-approval of all audit, audit-related, tax and other services provided by the Company's independent auditors.
Click here for more information on Audit/Non-Audit Services Policy.
The committee has established a policy for the receipt, retention and treatment of complaints received by the Company and its subsidiaries regarding accounting, internal accounting controls or auditing matters.
Click here for more information on Accounting Complaints Policy.
The committee monitors compliance with business ethics and other policies, and is responsible for granting waivers of the Code of Ethical Conduct for Financial Managers and Statement of Business Principles for directors and executive officers.
Click here for more information on Code of Conduct for Financial Managers.
Click here for more information on Statement of Business Principles.
Although the committee has sole discretion in appointing the independent auditors, it has determined that it would be desirable to request that the stockholders ratify the appointment at each annual meeting.


Immediate is looking for a Digital Design Intern to join their Commercial team.
You will be designing digital advertisements and campaigns for a broad client base across Immediate's entire portfolio. As a recent graduate or with similar qualifications you will have a great eye for design and be bursting with ideas. Throughout your internship you will receive regular mentoring and coaching from various members of the team. You'll come armed with enthusiasm, a glut of creative ideas, a can-do attitude and a hunger to learn.
You will be working closely with other digital designers producing outstanding creative work for campaigns. Drawing on Immediate's extensive knowledge of design across all devices and formats, you'll develop your skills and get the opportunity to really push yourself, working with some really talented people in a fast-paced, collaborative environment. You will be involved in all aspects of the creative process, from brainstorming ideas with the sales teams to producing high quality, multi-level campaigns. You'll work on all kinds of briefs and projects across the Immediate portfolio, so a flexible, can-do attitude is a must! Typical projects will include research, designing high-impact ads, microsites, and mock-ups for pitches. You will learn to manage your own time productively to ensure the completion of quality work under the pressure of tight deadlines.
Immediate wants someone who is bursting at the seams with ideas and obsessed with design, who also has a great eye for detail. You should be a great communicator and not afraid to discuss your work with colleagues. You'll also possess a portfolio showcasing good use of typography, design layouts, conceptual innovation and creative thinking. A basic knowledge of Photoshop, Illustrator, InDesign and Fireworks is a must. You should be up-to-date with advertising trends and have a good eye for imagery and typography. The right candidate will be flexible in their approach in order to get the best outcome. The ability to make a decent round of tea is desired, but not essential.


text:
Q: Set a parameter in Query @Query(
    value = """
            SELECT *
            FROM transfer
            WHERE id = :id
                AND recipient -> 'phoneNumbers' @> '[{"number":":phoneNumber"}]'
        """,
    nativeQuery = true
)
fun find(
    @Param("multitransferId") multitransferId: UUID,
    @Param("phoneNumber") phoneNumber: String,
    pageable: Pageable
): List<Transfer>

After execute:
Hibernate:
                SELECT *
                FROM transfer
                WHERE id = ?
                    AND recipient -> 'phoneNumbers' @> '[{"number":":phoneNumber"}]'

Hello everyone. I'm doing a Json search in a table. I wrote a request, but it doesn't run, because I can't parse the value '[{"number":":phoneNumber"}]' . Because :phoneNumber is perceived as a string. How do I set this value correctly in a query?
UPDATE:
This is how the json example looks like
{
  "phoneNumbers": [
    {
      "isDefault": true,
      "type": "MOBILE",
      "number": "3454654645"
    },
    {
      "isDefault": true,
      "type": "MOBILE",
      "number": "12423543645"
    }
  ]
}

redpajama_set_name: RedPajamaStackExchange


text:
Alexandra Rosenmann, AlterNet
Stories By Alexandra Rosenmann, AlterNet
This marketing CEO issues 'snowflake test' to weed out job seekers who cry or care about police brutality
Kyle Reyes, CEO of Manchester, Connecticut's Silent Partner Marketing, has an unorthodox method of screening job applicants he likes to call the "snowflake test." Who are...
Commentary3 years ago
Robert Reich's latest warning should make Republicans think long and hard about repealing Obamacare
On Monday, the Congressional Budget Office predicted that a whopping 14 million people will be left uninsured next year if the GOP's new health care bill passes. To the...
Trump economic advisor stammers when coal miner hammers him on his health care: 'I don't know all the facts'
Retired coal miner John Leach received a frustrating letter this week, informing him that his family's heath benefits would soon be terminated should the U.S. Congress...
Trump supporters call for 'liberal genocide' and deportation of Jews at Arizona Rally
Maricopa County burnished its reputation as the Trumpiest in America last weekend as hundreds of locals, including heavily armed militiamen, white nationalists and even a few elected officials, gathered...
You'll never think about mass media the same way again after watching this Noam Chomsky documentary
Nearly 30 years before President Trump's press gaggle last Friday, Noam Chomsky and Edward Herman authored '"Manufacturing Consent", a book that radically redefined mass media's relationship...
The 10 most galling Republican responses to the Michael Flynn scandal (so far)
Michael Flynn's abrupt resignation from the National Security Council has reignited a controversy that has followed Donald Trump since he was elected president, with scores of...
Elizabeth Warren breaks down the biggest Trump scandal you haven't heard about
Mitch McConnell may have cut her off on the Senate floor, but Elizabeth Warren refuses to be silenced. Two days after becoming an internet meme, the...
At least one Democratic congressman is already preparing to impeach Donald Trump
He says the president-elect's business dealings put him on a crash course with the Emoluments Clause.
WATCH: 19-year-old newspaper owner leaves Fox News host Tucker Carlson speechless
Fox News host Tucker Carlson didn't expect to be so impressed by an inexperienced Arkansas teenager seeking to make newspapers "great again." "Why would you want...
You can expect a virtual mainstream media blackout of the Trump Inauguration protests — here's why
On January 20—16 years ago—thousands of protesters lined the inauguration parade route of the incoming Republican president. "Not my president," they chanted. But despite the enormity of...
Noam Chomsky: Surfing the web for 'random factoids' is not education — it's a 'cult generator'
Fake news has been around long before Facebook, but it was the tech company's goal to appear like a newspaper that eventually misled its users far...
Nixon historian: Trump is 'an 11 on a scale of 10' for Nixonian paranoid tendencies
Trump's mistrust of and contempt for the media is even more dangerous given today's spying apparatus.
White nationalist leader reveals 5 of his most horrifying hopes for America
You may remember white nationalist leader Jared Taylor from Hillary Clinton's infamous campaign ad linking Donald Trump to the fringe movement. You may also remember him from...
Expert who studied white supremacy for almost 50 years explains why racists flock to Trump's rhetoric
White supremacists have never made a secret of their affection for Donald Trump. But since his election, they've grown ever more emboldened, holding rallies in Washington, D.C. and even planning...
Activism3 years ago
Here is Noam Chomsky's audacious request for President Obama before he leaves office
Retired MIT linguistics professor Noam Chomsky issued a video message on Friday December 23 regarding the critical problem faced by undocumented immigrants on the verge of...

redpajama_set_name: RedPajamaCommonCrawl


text:
Генерал-капітанство Куба () — адміністративна одиниця іспанської колоніальної імперії, що існувало з 1607 до 1898 року, з 1764 року включало в себе також генерал-капітанства Пуерто-Рико, Гватемала та Юкатан.

Історія
До 1764 року Генерал-капітанство Куба було підпорядковане Генерал-капітанству Санто-Домінго. Після реформ Бурбонів до Генерал-капітанства було приєднано провінції Флорида та Луїзіана і надання їм більшої автономії. Ці зміни були здійснені графом Хосе Флоридабланка у часи Карла III, для того щоб зміцнити позиції Іспанії в Карибському регіоні по відношенню до Великої Британії.

Новий губернатор, генерал-капітан, який знаходився у Гавані здійснював контроль над управлінням справами нового району. Місцеві губернатори Генерал-капітанства колись були під контролем (в політичному і військовому відношенні) президента аудіенсій Санто-Домінго. Аудіенсії зберегла контроль над судовими справами поки не були утворені нові аудіенсії у Пуерто-дель-Принсіпі (1800) і Гавані (1838).

У 1825 році, в результаті втрати володінь на материку, Іспанське уряд надав губернаторам Генерал-капітанства Куби надзвичайні повноваження в частині адміністративних, судових та фінансових функцій, а у другій половині XIX століття надав їм титул генерал-губернатора.

Після підписання Паризького мирного договору у 1898 році Іспанія відмовилась від претензій на суверенітет Куби. Звільнені території зайняли США, які взяли на себе зобов'язання щодо охорони життя та майна, згідно з міжнародним правом.

Див. також
 Історія Куби

Джерела
 José Gregorio Cayuela Fernández y Ángel Bahamonde Magro, Hacer las Américas. Las elites coloniales españolas en el siglo XIX. Alianza Editorial, 1992. ISBN 84-206-4231-2
 José Gregorio Cayuela Fernández, Bahía de Ultramar. España y Cuba en el siglo XIX. El control de las relaciones coloniales. Siglo XXI Editorial, 1992. ISBN 84-323-0788-2
 Allan J. Kuethe Cuba, 1753–1815: Crown, Military, and Society. Knoxville, University of Tennessee Press, 1986. ISBN 978-0-87049-487-1

Примітки

Історія Куби
Колишні колонії Іспанії
Засновані в Північній Америці 1607

redpajama_set_name: RedPajamaWikipedia


Under Armour Women's NFL Combine Authentic Pinnacle Long Sleeve T-Shirt Our softest, most amazing cotton construction delivers unrivaled comfort & quality. Soft & durable bemis tape raglan sleeve detail. Open crew neck collar. Slight drop-tail hem offers extra back coverage. Thumbholes keep sleeves secure & help seal in body heat.


Okay, it's been a while since I played...life, work, etc.
Q1: PART 1- The Muawjihe power - Mad Marionette - Can you use this power on a unit that has already been activated?
Q1: PART 2 - And does using the power on a non-activated unit render it activated (and therefore unusable by the owning player for the rest of that game turn)?
Q2: Defiler Drop Pods - According to the para-deploy rules if a deploying model hits another model it is lost-- But the pod is a vehicle-sized object-- In our last game it landed on a Ducal Militia trooper-- We ruled it would flatten the trooper (LD test to jump away), but is there an official ruling? It just seems like an awful lot of points to lose if it hits a single mortal model.
Q3: Golem of Darkness-- Does his aura actually cause darkness, and make those within more difficult to hit?
Q4: The Muawjihe power - Wind of Insanity - How would this affect a vehicle? Or would it be an instant crew hit?
No, in the description it clearly says: friendly, inactivated squad.
Yes. A unit can only be used once a turn. The controlled unit cannot take wait actions. This precludes any nebulous combinations like the question which player have control over the wait actions.
I think that rule interpretation is not 100% correct. The Defiler Pods have no para-deploy SA and the special text says only: Drop Pod must select landing zone exactly as Para-deployed troops do. So the deviation rules apply but nothing more.
The more interesting part of your question is how to play the hit of a model on the ground. A Dive for Cover would be would be fair. If the model has no wait action I would play it similar like fall damage: maybe a DAM11x5 (6+SizexSize) would be realistic. I can only recommend discussing and solving this question before the game starts. Maybe it is ok to move the model just next to the pod, too.
The vehicle itself is not beast or mortal. The crew is mortal but regarding the rules you can only attack the vehicle never the crew (as an example it is impossible to hit the crew if an open vehicle). I would say the vehicle and the crew is immune to the Wind of Insanity because I would handle it like environmental effects and gas attacks. There it is the same. The vehicles are immune the crew (in the theoretically case they would leave the vehicle are effected) is save because they are part of the vehicle.
This is something that has always bugged me. Why are the crews of open vehicles immune to environmental hazards?
It just doesn't make sense. I mean, obviously a crew safe inside a Hurricane Walker, but a Hedgehog Necromower protects the driver from Gas Attacks? Really? My common sense is tingling.
I really think there should've been made another breakdown in the table "Chassis Configuration" on P. 90 between open and closed vehicles that explains how to deal with it on open vehicles.
Talking about that table, there is another thing I do not get about it: The rules tell us that there is "No effect from Gas or Environmental Hazards" but they also tell us "Only Templates affect the Vehicle, as the crews or troops are completely unaffected." Now this is very confusing I think. Does this mean that for example the CS-44 from a Shock Trooper Chem Sprayer Specialist, which does Environmental Damage, but also uses a template, can affect a vehicle or not?
PS: Sorry for kinda derailing this thread, but since the answers are pretty clear already, I thought it's better than opening a new one.
[This is something that has always bugged me. Why are the crews of open vehicles immune to environmental hazards?
To get the true intention of the game development you have to ask T-Prime, but I think it was a solution to keep the game mechanism as simple as possible. To relate it to the 2nd edition there were plenty of rules for vehicle and very detailed. Closed vehicles in the 2nd were extremely powerful and closed vehicles easy to stop (just kill the crew).
But the vehicles in UWZ are only support and not the main part of the game so you could say the pendulum is swinging into the other direction.
This is a little confusing but I will try to explain: The Environment classification of the weapon is for now most of the time just fluff. There were a time of discussion during the game development to give certain model types and armories certain weak spots (mentioned somewhere in the forum). There a only a few spots in the game where you can find the game mechanism like the Dragonswill Gun against A.I.s or Vulkans are vulnerable to radiant weapons.
Vehicles are immune to gas attacks, to ATS damage and to environmental effects (except the general effects) but they are effected by environmental weapons with normal damage like chemical sprayers.
Fair enough. I guess it's all in balance and stuff, but i really would've wished for some differences between open and closed vehicles, at least regarding said environmental hazards (as well as weapons).
Now this is confusing me even more. According to P.121 Environmental Weapons are declared as follows: "Weapons with this Weapon Effect have some kind of radiation, bacterial or chemical make-up that is highly toxic [...]. Each environmental hazard has an Attack Strength (or ATS) that represents the number that the affected model must roll under to avoid the effects of the hazard."
The way I understand this, is that weapons with the environmental designation in brackets don't do damage as normal, but rather have the ATS you mentioned in the DM column on a weapon's profile. This obviously messes up the immunity thing again, because most of the environmental weapons are indeed template weapons.
Now, the way you are explaining this to me, environmental weapons should do damage like normal, including the armor roll and not interacting with the Survival Training SA at all. But in that case, why does the Weapons Values section describe the ATS rating? Also, maybe more importantly, why would thrown G-550 Gas Grenades work any differently from VX Nerve Gas Shell support munitions (and be immensely more powerful than AP Grenades at that)?
As for micmellon's answers, I will verify/clarify/nullify as soon as the epileptic seizure stops.
Sorry somehow I was able to confuse you. I'm talented in this.
Does that mean I am completely misinterpreting the rules if I think the CS-44 etc. have an ATS too instead of normal Damage?
I'd guess that's the case, and honestly it makes me a little sad that the Chemical Sprayers seem to be Flamethrowers with another name (and no radiant damage).
And don't worry about confusing me, the UWZ rulebook actually does that better than you. The make-up of the text is very unclear and it doesn't manage to keep a consistent terminology, which is about the most important thing for a rulebook imo. Don't get me wrong, I love the actual rules, but the book is just terribly messy.
Oh I learned it the hard way, too.


8415-17-113-9428 - 8415171153823 Request Quotes. Buy Online.
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text:
Tsujimura Kazuko and the Body Object
Namiko Kunimoto
Volume 19 | Issue 3 | Number 1
Abstract: Active from the 1960s onward, Tsujimura Kazuko (1941-2004) was an avant-garde dancer who aimed for a "dance without body, without dancing." This paper examines how Tsujimura sought, unconsciously or consciously, to reveal how the body was harnessed for—and constructed from—production in the increasingly capitalist world of high-economic growth Japan. As we shall see, through her limited, but often tense, movement in dance, in her use of costumes in fragmented installation pieces, and in her social alliances, she sought to undo the notion that the body was an expression of free agency.
Keywords: dance, Butoh, gender, labor, conceptual art, objecthood, exports, commodity culture, mass culture, women.
(Figure 1) Photograph by Kusono Yuji of Tsujimura Kazuko in Matsuzawa Yutaka's home, c. 1972.
In this c. 1972 photograph taken at conceptual artist Matsuzawa Yutaka's home in Shimosuwa, Japan, we see Tsujimura Kazuko (1941-2004) laying still, yet not relaxed.1 We note her deftly pointed toe, held tight and parallel with the tatami below her. While her hands are invisible and her face is angled away from the camera, we can clearly see her legs, the faint outline of her torso, and her protruding nipples. Her bent left leg suggests the potentiality of motion, her readied muscles outlined through the shades of the black and white photograph. Her body is held between a relaxing state of sleep, meditation, or death, and a tense state of arousal, muscular flex, and threat.
Tsujimura Kazuko, who lived from 1941-2004, was a dancer and artist (like many of her peers active in the avant-garde scene, she did not distinguish between the two genres), who claimed she performed a 'dance without body, without dancing'. Yet rather than a full negation of the body that this opaque description of her work might bring to mind, Tsujimura's artworks, photographs, and performances used silhouettes, masks, and translucent materials that were at once animate and inanimate, fragmented and whole. This essay examines how Tsujimura's oeuvre fractures the human/object binary to instead show us the woman-as-object constructed through masks, fabrics, and labor.
While many artists, dancers, and musicians in the United States as well as in Japan were thought to be using art as an outlet of personal expression, other artists, such as Tsujimura, seemed to understand that the notion of pure individuality was a bygone ideal rather than a reality. For Tsujimura, I argue, the self was defined through objectification from the structures of gender, race, and the intense capitalist development of 1960s Japan and the rise of the global marketplace. The feminization of Japan that began with the so-called "opening" of the country under Commodore Perry, continued with the American Occupation of Japan and the "economic miracle" of the 1960s. Exports from Japan to the United States heightened the sense of Japan's "ornamentalism:" as a country that was feminine, exotic, and available. According to Anne Anlin Cheng, "Ornamentalism" is "…a conceptual paradigm that can accommodate the deeper, stranger, more intricate, and more ineffable (con)fusion between thingness and personness instantiated by Asiatic femininity and its unpredictable object life."2 Ornamentalism thus reveals the ways that objecthood is not held in opposition to personhood, so much as it is deeply entangled with what personhood is understood to be.
Cheng's model, building on Edward Said's concept of orientalism, is assumed to refer to the strains, effects, and constructs of a Western viewer onto the East Asian woman. Yet, by the late 1960s and 1970s in Japan, it is easy to see how desire for the "decorative grammar" of the ornamental woman had been internalized and accentuated through American imperialism, trade, and uneven globalization. Starting immediately at the end of the war, Takuya Kida points out that "…craft products were chosen as a form of payment in kind for food imported from the USA."3 These crafts products included fabrics, lacquer objects, bamboo, and dolls. According to a survey of American Officers, "… the designs should be simple and should feature purely Japanese forms and patterns, and the most favored decorative motifs were those based on birds and flowers."4 The demand, and even economic reliance on craft exports created an "acute awareness of American attention; this led to a re-examination of 'tradition,' and the recreation of this from a vague notion of 'Japaneseness.'"5 In other words, the correlation between Japan and the decorative was a concept imbedded in trade: a concept demanded by the United States market, and supplied by Japanese craftspeople and laborers.
In the 1960s and 1970s, at a time in Japan when women's bodies were either harnessed for the factory workforce or understood to be part of a decorative backdrop, Tsujimura often negated the body in her work, revealing instead the dangers of a subject that can be disassembled and replaced. Her work aligns with the growth of the women's liberation movement, which had critiqued the male-dominated left-wing youth movement.6 This paper examines how Tsujimura sought, unconsciously or consciously, to reveal how the body was harnessed for—and constructed from—production in the increasingly capitalist world of high-economic growth Japan. Like Cheng, Tsujimura seems to acknowledge and expose how her Asian, gendered body straddles the space between co-optation and agency. As we shall see, through her limited, but often tense, movement in dance, in her use of costumes in fragmented installation pieces, and in her social alliances, she sought to undo the notion that the body was an expression of free agency. The young artist's dance revealed the blurry line between personhood and objecthood, exposing how the gendered figure was co-opted by the mechanisms of state capital. Tsujimura fractures the human/object binary, and instead shows the "ornamental" woman as constructed through masks, fabrics, and machines.
(Figure 2) Photographer unknown, Tsujimura Kazuko at Catastrophe Art, 1972
Although there are a limited number of photographs of Tsujimura's performances and artworks, those that remain demonstrate her heightened ambivalence toward the concept of the naturally expressive body. For example, Tsujimura's contribution to the 1972 event "Catastrophe Art," (figure 2), World Uprising, seems to mock the idea of unique personhood and suggests women are little more than disposable, repetitious, amusements. In the installation piece, her body is obscured by a white dress hanging by string, reminiscent of puppetry. This effect is magnified by the cut out of the hand shaped as though holding a string in the background. Other silhouettes of hands further complicate the image, making it hard to discern which hand belongs to which body. Similarly, the silhouette of the head alongside her own suggests the individual body is not so different from a doll: from the view of the labor market, we are constructed and replaceable. Notably, the edges of her arms are visible, as if to suggest that this process of replacement is imperfect. These cut outs prefigured Kara Walker's use of the silhouette to problematize the ways representations have been used to claim ownership over the female body.
Tsujimura's feet are not visible in the work. Feet and legs are arguably central to any dancer's identity: they stamp, they turn, they stand en pointe. Tsujimura's erasure of the feet could be read as a symbolic negation of this identity in dance, an insistence that dance can be other than movement, other than expression. In the piece, the body is invisible, the dress hanging loosely in its place. Only her playfully neutral face is visible at top. When the piece was displayed in Milano, Tsujimura was not present, and the dress was exhibited with instructions for viewers to "wear" it, thereby denying the artwork as a unique, expressive outlet and suggesting instead the uneasy transferability of identity.
Tsujimura's work here is comparable to Gutai Art Association member Tanaka Atsuko's earlier rendition of the troubled female body.7 Tanaka's 1956 work, Electric Dress, reveals a lack of fixity in the subject, a sense of uncertainty about the strength and physical presence of self.8 Subjective identification, for her, was circuitous, experienced through connection, disconnection, and repetition. Given that artists like Tanaka and Tsujimura made artwork that denied the expressive primacy of the body, we might ask: What social and historical factors might have motivated this tendency?
Women and the Object of Labor
(Figure 3) – Women in an electronics factory, c. 1950s
In the late 1950s and 1960s, there was a push for economic growth in Japan, which led to startling changes in people's everyday lives. According to Eiko Maruko Siniawer, "[t]he groundswell of consumerism was officially characterized as a "consumption revolution" in 1960 by the Economic Planning Agency, which also detailed the "lifestyle revolution" it entailed."9 The high-growth era also saw chronic labor shortages and the tightest labor market in Japan's postwar history."10 Prime Minister Ikeda introduced the "income-doubling" program, which he promoted from 1960-1964. It might be noted that the program, which sought to increase the gross national product within a decade, as well as raise household income, specifically sought to harness women as a source of labor power.11 The policy "referred to women's employment and its significance for increasing income and recommended that firms investigate childcare leave and other policies that would help utilize women's talents and abilities. These recommendations were framed in terms of encouraging women's employment for the sake of growth, not for women's equality. The plan also emphasized the importance of children as the future labor force and the need to ensure their well-being" for that purpose.12 As a result, "[t]he change in women's labor force participation was dramatic: between 1962 and 1975, the total number of women employees grew by 44 per cent (from about 8 million to over 11 million workers)."13 In Assembled in Japan, Simon Partner explains how the darker side of the industry leaned heavily on women's labor: "Electrical goods companies competed directly with textile factories for young female labor.14 Underneath the apparent revolution in technology development and industrial structure lay a profound continuity based on the abundance of extremely cheap, relatively docile female labor." Both Tanaka and Tsujimura raise the relation among labor, the body, and textiles in their work.
These artists seem to address how, during the 15-year-war, and again in Japan's postwar push for economic recovery, the state treated citizens' bodies like machines or toys composed of parts, parts that could be disassembled and replaced: utilitarian but easily discarded. Tsujimura and Tanaka used their art to draw attention to the fact that the female body, in particular, was often seen as little more than a doll, a manufactured ornament for display of wealth and capital accumulation. What is more, these artworks draw attention to the fact that female labor lay at the heart of Japan's so-called economic miracle (see figure 3).
Although Tsujimura may not have been aware of the rising number of women in the workforce, there is no doubt that she would have experienced the increasingly intense, and often contrasting, demands on women's bodies as caregivers, housekeepers, and workers. Anxieties surrounding women's role in society had profound effects.
Mass Ornament
In the untitled photograph from c.1973 (see figure 2), the smooth continuity between Tsujimura's whitened face and the blank whiteness of the silhouette deliberately creates a sense of ambivalence about "the real" as it pertains to corporeality. Was the silhouette created from a person, and then the person constructed themselves after the silhouette? Or are they one and the same? Does the white dress shield the body, symbolize, or actualize the body? Light contours vaguely visible behind the dress suggest, but do not confirm, bodily presence. As a whole, the dress and its wearer hover between object and person. Tsujimura reveals how womanness and the ornamentalist presence are already intertwined.
(Figure 4) The Tiller Girls, c. 1920s
In "The Mass Ornament," Siegfried Kracauer has described the ways that the Tiller Girls (Figure 4), a precision dance chorus popular at the turn of the century and revived again in the 1950s, were "distraction factories" created to serve the masses of salary workers who lacked spirituality and were divorced from custom and tradition. According to Kracauer, "…the hands in the factory correspond to the legs of the Tiller Girls." Tsujimura, too, seems to recognize dance as Mass Ornament, a staged rationalization of the body that feeds into the machines of capital, and grew from the alluring images of unified, military bodies, such as in Imperial Japan. The dance troupe produced women as "…ornaments …composed of thousands of bodies, sexless bodies in bathing suits." For Kracauer, the Tiller girls are unified and objectified to the point that eroticism is removed, and the bodies can only be understood rationally, as a series of "…arms, thighs, and other segments."
While the Tiller Girls were originally a British phenomenon, and then popularized again in the United States in the 1950s, synchronized dancing also took Japan by storm in the postwar. Initially cabaret girls were paid to entertain the large number of US troops in Japan and were soon frequently depicted in films such as those by Suzuki Seijun, girls doing synchronized dancing in Kinoshita Keisuke's Onna (The Lady, 1948), or the synchronized men and women dancing in Masumura Yasuzo's critique of corporate culture, Kyojin to gangu (Giants and Toys) (1958). Enthusiasm for ballet schools also grew, and it became nearly synonymous with Western Dance. Thomas Havens writes: "In the mid-1950s ballet became a disarmingly gentle weapon of cultural diplomacy in the cold war, bringing the Bolshoi, Leningrad, and New York City ballets for tours that stimulated Japanese dancers to form fresh companies of their own."15 Havens points out that the middle classes began to spend exorbitant amounts on private lessons and performances on postwar dance, largely, he contends, to entertain themselves and to contribute to their child's gentility. "Being a good wife and wise mother, the prewar formula, was redefined to mean mastering the skills of Beauty and acquiring an air of cultivated refinement."16 All of this social civilizing turned on disciplining the body.
This kind of dedication of the physical and emotional self for mass distraction is what many artists and dancers, including Tsujimura, sought to expose or reject. In this way, Tsujimura might be aligned with her contemporary, American Yvonne Rainer, and her insistence on an "anti-spectacular dance." Carrie Lambert (Beatty) describes Rainer's Trio A as a "determined clockwork" that "continues to counter the photographic structure that supports dance-as-display. Trio A has a prime directive: constant motion. Rainer's formal innovation is to suppress all starts and stops within the dance; to level out the modulation and emphases of traditional phrasing."17 Tsujimura, on the other hand, performs an anti-spectacular dance that hinges on the frozen moments, rather than deny them.
As William Marotti has suggested, "Artists in Japan discovered hidden forms of domination in the everyday world and imagined ways in which their own practices might reveal, or even transform, such systems at their point of articulation in people's daily existence."18 In the postwar period, as women's labor was sourced for the so-called economic miracle, artists like Tsujimura rejected the forms of dance and entertainment growing increasingly popular that enervated the body of eroticism, spiritualism, in favor of rationality and economic growth, and experimented with a form of conceptual dance that asked viewers to consider how dance lulls the spectator into the rhythms of mass consumerism.19
The foreboding side of synchronized female bodies was also raised by Moriyama Daido, in his photograph, Shibuya, from 1966.20 In a still shot, the majorettes' legs jut out like weapons, darkly paralleling the electrical wiring above. Their white hats and boots and the verticality of their bodies echoes the advertising in the background, furthering the sense that the women are little more than ornaments of capital. Moriyama, like Tsujimura and Tanaka, shows us the instability of the female body, its replaceability, its ability to transform, or to disappear into mass ornament. It should be noted too, that this goes against the grain of most art historical scholarship, which repeatedly argues that art in postwar Japan was about a newfound expression of individualism. Neither Matsuzawa nor Tsujimura fit into this problematic framework, which overlooks the ways individualism and modernism were well-developed in Japan before 1945. Tsujimura is more cynical than those artists promoting individualism. She destabilizes the accepted notion that the body is a direct expression of the self and forewarns of the body's disaggregation by capitalism into parts that, like Kracauer's Tiller Girls, can no longer be "reassembled into human beings."21
For Tsujimura and other artists of the time, the question of the body remained central: how could the body make art without being co-opted by the state? Without becoming a machine of capital or a mass ornament? How could a woman evade the role of "good wife, wise mother,' a concept that the government had adopted during the war and continued to promote in the postwar period, without being seen as an unscrupulous woman?22
Before exploring further how Tsujimura achieved this, let us turn to a brief background of her life. During the war years, jazz was outlawed, and Tsujimura's family moved to Dairen, where her father was trying to pursue a career as a jazz musician. Tsujimura was born in 1941 in Dairen, Manchuria. Her parents, who met at a dance hall, encouraged dance but could not afford to pay for lessons.23 In 1947, Tsujimura's family returned to Japan, and moved to the Shinjuku district, living in poverty in a single room of her uncle's house.24 Kazuko's brother Makoto recalls that even at this early age, her sister was interested in dance, but her parents were too poor to afford lessons, and Makoto recalls they could not afford schoolbooks or lunch. Their father left for long periods, and soon their mother took up work "hostessing"mizushobai (sexualized entertainment) and was no longer at home. Throughout elementary and middle school Kazuko and Makoto stayed separately with different relatives, only living with their mother again in Aomori after Kazuko graduated from middle school. Then, Kazuko's mother became ill and Kazuko was forced to drop out of her evening high school classes, working full time at the hip café, Ruskin, in Shinmachi, Aomori.25 Since many avant-garde artists and intellectuals gathered there, Tsujimura soon found herself involved with local art circles, meeting critics and writers such as Terayama Shuji. She began modeling for photographers and eventually joined the theatre troupe, Yuki no Kai.26 She later moved to Tokyo, where she collaborated with writers, dancers, and artists, first joining a group called Jaku no Kai, led by the artist Sasaki Kosei. In 1964, she worked predominantly on conceptual dance, learning from and then collaborating with Kuni Chiya for ten years.27
Kuni Chiya was a contemporary of Hijikata Tatsumi and other Butoh dancers (although it should be noted Tsujimura was not affiliated with the Butoh movement).28 Butoh was the prevailing experimental dance of the 1960s, that, according to Butoh scholar Bruce Baird, sought to negate utility in dance, often focusing on maintaining bizarre postures, gender bending, and shocking their audiences. Baird argues that Butoh, like other avant-garde movements, sought to veer away from production and consumption, at a time when Japan was urging all citizens to make sacrifices to contribute to economic growth.29
Like Tsujimura, then, Butoh offered a critique of the everyday systems of production and consumption. Yet there were also strong differences between the two. In Hijikata's dance, demanding twists of the torso were often required to demonstrate the "Revolt of the Flesh" from utility, the ability of the body to overcome modern convention. Dance, for Hijikata, could still suggest personal expression. His dance declared the primacy of the body, while Tsujimura exposed the body as an object, unavoidably shaped by the forces of capital.
Tsujimura's conceptual notions of dance led her to collaborate with Matsuzawa on several occasions.30 For example, in figure 1, Tsujimura is situated within Matsuzawa's home, a detail of one of their collaborative works, My Own Death (1970), behind her.31 Tsujimura first met Matsuzawa in 1964 when she participated in Independent in the Wilderness. This was around the time that Matsuzawa, in June of 1964, described having a revelation, wherein a voice told him to "eradicate all objects," a story which is now taken as the beginning of his kannen or conceptualist ideas (although others link it to his work in the 1950s).32 Artists such as Ikeda Tatsuo (who is now widely categorized as a reportage artist), and the surrealist Takiguchi Shuzo sent mail art to that exhibition, whereas Tsujimura sent simply her "idea." How the idea was sent and received, and what the idea was, remain unknown to us.
In 1969, she presented Matsuzawa's conceptual work 'Nil' at the Rokkasen dance recital at Honmoku-tei (a venue that was normally used for traditional storytelling, or kodan yose) in Tokyo.33 Matsuzawa's 'Nil' message was:
'Kazuko Tsujimura aims at the dematerialization of dance.
It is the final form of human dance.
In the future, she will dance a dance of non-dance.
Tonight, please do NOT see Tsujimura's 'Nil' body and its space and time.
Rather, try to see her concept, her spiritual body after death and disappearance of all things
– that is the truth of 'Nil'.
Gyatei.
Imaginary Space Research Center'34
(Figure 5) photograph by Kusuno Yuji, Tsujimura Kazuko performing Matsuzawa Yutaka's Nil, 1969
In this performance, Tsujimura lay naked, and then later stood, on a dark stage with her ears, nose, and vagina, painted with fluorescent pigment. She refused to make any 'dance' movement except minimal lying and standing. Photographs show her legs spread apart, in an unnatural pose as though they are not supporting her weight. Her arms hang in a discomfiting position, like that of a doll, and her head and gaze face upwards, disengaged from the crowd (figure 5). She seems to work to both expose and deny the power and eroticism that her young, nude body presents. Her insistent inanimate "dance" gives the lie to the notion of free agency, revealing the body to be decorative and constrained.
The piece was later displayed as a photographic work (see figure 5) in the 1977 Sao Paulo Biennial.35 In this version, we see her nude body overlaid with a straw effigy, which was a photographic after effect. Behind her, a tube or a branch appears to be thrust into her back, giving the impression that her body is nothing more than a puppet, hanging loose from a larger system. The effect of the straw effigy further disrupts our access to the body. Instead of the supple texture of flesh, it appears as though the surface of the photograph has been scratched out, and the distinguishing characteristics of her upturned face are made even more inaccessible to the viewer. Tsujimura's nude body thus turns the visual pleasure of the ornamental doll upside-down: instead of passive consumption, viewers are made aware of their desire for the object. Instead of a life-like doll we are reminded of a death-like woman, underscoring the relation between the two.
(Figure 6) photograph by Tsujimura Makoto, Tsujimura Masako performing with PBB at the Nitto Boxing Gym in 1970.
These interests in rejecting the norms of movement and self-expression in art continued as Tsujimura formed the Parnirvana Paryaya Body (or PPB group). The name originates from the Sanskrit terms Nirvana and revolution, and the dance group included Tsujimura, Sekido Rui, and Suzuki Yuko).36 On December 19th and 20th 1970 the group performed at the Nitto Boxing Gym and included Tsujimura's mother in the performance (figure 6). In the photograph, Tsujimura Masako, who was supportive of her daughter's performances, is seated in the center. (This was the only occasion where she was an active performer with her daughter). The performance again disavows bodily movement, and instead features a woman sitting still in the ring. Other dancers, including Tsujimura Kazuko, were dressed in transparent white, their faces painted in a manner that recalls the yokai or spirits of the deceased. Kazuko was positioned along the side of the ring, wrapped in cylinder-shaped, semi-transparent material. Tsujimura's mother sits seiza (in the traditional Japanese position with her knees tucked away) on top of a cushion, her gaze, wide-eyed yet without any focus. The stage lights make clear that this is a performance (if the 800-yen entrance fee did not), yet the protagonist remains still and disengaged. The locale is also important: the group chose a boxing ring, a site that was typically reserved for male competitive violence, to complete an all-female negation of movement.
Death was likely on the minds of the artists gathered at the Nitto gym. The previous month, Nobel-nominated author Mishima Yukio had stunned the nation with his failed coup d'état and dramatic seppuku ritual suicide on November 25th, 1970. Mishima, a right-wing nationalist who opposed Japan's turn to democracy, had formed an unarmed militia called the Tatenokai (Shield Society) that venerated the Emperor. The group of five men stormed a military base in Ichiyaga, Tokyo, and took a commandant hostage, hoping to inspire an uprising to overthrow the 1947 Constitution and restore the political primacy of the Emperor. Mishima himself then stepped onto the balcony, reading their manifesto aloud, and ending with the phrase, Tenno-heika Banzai! "Long live the Emperor!" The Mishima Incident (Mishima jiken), as it is known in Japan, was performative and bloody. After Mishima had read his manifesto and declarations, he stepped inside and performed ritual seppuku. His militia member, Morita Masakatsu, was then supposed to complete the ritual by acting as his kaishakunin and decapitating him, but after three failed attempts could not complete the decapitation. Morita then stabbed himself. Finally, another member, Koga Hiroyasu, decapitated both Mishima and Morita. The incident was a mesmerizing tale of disaster and was widely covered in the press.
Given that Tsujimura's performance at the Nitto gym in Tokyo was held just weeks after this violent spectacle occurred in the same city, it seems likely that the PPB group was responding to the overwrought, violent, and nationalist spectacle with a nuanced and ironic non-performance.37 Sitting still and wordless in an arena intended for violence (and even death), her negation of action and her quiet insistence that the body was not a vehicle of expression, nor something to be sacrificed in the name of the Emperor, resonated with those who were reminded of the lingering presence of the imperial desire expressed by Mishima's actions.38
That same year, Tsujimura participated in a performance at the important exhibition, Tokyo Biennale 1970: Between Man and Matter, held in the Tokyo Metropolitan Art Museum and organized by Mainichi Shinbun (part of a long-running tradition of newspaper companies supporting art).39 The exhibition included forty artists selected by Nakahara Yusuke, a leading critic of contemporary art and the exhibition commissioner, and the event had the support of most avant-garde artists, unlike the corporate spectacle of Expo '70. There was no award given, and no sense of representation by nation, hence in this respect the Tokyo Biennale was a rather cutting-edge, transnational event. It included mostly young artists from 25 cities in Japan, and it also showcased influential European and American artists like Hans Haacke, Daniel Buren, Christo, Luciano Fabro, On Kawara (who was then resident in NYC), Richard Serra, Bruce Nauman, and Sol Le Witt. Reiko Tomii has convincingly argued that this biennale set the precedent for Japan's emergence on the global art stage.40 Yet, one of the major failures of the event was that no female artists were formally included, despite other female artists having participated in other important exhibitions.41 Thus, Tsujimura's performance seems all the more significant.
(Figure 7) Photograph by Hanaga Mitsutoshi, copyright Hanaga Taro. Tsujimura Kazuko and Matsuzawa Yutaka performing My Own Death, 1970.
Tsujimura, who was not listed in the exhibition catalogue, performed a collaborative work with Matsuzawa, entitled My Own Death (figure 7). In My Own Death, Matsuzawa and Tsujimura highlighted their mutual interest in the tensions and cycles of the body. The work consisted of one or two panels, marking the entrance(s) to an empty room, where the pair performed. The text on the panel, both in Japanese and English, asked the viewer to reflect on the artist's death along with the trillions of previous, and future, deaths of humans to come.
Tsujimura, in her previous works, exposed the ambivalent passivity that constitutes the gendered, Asian body. Yet in My Own Death, she becomes the active force that brings about Matsuzawa's conceptual death. With intermedia artist Yamaguchi Katsuhiro serving as a witness to the whole rite, Tsujimura touched Matsuzawa's chest through an opening in his shirt and felt his heartbeat until she could visualize his death. Interestingly, Matsuzawa's stated intent to have his death imagined is complicated by the interaction between Tsujimura and Matsuzawa. Instead of death, viewers must have also registered a moment electrified by a sexual charge.42 Here, Tsujimura stands with her legs shoulder-width apart, her gaze intently focused on Matsuzawa. She is in an equal, if not dominant position. Although she wears a dress bedecked with a flowery pattern and feminine high-heeled shoes, her stance denies any sense of feminine submissiveness. It is Matsuzawa who gazes passively at her while her hand touches his bare chest. In this way, Tsujimura simultaneously acts as the object of desire, and the wielder of power over Matsuzawa.
This seeming electric charge between the two of them is further heightened by the presence of Yamaguchi Katsuhiro, who plays "witness," or perhaps voyeur. He wears a suit, like Matsuzawa, holding some papers, as though to further authenticate his serious presence. His gaze, at least in the photograph, is directly at the contact point between the two figures, and his neutral, watchful expression seems to authorize, or to make us aware, of our own gaze. One can't help but wonder, will the hand slip lower? Does he want it to? Are they thinking about "death" or thinking about life and connection? Or is the point that the two are inexorably tied? Where and when is the slippage from animate to inanimate?
(Figure 8) Photographer unknown, c. 1970
In this and other works, Tsujimura liked to play with the erasure of the corporeal body and the masking of identity. At times she did this by literally collapsing the differences between masks and faces (figure 8). In this eerie undated image, we see her lying down perpendicular to a mirror. To each side of her head, she places a mask: one unfinished mask that is shaped into a visage, but is void of specific features, and one to her left that resembles her face, complete with feminine eyelashes. Tsujimura lays still, her mouth slightly ajar, echoing the expressionless, finished mask. The transition from blank mask, to Tsujimura's face, to the finished, feminine mask reveals that faces—something we normally deem to be unique and expressive of individuality—can also be transformed, can vanish, and can mislead. The face, normally understood to be singular and ultimately individual, is indecipherable from the ornamental mask. Tsujimura exposes the intimacy between the oriental thingness of a mask and the person who wears it. The eerie thrill we experience as we gaze at the photo challenges the viewer to question their assumptions about personhood and its relation to its supposed other: objecthood. Tsujimura fractures this human/object binary, and instead shows the "ornamental" woman as constructed through masks, fabrics, and machines.
Tsujimura's work thus creates an interplay between the gendered living body and its masking. While Matsuzawa often sourced Shinto spiritual ideas, Tsujimura studied and referenced Noh in the late 1970s.43 Her costumes played with the visual language of Noh theatre, a classical musical theatre that has been performed since the 14th century and retains the designation of Important Cultural Property today.44 Noh is often based on traditional folktales, which involve a supernatural being who is transformed into human form as the protagonist of the story. Masks represent women, the elderly, and children, and it is this visual feature of Noh (an otherwise highly codified mode of theatre) that Tsujimura most often gravitated to, appealing to her interest in transformation and the supernatural, but more importantly, revealing the ability of the self to shape-shift, and for personhood to be intricately linked to objecthood.
To be clear, Tsujimura's use of masks was not a matter of an artist drawing on her "traditional cultural essence," since the mask was loaded with contemporary rhetorical significance. As Kenichi Yoshida aptly describes, the mask was a signifier of tensions between human other and thing, debated among intellectuals in the 1960s and 1970s. The Japanese critic and theorist Hanada Kiyoteru (1909-1974) wrote:
Why is it that you, in front of others, so willingly put on a mask? This is not just in front of others for it appears that even when alone, you sometimes forget to take off your mask. Is it because by wearing a mask with a defined set of expressions and clear outlines, you prevent your constantly shifting face, a sensitive face quite susceptible to external stimuli, to be exposed to others' eyes? Or are you trying to draw people in by accentuating your facial features? Or are you just bored with your face and wish to possess another one? Either way, I have never seen your true face…45
As Hanada insists, "…a mask is not something that liberates one from a true face, but something that allows for it to come into being."46 While other thinkers, like Watsuji, saw the mask as maintaining interior and exterior social alignment, Hanada, Yoshida points out, rejected the authenticity of a "real" underlying subject: For Hanada, "A subject takes place on the surface—the interior space beneath or behind a face is merely a set of contingencies and doubts without a profound personality waiting in reserve to express itself."47 Tsujimura, who was a part of the social circle of artists and critics, seemed to align herself with Hanada's view: that the authenticity of the true self was a myth.
Taking her oeuvre as a whole, it seems the young artist was invested in "…the complex dynamics between subjecthood and objecthood," asking us to "…shake loose some of our most fundamental assumptions about what kind of person, what kind of injury, or indeed, what kind of life can count."48 For Tsujimura, art was about the relation between objecthood and personhood, about finding a way that was outside of consumption but not claiming to be free from its structures.49
Photograph taken by Kusuno Yuji, a photographer and producer who worked with Tenji Sajiki and J.A. Seazer. Kusuno's younger brother was a Butoh dancer.
Anne Anlin Cheng, Ornamentalism (New York: Oxford University Press, 2019), 14.
Takuya Kida, "Japanese Crafts and Cultural Exchange with the USA in the 195OS: Soft Power and John D. Rockefeller III during the Cold War," Journal of Design History 25, no. 4 (2012): 380.
Ibid, 382.
See Christopher Gerteis, Gender Struggles: Wage-Earning Women and Male-Dominated Unions in Postwar Japan, Harvard East Asian Monographs 321 (Cambridge, Mass: Harvard University Asia Center, 2009); Chizuko Ueno, Nashonarizumu to jendā = Engendering nationalism (Tokyo: Seidosha, 1998); Chelsea Szendi Schieder, "Human Liberation or 'Male Romance'?: The Gendered Everyday of the Student New Left" in The Red Years, ed. Gavin Walker (New York: Verso, 2020), 143-159; Ota Motoko, "Onnatachi no zenkyōtō undo" [Women's Zenkyoto Movement] Zenkyōtō kara ribue e [From Zenkyōtō to Lib] ed. Jugoshi nōto sengohen, (Kawazaki: Inpaukuto shuppankai, 1996).
This work can be seen here.
See Namiko Kunimoto, "Tanaka Atsuko and the Circuits of Subjectivity," in The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art (Minneapolis: University of Minnesota Press, 2017).
Eiko Maruko Siniawer, Waste: Consuming Postwar Japan (Ithaca: Cornell University Press, 2018), 61.
Priscilla A. Lambert, "The Political Economy of Postwar Family Policy in Japan: Economic Imperatives and Electoral Incentives," The Journal of Japanese Studies 33, no. 1 (2007): 11.
See Hanabusa's 1964 photographs of farming women working on transistor radio parts and resistors in Hanabusa Shinzō sakuhin ten, no. 50 of JCII Photo Salon (Tokyo: JCII Fuotosaron, 1995), 6-7.
Lambert, "The Political Economy of Postwar Family Policy in Japan," 14.
Simon Partner, Assembled in Japan: Electrical Goods and the Making of the Japanese Consumer (Berkeley: University of California Press, 2000), 209.
Thomas Havens, Artist and Patron in Postwar Japan: Dance, Music, Theater, and the Visual Arts, 1955-1980. (Princeton: Princeton University Press, 1982), 219.
Carrie Lambert-Beatty, "Moving Still: Mediating Yvonne Rainer's Trio A," October 89 (1999): 94.
William Marotti, Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Durham: Duke University Press, 2013), 3.
Generally speaking, conceptualism in Japan has been largely overlooked until very recently. Recent exhibitions at Ota Fine Arts (2017) and Yale Union (2019) on Matsuzawa's work as well as Yoshiko Shimada's writings have begun to reverse that trend. Yoshiko Shimada, "Matsuzawa Yutaka and the Spirit of Suwa" in Conceptualism and Materiality (Leiden: Brill, 2019), 272.
This work is visible here
Siegfried Kracauer, and Thomas Y. Levin. The Mass Ornament: Weimar Essays. (Cambridge, Mass: Harvard University Press, 1995), 78
Derived from an idealized traditional role for women, the four-character phrase Good Wife, Wise Mother or Wise Wife, Good Mother (ryōsai kenbo) was coined by Nakamura Masanao in 1875. It represented the ideal for womanhood in the East Asian area like Japan, China, and Korea in the late 1800s and early 1900s and its effects continue to the modern day.
Interview with Tsujimura Makoto by the author and Shimada Yoshiko July 15, 2020.
Her father moved to Manchuria during the war, as he was unable to find employment in Japan (as jazz was banned).
Interview with Tsujimura Makoto by the author and Shimada Yoshiko, July 15th, 2020.
It is important to bear in mind that there really were no boundaries between the production of art, music, dance, politics, and writing at this time. All too often, scholars, in accordance with the boundaries of University departments, study one practice in isolation from others, overlooking how much these practices and people co-evolved, never insulated from one another.
Kuni Chiya was an avant-garde female dancer. Her studio, Kuni Chiya Butoh laboratory, was in Komaba, Tokyo. In the early 1960s she collaborated with Group Ongaku, Araki Nobuyoshi, Kazakura Shō and other members of the avant-garde.
See Bruce Baird, Hijikata Tatsumi and Butoh: Dancing in a Pool of Gray Grits (London: Palgrave Macmillan, 2012), 5-7. For more on Butoh, see Bruce Baird and Rosemary Candelario, The Routledge Companion to Butoh (New York: Routledge, 2019).
Conceptual art, also referred to as conceptualism, is art in which the ideas involved in the work take precedence over traditional aesthetic, technical, and material concerns.
The photograph was taken by Kusuno Yuji.
Matsuzawa 1982, 42. Others have argued that this began in the 1950s. See Yoshiko Shimada, "Matsuzawa Yutaka and the Spirit of Suwa" in Conceptualism and Materiality (Leiden: Brill, 2019), 272.
Related material can be found at the Tsujimura Kazuko archive at Keio Arts Center.
Gyatei is a Sanskrit term meaning "going to the other side" or reaching realization
I cannot be sure she did not direct her gaze at the crowd at other moments during the performance, but the only other photographs of this event show Tsujimura lying still on the ground, giving an impression of disengagement.
The name 'Parinirvana Pariyaya Body' (PPB) name uses characters that play on body and group. In 1974, Tsujimura started her own dance school, and held numerous events while working with Matsuzawa, and the PPB group. In 1975, she and Kuni had a joint recital named 'Fall from Quiet Everyday' with Matsuzawa, Ikeda Tatsuo, Araki Yoshinobu, and others as guest directors. Later in the 1970s, she went to India, then to Bali. She was fascinated by traditional Bali dance and introduced it to Japan in the 1980s.
Steve Ridgley has pointed out how boxing appeared frequently in the works of Terayama Shuji, a critic and writer who was also a long-time friend of Tsujimura's. Terayama, along with much of the world, found themselves increasingly interested in boxing as Muhammed Ali's career and reputation grew. Ridgley argues that boxing appeals for the elements of fantasy it employs: shadow boxing, knockouts in place of murders, and fights that are motivated by competition rather than a natural expression of anger. Steve Ridgley, Japanese Counterculture: The Antiestablishment Art of Terayama Shuji (Minneapolis: University of Minnesota Press, 2011), 69.
The Mishima Incident helped inspire the formation of New Right (shin uyoku) groups in Japan, such as the "Issuikai" founded by some of Mishima's followers. Itasaka Gō and Suzuki Kunio, Yukio Mishima and 1970 (Tokyo: Rokusaisha: 2010).
Tokyo Biennale '70: Between Man and Matter was held at the Tokyo Metropolitan Museum, May 10-30, the Kyoto Municipal Museum, June 6-28, and the Aichi Prefectural Art Gallery in Nagoya, July 15-26, 1970. It is also known as 10th Annual International Exhibition, Japan. For more on Expo '70 see Review of Japanese Culture and Society 23 (2011).
"If, for better or worse, Osaka Expo was a cultural monument of postwar Japan through which the nation asserted its international standing, Tokyo Biennale was no doubt a legendary moment in postwar Japanese art, which embodied its "international contemporaneity"(kokusai dōjisei) in a tangible form. Reiko Tomii, "Toward Tokyo Biennale 1970: Shapes of the International in the Age of 'International Contemporaneity'" Review of Japanese Culture and Society 23 (2011): 191-210.
Hannah Slater, "Unlocking the Exhibition: Tokyo Biennale '70: Between Man and Matter," unpublished graduate paper, 2020.
Yoshiko Shimada has recently argued that Matsuzawa was also interested in the sensual. She writes: "…—contrary to his insistence on the non-material and non-sensual—[he]also created works that were large, imposing, and imbued with sensuality." She argues that "…this contradiction arose in part from his connection to the ancient spiritual practices of Suwa, which were deeply rooted in themes of eroticism, procreation, death, and rebirth." Yoshiko Shimada, "Matsuzawa Yutaka and the Spirit of Suwa" in Conceptualism and Materiality (Leiden: Brill, 2019), 294.
According to documents in the Tsujimura archive now (as yet uncatalogued) held at the Keio Arts Center.
See Yoshiko Shimada, "Matsuzawa Yutaka and the Spirit of Suwa" in Conceptualism and Materiality (Leiden: Brill, 2019), 272.
Translated by Kenichi Yoshida in his forthcoming book, Avant-Garde Art. Originally published in Hanada Kiyoteru, Abangyarudo geijutsu (Tokyo: Kodansha bungei bunko, 1994), 30.
Hanada Kiyoteru, Abangyarudo geijutsu, 32.
Kenichi Yoshida discusses the philosophical approaches to the mask in Chapter Two of his forthcoming book, Avant-Garde Art and Non-Dominant Thought in Japan: Image, Matter, Separation (New York: Routledge, 2021).
Cheng, Ornamentalism, xiii.
I thank Tsujimura Makoto, Shimada Yoshiko, Erica Levin, Daniel Marcus, Elizabeth Ferrell, William Marotti, Rosemary Candelario, Bruce Baird, Anne McKnight, Emily Wilcox, and Max Woodworth for their help with this article.
Namiko Kunimoto is a specialist in modern and contemporary Japanese art, with research interests in gender, race, urbanization, photography, visual culture, performance art, transnationalism, and nation formation. Her essays include "Olympic Dissent: Art, Politics, and the Tokyo Games" in The Asia Pacific Journal: Japan Focus, "Tactics and Strategies: Chen Qiulin and the Production of Space" in Art Journal and "Shiraga Kazuo: The Hero and Concrete Violence" published in Art History. Dr. Kunimoto's awards include a Social Sciences and Humanities Research Council of Canada Fellowship, Japan Foundation Fellowships (2007 and 2016), a College Art Association Millard/Meiss Author Award, and the Ratner Award for Distinguished Teaching (2019). Her book, The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art, was published in 2017 by the University of Minnesota Press.


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Q: Parsing files on a remote computer I have two systems. Now I have some log files on one system that are being generated periodically ( like every hour ). Now I want to parse those files from another system.
One way is to copy the files and then parse them. But this will consume a lot of bandwidth at a time(while copying) and if I parse the files on original system then it will increase the CPU utilization of that which I dont want.
Can somebody suggest me some way to achieve this as optimally as possible.
In simple words, what I want is: I have a system A and from A, I want to parse the files located on Remote System B so that I dont have much load on system B ( dont bother about the load on system A ) and also the load on network is optimized.

A: As tjameson suggested, you should you rsync. I would like to add the use of the -z flag, which compress the files before transporting, then uncompress them at the destination. This flag helps minimizing the amount of data transferring. For example, the following command (on system B) sync the files from systemA, directory logs/ over:
rsync -az systemA:logs .


text:
Q: Is the cohomology $H^1(X, \mathcal{E}^\nabla)$ trivial, for the sheaf of constants of an algebraic connection $\nabla$? Suppose that $\pi:X\to S$ is a flat morphism between Noetherian, integral schemes (of characteristic zero, if need be).
Let $\mathcal{E}$ be a locally free sheaf on $X$, and
$$\nabla:\mathcal{E} \to \Omega_{X/S}\otimes\mathcal{E}$$
an $\mathcal{O}_S$-linear connection.
It would also be very useful to me if we allow $\nabla$ to be a logarithmic connection, i.e. taking values in $\Omega_{X/S}(D)\otimes\mathcal{E}$ for some divisor $D \subset X$.
We have the sheaf of $\nabla$-constants, a sub-$\mathcal{O}_S$ module of $\mathcal{E}$:
$$\mathcal{E}^\nabla := \mathrm{ker}\left[\mathcal{E} \xrightarrow{\nabla} \Omega_{X/S}\otimes\mathcal{E}\right]$$
Question:
What is the sheaf cohomology $H^1(X,\mathcal{E}^\nabla$)? (or rather the higher direct image $R^1\pi_*(\mathcal{E}^\nabla))$
If $\mathcal{E}^\nabla$ is a constant sheaf, then it is flasque and hence acyclic. However I haven't been able to figure out how to show that $\mathcal{E}^\nabla$ is a constant sheaf.
What can we say here?
I would even be content to understand the simplified case of: $\mathcal{E}$ a line bundle and $\pi$ relative dimension 1 with normal crossing singularities.


Amid a low number of returns under the E.U.-Turkey deal, Apostolis Fotiadis reports that European officials are increasing pressure on Greece to expedite returns to Turkey in the form of a new action plan.
European officials are becoming increasingly worried that the E.U.-Turkey deal could fall apart. With few returns and thousands of people trapped on the Greek islands, the E.U. is encouraging stronger measures – such as opening more detention centers on the islands to speed up asylum proceedings and facilitate deportations – to rescue the deal.
In December, Greek migration minister Ioannis Mouzalas and the E.U.'s Maarten Verwey, the deal's coordinator, outlined a road map to expedite returns in an informal action plan seen by Refugees Deeply. The plan aims "to safeguard the benefits of the E.U.-Turkey statement for the E.U.," Verwey writes in an introductory note. Its implementation will "eliminate the bulk of pending [asylum] requests in the Greek islands by April 2017," he writes.
Since the E.U. deal with Turkey went into effect last March, 865 migrants and refugees have been returned to Turkey, among them Syrians who withdrew their request for protection. Recently, a leaked document showed that the U.N. refugee agency is unable to monitor whether most returned Syrians have reacquired protection status in Turkey. Some 1,183 others were returned to Turkey since the beginning of 2016 under an older bilateral Greece-Turkey agreement.
Yet, officially, not one Syrian has been forcibly returned under the terms of the E.U.-Turkey deal. Meanwhile, arrivals from Turkey, although few in number compared to the period before the deal, continue on a weekly basis. In the first 25 days of 2017, 1,053 persons crossed the Aegean Sea to Greece.
This is hardly how the E.U. envisioned the deal, which aimed to return the vast majority of those who have arrived on the Greek islands since March 20, 2016. Under the agreement, officials from the E.U.'s European Asylum Support Office (EASO) were sent to the Greek islands to help the government in the processing and quick return of Syrians and other migrants who entered the country by boat. But the protections afforded by Greece's asylum legislation as well as the slow pace of the Greek asylum system have hindered the E.U. ambitions.
The new informal action plan envisages boosting the capacity of the EASO and Greek Asylum Service on the islands to process more asylum applications. It also aims to expand the criteria of which asylum seekers are eligible for returns, including vulnerable individuals eligible for family reunification in the E.U., who are currently excluded. This provision could even allow the return of unaccompanied minors to Turkey.
The plan also lays out new restrictive measures for asylum seekers in Greece, including the possible detention of noncooperative persons, the swift interruption of procedure, as well as limiting the legal provisions available to asylum seekers who want to appeal rejected claims.
It also recommends that Greek asylum case-workers should accept "legal assistance in drawing up decision texts" to expedite returns. While it doesn't specify who will give the assistance, it echoes a proposal made by Gerald Knaus, head of the European Stability Initiative and one of the architects of the E.U.-Turkey deal, at an Athens conference in December. Knaus said that Greece should invite an E.U. asylum mission to partly take over the asylum proceedings, transferring authority to its members. This would give E.U. officials a major role in affecting decisions on asylum claims in Greece.
An asylum law expert who requested anonymity told Refugees Deeply that European Commission officials arrived in the Greek islands earlier in January to prepare for the implementation of a pilot project related to the Verwey-Mouzalas action plan. "The priority is to speed up asylum procedures. They will apply it first in Chios, then the project will be implemented in Lesbos," the expert said.
To implement some of the plan's provisions, Greece will need to amend its asylum legislation for a second time to meet Europe's demands. Last June, legislators voted to change the composition of the country's asylum appeals board, sidelining members of the committee who objected on legal grounds to the expulsion of Syrians listed for deportation.
The Verwey-Mouzalas plan widely echoes a legislative amendment introduced by Berlin last March called Asylum Package 2, which accelerated asylum procedures in Germany and resulted in a record number of fast-tracked rejections of asylum applications. German refugee advocacy organization Pro Asyl claims that the new procedures flout both the European Convention on Human Rights and the 1951 Refugee Convention.
"Administrative processes have become more transparent to asylum seekers, and the average wait time for an asylum decision has been cut from five months to three; in specific cases, decisions can be made within 48 hours," the report says.
Yet some experts are concerned that in the process of trying to make the asylum process faster, asylum seekers' rights to a fair asylum procedure and access to legal support to appeal rejections could be compromised. Fast track systems applied in Australia and the U.K. have been criticized as unfair to people who ask for protection. In 2015, a similar system to the one envisioned by Verwey-Mouzalas action plan was considered "unlawful" by the British High Court and was suspended.


text:
ŽNL Karlovačka je u sezoni 1995./96. bila podijeljena na dvije skupine: Sjevernu i Južnu grupu. Prvak ŽNL je dobijen nakon dvomeča prvaka skupina.

Tablice

Utakmice za prvaka ŽNL
 NK Cetingrad - NK Kamensko Karlovac 3:2
 NK Kamensko Karlovac - NK Cetingrad 1:1

Prvak ŽNL Karlovačke je postao NK Cetingrad i time se plasirao u viši rang.

Strijelci

Bilješke
NK Dobra Novigrad na Dobri je kažnjena oduzimanjem 3 boda
NK Mladost Rečica je kažnjena oduzimanjem 1 boda
NK Šišljavić je kažnjen oduzimanjem 3 boda
NK Mladost Zagorje Ogulinsko je kažnjena oduzimanjem 3 boda
NK Mrežnica Zvečaj je kažnjena oduzimanjem 3 boda
NK Slunj je kažnjen oduzimanjem 3 boda
NK Saborsko je kažnjeno oduzimanjem 2 boda

Izvori

 Krešimir Perušić - 100 godina nogometa u Karlovačkoj županiji 1903-2003, Karlovac 2004., ISBN 953-9969-0-6, str. 303-304

1995-96
karlovačka-1


David Mor Jewelry Showcased at Big Machine Label Group's CMA After Party.
David Mor Jewelry was showcased at Big Machine Label Group's CMA after party where guests were able to view and try on select pieces from the jewelry line. There was an overwhelmingly positive response to the new brand as celebrities and guests appreciated the intricate detail and craftsmanship of each piece.
The most popular pieces of the night included a magnificent ruby and fancy yellow diamond statement necklace with matching bracelet and chandelier earrings. The beautiful set was worn by Maggie Rose, an up and coming singer with RPM Entertainment who is making waves in the country music scene, and by Chaley Rose, an actress known for her role on the popular television show Nashville. Chaley Rose also fell in love with a lovely fancy pink diamond pendant and a striking diamond ring boasting a rare fancy yellow-green diamond center stone. Another popular piece from the night was a stunning emerald necklace with fancy yellow diamonds worn by Whitney Ward, a Tennessee Titans cheerleader. A pear shaped yellow and pink diamond ring and fancy yellow diamond bracelet were also crowd stoppers, both worn by Rachel Holder, a CURB Records country music artist.
Although David Mor is a recently introduced brand, there is no lack of vision behind the design and creation of each individual piece. Co-founders David Khorsandy and Mitchell Benilevi have a combined 50 years of jewelry industry experience between them. They teamed up in 2012 to create David Mor after identifying a space in the high-end fine jewelry market for a new competitor. They take great pride in creating their jewelry with each piece being a one of a kind. The designers have an unrivaled passion for their creations and hand select only the finest gemstones to include in their unique designs. These unique, outstanding creations assure that David Mor claims its rightful place in the high-end fine jewelry market.
Established in 2012 and headquartered in New York, David Mor Jewelry is a recent venture of two established firms, Benilevi Designs and Firestone, within the jewelry industry. The David Mor team has over 25 years of experience designing and manufacturing jewelry. David Mor's mission is to design jewelry of superior quality using only the finest materials and premium craftsmanship, creating the world's finest jewelry where each piece is a one of a kind. To learn more about David Mor Jewelry, visit www.davidmorjewelry.com.


Request free quotes to providers of Wisconsin: You tell us what service you need on the form. We send a notice to providers in Wisconsin and so they will contact you to give you a quote.
I am looking to locate my son's father.
I have lots of landscaping, but need someone to pull weeds and trim to clean it up.
Any information that could help in court to gain custody of my daughter. The mother has been using our daughter against me and i know i can provide a better life.
I need someone who knows someone in the police department, i would like my husband to get caught for driving drunk. I have tried to get him caught about six times now with no luck.
Has been missing for 5 days, with no trace. Unable to get a hold of him.
Fiance lives outside of eagle river, wisconsin. I need pictures of who is going in and out of the house timed and dated.
Reason to believe my brother in law is having some type of internet affair that led to personal. i have specific details from many sources.
Wife walked out on me and our child, its been almost 1 year. Im looking for proof of adultery for divorce.
A car hit mine and broke my bumper and drove off and i only got there license plate number, and the cops won't do anything about it because i moved my car from the scene.


Not just another cool animal tote bag from The Mountain, our Big Face Panda design by Vincent Hie is an essential accessory for panda collectors. This unique tote features that sweet and fuzzy panda face that is totally smoosh-able. Whether this is a gift for your favorite panda-enthusiast, or just a quality tote bag to add to your own collection, you will not be disappointed!


text:
About Terms of Use Privacy Contact
Attractions & Things To Do Nearby
Hingham, Massachusetts
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Family Attraction
United States Naval Shipbuilding Museum
(range: 4 miles)
Located in historic Quincy, Massachusetts. The USNSM is home to the USS Salem, the world's only preserved Heavy Cruiser. (This excerpt taken from the United States Naval Shipbuilding Museum website)
Adams National Historical Park
From the sweet little farm at the foot of Penn's Hill to the gentleman's country estate at Peace field, Adams National Historical Park is the story of "heroes, statesman, philosophers … and learned women" whose ideas and actions helped to transform thirteen disparate colonies into one united nation. (This excerpt taken from the Adams National Historical Park website)
Braintree Municipal Golf Course
Braintree Municipal Golf Course offers great golfing at some of the lowest and most competitive rates on the South Shore. The course is located only 2 miles from exit 6 on Rt 128/93/South Shore Plaza . (This excerpt taken from the Braintree Municipal Golf Course website)
X1 Boston
X1 Boston is currently closed due to concerns around the COVID-19 Pandemic. There is no active schedule for Junior academies, racing leagues or events at this time. (This excerpt taken from the X1 Boston website)
Granite Links
For one of a kind golf, dining and events, you have come to the right place! Open to the public, Granite Links is home to 27 championship holes, multiple restaurants, and a variety of event options, all in one spot! Our meticulously manicured courses and practice ranges, coupled with breathtaking views of the Boston Skyline, make Granite Links the most stunning entertainment experience in Greater Boston. (This excerpt taken from the Granite Links website)
John F. Kennedy Presidential Library and Museum
The John F. Kennedy Presidential Library and Museum is dedicated to the memory of our nation's thirty-fifth president and to all those who through the art of politics seek a new and better world. (This excerpt taken from the John F. Kennedy Presidential Library and Museum website)
Castle Island
A visit to Castle Island combines history and recreation. Tour Fort Independence or take a walk around it. Continue the day sunbathing or swimming at one of the nearby beaches. (This excerpt taken from the Castle Island website)
The Institute of Contemporary Art
(range: 10 miles)
The Institute of Contemporary Art strives to share the pleasures of reflection, inspiration, provocation, and imagination that contemporary art offers through public access to art, artists, and the creative process. (This excerpt taken from the The Institute of Contemporary Art website)
Franklin Park Zoo
Visit Franklin Park Zoo in Boston, MA. See gorillas, zebras, giraffes, tigers, lion and more. (This excerpt taken from the Franklin Park Zoo website)
Located only minutes from the bustle of downtown Boston, the DCR Blue Hills Reservation stretches over 7,000 acres from Quincy to Dedham, Milton to Randolph, providing a green oasis in an urban environment. Rising above the horizon, Great Blue Hill reaches a height of 635 feet, the highest of the 22 hills in the Blue Hills chain. From the rocky summit visitors can see over the entire metropolitan area. (This excerpt taken from the Blue Hills website)
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These small bowls from our Indigo collection are perfect for serving everything from rice to soup or even dessert. Made of porcelain and featuring intricate blue and white designs, these elegant bowls are ideal as serveware or eye-catching decor pieces. 6 assorted styles.


text:
Q: Why is the magnetic Schrödinger operator positive? In the book Schrödinger Operators by Cycon et al. they prove that the magnetic Schrödinger operator (as well as the Pauli operator) have essential spectrum $\sigma_{ess} = [0,\infty)$ if $B$ has decay at infinity and the potential $V$ is $-\Delta$-compact.
Remember that the magnetic Schrödinger operator is given by
$$H_{ms} := (-i\nabla -A)^2 +V $$
where $A$ is the vector potential. In their proof they claim that since $H(A,0)= (-i\nabla - A)^2$ is positive, the spectrum must be contained in $[0,\infty)$.
A self-adjoint operator $T$ is positive means that $\langle Tx,x\rangle \geq 0$ for all $x\in X$ where $X$ is Banach. Now why is $H(A,0)$ positive? Is it because it is the square of an operator, specifically $-i\nabla -A$? If so is it trivial to see this?

A: Let $\mathcal{H}$ denote the Hilbert space of wave functions $\psi:\mathbb{R}^3\to\mathbb{C}$.  Recall that
$$\langle u|v\rangle =\iiint_{\mathbb{R}^3}\bar{u}(x,y,z)\ v(x,y,z)\ dx\ dy\ dz$$
for all $u,v\in \mathcal{H}$.  Write $h$ for the operator $(-i\nabla -A)^2$.  Observe that
\begin{align}\langle hu|v\rangle &=\iiint_{\mathbb{R}^3}\overline{hu}(x,y,z)\ v(x,y,z)\ dx\ dy\ dz
\\&=\iiint_{\mathbb{R}^3}(i\nabla -A)^2\bar{u}(x,y,z)\ v(x,y,z)\ dx\ dy\ dz
\\&=\iiint_{\mathbb{R}^3}(i\nabla -A)\cdot \overline{\Phi u}(x,y,z)\ v(x,y,z)\ dx\ dy\ dz,
\end{align}
where $\Phi=-i\nabla-A$.  That is,
\begin{align}\langle hu|v\rangle &=i\iiint_{\mathbb{R}^3}\nabla\cdot \overline{\Phi u}(x,y,z)\ v(x,y,z)\ dx\ dy\ dz-\iiint_{\mathbb{R}^3} \overline{\Phi u}(x,y,z)\cdot Av(x,y,z)\ dx\ dy\ dz
\\&=-i\iiint_{\mathbb{R}^3}\overline{\Phi u}(x,y,z)\cdot \nabla v(x,y,z)\ dx\ dy\ dz
-\iiint_{\mathbb{R}^3}\overline{\Phi u}(x,y,z)\cdot Av(x,y,z)\ dx\ dy\ dz,\end{align}
where we apply integration by parts in higher dimension, assuming that $u(x,y,z)$ and $v(x,y,z)$ vanish quickly when $(x,y,z)$ is large.  That is,
\begin{align}\langle hu|v\rangle &=\iiint_{\mathbb{R}^3}\overline{\Phi u}(x,y,z)\cdot(-i\nabla-A)v(x,y,z)\ dx\ dy\ dz
\\&=\iiint_{\mathbb{R}^3}\overline{\Phi u}(x,y,z)\cdot\Phi v(x,y,z)\ dx\ dy\ dz.
\end{align}
In particular,
\begin{align}\langle hu|u\rangle &=\int_{\mathbb{R}^3}\overline{\Phi u}(x,y,z)\cdot\Phi u(x,y,z)\ dx\ dy\ dz\\&=\int_{\mathbb{R}^3}\big\Vert\Phi u(x,y,z)\big\Vert^2\ dx\ dy\ dz\geq 0\end{align}

A: If $X$ is a vector with Hermitian components, $$\langle\psi |X\cdot X|\psi\rangle=\sum_i\langle\psi |X_i^2| \psi\rangle=\sum_i\langle\psi |X_i^TX_i| \psi\rangle=\sum_i\Vert X_i|\psi\rangle\Vert^2\ge 0.$$


Covers such broad issues as literature, philosophy and ideas, and incorporates the Colin Wilson Newsletter together with a new and secondhand booklist (offering personally signed copies of all CW's titles presently available in print) plus poetry, fiction and reviews.
Meets fortnightly in London to hear and discuss philosophical papers, and co-organises an annual conference. Offers details of their programme, publications, and proceedings.
Subject association for philosophy as an academic discipline; representing professional philosophers. Offers membership information and news, plus resources for educators.
Promotes the study of the nature and values of human movement, including the ethics and the unique values of games, play and sport. Includes event and publication lists.
Features podcasts and articles, plus conference information.
Promotes all aspects of the study and teaching of the history of philosophy; includes information on conferences, membership and events.
Student-run group open to anyone interested in undergraduate-level philosophy.
Established in 1990 and aims to promote research into philosophical, methodological and foundational questions arising in the natural and the social sciences, as well as their application to practical problems.
Provides support and training for teachers wishing to engage in philosophy for children. Details courses and training available and provides a downloadable brochure.
A forum for those interested in the work of the German philosopher G W F Hegel (1770-1831). Offers information about their annual conferences, journal, and membership.
Promoting scholarship connected to the philosophy and writings of David Hume.
A digitised collection of the complete works of David Hume, with notes and scholarly analysis.
Official website of The Radicals, a drama group that promotes the Scottish radical enlightenment of David Hume and Adam Smith, and presents plays at the Edinburgh Festival. Includes resources on their chosen philosophers, information about their productions and reviews, and suggestions for teachers.
The Newcastle Philosophy Society practices free philosophical conversation.
Journal of the Philosophical Society of England, with selected articles available online.
Association for individuals interested in philosophy. Aims to promote philosophical debate, the active exchange of ideas and information, and guidance on philosophy courses and literature.
Promotes the use of philosophy in the public sphere, specialising in the facilitation of philosophical conversations in education, business and the community.
Promotes the study, teaching and application of philosophy of education. Contains conference information, and details of membership.
Freelance philosopher Gareth Southwell presents an active discussion forum, articles, study resources and details of his books.
Aims to bring philosophy into the real world and outline its uses.
A charity dedicated to the advancement of philosophy in all its branches; includes details of membership, lecture programmes, support for research, resources, and projects.
Aims to be a guide to philosophy for children in the UK. Contains information on current projects, downloadable resources and details of training courses.
The professional association of philosophers in Scotland; formed to promote the study and teaching of philosophy. Includes details of their events, conferences, and news, with a list of academic departments and research centres.
Offers details of this organisation which promotes philosophical counselling, socratic dialogue and philosophy for children.
Aims to support and promote the role of women as professional philosophers. Explains the organisation's mentoring services.
A publisher, library, events space, museum, bookshop and registered charity.
Works with schools and other organisations to promote philosophy groups for children and young people.
Encourages the study of the philosophy of Immanuel Kant. Presents information on their journal, Kantian Review, as well as details of forthcoming events and conferences.


About On January 7, 1957 Capuchin Fathers had reached Chakia, the neighbourhood of Naugarh. Fr. Cyriac Kuruvilla was appointed in 1971 to open a mission station in Chakia area. He selected Majhgain. Fr. Francis Machado built the Presbytery, Sisters' Convent and the Dispensary. The FMM Sisters arrived here on February 8, 1974 and began the ministry. The Primary School was started by Fr. Mathew Kanicheril in 1981. Fr. Joy Muriankary put up the school building in 1985. Fr. Thomas N.J. did his share of getting recognition for primary school and the electrification of the village. Fr. William did a greater part of upgrading the school and benefiting from government facilities when special favours were offered for female literacy. Female literacy being as low as 5.65% in Naugarh Block. The School was upgraded to Junior High School in 1991 by Fr. William and then to High School in 1998 a Junior High School for girls was started in 1991 by Fr. William. In 1996 this school was upgraded to High School.


Posted: Fri Sep 21, 2012 9:13 pm Post subject: Classic 50cc racing bikes......homebuild!
If there is any interest i like to post about my 50cc racing addiction.
The red and white bike is the bike i am racing at this moment,i built it last year using an Sachs engine from 1969.
I built the frame,rebuild the engine with a rotary disc inlet,home made cranck,home made close ratio gearbox,stronger clutch and tuned the cillinder..........almost 20 hp measured on the rear wheel.
These bikes are capable of more than 100 mph.
Next weekend we have the last race of the seison,the bike has done well,is fast and reliable,only some minor problems like a broken clutch handle,cracked exhaust and a head gasket what blew out.......nothing worse happened and that is pretty unusual for a new bike so i am happy about that.
Next time i'll show another project what is still going on,building a replica of the 1964 50cc works Suzuki,the bike kiwi Hugh Anderson world champion with.
Do you also do all your own castings as well.
Looking forward to more of your fine work.
After the glue is hardend mill the casting flat.
A bigger casting like a complete set of crankcases are more difficult,these are the moulds and castings of my Suzuki rm64 replica engine.
As you can see when the casting is done there is a lot of milling ahead,now it is only a big heavy chunk of aluminium.
The last pic shows the sprockets of the ignition drivetrain,the original bike had the same system to drive the magneto.
Next time more,if you have any questions just ask,try to ask in simpel english because i am Dutch and my english is not so very good.
I'm impressed. Do you make the gears yourself, or salvage / buy them in?
I try to use gearsprockets that are already available in several brands of mopeds,easier and cheaper than making it yourself,but when a gear is not available i buy blanks and make those fit to the axle.
The gearbox in the Suzuki is 90% Kawasaki ar50,the cranck own design Sachs,The clutch will be made from parts of:Simson,DKW and home cooked.The cillinder is a russian moped example,the cillinderhead is Zündapp.
The frame was already built before the engine was done,i had a testdrive with another engine fitted(Sachs)to check out the drivabilaty of the frame.
It has a good roadholding and is very easy to race so that is not something to worry about.
Beautiful, stunning.. and for sure a work of art..
I'm building a 50cc Sachs racer myself at the moment and any inspiration and info is much appreciated..
My hat off to you sir, bloody nice work..