A closer look at Jason Kidd's third signature shoe under the PEAK brand.
Tonight, Dallas Mavericks point guard Jason Kidd will make a third run at an NBA Championship in his sure-to-be Hall of Fame career. The 17-year vet began his career wearing notable Nike signatures and associated sneakers in the 90s and looks to end his career wearing shoes from Chinese upstart PEAK. Since joining the brand back in the summer of 2008, Kidd has been the recipient of three signature sneakers, the latest release simply called the PEAK Jason Kidd III. Here's a closer look at one of the colorways Jason has worn this season.
Decked out in Mavs colors, the shoe features a white leather upper with black working the collar, laces and inner liner. Blue wraps from the midsole and extends into a thick layered external heel counter, and also takes care of detailing on the tongue, branding on the side panels and personalization on the heel. A white rubber outsole completes the look below.
Though PEAK has made great strides in adding American NBA endorsers in recent years, availability stateside is virtually non-existant. If you're interested in owning the Kidd III, Air-Randy is selling a run in this colorway from size 7 to 11 on eBay.


A stroll down the beach on a warm fall day.
Though most of the tourists are gone, there are a few fishing and crabbing along with the locals. Every time we've been to Breach Inlet lately, there has been a juvenile Brown Pelican begging at the feet of the fishermen and families crabbing.
While it seems harmless, even helpful, to toss this beggar a few scraps of bait, or even a bait ball [which he steals now], this fellow is wasting his invaluable learning year on being hand fed. Pelicans have a specialized method of feeding that isn't inborn, they have to learn it over time. Adults have a higher feeding success rate than juveniles, suggesting not only that juveniles need time to perfect their technique, but that it's also harder for juveniles to get the required caloric intake. So are you REALLY helping wildlife when you give handouts?
Anyway. Moving on…beaches are the best for looking at invertebrates. A neat pair we found on our stroll was a Grey Sea Star and a Long-wristed Hermit Crab in a tide pool.
The Sea Star seems to have had a rough time holding on to his arms. The Grey Sea Stars don't have suction cups on their tube feet like other sea stars do, but instead they use their tube feet to dig in the sand for clams.
Here is a good view of the underside and the tube feet. I'm not sure what is protruding out of his belly, but sea stars only have a mouth, so anything that goes in and can't be digested is regurgitated back out…lovely thought, eh?
Though not whole nor alive, this was still a neat find: a Calico Box Crab!
Much more lively was this Speckled Crab. His camouflage is pretty good, but he's much better at burying himself until only his eye stalks are showing! Works well to hide from gulls and fish, but doesn't do much good in avoiding being stepped on.
A Ghost Shrimp! They are responsible for the plethora of holes you find on the beaches here in the Lowcountry, though they almost never come out of them. In fact, a researcher working with these guys said they would die within three hours of being excavated out of their burrows, though they were adequately accommodated. This individual is probably Callianassa major since it was so large! It seemed really disoriented, but eagerly went down the burrow once I put his head in it.
Every now and then you'll see a curious person try to dig out and discover what makes all the little holes. Unfortunately for them, the burrows of ghost shrimp can go down 6 feet, and they are fast, so finding one is pretty tough. A really awesome and rare find for us, I am sure it was terrifying for the shrimp. Though called a shrimp, this fellow cannot swim and is more closely related to another non-swimmer, the hermit crab, instead of its namesake cousin the swimming shrimp. The exoskeleton isn't hard by any standards and though most ghost shrimp have one large claw, it won't provide much defense.
That find topped off our Seaside Stroll. Hope you enjoyed!
For more photography in sepia, please visit SEPIA SCENES!
Having been in South Carolina for nearly a month now, we've managed to walk Sullivan's Island from top to bottom on the beach side. The south end is fun because you can watch the container ships come in to port with their dolphin escorts and Fort Moultrie with all its history is down there.
The north end, from whence these pictures were taken, is difficult to walk because of the jetties that try in vain to hold the beach in place. Even with a pile of rocks every 50 yards, the ocean is still winning [never build on the north end of a barrier island–or just DON'T build on a barrier island period. They are THE definition of change and impermanence].
The house below is still occupied. There were a couple new-looking SUVs parked in the drive, music playing from a radio while someone worked or cleaned their car. This scene struck me. Mass consumer owned SUVs that consume excessive amounts of gas and over expensive houses that will be consumed by the sea regardless of the occupant's wealth. Such short lives we live, but we can make a great impact on the environment. It's our choice whether it's sustainable or detrimental.
I'm not certain that this is a relic of the wars, but I think it might be. Maybe WWI or II, but it looks like a base for a large gun where it could pivot and protect the channel. I'm sure anyone in any war or hard time feels like it's going to last forever, that the sun won't ever shine the same, and they'll never be the same. Impermanence works both ways luckily.
Such a small barrier island, but yet there's so much that goes on there, human activity or otherwise! In 200 years, will it still be there to tell any tales?


We Come To You And Shred on The Date You Need Us!
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In business and even at home you accumulate papers over time and at some point, you don't need them anymore. But many of those documents have personal and confidential information on them that needs to protected even when they are no longer needed. Secure onsite shredding services in Bayville with Time Shred is the best way to dispose of those documents.
The shredding process is not complicated. To start give us a call and we will explain how our document destruction process works from your call to the shredding of your records. We will also take all of your service requirements into consideration and give you a quote with no hidden costs. As long has you are satisfied with the price and how we will service the destruction of your papers and files you can then schedule your appointment. When do you want to have your documents shredded? With Time Shred you pick the date. We offer next day paper shredding services Monday through Saturday in Bayville NY. There is no extra charge if Saturday works best day for you.
Paper shredding falls into two main categories, One-time or Schedule.
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Scheduled Shredding services is for an ongoing need to securely dispose of business records. Time Shred provides locking containers at no additional charge to hold your documents in until your schedule appointments. We provide an adequate quantity of containers so they can be placed in central locations in your office so it will be convenient for your staff to deposit documents. We will then come to your office on a recurring schedule to empty and destroy the contents of each container. Your schedule can be weekly, bi-weekly, every four weeks or monthly. You will find that a consistent schedule is more secure and successful. We will help you determine the best schedule for you.
Let us come to your home and securely destroy your personal files that you don't need anymore. Our residential shredding service is the best way for you to dispose of these records to insure they don't get into the wrong hands. With our on-site home service you will be able to witness the process including seeing your documents going through the cutting bladed. Our residential document destruction service is available Monday through Saturday.
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Are you looking for gates and doors for your commercial complex? We have a wide selection that you can choose the gate, which fits your commercial structure. Gates available for your commercial structure are highly elaborate, magnificent and offering improved security. The design and styles for these gates is done to improve on your PR. There are wooden, iron, steel and fiberglass gates. We also allow for specific ordering.
In addition, we have these gates at highly competitive prices. To acquire your own, contact us as stock lasts. When you get in touch, we will also discuss on delivery terms as well as installation of the gate.
Is space in your compound or garage a problem? Then we suggest you consider sectional doors for your garage. A sectional door has higher utilization advantage. It is flexible enough to allow for easy opening and closing. If you car is parked in the garage and fills the entire room, sectionals is what you need. How will you install a sectional door? Relax; we have the expertise and the requirements for the job. Contact bus for a free quotation.
Rolling garage doors are great investment with a realizable ROI. There are rolling doors for all the types, materials and designs you might want. For your information, we have wooden rolling door sand they are available for very competitive prices. We also offer installation services for rolling doors, repair as well as replacement services for rolling doors. For a free quotation, please contact us.
Do you want a new experience with your garage door? The new roll up self-storage door in an option you might want to try. These types of doors are available in several materials; iron, fiberglass, steel…etc. self-storage doors are an investment that is guaranteed to make using your garage a completely new experience. Rolling up self-storage doors are a perfect for your residential garage even though they are also a perfect solution for commercial. For more, contact us.


Thank you for joining us for another episode of the Dance Studio Excellence podcast, where we provide valuable insight for dance studio owners worldwide so they can build a profitable and stress-free performing arts business they can truly be passionate about!
On this episode, we'll be giving the DSE faithful a quick update on what we've been up to and what they can expect from Dance Studio Excellence going forward.
We'll also have an in-depth Q&A about our ongoing experience in hiring a full time studio manager.
– Challenges faced and how we are overcoming them.
We have ongoing discussions and training for Dance Studio Owners just like you!
So make sure you join today and get involved right away!
If you have enjoyed this podcast and found it has helped you, we'd love for you to share with a friend and leave us a 5 Star review on iTunes, Stitcher and where all great podcasts are found.
We hope you found today's podcast insightful and we can't wait to chat with you again!
Welcome to Dance Studio Excellence!
I'm Stella, founder of DSE, avid entrepreneur and studio owner, and 2016 Optus BusinessWoman of the Year.
Click here to learn more about me and the DSE community!
I can't wait to create an extraordinary dance business with you!
© 2019 www.DanceStudioExcellence.com All Rights Reserved.


Chernomortransneft has held an emergency response drill in the Black Sea water area, close to the port of Novorossiysk.
The event brought together employees of Sheskharis Transshipment Complex (TC), Chernomortransneft and Transneft Service for Transneft Service's professional emergency rescue teams (PERTs) to practice elimination of oil and petroleum products spills in an emergency area.
Under the ERD's plot, a process pipeline damage at the lower site of Sheskharis TC resulted in an "oil release" in the amount of 312.5 m3, part of which leaked into the water area of the Tsemes Bay. Under the influence of a permanent circulation current and NE wind, the simulated oil spill with the area of 15,000 sq. m spread towards the navigation channel of the port of Novorossiysk, namely the anchorage area.
Having received the emergency signal, Sheskharis TC notified the emergency response teams and dispatching units of the complex, supervisory control departments of Transneft Service and the administration of Novorossiysk seaport. A joint headquarters was arranged to eliminate the consequences of the emergency.
Emergency rescue teams of Transneft Service were sent to the simulated oil spill site. Boom lines with the total length of 400 metres were deployed in the drill area to contain and collect oil from the sea surface. A skimmer (a special device) was used to collect the "oil", whereupon the oil and water mixture was loaded onto a reservoir vessel and transported to the port. The task of oil spill elimination was made more complicated for the PERTs by an additional report of oil film catching fire in the area surrounded by the boom lines. The Antares tow vessel carrying a fire-extinguishing unit arrived to put out the "fire", which was successfully contained.
The main task of such drills is to check employees' actions in the case of an emergency occurrence, their skills to perform troubleshooting, prevent emergencies and ensure these are eliminated as soon as possible, either individually or as part of emergency response teams.
The ERD brought together 32 persons and 5 crews from marine vessels of Transneft Service, the emergency and fire safety committee (E&FSC) of Sheskharis Transshipment Complex. Representatives of the Occupational, Industrial, Fire and Environmental Safety Department of Transneft observed the training event.
Based on the results of the emergency response drill, the observers noted that the emergency rescue teams and governing bodies of Transneft Service and Chernomortransneft coped with their tasks of eliminating the simulated emergency successfully and in due time.


When I had my children, I didn't want to rely on technology.
Now, because I'm a primary school teacher, it was important to me that the activities my kids were engaging in, were stimulating and encouraged problem solving that engaged my boy's hands and his mind.
It's sometimes really tricky to come up with idea's all the time but I find if you have lots of tools in the kit, ready to go, you're 90% of the way there with thinking up awesome ways to learn through play.
Here are 9 ways I like to encourage learning through play.
No matter what your children's ages are, going for a walk presents a huge amount of opportunity for learning from road safety to social skills. Play eye spy or come up with a goal of finding 10 different coloured, shaped or feeling leaves. The possibilities for learning from going for a walk are endless.
People are visual and the majority of us learn better through visual experiences. So the fact that art and crafts is a way to learn through play makes absolute sense!
Setting up a space to be creative helps with brain function and development by forcing children to make decisions, solve problems, pay attention to detail and self evaluate. It encourages observation, language and vocabulary by talking through what they are doing and finding ways to describe their arts and crafts. Through art they learn practical things about colours, designs, shapes, and it of course provides a fun way to practice using muscles and coordination that develops their fine motor skills.
Try setting a timer fo 2-5 minutes, take turns picking a topic and then have a race against the clock (or egg timer!) to see how much you can get down about your topic. It really is that simple! It's fun to see what you can come up with, helps with recollection, language, fine motor skills and communication amongst other things. I'd love to know how you get on!
Open the door and go outside! Look for leaves, stones, different textures, kick a ball, have a race. The possibilities are endless!
If you're child is a bit older or is really into something, find out where you can go to learn more. You never know where it might end up and it could be the bases for a life long learning or passion.
Look high and low through the house to see what you can count 100 or more of (or less if that is best for your child!). Count pieces of rice, pasta, cereal, tiles. It's incredible what they start to notice once you pay attention to detail. Talk about volume, weight or height. Compare and ask questions like 'how does 100, 100's and thousands' look different to 100 pieces of penne pasta?
Learn about measurements, ingredients, shopping, where our food comes from, temperature, following instructions. You could make muffins or do an easy non-bake recipe such as bliss balls. If real cooking and baking is off the cards for today, you could always pull out some Busy Bag's felt food!
Go to the library. Have story time and research something.
Busy Bag's NZ has a whole range of activities to encourage learning through play! There's something here for everyone from babies through to 5 years + and you can see some of our favourite picks here. Busy Bag's are perfect for having around the home, in your car and even keeping in your bag.
What are your favourite activities for kids that encourage learning through play?


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Stretches of Repeating DNA Predispose to Systemic Sclerosis
Tsukuba.ac.jp
Systemic sclerosis is an autoimmune disorder that is characterized by excess deposition of connective tissue in the skin, lungs, kidneys, and vessels, resulting in lung, heart, and kidney dysfunction. In a new study, researchers from the University of Tsukuba revealed that patients with long stretches of repeat DNA sequences, also called microsatellite repeat polymorphism, in the gene for Friend leukemia integration 1 transcription factor (FLI1) are more likely to develop systemic sclerosis.
Systemic sclerosis is an intractable disease, and as of now immunosuppressive therapies are one of the few options to limit its progression. To date, a number of genes have been identified as potential contributors to the development of systemic sclerosis through genome-wide association studies (GWAS), whereby genetic variants in different individuals are compared to see if they are associated with the disease. However, genes identified through GWAS are shared between various autoimmune diseases and therefore do not seem to directly account for the molecular mechanisms leading to the deposits of connective tissue in the pattern seen in systemic sclerosis.
"We wanted to specifically go after FLI1 that has been shown to be produced to a lesser extent in the lesional skin of systemic sclerosis patients. We thought that downregulation of FLI1 may be a trigger for systemic sclerosis," says corresponding author of the study Professor Naoyuki Tsuchiya. "Interestingly, the gene encoding for FLI1 contains a microsatellite region, and it is known that extended repeats of microsatellites result in reduced FLI1 expression. We hypothesized that patients with systemic sclerosis may also have these extended DNA repeats in the FLI1 gene."
To achieve their goal, the researchers collected DNA of 639 systemic sclerosis patients and 851 healthy patients and specifically looked at the length of repeats of the DNA bases GA (guanine adenine) that make the microsatellite region in the FLI1 gene. The researchers investigated the DNA to determine the number of GA repeats beyond which the likelihood to develop systemic sclerosis significantly increases, and found that this value is 22. On the basis of this finding, the researchers defined a FLI1 gene with more than 22 repeats as an L (long) allele and with fewer than 21 as an S (short) allele.
"Our results show an association between GA repeats over 22 in the FLI1 gene and systemic sclerosis," says lead author of the study Keita Yamashita. "We next wanted to have a closer look at the clinical characteristics of systemic sclerosis patients with FLI1 L alleles".
The researchers found that FLI1 L alleles were significantly increased in patients with a modified Rodnan total skin thickness score (mRSS) over 10 compared with those with a score under 10. The mRSS is a measure of skin thickness and is frequently used to quantify the extent of connective tissue deposition in the skin of systemic sclerosis patients. The researchers next found that FLI1 mRNA levels were decreased in systemic sclerosis patients compared with healthy controls, and further reduced in healthy controls with FLI1 L alleles compared with healthy controls with FLI1 S alleles, showing that long GA repeats may be disruptive to the production of FLI1.
"These are striking results that show how extended repeat alleles of FLI1 GA microsatellites may affect the expression of FLI1 and the development of systemic sclerosis. Our results provide a novel insight into the pathogenesis of systemic sclerosis, as well as into the relevance of microsatellite polymorphisms in human diseases," says Professor Tsuchiya.
Want to keep reading about rheumatology? Click here.

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Virtual Student Guide Tour: This Land Is Whose Land?, with Jacqueline Zoeller
Harvard Art Museums—Online
On this tour commemorating Native American Heritage Month, Jacqueline Zoeller '23 will contrast colonial visions of the Western U.S. landscape, such as Albert Bierstadt's Rocky Mountains, "Lander's Peak" (1863), with the realities lived and portrayed by Native American artists. Stops on the tour will include Diné artist Will Wilson's Mexican Hat Disposal Cell (2020), a landscape photograph of Halchita, Utah, the Navajo...
Read more about Virtual Student Guide Tour: This Land Is Whose Land?, with Jacqueline Zoeller
2021 Jun 19
In the Groves
Arnold Arboretum, 125 Arborway, Boston
Immerse yourself in the deep beauty of trees in this story and music journey through the Arboretum. Led by Oracle award-winning storyteller Diane Edgecomb and Celtic harper Margot Chamberlain, this unfolding performance of ancient tales and songs from cultures around the world takes place in a variety of groves—birch, cherry, and evergreen—at some of the Arboretum's loveliest spots.
This event is free, but registration is required and limited. Not designed for children under 12, and dogs are not allowed. COVID guidelines will be followed.
Read more about In the Groves
Resetting the Table: A Virtual Talk and Tour with the Curators
The "Resetting the Table: Food and Our Changing Tastes" exhibition at Harvard's Peabody Museum of Archaeology & Ethnology explores food choices and eating habits in the United States, including the sometimes hidden but always important ways in which our tables are shaped by cultural, historical, political, and technological influences.
Join us on this special virtual talk and tour at the Peabody Museum of Archaeology & Ethnology with Joyce Chapli, guest curator and Harvard University James Duncan Phillips Professor of Early American History; Janis Sacco, Director...
Read more about Resetting the Table: A Virtual Talk and Tour with the Curators
A History of Path-Making at the Arnold Arboretum
At the time of its founding in 1872, the land on which the Arnold Arboretum of Harvard University is sighted was a patchwork of farmland and forest. As the Arboretum was planted, pathways were developed to lead people through the picturesque landscape. As the landscape developed, economies shifted, wars took place, and directors changed. Each of these factors subtly influenced shifts in the park's path system. Join the Arnold Arboretum on Zoom with Jared Rubinstein as he reveals the layers of change in this beloved landscape.
Read more about A History of Path-Making at the Arnold Arboretum
Mesopotamian Monuments Tour
Online—Harvard Museum of the Ancient Near East
Mesopotamian Monuments is a 60-minute live-streamed museum visit to investigate monuments from Sumer, Babylonia and Assyria exhibited at Harvard University. Guided by a museum educator, visitors at home observe sculptures in the gallery to understand the characteristics of these ancient river civilizations. The tour introduces the Sumerian ruler Gudea, Hammurabi of Babylon and the Assyrian Kings Ashurnasirpal II and his son Shalmaneser III. The experience includes the monument of Hammurabis' code and some ancient music with time for questions and discussion.
Cost:...
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Virtual Tour for People with Vision Loss
Online—Harvard Museums of Science & Culture
Pour a libation of your choice–beer was popular in the Ancient Near East–and join this live virtual tour of the exhibition From Stone to Silicone: Recasting Mesopotamian Monuments. The museum showcases newly fabricated casts from the ancient scenes that once adorned palace walls in Mesopotamia (present-day Iraq). Meticulously created by museum curators and Harvard students, these relief sculptures show how the ancient kings commemorated their military triumphs and civic achievements. For ancient audiences, these scenes presented powerful royal propaganda. For modern audiences,...
Read more about Virtual Tour for People with Vision Loss
Tour: The Architectural History of the Harvard Art Museums
Harvard Art Museums, 32 Quincy Street, Cambridge
Facilities director Peter Atkinson will take visitors on a 60-minute architectural tour of the museums, highlighting the strategies and stories behind the evolution of the recently renovated building, with a special focus on its environmentally conscious, certified LEED Gold design.
Free with museums' admission (Note: Cambridge residents, all students, youth under age 18, and Massachusetts K-12 teachers get in free to the Harvard Art Museums). This tour is limited to 15 people and tickets are required. Ten minutes before the tour, tickets...
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Intercontinental is one of our favourite hotel groups and their venues always impress with excellent service and 5* luxury. Cat Gray recently visited the Intercontinental in Los Angeles and enjoyed some old style Hollywood glamour; meanwhile, closer to home, we popped into the Intercontinental London Park Lane to try the latest Afternoon Tea offering.
The limited edition Scents of Summer is available right up until the last week of September. This Afternoon Tea heralds an exciting collaboration between InterContinental London Park Lane Executive Chef Ashley Wells and Edward Bodenham, 9th generation of the world's oldest family-run perfumers, Floris.
While it may sound a little unusual at first to combine a dining and perfume experience, this is actually a really wonderful idea because it enables a full sensory journey. With a floral theme running throughout, the Afternoon Tea combines perfumery expertise and culinary talent to celebrate the beauty of British summertime.
It would be rude not to accept the offer to enjoy a glass of pink champagne at the start of proceedings, especially when the Intercontinental has stunning glassware. We have never seen such tall and elegant champagne flutes!
Considering that this Afternoon Tea takes a couple of hours to fully play out, an ice cold glass of Moet Rose proved the ideal way to start.
The tea selection is extensive and whether you like to experiment with various types of green tea, opt for vanilla infused tea or try the rose bud style, there is one to suit every taste. However, during this Afternoon Tea, guests are actually encouraged to sample more than one tea in order to complement the food as best as possible.
The sandwiches were beautifully prepared and the bread was also coloured and presented in lots of different shades. The spicy chicken was a great contrast to the lighter salmon option, with feta and spinach also among the selection. This was followed by delicate scones that were accompanied by plain clotted cream, earl grey infused butter or a lemon curd choice. The scones were the perfect size and smaller than normal, which was great because you didn't feel as though you had eaten too much before reaching the incredible finale.
As with the previous servings, an invigorating fragrance was sprayed over our table to mark the start of the final course. Floris fragrances maximise the Afternoon Team experience and include scents such as freshly cut grass, jasmine, bergamot, citrus, and rose. The selection of treats that concluded the sitting was definitely a highlight. An edible garden was positioned in the middle of the table, which featured pretty flower inspired treats, including the bit size cakes decorated with pansy leaves, macaroons, summer berries and even tasty chocolate 'stones'. It almost looked too good to eat… almost!
As our Afternoon Tea experience came to an end, we sat back to relax in the grand and comfortable sofa seats while admiring the view that looks towards Green Park. The hustle and bustle of London life was passing us by and it felt as though we were enjoying a paused moment in time and wished that it could last forever.


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Q: Why does IE11 block onclick events for trusted sites when internet zone security is set to high? I work on a site in a development environment where IT frequently resets our IE internet zone security settings to High. I'm finding that onclick events for html input buttons do not fire, even though I've added sites to the trusted sites zone. For example if I go to jsfiddle.net and run:
<input type="button" value="edit" onclick="alert('blah')" />

It won't fire even though jsfiddle.net is in the trusted zone. Once I drop the internet zone back to Medium-High, it's dandy. Is there a workaround for this? Or is there another security setting that I'm missing or some IT activity that might block it?

A: JSFiddle code runs in the context of fiddle.jshell.net not jsfiddle.net. Add fiddle.jshell.net to the trusted zone.
fiddle.jshell.net is the sandbox domain of JSFiddle to prevent JavaScript untrused code execution on the main domain.

redpajama_set_name: RedPajamaStackExchange


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Response to "The hyper-local Indonesian revolution: Stories and sensations from around Bojonegoro and Mojokerto" by Remco Raben
By Babs Boter and Susan Legêne, Vrije Universiteit Amsterdam
Remco Raben, Professor of Colonial and Postcolonial Literary and Cultural History at the University of Amsterdam, on 12 September 2019 published an account of his journey through East Java. The travel text appeared on Facebook as "The hyper-local Indonesian revolution: Stories and sensations from around Bojonegoro and Mojokerto,"[i] and was also published as "Verhalen en ervaringen rond Bojonegoro en Mojokerto" on the website of Ind45-50.org (19 September 2019).[ii] In many respects this is an impressive and relevant account of his current research project, and we understand that the post received only little skepticism and many likes and other positive replies. But we also have major concerns about the text and would like to critically respond to it—not only because the author invites "comments and suggestions," but also because he is preparing a much larger publication "on the administrative and political contexts of the violence in the Indonesian revolution." Our response is based on a close-reading of Raben's account, and is informed by work done by scholars such as Sara Ahmed, Dipesh Chakrabarty, Johannes Fabian, Selma Leydesdorff, Sara Mills, Mary Louise Pratt, Carl Thompson, and Michael Rothberg.
The First Concern
Raben starts off by stating he wishes to share some of his experiences "not because they were so successful or because they led to particularly original insights, but because they may tell something about the difficulties and possibilities of writing history from Indonesian perspectives in a history that can easily be weighed down by an overflow of Dutch archival material." This is a noteworthy case of apophasis, a rhetorical device of a speaker or narrator who first introduces a topic—here: his experiences—then states that it is really not all that significant, and consequently moves on to write about the topic at length. But, more important perhaps, the modest self-presentation of the narrator who will do nothing more than "tell something" also contrasts starkly with the major role that the autobiographical I-narrator reserves for himself in the remainder of the text. This is the first of our concerns.
The text presents a main figure whose project is an "explorative search for local voices from the revolutionary period of Indonesia." The use of "explorative" is telling here, in combination with the other four explicit references to "exploration" in this travel account. As a matter of course we read "This was meant to be a reconnaissance trip" as "The purpose of this journey was exploration." The account thus constitutes a classical travel text as defined by Carl Thompson in his study Travel Writing (2011), complete with an autobiographical I and many of the tropes that travel texts contain: the individual quest, going off the beaten path, strange encounters, surprise and wonder. Just like many 19th and 20th century travel writers who presented experiences of chancing upon something unexpected Raben's narrator pronounces "I stumbled upon," which hints at naïve luck, intuition, adventure, and fearlessness. Another classical trope that the text contains is that of the monarch-of-all-I-survey scene. This term was coined by Mary Louise Pratt, in her seminal study Imperial Eyes: Travel Writing and Transculturation (1992). Clearly echoing the travel texts Pratt studied, the narrator of Raben's text makes up his mind to "leave [the archival sources] for what they are and take a deep dip into local histories." It is in these local histories that "villagers" appear, and through their information that the monarch-of-all-I-survey scene acquires a present-day, high-tech counterpart in the notion of "hyper-local" as referred to in the travel account's title.
It is intriguing but also problematic that the narrator mostly refers to himself as if, indeed, he is on an individual quest: the statement that "my exploration certainly had a clear result", as in the case of the "village monument" that exists despite of the lack of local archives, unmistakably suggests a solo quest. This is confirmed in many places in the text, such as when the narrator states, "I decided to look into local memories …" and "I was not after that story. I was interested in …" This reads as if no other individuals are partaking in his quest and as if the production of this knowledge is not a collective and institutional effort. But as readers we do know he was, at least for part of the time, accompanied by a colleague, as he refers to "my fellow researcher Ayuhanafiq," and has asked "many Indonesian colleagues" about the whereabouts of local Indonesian archives. So, although Raben's narrator brings up informants and at the end of the account thanks six individuals and a collective group of informants and interviewees, his quest seems to be his own. The informants do not get their own, active and, possibly decisive, role in how meetings happen, and stories are being told.
The Second Concern
The second of our concerns is the ways in which the I-narrator creates his distance to the "stories" he is trying to uncover. For us as readers this occurs in two different ways. First, his use of "seems," as in "The house seems to have been indicated by an informant helper" and "Most village heads seem to have refused to work with the Dutch," implies that he does not at all frame the stories, and only recounts them from a distance. This is further substantiated by his use of "The local story goes" and "Purportedly this involved…" Second, the narrator's search for a "consistent and continuing storyline," and "A recurrent story line" suggests that what he wishes to do is find the plot, or to find a confirmation of the plot that he knows from Dutch archives. The stories conveyed by one of his informants, he asserts, "constituted only one installment of the killing party." The use of "storyline" and "installment," and of lines such as "Temayang … served as the backdrop of a meeting," indicates that the narrator is not at all a subject who is implied in the processes of remembering, selecting, reconstructing, and presentation (Rothberg 2019, Leydesdorff 2004). At the same time, of course, the I-narrator is the one who is in full control of the text, and surreptitiously inserts his own assessment of the narrative figures involved, such as "revengeful soldiers" and "this wonderful man Pak Sukardji." This ambivalent position of the narrator evokes another key concept of Pratt: that of "anti-conquest." This complex term entails, among other elements, European bourgeois subjects who present themselves as harmless, benign and vulnerable individuals who innocently pursue and produce knowledge, while simultaneously asserting European hegemony (cf. Chakrabarty's argument on the hyper-reality of Europe (2000)). Symbolically this discursive hegemony shows in the 52 mentions of the word "Dutch," seven of which indicate the Dutch as a people, the remaining references involving adjectives such as "Dutch troops," "Dutch violence," and "Dutch attacks." Jointly these references suggest that for the villagers as well as for the I-narrator "the Dutch" constitute a crucial category of analysis, even though we anticipate that in the end this category will not hold.
The Third Concern
This brings us to our third and final concern, which is related to the historiographical and epistemological framing of the travel text. Raben published his account on Facebook. Like other travel accounts it may have been written and published on the spur of the moment, without much scholarly analytical distance. Such personal narratives on social media often lead to validating likes and encouraging comments—especially if they are accompanied by photographs that present both the narrator and the villagers, and thus positivistically authenticate the travel account. This is how Facebook works. So, is our close-reading not like the proverbial sledgehammer taken up to crack nuts? We'd like to answer this question by stating that our response is first and foremost triggered by a rather fundamental historiographical and epistemological issue: The sensations referred to in the subtitle ("Stories and sensations from around Bojonegoro and Mojokerto") seem only to apply to the I-narrator. The latter does mention "havoc and fear" on the part of the Indonesian villagers, but those appear to stand for past experiences. In addition he maintains that "surprisingly, perhaps" the villages where "younger people know the stories [of the 1945-1950 period] from the village elders" are still able to "retain a sense of cohesion and collective memory"—as if they are placed outside of time, to use Johannes Fabian's phrase from Time and the Other: How Anthropology Makes Its Object (1983). Instead the narrator refers to his own present-day perception and awareness of how history impacts on individuals and communities as a hyper-local phenomenon. He recounts his sensations of "walking in the landscape of history" and relates of a "sensory knowledge that is essential to the historical imagination." The question then arises: for whom exactly is such a presence, and such an awareness and sensation, feasible?
[i] https://www.facebook.com/remco.raben/posts/10214434543243009 (31-10-2019)
[ii] https://www.ind45-50.org/verhalen-en-ervaringen-rond-bojonegoro-en-mojokerto (31-10-2019
Sara Ahmed, Strange Encounters: Embodied Others in Post-Coloniality (2000).
Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference (2008, 20001).
Johannes Fabian, Time and the Other: How Anthropology Makes Its Object (1983).
Selma Leydesdorff, De mensen en de woorden. Geschiedenis op basis van verhalen (2004).
Carl Thompson, Travel Writing (2011).
Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (2008, 19921).
Sara Mills, Discourses of Difference: An Analysis of Women's Travel Writing and Colonialism (1991).
Michael Rothberg, The Implicated Subject: Beyond Victims and Perpetrators (2019).
Coronacluster – Erfgoed van de toekomst
Dossier Toegepaste Geschiedenis – Applied history in actie: learning histories
Door Rik Peters
Kasteeltijd: De geschiedenis van nu en het historiseren van de traditie (longread)
Babs Boter en Susan Legene
Babs Boter is historica en literatuurwetenschapper. Ze is als docent-onderzoeker werkzaam bij de Faculteit der Geesteswetenschappen, Vrije Universiteit Amsterdam. Susan Legêne is hoogleraar politieke geschiedenis aan de VU en voorzitter van het KNHG (tot 29-11-2019). Per 1 januari 2020 is Legêne decaan van de Faculteit der Geesteswetenschappen aan de Vrije Universiteit Amsterdam.
Alle artikelen van Babs Boter en Susan Legene


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Dr. Theuer received a Bachelor of Science from the Massachusetts Institute of Technology, a Medical Degree from the University of California, San Francisco, and a Ph.D. from the University of California, Irvine. He completed a general surgery residency program at Harbor-UCLA Medical Center and was board certified in general surgery in 1997. Dr. Theuer's previous research involved immunotoxin and cancer vaccine development, translational work in cancer patients, and gastrointestinal cancer epidemiology.


Here is the Procedure, Example VBA Syntax and Example VBA Macro code for Appending an existing text file in Excel VBA. This will help you to know how to append a text file and add data using VBA.
Here is the VBA code and syntax for Appending an existing text file Using VBA. Use the Append keyword to open text file in appending mode.
Please follow the below steps to execute the VBA Code to Append an existing text file using Excel VBA Editor.
Starting the program and sub procedure to write VBA Code to Append an existing text file and adding the data.
Assigning the Existing File path to the variable strFile_Path.
Ending the Sub procedure to write VBA Code to Append an existing text file and updating the data.
'Assigning the Existing File path to the variable strFile_Path.
'Ending the Sub procedure to write VBA Code to append the data in existing text file.
Does anyone have a solution of how to capture the content on a cell (say a1) instead of "This is my sample text"?
I am getting the string in quotes i.e "my text here" . How do I remove that so that I just have 'my text here' in the text file?


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text:
Agnesian HealthCare welcomes new emergency department physician to Ripon, Waupun
Agnesian HealthCare
RIPON - Agnesian HealthCare welcomes William Tordzro, M.D., to its emergency department at Ripon Medical Center, 845 Parkside St., and Waupun Memorial Hospital, 620 W. Brown St.
RELATED: Agnesian announces promotions, welcomes new staff
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As an emergency department physician, Tordzro has special training to diagnose and treat acute illnesses and injuries, which require immediate medical intervention. Although emergency medicine doctors are not responsible for the long-term care of the patient, their work in conducting the initial diagnosis is paramount for the prognosis of the patient's condition.
A graduate of the University of Ghana with a degree in biochemistry, and a graduate of Hampton University with a degree in chemistry, Tordzro completed his medical degree from the Mount Sinai School of Medicine in New York.
Tordzro completed a family practice residency at Sacred Heart Hospital in Allentown, Pennsylvania. He also completed an obstetrics fellowship at Brackenbridge Hospital in Austin, Texas, and is board certified in family medicine.
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The fact that my Father didn't ever so much as hint that my Great-great-grandfather, Richard Hunt, was sent to Australia as a convict proves to me that he didn't know! All I can remember of what Dad told me was that there were two brothers who were brought out from England to help care for the Government stock at The Cowpastures, the area which, until Macarthur's Camden land grant, had been rigidly reserved as a grazing ground for the cattle found there in 1795-the descendents of cattle that had strayed away from Sydney in Captain Phillip's time. This, I was told by my Father, gave them experience in Australian Farming and from there they took up property at Cowpastures, in the Dural district and "out on the Bogan". I really think that was what he believed and that it was not until a later generation that it was acceptable to talk about one's convict forebears, or even be proud of them!
It was in 1962, four or five years after my Dad had died that a second cousin of mine, Winifred Graham (nee Hunt) was doing some research on the family tree in the Mitchell Library when she discovered that Richard Hunt had arrived in Sydney on the "Morley". With this information she consulted the Australian Historical Society where the lady who looked up the list of those who were on that vessel said to her, "Now I think you had better sit down and prepare yourself for a shock. The fact is that Richard Hunt was a convict!" Win says that she was very excited and exhilarated at this discovery, but when she reported it to a senior member of the family she was asked not to divulge the information because, for a generation or two the family had rather prided itself on the fact that their "founding fathers" had been freeborn! This request rather put a dampener on Win's family research, but she complied with the request and kept the information to herself. The time came, however, when her Uncle Raymond Hunt, who was Chairman of Hunt Bros asked her to look over a speech he had prepared for the Hunt Family Gathering to be held on 8th October 1976. In it he mentioned the pride with which the family claimed freeborn founders and Win then felt she had to suggest that he omit this claim, telling him the reason why. Win says, he did leave it out, but didn't substitute the real story, probably believing "the least said soonest mended"! But, as is always the case in these matters the true story eventually became known, although Win is not sure by what means.
Strangely, when I did find out, relatively recently, I experienced anything but distress. I must confess that I felt exhilarated at the thought that there was a skeleton in the family cupboard, so to speak. How I found out was when my younger brother, Neil, gave me a photocopy of some family papers that he had got from Richard Manton, to whom we are "distantly related". These papers, which incidentally were prepared by Winifred Graham, although I didn't know her at that time, revealed that in 1815, when Richard Hunt was eighteen years old, he was convicted of larceny at Old Bailey, sentenced to transportation for seven years and arrived in New South Wales on the "Morley" in 1817. I have been absolutely fascinated by the story of Richard Hunt and his descendants ever since.
By the time I was given a copy of the notes on Richard Hunt and the family tree that accompanied them, other members of the family, and I am not sure who some of them were, had done a marvellous job of putting all this information together. I, and other members of the Hunt Family will be forever grateful to them. I do know that, besides the great effort put in by Win Graham (her charts of the family tree alone are an astounding accomplishment) work has been done by Rev David Manton, Rev Kenneth (Bruce) Roughley and Mrs Dorothy Woodhouse (daughter of Raymond Hunt).
The information that has since been discovered and confirmed by these family researchers is that a William Hunt, of Winchester, England, had two sons. The elder, born in 1792 was also named William, while the younger, born on 29th March 1797, was named Richard. William (the Father) was employed in Winchester as Beadle to Saddlers Company. A "Beadle" is described in dictionaries as "a judicial servant of a trade guild or company" whose function was apparently to keep order and act as a kind of private constable. William Sen. later served in Saddlers Hall in London.
The two young men were apprentice saddle-makers and leather workers and one night when William Junior was deputising for his Father as Beadle, he and Richard during their parents absence stole four silver tablespoons, twelve bottles of wine and twelve bottles, the property of Wardens of the Saddlers Co. One account also mentions some glasses. For their misdemeanour they were sentenced in the year 1815 in Old Bailey Court to transportation for seven years. One cannot help but wonder what sadness this must have brought to their parents: losing both sons to a little-known country on the other side of the world for such a relatively trivial and foolish act. It appears that sentences at Old Bailey were more severe than those at most other courts, but it is on record that people, particularly women, had been sentenced to transportation for even less serious crimes. Sentences for transportation were for seven years, fourteen or for life. One of the researchers has pointed out that there was also a depression in England at the time due to the end of the Napoleonic wars in 1815. This caused much unrest due to severe poverty.
Two years after sentence was passed on these young men they arrived in Sydney. William arrived on the "Almorah" on 31st August 1817. He was then transferred to the "Pilot" which took him to Van Diemen's Land where he served out his sentence. Richard had, previous to this, arrived on the "Morley" on 10th April 1817. The indent papers show that Richard Hunt was then 20 years of age, 5 feet 4 inches in height, of dark complexion, with black hair and grey eyes and his calling was Harness-maker. Notes provided by an earlier researcher show that travel by sailing ship would have taken from four to eight months. This is an awfully long time to be cooped up in a ship, especially if you were a convict, possibly in chains. Nevertheless, conditions including the standard of food had apparently improved by then compared to the earlier fleets of ships bringing convicts to New South Wales. Each convict could bring a pair of shoes, three shirts, two pairs of trousers and other warm clothes, bed, pillow and blanket.
There was a system in use whereby convicts could be granted a "ticket-of-leave" after serving part of the sentence. For good behaviour and industry a ticket-of-leave could be granted after serving four years of a seven year sentence, after six years for a fourteen year sentence and after eight years for a life sentence. A ticket-of-leave man was still a convict in the eyes of the law and subject to police supervision but was free to pursue an independent life without other constraints, especially the horrible system where convicts were herded together in gangs, sometimes chained to each other but otherwise with chains clamped to each ankle. Until 1810 all Government building work was done by convict labour, mostly organised into chain gangs. It Is believed that Richard Hunt applied for and was granted a Ticket-of-leave during 1819 and took up his trade of harness-making. This was all happening at the time that Colonel Lachlan Macquarie was Governor of New South Wales (from 1810 to 1821.) The infamous New South Wales Corps which had been a hindrance to the earlier Governors had been sent back to Europe and settlement was being encouraged in every way. Exploration had also been encouraged, the Blue Mountains crossed in 1813 and by 1817 the country beyond Bathurst was being thoroughly explored by Oxley and others.
Religious activity was mainly in the Established Church, that is the Church of England, in which Rev Samuel Marsden ministered at St Johns, Parramatta. However, Methodist activity, with which Richard was to become associated, had recently commenced in New South Wales with the arrival of Rev. Samuel Leigh on 10th August 1815 and of Rev Walter Lawry on 2nd May 1818. They came to New South Wales as "missionaries" at the urgent request of some earnest Methodists who had formed themselves into "Class Meetings" and desired to have ordained leadership. Prominent amongst this group was Thomas Bowden who had started "Class Meetings" as early as 1812 within five weeks of his arrival in Sydney. Others associated with the early Methodist cause were James Scott and John Hosking; also at a later date, Rowland Hassall who had been a London Missionary Society missionary in Tahiti before fleeing from there with his young family and settling in Parramatta.
It was into this society that Richard was able to enter on the granting of his Ticket-of-leave. There is a record that "R. Hunt" opened an account with the Bank of New South Wales on 8th May 1820, but as no abode is given it is not possible to say that it was "our" Richard. From the Wentworth Papers it is learned that Richard Hunt was paid from the Police Fund for harness work on 31st May 1820 and from The Sydney Gazette of 29th July 1820 that a payment had been made to him by the Government for harness work.
On the 12th of February 1821 Richard Hunt, who was then 23 years old, married Lydia Barber, 18 years old and freeborn in the Colony. The wedding took place at St Johns Church, Parramatta and the ceremony was performed by the controversial Rev. Samuel Marsden already mentioned above. (Although the Methodists were active by then and were to open a little "chapel" on land granted by Governor Macquarie in Parramatta in April that year, marriages, baptisms and funerals were still the prerogative of "The Church" which, in Parramatta meant Rev Samuel Marsden and St. Johns.) Richard's occupation at that time was given as Farmer and Harness maker. Witnesses to the marriage of Richard and Lydia were Richard Wall and Mary Graham.
At this point let us leave Richard and Lydia for a while to look at Lydia's family, the Barbers. In 1801 a contingent of soldiers travelled out on the "Earl Cornwallis" to join the New South Wales Corps. On the ship was Private Thomas Barber. Also on board was Lydia Parker who had been born in England in 1766. Parker was not her maiden name, for when this story begins in 1799 she was a widow and was convicted at the Dorchester Assizes of stealing clothing. She was sentenced to transportation for seven years. The ship arrived in Port Jackson in June 1801 and on 9th January 1802 Private Thomas Barber and Widow Lydia Parker, who presumably met on board ship and formed a mutual attraction, were married in St Johns, Parramatta. They had five children including two daughters, one being named Lydia after her Mother and who we have previously reported to have married Richard Hunt. Lydia was born on 13th October 1803. The other daughter was born on 24th December 1809 and named Ruth. She married James Byrnes in 1826. Byrnes had been born in Ireland on 5th January 1806 and lived until 17th September 1886. He was the second Mayor of Parramatta and the Member of Parliament for Parramatta for various periods between 1858 and 1872. We shall hear more of him in his association with the Hunt family at Leigh Memorial Church at Parramatta.
One of Lydia's brothers, Samuel Barber, born 1805, was later to enter a grazing partnership with Richard Hunt about which something more will later be said. Samuel married three times and had a large family. He was one of the early squatters of the Murrumbidgee area. After spending twenty-one years in the army the father, Thomas Barber became a store-keeper in Parramatta. The Barber family plot, about which more will also be said, is in the St Johns Cemetery, O'Connell Street, Parramatta, the oldest Cemetery in Australia.
Before long Richard and Lydia had started the family of which I am so proud to be a member. The first, born on 31st January 1822 was Christened Char1es William at St Johns on 7th April. The next was born on 2nd July 1823 and Christened George Thomas at St Johns on 9th November. He was my Great-grandfather.
In the year that George Thomas was born, 1823, the Governor of New South Wales, Sir Thomas Brisbane, on 30th June, signed the deed for the Land Grant of "76 rods" (a little less than half an acre) which Richard received. It had a frontage in George Street, Parramatta and ran down to the Parramatta River, which would have been a great advantage for the business that Richard established. It was here, no doubt, that he conducted his saddlery and leatherwork business as well as entering into the partnership on 19th May 1825 with the tanner, Richard Wall, who was one of the witnesses at Richard and Lydia's wedding.
Richard must have soon prospered to the point where he could support charitable causes, because it is recorded in the Sydney Gazette of 24th February 1825 that he had contributed to the Parramatta Branch of the Auxiliary Church Missionary Society of Australia. The following year he was listed among the Sunday School Teachers as a Superintendent of the Wesleyan Methodists and was a provisional trustee of the Church that had been opened in 1821.
The third of the children born to Richard and Lydia turned out to be a girl, born on 11th July 1825 and Christened Eliza at St Johns on 7th August 1825. The next child was William, who was born on 9th April 1827 and died on 26th April aged only 17 days. A year later, on 3rd May 1828 another son, Thomas Barber was born and, in turn Christened at St Johns on 14th June. An interesting point about the birth of Thomas is that it took place at Dural. This is the first reference I have turned up to the family's association with Dural, which has continued to this day. It seems probable that Richard, while retaining his associations with Parramatta, had an establishment at Dural as well. This Dural property, also known as Orange Grove, was later taken over by his second son, George Thomas after he was married.
After the birth of Thomas there was a five year wait until 1833 when another girl, named Lydia after her Mother, was born.
But soon tragedy struck. When little Lydia was only two years old her Mother, also named Lydia, passed away. She died on 11th October 1835, aged 32 years and her remains are in the Barber family plot in St Johns Cemetery. On the tablet that records the details of both Lydia's and Richard's deaths there is the name of the baby William to whom I referred earlier and who lived only 17 days.
In the meantime, Richard was prospering. In the 1828 Census he is credited with owning 250 acres, 20 chains, 100 cattle and three horses. I think it is probable that the 250 acres were at Dural and the 20 chains (= 80 rods) were at Parramatta. By this time Richard, having more than fulfilled his seven year sentence, was listed as a Free Settler. A letter dated 12th September 1828 in the Hassell correspondence also shows that Richard was a man of compassion as the letter returns an order for money on a Mr Walker as he knew Mr. Walker was pressed for money, although he appears to have subjoined a claim for leather which he had presumably supplied. Perhaps the intent was to forgive the debt if Mr. Walker paid for the leather? Evidence of his interest in public affairs and welfare is shown in such things as signing a petition to Dr Sherwin on 26th August 1829, his appointment to a Missionary Committee in Parramatta on 9th October 1829. He was a member of the jury at an inquest on someone called Holland on 25th December 1829 (What a way to spend Christmas Day!), and he signed an address to S. Wright on 19th July 1836. The following year (4th August 1837) he was a Page 1 subscriber to the Parramatta Wesleyan Chapel Fund.
By 1838 Richard was in partnership with his brother-in-law, Samuel Barber, at Burragorang. They made a land claim on 29th March that year under case No 777. What became of this partnership and the property I do not know, but as both Richard and Samuel were later to move to the Murrumbidgee they presumably maintained a fairly close relationship.
I promised to say a bit more about Samuel Barber and his family. His first wife, Mary Innes died in 1869 aged 59 years after bearing him nine children. He was married again in 1871 to Sophia Whiteside but she was not to survive long as she passed away childless in 1872 aged 42 and he was married for the third time in 1874 to Margaret Gurney (nee Johnstone) who was 24 at the time while he was 72, and who bore him a daughter in 1876 when he was 74 years old. There is a tombstone in St Johns Cemetery that shows that Samuel Barber died on 12th December 1890 aged 88 years, after what can, no doubt, be described as a full life!
Getting back to Richard Hunt, a year after Lydia's death he married again (on 30th November 1836,) this time to Sarah Bishop Ellison, freeborn in the Colony. Their first child, Sarah Jane, was born on 25th October 1837 but died at the tender age of two years and nine months on 16th July 1840. They had four more children, Emily born 1841, Richard 1843, Caroline 1847 and John 1849. They appear to have lived on at Parramatta until most of the children of the first marriage were able to look after themselves. At the time of the second marriage the children of the first ranged in age from fifteen to three, those in between being thirteen, eleven and eight. It appears that when they did leave the district to start a new life with their second family, the youngest of the first marriage, Lydia, lived with George Thomas and his wife Elizabeth who were married in 1842 when George was only eighteen years old and Elizabeth was only sixteen.
But some time during the 1840s Richard and his second wife, Sarah, moved down to Gundagai to live. Although it is probable that they had connections with the land, it appears that they lived in the town or not far from the Murrumbidgee River fairly close to town. [Local records show that the family lived in the old town-PJH] It is on record that he was the originator and Superintendent of a Sabbath School and that he was responsible for erecting a building for the Sabbath School and other religious purposes. He also appears to have been a writer of sorts because the Gundagai Museum has copies of Sydney papers containing articles written by him during his time at Gundagai. Apparently some of his articles were controversial and he was sued several times by people who took exception to those reports.
Gundagai was, no doubt, a busy little town in the 1840s. Hume and Hovell passed close to the site of Gundagai in 1824 on their overland expedition to Port Phillip. Settlers soon followed their path to establish grazing runs. Following surveys by the Surveyor-General, Major Thomas Mitchell in the 1830s a road from Sydney was pushed through. By 1847 the main southern road passed through Goulburn to Yass where a bridge over the Yass River was completed by the famous David Lennox in 1854.
A track continued through Jugiong and Coolac to Gundagai where the Murrumbidgee was crossed by a ford. A ferry service across the river began in 1849 and carried traffic to the goldfields of Adelong and to Bendigo and Ballarat in Victoria. The track was used by bullock wagons, the drivers of which camped at the Five Mile Creek north of Gundagai. This camp became part of folklore with Jack Moses' poem about the dog that sat on the tuckerbox nine miles from Gundagai. Whether it was nine miles or five miles is still being argued about. The road through Gundagai opened up the very rich pastoral lands of the south.
But the present town of Gundagai is not where the earlier one, in which the Hunts lived, used to be. It was built on the wide river flats. One terrible day in 1852 the long drought broke in a deluge when a flood from the headwaters of the river came down and drowned eighty-nine townspeople and all but three of the 78 buildings were destroyed, including the Church building put up by Richard. Richard, his wife Sarah and their four surviving children perished in the flood. The body of one son, Richard, was recovered and was buried at Gundagai, but the rest were swept away. Although his body was lost, there is an inscription on the Barber Family grave in St Johns Cemetery, Parramatta, "Richard Hunt, died 25 June 1852 aged 52, who was drowned at Gundagai." Actually, he would have been 55 years old, but as one writer has remarked, they didn't seem to worry too much about accuracy in those days in respect of ages and dates and they would no doubt be very surprised at the extent of the interest shown in them by their descendants today.
Another writer has also mentioned that it is of interest that before 1850 there were no death certificates issued in New South Wales, only burial lists were recorded. In the case of the 1852 flood, there exists a partial death certificate for the little boy, Richard, whose body was found, but none for the remainder of the family as their bodies were not recovered.
As I think of Richard Hunt and the things he did and achieved in those fifty-five years I am almost overcome with a strong and emotional affection for him, as if I had actually known him. And then I realise that, in a very real way I did know him through my own Father, George Thomas who also died at the relatively young age of 67, during the last ten of which he suffered very poor health. I only wish I had been able to know them both better. It is too late, when they are gone, to sit quietly with them and let them tell about their lives. Perhaps this is why I am writing this memoir. But of one thing I am thoroughly convinced: that the character of Richard lives on in the lives and characters of a great host of those who are descended from him.
And what of his older brother William, his partner in crime? After serving his sentence in Van Diemen's Land he came to New South Wales and lived with his nephew, George Thomas and Elizabeth at Dural. Tradition is that he had a small house at the back of the property, that he kept pretty much to himself, and "did for himself". He lived on to the very respectable age of seventy-three and after his death on 9th January 1865 his remains were buried in the Methodist Cemetery at Dural, where a large tombstone bearing his name still stands in the Hunt plot. Research has shown that he was apprenticed on 3rd October 1809 by the Saddlers Co. to Wm Flower, Saddler, James Street, Bedford Row, England for 7 years. He was, of course sentenced at the same time as his younger brother Richard but they arrived in Australia in separate Sailing Ships.
After the flood tragedy there were five surviving children of Richard Hunt and his first wife, Lydia. By this time they were probably all married. Charles William Hunt married Julia Jeffcoat in 1841. They at first lived at Dural where seven of their eight children were born. In 1861 Char1es went to Queensland where the opportunity to take up land in the developing State presented itself. The Colony of Queensland had only come into existence on 10th December 1859, prior to which it had been part of the Colony of New South Wales. They settled at Milora near Harrisville which is a few miles south of Ipswich. The eighth child of Charles and Julia was born in 1864.
George Thomas Hunt was married to Elizabeth Williams in 1842 and continued to live at Dural for many years. More will be said of George Thomas and his family in a later chapter.
Lydia Hunt was married to James Roughley in 1849. There are many families of this name, particularly at Dural and one of the descendants, Reg Roughley married Father's sister Gert.
Thomas Barber Hunt married Sarah Yates in 1850 and settled in Geelong in Victoria. That was the year that self-government was granted to the Colony of Victoria by the British Imperial Parliament and separation from New South Wales was achieved. The story goes that Thomas's parents disapproved of the match with Sarah, who was a servant girl, so the young couple eloped. It is pleasing to report that they later became reconciled.
The older of the two girls, Eliza married George William Barker but I have not been able to establish the date and not much is known to me of that family except that they had five children.


text:
Q: Is Aparapi provide task parallism? Is aparapi (API in java for Open CL) provides task parallelism or it provides only data parallelism. If provides task parallelism, is it guarantee that tasks will execute on separate devices

A: Aparapi isn't just an API in java for OPENCL, it's a parallel processing library.
You could execute an Aparapi kernel either on your GPU, or your CPU.
If you choose to run an Aparapi kernel on your GPU, but either Aparapi fails to cross compile the kernel for your GPU, or your GPU can't cope with Aparapi's output, it will attempt to fall back to your CPU.
When it does this, it will generate a warning.
Aparapi will only try to run a kernel on a single device, and not on a lot of different devices.
If you intend to do this, you will manually need to decide whether and how you want to do this.
I hope that answers your question.


Note: Always make certain that each brace is properly connected before placing your bass on the Cradle!
Note how the C-bout hooks over the arm of the Cradle. A stable foundation is created by the Cradle feet and the endpin of the double bass. As the endpin is extended the bass reclines more.


1.You can't love a person who lives that way without fearing him too.
2.Nothing that you remember has survived.Better to forget.
3. Whatever's going on, you should deal with it before too long. Take care not to let these things fester. Time will only make it worse.
6.Children aren't colouring books. You don't get to fill them with your favourite colors.
7.I don't want to forget any more.
8.Older Hassan (voice):I dream that my son will grow up to be a good person,a free person. Idream that someday you will return to revisit the land of our childhood.I dream that flowers willbloom in the streets again...and kites will fly in the skies!
9.That was a long time ago, but it's wrong what they say about the past, I've learned, about how you can bury it. Because the past claws its way out. Looking back now, I realize I have been peeking into that deserted alley for the last twenty-six years.
10."There is a way to be good again". I looked up at those twin kites. I thought about Hassan. Thought about Baba. Ali. Kabul. I thought of the life I had lived until the winter of 1975 came and changed everything. And made me what I am today.
12.With me as the glaring exception, my father molded the world around him to his liking. The problem, of course, was that Baba saw the world in black and white. And he got to decide what was black and what was white. You can't love a person who lives that way without fearing him too. Maybe even hating him a little.
15.I heard the leather of Baba's seat creaking as he shifted on it. I closed my eyes, pressed my ear even harder against the door, wanting to hear, not wanting to hear.
16."So he's not violent,"Rahim Khan said.
"That's not what I mean, Rahim, and you know it,"Baba shot back. "There is something missing in that boy."
"Self-defense has nothing to do with meanness. You know what always happens when the neighborhood boys tease him? Hassan steps in and fends them off. I've seen it with my own eyes. And when they come Home, I say to him, 'How did Hassan get that scrape on his face?"And he says, 'He fell down.'I'm telling you, Rahim, there is something missing in that boy."
"You just need to let him find his way,"Rahim Khan said.
"And where is he headed??"Baba said. "A boy who won't stand up for himself becomes a man who can't stand up to anything.
17.Never mind any of those things. Because history isn't easy to overcome. Neither is religion. In the end, I was a Pashtun and he was a Hazara, I was Sunni and he was Shi'a, and nothing was ever going to change that. Nothing.
18.But we were kids who had learned to crawl together, and no history, ethnicity, society, or religion was going to change that either. I spent most of the first twelve years of my life playing with Hassan. Sometimes, my entire childhood seems like one long lazy summer day with Hassan.
19.But despite his illiteracy, or maybe because of it, Hassan was drawn to the mystery of words, seduced by a secret world forbidden to him.
20.We sat for hours under that tree, sat there until the sun faded in the west, and still Hassan insisted we had enough daylight for one more story, one more chapter.
21.I would always feel guilty about it later. So I'd try to make up for it by giving him one of my old shirts or a broken toy. I would tell myself that was amends enough for a harmless prank.
22.To him, the words on the page were a scramble of codes, indecipherable, mysterious. Words were secret doorways and I held all the keys.
23.I probably stood there for under a minute, but, to this day, it was one of the longest minutes of my life. Seconds plodded by, each separated from the next by an eternity. Air grew heavy damp, almost solid. I was breathing bricks. Baba went on staring me down, and didn't offer to read.
24.It was only a smile, nothing more. It didn't make everything all right. It didn't make anything all right. Only a smile. A tiny thing. A leaf in the woods, shaking in the wake of a startled bird's flight.
25.I remembered something I had read somewhere a long time ago: That's how children deal with terror. They fall asleep.


text:
Tag: S.hel
Out Now! Mikael Lind & S.hel – RAMMI
For this new digital edition, we welcome back Icelandic artists Mikael Lind and S.hel who both released solo albums on Whitelabrecs last year. RAMMI is the Icelandic word for frame, as Mikael and Sævar re-contextualised piano sounds within the plush surroundings of Valgeir Sigurðsson's renowned Greenhouse Studios.
RAMMI is released today, Saturday the 24th of April with no pre-order. If you join our mailing list , we'll make sure you're the first to hear about future editions.
"In this digital EP release we welcome back two artists from Iceland who each released solo albums with us in 2020. This four track EP combines the contemporary modern classical work of Mikael Lind with the prepared-piano sound of S.hel. 'RAMMI' was recorded at Valgeir Sigurdsson's Greenhouse studios in Reykjavik. The accompanying imagery is a photograph taken in Iceland by Mikael, with misty clouds of volcanic ash obscuring the landscape..
'RAMMI' is Icelandic for frame and this takes on its loose meaning to reflect the processing and techniques of the pianos that Mikael and S.hel created, as they aimed to extend beyond the framework of piano music. The rearrangement of the recorded sounds is also reflected in the track titles, as the letters of RAMMI are shuffled to give way to new meanings."
Written and produced by Mikael Lind & Sævar Helgi Jóhannsson
Recorded at Greenhouse Studios
Photography by Mikael Lind
Author whitelabrecsCategories facets, PreviewPosted on April 24, 2021 July 4, 2021 Leave a comment
Out Now! Mikael Lind & S.hel + Rachel Jutková – RAMMI
Today we're proud to launch our new digital series called <facets> in collaboration with Art North Magazine. This series will involve a range of composers and sound artists, teaming up with talented visual artists, for an audio-visual release. For this first edition, we welcome back Icelandic artists Mikael Lind and S.hel who both released solo albums on Whitelabrecs last year. They've been paired with Slovakian painter and artist Rachel Jutková who took her one metre square painting out into the fields to shoot photographs of it, which placed the art in a new 'frame'. RAMMI is coincidentally the Icelandic word for frame, as Mikael and Sævar re-contextualised piano sounds within the plush surroundings of Valgeir Sigurðsson's renowned Greenhouse Studios.
Each <facets> edition will include either an EP or album of music available in a range of high quality audiophile formats, accompanied by a work of art as the cover image and a booklet PDF which contains art, profile imagery, background information and an interview, featuring both the sonic and visual artist.
"<facets> is an audio-visual series, co-curated between Whitelabrecs and Art North Magazine. This collection provides a space in our catalog for digital music, in which we aim to provide more than a few mp3s and a low resolution square image. Each edition of <facets> is pitched equally at both your eyes and ears. Sonic and visual textures overlap as we pair musicians, composers or sound designers with painters, sculptors or photographers. The work includes the music in a range of formats, specially created visual artwork and a PDF art booklet containing imagery, interviews and liner notes. Our collective aim is to create a coherent work of cross-media art, where the creative outputs of a sonic artist and a visual artist complement each other as a singular creative output.
In this inaugural edition of <facets> we welcome back two artists from Iceland who each released solo albums with us in 2020. This four track EP combines the contemporary modern classical work of Mikael Lind with the prepared-piano sound of S.hel. 'RAMMI' was recorded at Valgeir Sigurdsson's Greenhouse studios in Reykjavik. The collaboration is complete with Fine Art BA (Hons) student Rachel Jutková, who has contributed her painting 'Morning fog and walking on painting'. This is a mixed-media intuitive painting which was created in her studio and then later placed outdoors in a foggy field.
'RAMMI' is Icelandic for frame and this takes on its loose meaning to reflect the processing and techniques of the pianos that Mikael and S.hel created, as they aimed to extend beyond the framework of piano music. The rearrangement of the recorded sounds is also reflected in the track titles, as the letters of RAMMI are shuffled to give way to new meanings. This links into Rachel's idea of placing her work outside of its usual context, physically, to allow for alternative meanings to be reflected upon."
Music: Mikael Lind & S.hel
Mastering: James Edward Armstrong
Art Direction & Editing: Ian McKay
Additional Camera Work: Rachel Jutková
Featured artwork by Rachel Jutková: 'Morning fog, walking on painting' 100 x 100 cm, 2021
Music & Artwork © 2021, The Artists (Mikael Lind, Sævar Helgi Jóhannsson, Rachel Jutková), All Rights Reserved. Video ℗ by Art North Projects. Music ℗ by Whitelabrecs, 2021
Project Curators: Harry Towell (Music) & Ian McKay (Visual Art)
whitelabrecs.bandcamp.com
artnorth-projects.org
mikaellind.com
facebook.com/shelmusik
instagram.com/racheljutka
Author whitelabrecsCategories facets, PreviewPosted on April 24, 2021 April 25, 2021 Leave a comment
Out Now! S.hel – Disconnect
For our next release then, we have something truly striking in the form of this debut album by Reykjavik's S.hel. It will be released on Piano Day, combines piano and strings compositions with electronics and cinematic effects. To my ears, it sits somewhere between the quieter moments of Aphex Twin's Drukqs, and then the work of composers such as Hauschka, Nils Frahm and perhaps even the artist's mentor Mikael Lind, who mixed the album. For us, the artwork absolutely sets this album off in a truly unique way, thanks to the work of Sarah Maria Yasdani, helped by Rakel Ýr Stefánsdóttir. It really embodies the concept of this album which is disconnection and questions of origin. We have a feeling it may very well strike a chord with people right now, even though the concept for this album was born long before Covid 19 was a thing and is not actually related! Our message to the world right now is to think of the people all around you and care for one another. Get connected, even if it has to be at a distance. The album was released on Piano Day, Saturday the 28th of March
Disconnect was released to subscribers of our mailing list last weekend, who had the first opportunity to grab one of these 100 CDs. We do have some available however, please note, there will be a delay in shipping following the closure of our post office due to Covid 19. We aim to ship every order as soon as we can but please bear this in mind if you decide to order. You can also stream the album in full on Bandcamp as well as Spotify and of course, you can grab a digital version if you prefer, by clicking the player above or link below. To avoid missing out on future releases, you can join our mailing list HERE: low-run releases will be made available suddenly without official release dates, meaning they're likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu or you can click HERE
https://whitelabrecs.bandcamp.com/album/disconnect
"There's a well-known German saying 'Ich bin Weltbürger: überall zu Hause, überall fremd' which roughly translates to 'I'm a world citizen: I am everywhere at home and everywhere a stranger'. S.hel believes this is a phrase which describes him well; London his birthplace, being partly raised in Germany and residing in Iceland.
Disconnect is a debut album by an emerging artist, arriving at a time of uncertainty and disarray, where terms such as self-isolation and social distancing are on everyone's lips. However, this record's theme is not born out of the adversity that coined these phrases. Instead, when creating these works the artist was informed by his thoughts around identity and how we perceive it as a whole. Do places of origin matter? He moved around a lot as a child and at times, felt he had no roots which left him feeling very disconnected at times. Some years on and settling in Iceland, he now realises the valuable lessons and skills the experience has brought.
Disconnect follows the self-released EP 'Lucid' in 2018 and the primary instrument is the piano. Aptly, we will be releasing this album for piano day as this unique record draws in wide influences including mentor Mikael Lind who mixed the album, S.hel's piano teachers Sunna Gunnlaugs and Kjartan Valdemarsson as well as compatriots Jóhann Jóhannsson and Hildur Guðnadóttir. Contemporary composers play their part too in the stimulus, such as Nils Frahm, Arvo Pärt and Max Richter. Disconnect flits between intimate and organic piano compositions and granulated or randomised electronic effects, interspersed with swathes of strings and synthesizer. Creaks and pensive moments navigate perceived silence and suspense, whilst the mood switches effortlessly to the grandeur of modern classical orchestration in equal measure.
This striking album package is complete with the wonderful concept artwork of Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir who have also produced and directed accompanying music videos. The concept works hand in hand with the music and the themes of disconnection S.hel portrays and reflects on the loneliness resulting from being part of a society that has lost itself in daily routine. Currently the routine may be all we crave, but maybe amongst all this we can all find some way to connect again."
Written and produced by S.hel
Mixed by Mikael Lind
Art concept and photography by Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir
Coming soon…S.hel – Disconnect
The world is faced with a huge wave of adversity right now and the uncertainty will continue over the coming months and dare I say, beyond. Uncertainty isn't anything new of course but I guess many of us get used to the status quo and find our normal. What do these times mean for Whitelabrecs? Well, the truth is – we don't know in the short term. We're pretty sure however, that the long term will be fine.
So with the rest of this year's releases, we'll be guided by you our listeners and followers and see what happens! For some regions, expect postal delays but for now here in the UK, my trusty postman assures me he still wants my business. So for now until I'm forced to stop, I'll keep selling CDs and visiting him once or twice a week 🙂
Onto our next release then, we have something truly striking in the form of this debut album by Reykjavik's S.hel. It will be released on Piano Day, combines piano and strings compositions with electronics and cinematic effects. To my ears, it sits somewhere between the quieter moments of Aphex Twin's Drukqs, and then the work of composers such as Hauschka, Nils Frahm and perhaps even the artist's mentor Mikael Lind, who mixed the album. For us, the artwork absolutely sets this album off in a truly unique way, thanks to the work of Sarah Maria Yasdani, helped by Rakel Ýr Stefánsdóttir. It really embodies the concept of this album which is disconnection and questions of origin. We have a feeling it may very well strike a chord with people right now, even though the concept for this album was born long before Covid 19 was a thing and is not actually related! Our message to the world right now is to think of the people all around you and care for one another. Get connected, even if it has to be at a distance.
The album will be released officially on Piano Day, Saturday the 28th of March but if you join our mailing list using the link below, we'll make sure you're the first to hear.
Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they're likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu or you can click HERE
S.hel
ARTIST NAME: S.hel
LOCATION: Reykjavík, Iceland
FILE UNDER: Modern Classical, Electronic
Author whitelabrecsCategories artistPosted on March 18, 2020 July 4, 2021 Leave a comment


text:
Agadeta de-Fis-ha
HANDSOME 19TH-CENTURY YEMENITE MANUSCRIPT HAGGADOT
(HAGGADAH). Agadeta de-Fis-ha. WITH (laid in): Agadeta de-Fis-ha. Yemen: no date, late 19th century and early 20th century. Small quarto, modern full tree calf; ff. (29); octavo, unbound, original stitching; ff. (12). $3800.
Beautiful 19th-century manuscript Passover Haggadah from Yemen, written entirely by hand in Yemenite square and cursive script in brown ink, accompanied by a smaller and slightly later Haggadah neatly executed in square script.
"The Yemenite-Jewish community has preserved many ancient customs in various aspects of religious practice which trace their origins back to ancient times and sources. Among these are many ancient customs relating to the Passover Seder night, some of which originated in Eretz Yisrael, a fact which was already been noted by a number of scholars. It is also well-known that many examples of linguistic features which are characteristic of the language of [the] Sages are preserved in the Yemenite Haggadah" (Zemach Keissar, Bar-Ilan University). This very finely handwritten Passover Haggadah includes the classical Yemenite commentary Etz Chaim by R. Yahya Zalach, along with the Ashkenazic commentaries Shelah, Matteh Aharon and Ketonet Passim. With a smaller Yemenite Agadeta de-Fis-ha laid into the larger volume, without commentaries, written entirely by hand in square script.
Smaller manuscript with a few stains. Beautiful quarto-size manuscript with light thumbing, a few tiny wormholes, one marginal paper repair; binding quite attractive. Two very nice manuscript Haggadot from the distinctive Yemenite tradition in very good condition.
Kibbutz haggadah
Seder Haggadah Lepesah
Biur Maspik (commentary to Had Gadyah, song from Haggadah)
HAGGADAH | Asher Anshil WORMS
HAGGADAH >


text:
Appeal of ERB journalist to be considered on 6 July
https://spring96.org/en/news/53925 2012 2012-07-05T18:26:23+0300 2012-07-05T18:26:23+0300 1970-01-01T03:00:00+0300 en
At 3 p.m. on 6 July an appeal against an unlawful arrest of a journalist for the "European Radio For Belarus" Pavel Sviardlou will be considered at the Minsk City Court.
The 15-day arrest ends on 7 July, which means Pavel will have served almost the whole term irrespective of the court verdict.
Bear in mind that Pavel Sviardlou, who received an official accreditation from the Ministry of Foreign Affairs, was detained near the porch of his house in the morning of 22 June. According to eyewitnesses, two people in mufti approached him and told to come with them to a police bus. According to the police, the journalist allegedly used obscene language without any reasons and didn't react to remarks of two riot policemen, as a result of which he was guarded to the Maskouski District Police Department of Minsk.
The police didn't let Pavel phone his relatives and set forth his own version of the situation in the detention report. The same day the Maskouski District Court of Minsk sentenced him to 15 days of arrest. As Pavel had no opportunity to contact his relatives, he came with a lawyer when the verdict was being announced.
On 25 June Pavel had a meeting with his lawyer at the detention facility in Akrestsin Street in Minsk, as a result of which an appeal against the unlawful arrest was filed. The trial was initially appointed at 3 p.m. on 29 June. However, Sviardlou's appeal allegedly hadn't been received by the court by this time, that's why the hearing was postponed.
Bear in mind that on the day of Pavel's detention a blue bus and a police car kept duty near the entrance of the ERB's editorial office. People in mufti openly watched the entrance and didn't hide they were waiting for another journalist, Vital Ruhainy. However, the latter successfully escaped detention and continues his work from the Warsaw office of the ERB.
05.07.2012 Tags: administrative prosecution, arrest
Source: ERB
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Nearly 100 days in prison: Husband and wife convicted for seventh time over "extremist content" in private messages


text:
Le rapide di Langinkoski si trovano a circa 5 km dal centro di Kotka, in Finlandia, e fanno parte del bacino fluviale del fiume Kymijoki.

Sulla riva orientale delle rapide è presente un casino imperiale di pesca, una struttura costruita nel 1889 per lo zar Alessandro III. All'interno sono stati mantenuti gli arredi originali e le camere conservano il loro stile di fine Ottocento.

Altri progetti

Collegamenti esterni

Fiumi della Finlandia

redpajama_set_name: RedPajamaWikipedia