text:
The Vagina Monologues
This week marks the tenth anniversary of V-Day, Eve Ensler's international movement to end violence against girls and women. In its lifetime, V-Day has raised $50 million, and the organization gives away more money than any other group to fight violence against women (still, what they give annually amounts to what's spent on about ten minutes of the war in Iraq).
It all started with a play: the now ubiquitous Vagina Monologues, which Ensler wrote and performed off-Broadway beginning in 1994. V-Day was founded 2 years later, on Valentine's Day, when a star-studded benefit performance brought in plenty of dollars and attention. Since then, the play has been translated into 45 languages and performed in 120 countries. "The most radical play I ever wrote was the one that was accepted into the mainstream," Ensler told an audience at the New School last week.
To me, that's the most inspiring part. My mom and I first saw Ensler perform the Monologues at a tiny New York City theater in 1999 or 2000. Afterward, I went home and taped Ensler's headshot up on my wall, and wrote my college admissions essay that same year based on the premise of the play. I'll confess to having become somewhat disillusioned with V-Day in recent years, probably due mostly to having overdosed on its particular style of hot pink enthusiasm back in college. I'm also uncomfortable with the idea that to keep women from being violated, we have to treat our vaginas like the eighth wonder of the world instead of, you know, a body part. But that doesn't mean I don't admire what Ensler has done, and is doing. Listening to her triumphant pep talk last week (part of a speaking tour aimed at rallying the troops for the tenth anniversary, and encouraging everyone to come to New Orleans in April for a super-deluxe V-Day event that will "reclaim the Superdome"), I was struck by the way The Vagina Monologues has managed to become a mainstream sensation without sacrificing its edginess (though the degree of it has certainly changed, and not only because its content has become more accepted).
It's easy to forget that there are lots of places where "vagina" is still a dirty word. Luckily, every once in awhile someone comes along to remind us that some of those places are major U.S. cities! This year it was the Seattle Times, which refused to run an ad for the Monologues because the vulva-centric artwork was not "appropriate" for its audience.
The best part? The ad — which seems pretty tame to me — was created by the National Council of Jewish Women's Seattle office, which is co-sponsoring performances of the play. And the poster version had already been hanging in several area synagogues without protest.
A tenth anniversary edition of the Monologues is out now from Villard. Unlike the slim, deckled edge volume I once bought in a theater lobby, this substantial paperback reads like a primer on the V-Day ethos, with a new introduction from Ensler, sections outlining the history of the movement, testimonials from those involved in it, and a timeline of victories. There are also five new "spotlight monologues," composed in response to particular kinds of violence against women in specific places and situations: transwomen, the Comfort Women of Japan, women in Islamabad who have had acid thrown in their faces. It sometimes feels like Ensler is writing the same monologue over and over again, and the tone of them — pain and despair, tinged with hope — becomes a little predictable.
Stories of abuse may not always translate well to the page (they probably fare better onstage), and I realize that's not the point. In her talk last week, I was mostly encouraged to hear that Ensler has chosen a new word to impress upon the public: femicide. "Femicide" acknowledges that violence against women is not random; it is systematic, a pattern. "Naming femicide allows us to treat the issue fundamentally rather than remedially," she said. The word may be even
more controversial than vagina. One high-level UN official already told Ensler it made him "uncomfortable."
— Eryn Loeb
Tags: Eryn Loeb
Writers over forty make their debut • My mother and the optician • Prayer in many languages • What's with all the Holocaust novels?


DC's latest full length video, De La Calle/ Da Rua! Created to shine a light on the rich but often overlooked skate scene of Latin America, the video stars Brazilian up and comers Tiago Lemos, Carlos Iqui, Thaynan Costa and established superstar Felipe Gustavo. With a supporting cast of the entire DC global team filmed exclusively in Latin America, as well as regional Latin American team riders, this video is a celebration of the streets we come from!
The idea was simple. Â Put together a gnarly video of our insanely talented Brazilian riders and bring the global team along for the ride. Â In a trading places scenario, the Latin American riders filmed all over the globe and the global riders filmed exclusively in Latin American countries.
De La Calle/Da Rua is an ode to the streets that bring us all together as skateboarders. Â Back to where it all started. Â From the Streets.
How is the skate scene in Porto Alegre?
In the beginning, we had no skateparks. We had nothing, and the spots are pretty rough. Everybody knows this: It's kinda sketch, you might get robbed or something. But after two years that I start skating, they made a really good skate plaza (Iapi) in my hometown and then I just tried to go every morning.
When did you decide that you wanted to come to America?
The first time when I came here was three years ago. I just came to visit a few things for DC Brazil. My first experience was not too good 'cause I don't have any English to express myself, but I feel so good over here. I feel I can learn English and other languages—I just need my cell phone. I came back, and DC gave me the support to stay a couple of months, and then I just skate with those dudes and they just like my style—my vibe, you know—and they say, "Yo, I have opportunity for you here. I know it's not easy, but maybe you can make it happen." And I've just been doing what I'm doing. Wherever I go, I just try to skate, having fun, and I make it happen.
Who really motivated you to skate and pursue skating in the U.S.?
All the peoples that just came in the '90s and make this happen and just opened the door: Rodrigo Petersen, Rodrigo TX, Cesar Gordo, all the homies, the rippers in Brazil, you know.
When was the last time you were in Brazil?
I've been back and forth all the time, because I don't have a work visa … I have a tourist visa. Sometimes I don't go back to Brazil, I go to Europe to keep my skateboarding fresh and keep it on point. [laughs] Because if I go back to Brazil, I'll stay with my family and not skate too much. But right now I just gotta keep go everywhere and keep skateboarding all the time. The last time I was over there it was sick! There for a week with my family.
How was the filming trip to Brazil with the whole crew?
It was awesome! I got to hang out with the dudes from the video, and we got to go to our own cities so we could let everyone know where we're from and where we grew up skating. I got to go to Carlos's city, Thaynan's city, and Tiago's city, you know? It was nice to know a little bit of what they came from.
Do you see any similarities with the guys who are coming up now and what you have gone through?
Oh yeah, for sure! Like, seeing Tiago doing an interview and he's not speaking that much English, that just reminded me of me four years ago, you know? Not being able to write or get into a conversation, having issues getting in and out of the country—that's just me right there! And it's dope, too, 'cause knowing what I've been through, now I might be the dude to help. 'Cause I had somebody to help me out before. So when I see that stuff happening, luckily I'm there if they ever need my help. I'll be there.
When did you first hear about De La Calle/Da Rua?
It's been about a year, I guess. I was actually filming for the Plan B video (TRUE) when I heard about it. They were like, "Yo, next year we're going to do a project. Do you wanna be in?" I was like, "Yeah, as soon as I'm done with the Plan B video." Then I have the LRG video (1947) that's coming out two weeks before the DC video. Having those two projects to work on is kinda hard, you know? Plus, all of the people have been filming forever but I had to hop on 1947, like, right after TRUE. So everything I had, I had to hustle for with such a short amount of time to film. I'm pretty happy with everything I have for the video, but hopefully I can get back to Cali soon to film a couple more tricks.
So how long did you live in São Paulo?
I was born and raised there until I was thirteen I moved to Portugal with my family.
Did you skate while you were in São Paulo?
Yeah, I started skating when I was nine. I know, like, all the guys like Carlos, Felipe, Tiago from Brazil, from when I started skating. We were from different cities but Carlos and Tiago always used to come to São Paulo and go skate together.
When did you first meet Felipe and where did you guys meet?
I met Felipe when I was in Brasilia. I would skate the skate park I used to skate everyday and then he was skating there and there was a guy, like, taking photos of him and it was his dad and I was like "Who is this guy?" and he was like, "It's my son Felipe." He's like, "Hey, I'm a skater," I'm like, "Oh, that's sick." And since then we started to know each other and started skating more and more together, but that was the first time.
When did you first hear about this video and that you might have a part?
Maybe in the beginning of the year because I was hurt and couldn't skate, maybe like late last year? They said they are doing a video for Latin America but I had surgery on my knee and couldn't skate, you know? I was six or seven months out of skating and they were filming, so when I started skating again in February this year I've been trying to film something for the video. It's going good!
Where have you traveled so far to film for this video?
Barcelona, Italy, Argentina, Mexico, U.S. and I think that's it, maybe a couple of other places in Europe, but I think that's pretty much it. Oh, I went to Alaska, too.
 Where did you grow up skating?
I grew up skating the local skatepark and some small spots by my house.
At the time so many kids were skating the park, it almost looked like a contest.
At what age did you know you wanted to make skateboarding your life and career?
After I got on DC Brazil and started getting more opportunities, I felt people liked what I was doing. When I was sixteen or seventeen, all I wanted to do was skateboard. I watched the videos and I chose that path for my life. When I started to understand what was going on, I wanted to live that life. It was in my blood.
Describe the first time you met Carlos, Thaynan, and Felipe.
I started getting some shoes from DC Brazil and I was staying at a friend's house, which was close to the DC warehouse. I had just arrived in São Paulo, picked up some shoes at DC, and I went to my friends house. I was by myself at the house, two hours later the door bell rang and it was Carlos. That's how we met and started getting to know each other. This was some four years ago. I first met Thaynan at a contest, inland in São Paulo (state). I think the name of the city was "Tambaú". I was a little kid, and he was very little too and still learning how to boardslide a little rail. I can't remember the details but we started speaking to each other somehow and that's how I got to know him.
Felipe I first met in a contest in a town called Mauá. He had just come back from the U.S. and we knew he had been out there ripping. It was a big surprise to see him show up in Mauá. We met, shook hands and started talking, but I had known who he was for a long time before that.
How do you feel to be working on the same video project as them?
I'm very happy to be part of this. It's a DC video with my friends. We're super close and friends from sessions. So for me it's a big pleasure to be part of this.
Filmed exclusively in Latin America, Evan Smith, Wes Kremer, Chris Cole, and the rest of our global team came through with amazing footage for "De La Calle/Da Rua".
Introducing De La Calle / Da Rua length video , DC proudly highlights the rich but often overlooked skate scene of Latin American. Starring Brazilian up and comers Tiago Lemos, Carlos Iqui, Thaynan Costa and established superstar Felipe Gustavo, also supporting cast of the entire DC global team American team riders, this video is a celebration of the streets we come from.
To coincide with the release of the "De La Calle/Da Rua" video, which celebrates DC's heritage and roots as a brand created in the streets, is the Lynx Prestige LA. This reinvented Lynx features classic DC styling and increased durability with the addition of a high abrasion printed toecap. Featuring Latin American passport stamp detail and De La Calle/ Da Rua branding, this shoe is at home in streets worldwide.


Golf Cart heaters will help you stay warm during the frigid weather of the winter months. We recommend having an enclosure on your cart to enclose the heat during these blistering cold temperatures. Propane heaters that universally fit into a golf carts cup holder are the most popular models we carry. These will fit in EZGO, Club Car, and Yamaha gas or electric model golf carts. We also carry electric heaters that are safer but not nearly as efficient.


The dreary succession of randomly selected Kings of England is broken up when Auberon Quin, who cares for nothing but a good joke, is chosen. To amuse himself, he institutes elaborate costumes for the provosts of the districts of London. All are bored by the King's antics except for one earnest young man who takes the cry for regional pride seriously - Adam Wayne, the eponymous Napoleon of Notting Hill.
The Napoleon of Notting Hill ePub (Adobe DRM) can be read on any device that can open ePub (Adobe DRM) files.


Tulsi is a sacred plant (herb) grown in India. It is a relative of the kitchen herb basil but has a stronger, clove-like aroma and taste. There are 2 varieties, a warming Tulsi and cooling Tulsi. Surprisingly, Indians do not use it in cooking, but because of its medicinal properties it is used mainly as a tea. Tulsi has been used traditionally to support the following: Heart Health, Optimal Breathing, Joint Health, Vision Health and Skin Health.
Research in both animals and humans have demonstrated lack of toxicity and many benefits, including reduction of inflammation and protecting both the body and brain from the harmful effects of stress.
Holy Basil has also proven to have a positive effect on one's mood and is even safe to use with antidepressants. According to Dr Jim Nicolai, MD, he has had great success prescribing Holy Basil to his patients suffer from stress-related conditions. This tea is at the top of his list of plant-based strategies when targeting stress related issues. His personal experience is that it lengthens the "emotional-fuse" leaving him feeling calm and balanced in stressful situations.
If you are experiencing stress and have not yet tried Tulsi Tea (Holy Basil) I would recommend you do so. The best way to use this tea as medicine is to brew it overnight, let sit and drink several cups the following day at room temperature. This has been my regiment for quite sometime with great success. You can find many blended varieties of Tulsi Tea in tea bag form in traditional and health food stores. I prefer to use organic loose Tulsi and not the blended tea bag form found only in certain health food stores.


Community Action Partnership of Riverside County is seeking candidates to serve on the Community Action Commission from the Second Supervisorial District. This includes the cities of Corona, Norco, Eastvale, Jurupa Valley and downtown Riverside. An election for one alternate position will be held at Community Forums in August, 2013. The candidates should be members of the low-income community and will represent low-income residents on the Commission. They must reside in the supervisorial district in which they will represent.
Commissioners are volunteers who are dedicated to the mission of community action and are willing to participate on committee assignments and Commission activities to serve low-income people. The Community Action Commission is a tripartite body, comprised of three sectors: low-income, private and public. The low-income sector members are democratically selected by low-income residents in the respective supervisorial districts. Alternates hold the same rights and privileges as primary commissioners.
Candidates must be at least 18 years of age. They cannot be a paid staff member of Community Action Partnership, or a relative of the Community Action staff, Commission or the County Board of Supervisors. Candidates must complete and return an application to the CAP Riverside office by the August 9, 2013 deadline.
CAP Riverside is the official anti-poverty agency for Riverside County. Its mission is to address the root causes of poverty and to eliminate the conditions of poverty through a range of well-planned programs and services that move low-income families out of poverty with dignity.
For additional information or to receive an application, please call Tamara Martin at (951) 955-4900. The application is also available in English and Spanish at www.capriverside.org.


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South Africa/KwaZulu-Natal/Howick Nature Reserves
Howick Nature Reserves
Dam or Vlei (1)
Nature Reserve (1)
Popular Attraction (3)
Village Marketplace (1)
Accommodation in Howick
About Howick
Restaurants in Howick
Nature Reserves in Howick Showing 1 result
Midmar Dam Nature Reserve
Nature Reserve in Howick
Situated just seven kilometres from Howick and 24 kilometres from Pietermaritzburg, the Midmar Dam...
Nature Reserves Near Howick
Weenen Game Reserve
Nature Reserve in Weenen
Weenen Game Reserve presents many scenic and game viewing opportunities for visitors on foot or...
Doreen Clark Nature Reserve
Nature Reserve in Winterskloof
The Doreen Clark Nature Reserve is only a short distance from the north of Pietermaritzburg. The...
Queen Elizabeth Nature Reserv...
Nature Reserve in Hilton
Queen Elizabeth Nature Reserve serves as the headquarters of Ezemvelo KZN Wildlife, KwaZulu-Natal's...
Albert Falls Dam Nature Reser...
Nature Reserve in Albert Falls
One of the largest dams in KwaZulu-Natal, Albert Falls Dam and Nature Reserve is a popular...
Kamberg Nature Reserve
Nature Reserve in Drakensberg
The Kamberg Nature Reserve is located on the foothills of the mountains in the Natal Drakensberg...
Krantzkloof Nature Reserve
Nature Reserve in Kloof
Offering numerous scenic walks and viewpoints, Krantzkloof Nature Reserve is a haven for twitchers...
Lotheni Nature Reserve
The Lotheni Nature Reserve is situated within the Ukhahlamba Drakensberg Park. There are many...
Ilanda Wilds Nature Reserve
Nature Reserve in Amanzimtoti
The Ilanda Wilds Nature Reserve is a small reserve situated along the banks of the Amanzimtoti...
Pipeline Coastal Park
Pipeline Coastal Park is one of four nature reserves in Amanzimtoti. This long strip of interesting...
Nature Reserve in Durban North
The gardens feature Japanese stuctures laid out in a traditional style. The Japanese Garden ponds...
Beachwood Mangroves Nature Re...
The Beachwood Mangroves is a delightful mangrove estuary lying north of the Umgeni River Mouth....
Umhlanga Ponds
Nature Reserve in Umhlanga Rocks
Situated at the edge of Umhlanga Rocks is The Ponds, a haven for many wetland and coastal forest...
Hawaan Forest
The Hawaan Forest is a stunning indigenous woodland that dates back to hundreds of years. This...
Bluff Nature Reserve
Nature Reserve in The Bluff
The Bluff Nature Reserve is Durban's oldest nature reserve, comprising a wetland pan, lake and...
Vernon Crookes Nature Reserve...
Nature Reserve in Hibberdene
With hundreds of bird species, Vernon Crookes Nature Reserve is a twitchers delight as well as a...
Umhlanga Lagoon Nature Reserv...
The Umhlanga Lagoon Nature Reserve borders the northern section of Umhlanga Rocks. It's here that...

redpajama_set_name: RedPajamaCommonCrawl


Sometimes you just need some comfort food—something steaming and fragrant and utterly delicious.
The 9th Chloe Ellefson Mystery, The Lacemaker's Secret, begins at just such a moment.
Roelke turned to the kitchen counter where an old-fashioned percolator burbled with promise. Trust his cousin to just know. He'd had another rough night, but he didn't want to talk about it.
. . . Libby turned and cracked the oven door. A rich wave of banana, vanilla, and cinnamon swirled into the room.
"Please tell me that's Libby's Legendary Banana Bread Pudding." Roelke's favorite Sunday-morning treat at his cousin's house.
I came up with this recipe for Banana Bread Pudding on a frigid Wisconsin morning. It pairs beautifully with the delectable maple sauce, so don't skip that step!
Note: Because the sauce is sweet, I used no sugar in the bread pudding itself. If you prefer a sweeter version, add 1/4 c. or 1/2 c.
Grease a 2-quart casserole. Pre-heat oven to 375.
Place the bread cubes in a large bowl.
I used half a small loaf of Italian bread. Bread that's a day or two old will retain its texture better than soft bread.
In another bowl, beat the eggs with a whisk. Stir in milk, vanilla, and spices. Add sugar, if using.
Set one banana aside, slice the others into this mix, and stir to coat. Add this mixture, and walnuts if using, to the bread cubes. Gently stir.
Stir the pudding into the casserole dish. Slice the final banana over the top.
Use banana that are ripe but firm if you want to retain their texture. Over-ripe bananas can be mashed and mixed with the bread mixture.
Bake for about 40 minutes. Towards the end of the bake start the maple sauce (directions below).
Remove the casserole when the pudding is golden brown and a skewer inserted into the center emerges clean.
When the pudding is partly baked, begin the Maple Sauce by melting the butter in a small saucepan. Mix the sugar and cornstarch together and stir into the melted butter.
Add the milk and maple syrup, whisking continuously. Continue stirring until the mixture comes to a low boil. Let simmer until thickened, about a minute or so.
The silky-smooth sauce just coming to a simmer.
Serve the pudding warm, topped with the warm maple sauce.
I think Libby and Roelke would enjoy this version of Banana Bread Pudding. I hope you do as well!


Big/Large Game Elk, moose, kudu, bear, cougars, alligators, muskox, zebra, wildebeest, etc.
Black Powder Firearms that harken back to the early firearms often associated Davy Crockett, Jim Bridger, Daniel Boone, Kit Carson, Jeremiah Johnson and Matthew Quigley.
Dangerous Game Wolves, big cats, bears, rhinoceros, hippopotamus, elephant, alligators, tyronasaurus rex , etc.
Medium Game Deer, antelope, mountain goats, caribou, feral pigs, wild boar, sheep, etc.
Small Game: Birds/Fowl Pigeons, quail, pheasant, grouse, turkey, dove, ptarmigan , etc.
Small Game: Fur-bearers Squirrel, rabbit, raccoon, opossum, woodchucks, gophers, hares, bobcats, badger.
Upland Game Quail, pheasant, grouse, rabbits, turkey, dove, ptarmigan, etc.
Varmints Woodchucks, marmots, prairie dogs, rats, coyotes, fox, raccoons, opossums, squirrels, crows, starlings, cowbirds, etc.


text:
package com.spiritatlas.flourishblade.screens;

import com.badlogic.gdx.Gdx;
import com.badlogic.gdx.audio.Music;
import com.badlogic.gdx.graphics.OrthographicCamera;
import com.badlogic.gdx.graphics.Texture;
import com.badlogic.gdx.graphics.g2d.SpriteBatch;
import com.badlogic.gdx.graphics.g2d.TextureRegion;
import com.badlogic.gdx.maps.MapProperties;
import com.badlogic.gdx.math.Vector2;
import com.badlogic.gdx.physics.box2d.*;
import com.badlogic.gdx.scenes.scene2d.InputEvent;
import com.badlogic.gdx.scenes.scene2d.InputListener;
import com.badlogic.gdx.scenes.scene2d.Stage;
import com.badlogic.gdx.scenes.scene2d.ui.ImageButton;
import com.badlogic.gdx.scenes.scene2d.ui.Skin;
import com.badlogic.gdx.scenes.scene2d.ui.Touchpad;
import com.badlogic.gdx.scenes.scene2d.utils.Drawable;
import com.badlogic.gdx.scenes.scene2d.utils.TextureRegionDrawable;
import com.badlogic.gdx.utils.viewport.FitViewport;
import com.spiritatlas.flourishblade.FlourishBlade;
import com.spiritatlas.flourishblade.entities.FringeLayer;
import com.spiritatlas.flourishblade.entities.Map;
import com.spiritatlas.flourishblade.entities.PlayerEntity;
import com.spiritatlas.flourishblade.util.*;

import java.util.Iterator;

public class OverworldScreen extends AbstractScreen {
    private final ResourceLoader resourceLoader;
    private final Physics physics;
    private final Map map;
    private final PlayerEntity player;
    private final OrthographicCamera hudCamera;

    private final Touchpad touchpad;
    private final ComponentMovement movement;

    private Music mapMusic;

    // TODO: Remove this from the final game
    public final Box2DDebugRenderer debugRenderer;

    public OverworldScreen(final ResourceLoader resources, final FlourishBlade game) {
        super(new Stage(new FitViewport(FlourishBlade.V_WIDTH, FlourishBlade.V_HEIGHT)), game);
        game.getGameState().saveGameState();
        this.resourceLoader = resources;
        resourceLoader.loadTexture("spritesheets/character.png", ResourceLoader.PLAYER_SPRITESHEET);
        physics = new Physics(new Vector2(0, 0), true);
        map = new Map(game.getGameState().getMapFilePath(), physics);
        player = createPlayer(game.getGameState().getCharacterPosition());
        game.getCamera().following = player;

        String music = map.getPropertyValue("bgm");
        if (!music.equals("")) {
            if (resourceLoader.isAnyMusicPlaying()) {
                resourceLoader.stopAllMusic();
                resourceLoader.removeMusic(ResourceLoader.DYNAMIC_MAP_MUSIC);
            }
            resourceLoader.loadMusic(music, ResourceLoader.DYNAMIC_MAP_MUSIC);
            mapMusic = resourceLoader.getMusic(ResourceLoader.DYNAMIC_MAP_MUSIC);
            mapMusic.setVolume(game.getGameSettings().getBgmVolume());
            mapMusic.setLooping(true);
            mapMusic.play();
        }

        touchpad = createTouchpad();
        stage.addActor(touchpad);
        createUIButtons();

        movement = createMovement();

        this.hudCamera = new OrthographicCamera(stage.getWidth(), stage.getHeight());
        hudCamera.viewportWidth = Gdx.graphics.getWidth();
        hudCamera.viewportHeight = Gdx.graphics.getHeight();

        debugRenderer = new Box2DDebugRenderer();
    }

    private PlayerEntity createPlayer(Vector2 characterPosition) {
        BodyDef bdef = new BodyDef();
        bdef.type = BodyDef.BodyType.DynamicBody;
        bdef.position.set(characterPosition);
        bdef.angle = 0;
        bdef.linearVelocity.set(0, 0);
        bdef.angularVelocity = 0;
        bdef.linearDamping = 0.99f;
        bdef.angularDamping = 0;
        bdef.allowSleep = true;
        bdef.awake = true;
        bdef.fixedRotation = true;
        bdef.bullet = false;
        bdef.active = true;
        bdef.gravityScale = 1;

        FixtureDef fdef = new FixtureDef();
        fdef.shape = new CircleShape();
        fdef.shape.setRadius(0.3f);
        fdef.friction = 0.2f;
        fdef.restitution = 0.1f;
        fdef.density = 1;
        fdef.isSensor = false;

        Body body = physics.getWorld().createBody(bdef);
        body.createFixture(fdef);

        MassData md = body.getMassData();
        md.mass = 1;
        body.setMassData(md);

        Texture tex = resourceLoader.getTexture(ResourceLoader.PLAYER_SPRITESHEET);
        return new PlayerEntity(body, PlayerEntity.createView(tex));
    }

    private Touchpad createTouchpad() {
        String touchKnobId = "touchKnob";
        String touchBackgroundId = "touchBackground";

        Skin touchpadSkin = new Skin();

        touchpadSkin.add(touchBackgroundId,
                new TextureRegion(resourceLoader.getTexture(ResourceLoader.UI_TEX), 335, 38, 35, 38));
        touchpadSkin.add(touchKnobId,
                new TextureRegion(resourceLoader.getTexture(ResourceLoader.UI_TEX), 365, 483, 17, 17));

        Touchpad.TouchpadStyle touchpadStyle = new Touchpad.TouchpadStyle();
        Drawable touchBackground = touchpadSkin.getDrawable(touchBackgroundId);
        Drawable touchKnob = touchpadSkin.getDrawable(touchKnobId);
        touchpadStyle.background = touchBackground;
        touchpadStyle.knob = touchKnob;
        Touchpad tpad = new Touchpad(10, touchpadStyle);
        tpad.setBounds(15, 15, 150, 150);
        return tpad;
    }

    private void createUIButtons() {
        ImageButton.ImageButtonStyle style = new ImageButton.ImageButtonStyle();
        style.imageUp = new TextureRegionDrawable(
                new TextureRegion(resourceLoader.getTexture(ResourceLoader.UI_TEX), 290, 0, 45, 49)
        );
        style.imageDown = new TextureRegionDrawable(
                new TextureRegion(resourceLoader.getTexture(ResourceLoader.UI_TEX), 290, 139, 45, 45)
        );
        final ImageButton actionButton = new ImageButton(style);
        actionButton.addListener(new InputListener(){
            public boolean touchDown (InputEvent event, float x, float y, int pointer, int button) {
                if (physics.isHaveEvent()) {
                    Gdx.app.log("Event Handler", "Has Event!!");
                    MapProperties eventTileProperties = physics.getEventTileProperties();
                    Iterator it = eventTileProperties.getKeys();
                    // TODO: Remove this while print statement
                    while (it.hasNext()) {
                        String tempKey = (String) it.next();
                        Gdx.app.log("OverworldScreen", "K: " + tempKey + ", " +
                                "V: " + String.valueOf(eventTileProperties.get(tempKey)));
                    }
                    String actionType = String.valueOf(eventTileProperties.get("action"));
                    // TODO: Add some other action handler stuff
                    if (actionType.equals("dialog")) {
                        String dialogText = String.valueOf(eventTileProperties.get("text"));
                        game.pushScreen(new DialogScreen(resourceLoader, game, dialogText));
                    }

                } else {
                    Gdx.app.log("Event Handler", "No event!!");
                }
                return false;
            }
        });
        actionButton.setPosition(stage.getWidth() - actionButton.getWidth() - 50, 50);
        stage.addActor(actionButton);
    }

    private ComponentMovement createMovement() {
        ComponentMovement movement = new ComponentMovement(Direction.DOWN);
        movement.set(16, 6, 1.5f);
        return movement;
    }

    @Override
    public void tick(float delta) {
        if (physics.isHaveEvent()) {
            MapProperties eventTileProperties = physics.getEventTileProperties();
            Iterator it = eventTileProperties.getKeys();
            // TODO: Remove this while print statement
            while (it.hasNext()) {
                String tempKey = (String) it.next();
                Gdx.app.log("OverworldScreen", "K: " + tempKey + ", " +
                        "V: " + String.valueOf(eventTileProperties.get(tempKey)));
            }
            String actionType = String.valueOf(eventTileProperties.get("action"));
            // TODO: Add some other action handler stuff
            if (actionType.equals("mapchange")) {
                String destMap = String.valueOf(eventTileProperties.get("destmap"));
                float destX = Float.valueOf(eventTileProperties.get("dest_x").toString());
                float destY = Float.valueOf(eventTileProperties.get("dest_y").toString());
                //game.pushScreen(new DialogScreen(resourceLoader, game, dialogText));
                game.getGameState().setMapFilePath(destMap);
                game.getGameState().setCharacterPosition(new Vector2(destX, destY));
                game.popScreen();
                game.pushScreen(new OverworldScreen(resourceLoader, game));
            }
        }
        movement.setSteer(touchpad.getKnobPercentX(), touchpad.getKnobPercentY());
        movement.apply(player);
        physics.step(delta);
        stage.act(delta);
        game.getCamera().update();
    }

    @Override
    public void draw(SpriteBatch spriteBatch) {
        game.getCamera().loadToBatch(spriteBatch);
        map.renderBelowEntities(game.getCamera().getCamera());
        spriteBatch.begin();

        FringeLayer fringeLayer = map.getFringeLayer();
        fringeLayer.begin();
        fringeLayer.renderTill(spriteBatch, player.getY());
        player.getView().draw(spriteBatch, player, Gdx.graphics.getDeltaTime());
        fringeLayer.end(spriteBatch);

        spriteBatch.end();
        map.renderAboveEntities(game.getCamera().getCamera());
        drawHUD(spriteBatch);

        debugRenderer.render(physics.getWorld(), game.getCamera().getCamera().combined);
    }

    private void drawHUD(SpriteBatch spriteBatch) {
        hudCamera.update();
        stage.draw();
        spriteBatch.setProjectionMatrix(hudCamera.projection);
        spriteBatch.setTransformMatrix(hudCamera.view);
        float x = -Gdx.graphics.getWidth() / 2f + 5f;
        float y = Gdx.graphics.getHeight() / 2f - 5f;
        spriteBatch.begin();
        resourceLoader.getFont(ResourceLoader.FONT).draw(
                spriteBatch, "fps: " + Gdx.graphics.getFramesPerSecond(), x, y);
        spriteBatch.end();
    }

    @Override
    public void resize(int width, int height) {
        stage.getViewport().update(width, height);
        hudCamera.viewportWidth = Gdx.graphics.getWidth();
        hudCamera.viewportHeight = Gdx.graphics.getHeight();
        touchpad.setBounds(15, 15, 150, 150);
    }

    @Override
    public boolean isParentVisible() {
        return false;
    }

    @Override
    public boolean darkenScreen() {
        return true;
    }

    @Override
    public void dispose() {
        map.dispose();
        resourceLoader.removeTexture(ResourceLoader.PLAYER_SPRITESHEET);
        resourceLoader.removeTexture(ResourceLoader.PLAYER_SWORD);
    }
}

redpajama_set_name: RedPajamaGithub


It is generally recognized that Chinese Canadians experienced more than six decades of legislated racism, through laws enacted by Canada's federal Parliament, beginning with the first head tax on Chinese immigrants written into the Chinese Immigration Act (1885) and ending with the repeal of the Immigration Act (1923), otherwise known as the Chinese Exclusion Act, in 1947.
However, if other discriminatory laws enacted by the British Columbia government are acknowledged, starting with the B.C. Qualification and Registration of Voters Act (1872) , then Canadians of Chinese heritage have faced 75 years of official discrimination – or more than half of the time that Canada has been a country.
Even after the Exclusion Act was repealed, largely through community activism and the efforts of Chinese Canadian lawyer Kew Dock Yip and other community activists, openly racist immigration policies and laws affected growth of the Chinese Canadian community until the late 1960s.
Federally, discrimination against the Chinese began just before the completion of the Canadian Pacific Railway in late 1885, when Parliament was pressured by B.C. politicians and organized labour to exclude them from all aspects of Canadian society. The Royal Commission on Chinese Immigration had released its findings in summer the same year.


text:
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text:
Best Female Shooters from Maharashtra
Updated: October 17, 2018 By: Wikilistia Staff
Maharashtra is a state of spanning west-central India which total population is more than 114 million. In this article you will meet professional female shooters of Maharashtra. Here, we are going to create List of Female Olympic Shooters from Maharashtra. The peoples of Maharashtra are interested in this game. Many players of Maharashtra participated in Olympic and bring Medal for their country. Abhinav Bindra is one of the single shooter who won Gold Medal for India. But here, we are going to tell you female shooters from Maharashtra. In the below article a list has given where you can see all female shooters along with their complete details.
Best Female Shooters from Maharashtra [List]
7 Items1045 Views
1. Anjali Bhagwat
Anjali Bhagwat born on 5th December 1969 in Mumbai. She is professional Indian Shooter. She won her first World Cup Final in Milan with score of 399/400 in 2003. She won total 55 Gold, 35 Silver and 16 Bronze medal in Domestic Games. Internationally, She won 31 Gold, 23 silver and 7 Bronze medal. In 2001, she won 3 Gold and 2 silver medals in Commonwealth Championship 2001 England. In 2000, Asian Championships Malaysia she won 1 Gold and 1 silver medal and then after she became world's number one shooter in 10m Air Rifle.
Anjali Bhagwat: Indian Sport Shooter
53 Clicks View Details
2. Deepali Deshpande
Deepali Deshpande was born on 3rd August 1969 in Mumbai, Maharashtra, she is a Indian professional sports Shooter who won many medals for his country. She won silver medal in Asian Shooting Championship in 2004 at Kuala Lumpur, Malaysia. She also participated in 2004 summer Olympics, finishing nineteenth in the rifle three positions.
Deepali Deshpande: Indian Sport Shooter
3. Pooja Ghatkar
Pooja Ghatkar was born on 1989 in Pune, Maharashtra, she is famous Indian professional sports shooter. She competes in the women's 10 meter air rifle event. In 2013 she participated at senior National Championships in Delhi in 10 meter air rifle event and won gold medal. She also won bronze medal at New Delhi World Cup in 2017. Pooja Ghatkar won many medals for India in various sport shooting competitions and championships.
Pooja Ghatkar: Indian Sport Shooter
4. Ayonika Paul
Ayonika Paul was born on 23rd September 1992 in Mumbai, Maharashtra, she is famous Indian professional shooter who competes in the 10 metre air rifle event. She passed 12th class from Swami Vivekananda high school and graduated from Pillai College of Engineering, Panvel. Paul won silver medal in 2014 Commonwealth Games in Glasgow and bronze medal in ISSF World Cup 2014 in Slovenia. She also represented India in Rio Olympic 2016.
Ayonika Paul: Indian Sport Shooter
5. Gayatri Pawaskar
Gayatri Pawaskar is the youngest sport shooter of India who was born on 4th September 1999 in Dadra, Mumbai. Pawaskar competes in 10 metre air rifle event. In 13th Asian Shooting Championships she won her first international gold. Gayatri won 5 medals in her shooting career for the country. She is also a brand ambassador of Wiwigo technologies.
Gayatri Pawaskar: Indian Sport Shooter
6. Tejaswini Sawant
Tejaswini Sawant is an Indian professional shooter who was born on 12th September 1980 in Kolhapur, Maharashtra. She represented India 9th South Asian Sports Federation Games in 2004 in Islamabad where she won gold medal. Sawant also won Gold medal 2010 world championships in Munich in 50 metre air rifle prone. Her father was an Indian Navy officer.
Tejaswini Sawant: Indian Sport Shooter
7. Rahi Sarnobat
Rahi Sarnobat: Indian Athlete
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The only good thing you can do for yourself is not wasting your precious time on irrelevant things. No your visions and dreams write it down even the bible says it in Habakkuk 2:2 it says And the lord answered me,and said,write the vision, and make it plain upon tables, that he may run that readeth it.
Let me share with you a story of a young boy of about ten year old, a man asked he what is your name and he answered and say my name is doctor bright now this young boy have a dream and a vision, he have seen his vision and at the same time visualizing it. Now when this boy grow up can he find his self in art class? the answer is no is not possible. does it means that this boy haven't fail any subject at all since he realize his dream? The answer is no ,he did fail but he do rise up equip himself the more, so you that is reading this now it doesn't matter how many time you fail never give up, although your vision may tarry just wait for it because it must surely come.
Vision is the ability to plan your future with the aid of imagination and wisdom. I will also go a bit far to classify vision into two stage, which are foresight and insight. I define Foresight as the ability to view your future with the aid of a telescope now telescope here simply means an optical instrument use to view something from a distance by making it closer. Insight simply means viewing something with your naked eye I.e viewing something within.
If you are asked the difference between successful person and a failure the clear difference is mindset and attitude.
A rich man is that man with ideas and even though he fail he still rise up knowing his vision, knowing that there are bester things ahead while a poor man is he that fail and never thing of rising up, a man with zero idea.
Let me ask you as a man would you like to marry a woman that is very ugly to the extent if you see her face in the night you will shout blood of Jesus!! but with a great ideas that will transfer your life for good Or a beautiful woman that when going out with her your prayer is that let this woman not speak because her words are destructive, the answer I got today in a conference was that 90% of men accept to marry the ugliest woman just to explore with the ideas, because an idea worth more than a million because one without an idea can be empowered with one million then he or she will lavish the money irrelevantly at the end of month/year you will go back to work as a cleaner. So I asked one man will you allow that ugly woman to seat in front of car with you, when you might have make? He said yes then I asked he why,how? Wouldn't you drop her and pick a gallant damsel as a wife? The said he wouldn't drop her rather he will use the money to wash her also call the best make-up artist to always be making her up,that every woman is beautiful. Yes you that's reading this massage please never give up because of your present situation, delay is never a deny, don't just give up like esau who because of the challenge of hunger and sold his birthright forgetting that his birthright can give he food,shelter etc. God who created man put in us different talent and ideas; mine might be different from yours. In this case your challenges might not be food may be you wouldn't sell your birthright, but your challenges might be unemployment or one problem or the other and you selling your birthright is you giving one reason or the other why you should not continue why you should die with your ideas, visions and talent. That's why grave yard is the richest; it is so because many potential, visions etc have been buried.
In this year 2019 learn to set your goal, always learn to visualize your vision never allow your goal or dreams or vision perish or waste ,any day you come across try to make out thing from it because a second's count's, in this year 2019. Say no to failure say no those thing that will distract you from your vision and ideas.
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I'm Shrinidhi Hande (www.enidhi.net). I created this forum about 2 years ago to focus on financial topics.
However, I've not been able to dedicate enough time for this and not many genuine members are active either.
Noticed that the forum is being abused by strangers to promote their personal agenda/link/sites/business.
So as a part of clean up drive, have stopped accepting new members and am in the process of banning the errant members and cleaning up the forum.
If you're very keen on retaining this forum, do comment and share your views.


Marvel's latest Hollywood blockbuster Captain America: Civil War is showing at cinemas right now. So Premier Print & Promotions have teamed up with Cross to giveaway a highly collectable trio of Marvel Superhero Pens (featuring Iron Man, Spider-Man and Captain America). One lucky winner, picked at random, will receive this marvellous competition prize.
The Marvel Tech2 Collection by Cross is an heroic combo of pen and stylus that celebrates three classic superheroes from the Marvel Universe: Captain America, Iron Man and Spider-Man. Put them into action on paper and digital touchscreens.
UPDATE on 01/06/2016: Congratulations to our winner George Johnston-Hyde. Thank you to all of our entrants! Watch out for new competitions from Premier Print & Promotions throughout 2016. Be sure to follow us on Twitter and Facebook for more info!
Premier are giving YOU the choice of four different ways to enter our competition, just don't forget to include the #Marvellous hashtag in your post!
In addition, every customer who places an order with Premier Print & Promotions in May 2016 will automatically be entered into this free prize draw.
2. The competition prize is: 3 Cross Marvel Tech2 Pens – featuring Captain America, Iron Man and Spider-Man – worth a total of £90.
3. Free entry for the competition is obtained by following Premier on Facebook, Instagram, LinkedIn or Twitter and sharing the details of this competition on your own social media pages. In addition, customers placing an order with Premier in May 2016 will automatically be entered into the competition.
4. Closing date for entry is Tuesday 31st May 2016 at 11:59pm. After this date and time, no further entries to the competition will be permitted.
12. The winner's name will be available 28 days after the closing date by sending a stamped self-addressed envelope to: May 2016 Marvel Superhero Pens Competition, Premier Print & Promotions Ltd., Premier House, Threshelfords Business Park, Inworth Road, Feering, Essex CO5 9SE.
23. The competition is in no way sponsored, endorsed, administered by, or associated with Cross, Disney, Marvel, Facebook, Instagram, LinkedIn or Twitter.
Special thanks to UK competition site Loquax for their support in promoting our Marvel Superhero Pens free giveaway contest.


text:
Get 1 month access to Netflix Inc. for $19.99, or
Netflix Inc.
Netflix Inc. (NFLX)
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Based on: 10-K (filing date: 2019-01-29), 10-K (filing date: 2018-01-29), 10-K (filing date: 2017-01-27), 10-K (filing date: 2016-01-28), 10-K (filing date: 2015-01-29).
Current liabilities Total obligations incurred as part of normal operations that are expected to be paid during the following twelve months or within one business cycle, if longer. Netflix Inc.'s current liabilities as a percentage of total liabilities and stockholders' equity declined from 2016 to 2017 and from 2017 to 2018.
Non-current liabilities Amount of obligation due after one year or beyond the normal operating cycle, if longer. Netflix Inc.'s non-current liabilities as a percentage of total liabilities and stockholders' equity increased from 2016 to 2017 and from 2017 to 2018.
Total liabilities Sum of the carrying amounts as of the balance sheet date of all liabilities that are recognized. Liabilities are probable future sacrifices of economic benefits arising from present obligations of an entity to transfer assets or provide services to other entities in the future. Netflix Inc.'s total liabilities as a percentage of total liabilities and stockholders' equity increased from 2016 to 2017 but then declined significantly from 2017 to 2018.
Stockholders' equity Total of all stockholders' equity (deficit) items, net of receivables from officers, directors, owners, and affiliates of the entity which are attributable to the parent. The amount of the economic entity's stockholders' equity attributable to the parent excludes the amount of stockholders' equity which is allocable to that ownership interest in subsidiary equity which is not attributable to the parent (noncontrolling interest, minority interest). This excludes temporary equity and is sometimes called permanent equity. Netflix Inc.'s stockholders' equity as a percentage of total liabilities and stockholders' equity declined from 2016 to 2017 but then increased from 2017 to 2018 exceeding 2016 level.
Price of access to Netflix Inc.*


text:
The Cullen Medal, named for William Cullen, is awarded by the Royal College of Physicians of Edinburgh for "the greatest benefit done to Practical Medicine".

References

Awards established in 1890
Medicine awards

redpajama_set_name: RedPajamaWikipedia


1.41-Acre Lot, Level plateau, scenic hill country views, gated community, common area access to swimming pool, cabana bath house, picnic reunion pavilion, 16-acre fishing lake, scenic flowing Cow Creek, nature trails, ponds, creeks. Horse OK with 5.0-Acre minimum. Underground electric along road, community water supply system, 10-Minutes to Bertram. 20-minutes to Lake Travis-Marble Falls-Burnet-Lago Vista-Liberty Hill. 30-minutes to commuter train station in Leander bound for downtown Austin TX.


text:
Age: 28 born September 13, 1993
Niall James Horan (born 13 September 1993) is an Irish singer-songwriter and guitarist, best known as a member of the boy band 'One Direction'. In 2010, Horan auditioned as a solo artist for the seventh series of the British televised singing competition "The X Factor". He failed to progress, but the guest judge, Nicole Scherzinger, suggested that Niall join 'One Direction', with Harry Styles, Zayn Malik, Liam Payne and Louis Tomlinson. In his career as a member of 'One Direction', he has co-written many songs. He released his first single as a solo artist, "This Town", in 2016.
Description above is from the Wikipedia article Niall Horan,...read more
Niall Horan is known for:
Go behind the scenes during One Directions sell out "Take Me Home" tour and experience life on the road.
These actors are frequently suggested for roles along with Niall Horan.
Harry Styles 160 roles in common
Tom Holland 107 roles in common
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Jordan Fisher 76 roles in common
Louis Tomlinson 76 roles in common
Liam Payne 75 roles in common
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Freddie Highmore 65 roles in common
Chris Pine 64 roles in common
Logan Lerman 62 roles in common
Chris Hemsworth 61 roles in common
Niall Horan has been suggested to play 465 roles. Click below to see other actors suggested for each role, and vote for who you think would play the role best.
Male Musical Artists.
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Niall James Horan (born 13 September 1993) is an Irish singer-songwriter and guitarist, best known as a member of the boy band 'One Direction'. In 2010, Horan auditioned as a solo artist for the seventh series of the British televised singing competition "The X Factor". He failed to progress, but the guest judge, Nicole Scherzinger, suggested that Niall join 'One Direction', with Harry Styles, Zayn Malik, Liam Payne and Louis Tomlinson. In his career as a member of 'One Direction', he has co-written many songs. He released his first single as a solo artist, "This Town", in 2016. Description above is from the Wikipedia article Niall Horan, licensed under CC-BY-SA, full list of contributors on Wikipedia.


If some additional resistance is added to the voltmeter, the measurement limit of the device increases by 2 times, adding another resistance increases the measurement limit by 5 times. How many times will the measurement limit increase if we connect both resistors in parallel and then connect them to the voltmeter in series?
Task 31666. Detailed solution with a brief record of the conditions, formulas and laws used in the decision, the conclusion of the calculation formula and the answer.


In the X Windowing System you can use xmodmap to change the keymaping. Some desktop environments, like Gnome and KDE, which use X, have specialized preference menus to make this easier. The advantage of using xmodmap is that it will work with any desktop or Window Manager.
See the man page command xmodmap(1) for more information. I swap their functions throughout my environment, not just for Emacs.
In Fedora 15 you can also add a file `~/.Xkbmap` that contains command line arguments to `setxkbmap`. These will be used when you next log in.
The [CapsKey](http://www.emacswiki.org/emacs/CapsKey) page has an example of moving Ctrl to Caps.
The variable `mac-command-modifier` can be used to interpret the Command key as an additional Control. This can be useful for Linux-like behavior when Caps Lock has already been remapped to Command.
In Emacs 22 (Carbon Port, CVS version) you can use the variable `mac-control-modifier` to remap the Control key.
The easiest way to achieve this in Microsoft Windows is to install the Sysinternals program [Ctrl2cap](https://technet.microsoft.com/en-us/sysinternals/bb897578.aspx?f=255&MSPPError=-2147217396).
Use remapkey.exe from [Windows Server 2003 Resource Kit Tools](http://www.microsoft.com/en-us/download/details.aspx?id=17657) to remap windows keyboard layout.
On Windows you can use the [AutoHotkey](http://www.autohotkey.com/) program which uses "scripts" to remap the keyboard.
This section describes how to swap Control and [CapsLock](http://www.emacswiki.org/emacs/CapsLock), but with AutoHotKey it is also possible to use Space both as Space and Control. See [Using space bar as both space and control](http://www.emacswiki.org/emacs/MovingTheCtrlKey#Using_space_bar_as_both_space_and_control) below.
To remap the Caps Lock key to Ctrl save the following to a file named `script.ahk`. Then execute the script with [AutoHotKey](http://www.emacswiki.org/emacs/AutoHotKey) by double clicking it. See the [AHK2EXE](http://autohotkey.free.fr/docs/Scripts.htm#ahk2exe) documentation to learn how to make scripts into stand alone executables.
The original Caps Lock behavior is here mapped to Shift + Caps Lock.
If you want the caps lock to be the control key everywhere remove the lines that begin with "[#IfWinActive](http://www.emacswiki.org/emacs/IfWinActive)".
If you want this AHK script to remain in effect across windows restarts place the script in your startup folder. See the [startup section of the AHK FAQ](http://www.autohotkey.com/docs/FAQ.htm#Startup) for more specific directions.
* Applies across all user accounts.
* Requires Administrator access to write to the registry.
This can also be done by manually editing the registry to accomplish the same thing, see [](http://geekquanta.blogspot.com/2007/07/remapping-ctrl-and-caps-lock-in-windows.html) for an explanation.
Note: the Synaptics touchpad driver for Windows reads the unmodified scancodes while [PalmTouch](http://www.emacswiki.org/emacs/PalmTouch) is active, so if you switch Ctrl and Capslock you will also have to turn off [PalmTouch](http://www.emacswiki.org/emacs/PalmTouch) if you want to send 'Ctrl-Taps' using the touchpad.
which makes the change for just the current user only.
There is a small piece of software called keymap which modifies the registry.
It seems that keymap.exe does not work on Windows 7. [KeyMapper](http://code.google.com/p/keymapper/) works fine.
[SharpKeys](http://sharpkeys.codeplex.com/) works like [Keymap](http://www.emacswiki.org/emacs/KeyMapper) and KeyMapper as it will modify the registry for you, and it is know to work with Windows 8.


text:
A note on comments
Docent Adventures
Ancient Near East: Just the Facts
A hieroglyphic primer, Part 1
Posted by kmtsesh in Ancient Egypt, Ancient Writing
Abydos, champollion, coptic, demotic, Egypt, hieratic, hieroglyphs, inscription, museum, napoleon, text, tomb u-j, translation
A couple of years ago during a quiet moment in the Egyptian exhibit at the Field Museum, I was walking around the gallery when a young kid walked up to me with a notebook in his hand. "Excuse me, sir," he said, "would you help me to figure out what these hieroglyphs mean?" He showed me his notebook to reveal a bunch of glyphs he had seen in the exhibit, and drawn as carefully as he could.
Now this is my kind of kid, I thought. His name was Michael and he was eight years old. It's not unusual, in my experience at the museum, to encounter a youngster with an interest in ancient Egyptian hieroglyphs. But Michael exhibited a deeper interest in one so young, and I was delighted to spend some time helping him to understand the inscriptions he had drawn. In fact, we ended up spending quite awhile together, his mom observing quietly from the background.
Hieroglyphic writing happens to be one of my favorite topics and one of my favorite areas of study. Over many years I've invested a lot of time and some measure of personal expense to be able to learn and translate the ancient script, up to including lessons under an Egyptologist. On one level it makes me a better docent, being able to explain to visitors young and old what an inscription says; this serves to enrich visitor experience. But on a personal level it opens a whole new area of understanding to me in my studies, being able to read the writing almost as though the ancient scribe were speaking to me. As one Egyptologist said, "Museums are full of ancient voices."
I thought it might be fun to do an article on ancient Egyptian hieroglyphs, to help readers to understand how they work and why they are so important to our broader understanding of ancient Egypt. After all, were it not for our ability to read the ancient writing, we would ultimately know almost nothing meaningful about pharaonic Egypt. We might even still be laboring under the fable that the pyramids of Giza were grain silos (with apologies to Dr. Carson, but really?).
My article will not teach you to translate and understand hieroglyphic inscriptions. That takes a lot of training and a significant amount of time and commitment. But hopefully I can aid you in understanding the basics of how hieroglyphs work. The next time you're at a museum you might even be able to pass along some of this knowledge and impress your friends.
A fussy note. I often hear museum visitors say something to the effect of, "Look, Egyptian hieroglyphics." The word "hieroglyphic" is a modifier and is more properly used in the sense of "hieroglyphic writing" or "hieroglyphic script." When referring to the script as a noun, it's just "hieroglyphs." So instead, say, "Look, Egyptian hieroglyphs."
The origin of hieroglyphs
One of the enduring mysteries of ancient Egypt is how the hieroglyphic script developed. The evidence for this has come in fits and starts and we're forming a better picture of it today, but much remains to be learned. It used to be thought that the hieroglyphic writing system emerged around the time of the founding of the Egyptian kingdom (c. 3100 BCE), which placed it second in antiquity only to Sumerian cuneiform.
But then came Günter Dreyer and his team from the German Archaeological Institute. Dreyer had been digging since the 1970s at the sprawling site of Abydos, where Egypt's earliest rulers had been buried. In 1988 in Cemetery U at Abydos, Dreyer and his excavators unearthed a tomb that would change our understanding of history.
Designated Tomb U-j, it's one of the largest tombs in that area of Abydos and dates to late prehistory. Carbon dating places it at about 3320 BCE.
Tomb U-J, Abydos, c. 3320 BCE
What set Tomb U-j apart from the rest that date to that early time were the nearly 200 ivory and bone tags excavated there. At 3320 BCE, they were inscribed with the earliest-known hieroglyphs. This bumped back the emergence of Egyptian hieroglyphs to a time contemporary with the earliest Sumerian cuneiform. This now leads Assyriologists and Egyptologists to quibble over whose form of writing came first. Hopefully future archaeological evidence will clarify this for us.
Inscribed ivory tags excavated from Tomb U-j
There is still a lot of debate over how exactly the ivory tags should be interpreted. Günter Dreyer himself seems confident that they can largely be read phonetically, in the manner of hieroglyphic inscriptions from the pharaonic period. Not everyone agrees, but there is largely consensus that the tags represent the names of estates from which goods buried in Tomb U-j came.
Tomb U-j represents a formative stage in late prehistoric Egypt. No single ruler controlled all of the Nile Valley yet. Rather, regional rulers or "proto-pharaohs" controlled their regions of Egypt. This was especially true in Upper (southern) Egypt, where successions of rulers in the prehistoric cities of Hierakonpolis, Naqqada, and Thinis (Abydos) were vying for greater control over the southern reaches of the Nile Valley. This is where the kingdom of Egypt would be born (c. 3100 BCE), eventually to absorb the regions of Lower (northern) Egypt.
It's believed that the hieroglyphs first appearing in Abydos were a regional or local convention, and that this form of writing was absorbed as an ideological tradition by the earliest kings once the kingdom was founded. The writing system was already well established by Dynasty 1 (Early Dynastic Period), and was well regulated and formulated by the onset of the Old Kingdom (2663-2195 BCE).
The decipherment of hieroglyphs
As was the fate of most human languages down through time, ancient Egyptian eventually died out. It thrived for thousands of years, and even though it's gone, the fact that it was written has frozen it for us like a time capsule. We can see its cognates and relations to other Semitic languages and how it changed as a spoken tongue down thought time.
Ancient Egyptian belonged to the Afro-Asiatic family and was related to languages that still exist such as Hebrew, Arabic, Aramaic, Berber, and Chadic.
Hieroglyphs weren't the only form of writing in pharaonic Egypt. In fact, hieroglyphs probably stopped representing the every-day spoken tongue by the end of the Old Kingdom. It was maintained (with periodic changes and updates) as a "ceremonial" form of writing and was used mostly for religious and ideological purposes. Hieroglyphs were reserved largely for monumental texts such as funerary inscriptions and royal public decrees. A linear or cursive form of hieroglyphs was often used for religious texts like Books of the Dead, although one sees this form also used in ancient graffiti.
A form of writing called hieratic started to appear around the same time as hieroglyphs. Hieratic is based on hieroglyphs but is much more cursive and rich with ligatures. One can often see the shapes of hieroglyphs in hieratic, although the two aren't the same. Nor do they quite read the same. As mentioned, hieroglyphs fairly soon ceased to represent the daily spoken tongue. This means that as the living language changed, the language of the hieroglyphs did not and represented an archaic form of the tongue. For a long time hieratic was used to write the daily spoken language.
An example I often use with museum visitors is Old English to modern English. By the time of King Tutankhamun (1343-1333 BCE), the language of hieroglyphs preserved a form of the tongue about as outdated to them as Old English would be to us.
Hieratic continued to be used for administration, legalities, journals, stories, and other daily-life purposes until the seventh century BCE. A new script that rose in the north, demotic, was by then a better representative of the daily spoken language, and soon replaced hieratic for that purpose. Demotic appeared on the scene around 650 BCE.
Hieroglyphs were still used for religious and monumental texts, and once demotic arose, hieratic was also put to religious use. Many Books of the Dead and other funerary texts from the later periods, for instance, are written in hieratic.
Christianity made early inroads in Egypt. This naturally had profound effects on the culture of Egypt. As Christianity supplanted the ancient traditional religious traditions, closely related practices like writing were affected. Hieroglyphs and hieratic died out by the early centuries CE, and demotic would follow the same fate. The early Christians of Egypt adapted the Greek alphabet and included some demotic characters to represent sounds in the Egyptian language that Greek lacked. This Christian form of Egyptian writing is called Coptic. It was in use for centuries but exists today only as a liturgical language in Coptic Christian masses. Still, Coptic represents the last vestige of the ancient Egyptian language.
Top-left: hieratic; top-right: demotic; bottom: Coptic
Islam arrived in Egypt in the seventh century CE, and this too promised profound changes. Arabic supplanted Coptic as the spoken and written language of Egypt.
This is a long way to go but I hope paints a clear enough picture. The ancient writing went extinct, and with it the ancient language. Coptic went some way to preserve the language, but the Egyptians themselves forgot how to read the ancient hieroglyphs. And once the Egyptians forgot, so did the world.
Down through time the occasional educated person attempted to make sense of Egyptian hieroglyphs, but none succeeded. Others seem to have made it up as they went along, a good example of which was Athanasius Kircher (1602-1680). As with many others, Kircher was convinced the hieroglyphs represented a strictly ideogrammatic language of esoteric wisdom. On an obelisk in Rome he encountered an inscription originally commissioned by Ramesses II in the thirteenth century BCE (most of Egypt's obelisks had ended up in Rome thanks to the avid collecting habits of great Roman emperors).
We know today that the inscription reads: "Horus, strong bull, beloved of Maat, Usermaatre setepen-Re, king of Upper and Lower Egypt, son of the Sun, Ramesses." Kircher, on the other hand, went at it more creatively. I record here only a portion of his "translation:"
"Supramundane Osiris, concealed in the center of eternity, flows down into the world of the Genies, which is the most near, similar, and immediately subject to him. He flows down into the divinity Osiris of the sensible World, and its soul, which is the Sun. He flows down into the Osiris of the elemental World, Apis, beneficent Agathodemon, who distributes the power imparted by Osiris to all the members of the lower world."
It goes on and on, painfully.
Modern folks bent on alternative or fringe histories have their own bizarre ideas. I remember coming across a web page where an Egyptian fellow argued that ancient Egyptian wasn't really a dead language but was actually an early version of Arabic and spoke of Allah.
But down through time people did not even have any idea of how to approach the ancient script. There were those like Kircher who believed it revealed esoteric knowledge, and there were many who believed the little pictures in the script had to be taken literally. That is, a depiction of a hand must mean hand, one of an owl must mean owl, et cetera. As long as folks had these ideas in mind, there was certain to be no progress.
That changed in 1798 when an ambitious general named Napoleon Bonaparte invaded Egypt in an effort to control shipping and trade routes through the Mediterranean (and hence get the better of their British rivals). With his expedition Napoleon brought a large number of historians, engineers, artists, and other specialists to study the ancient land of Egypt.
In 1799 soldiers working on a fort near the Delta town of Rosetta were disassembling an old wall when they discovered a large stone slab covered in writing. The top two-thirds were covered in hieroglyphs and another strange script, while the bottom third contained ancient Greek. This would go on to be known as the Rosetta Stone.
Napoleon had no problem conquering Egypt from the Mamluks who had been controlling it, but they did not do so well against the British. Admiral Horatio Nelson destroyed the French fleet fleet in the Battle of the Nile, and Napoleon fled Egypt. To the victor go the spoils, as it were, the the British confiscated the Rosetta Stone. It's been in the British Museum ever since.
It wasn't the end of Napoleon, of course. He would rise to rule France and conquer most of Europe. Meanwhile, a young Frenchman of humble birth, Jean-Francois Champollion, was making strides in his efforts to learn languages. The fellow was a natural linguist. Early on Champollion developed a keen interest in Egyptian hieroglyphs, and wanted nothing more than to decipher that script.
Jean-Francois Champollion (1790-1832)
Most of Champollion's instructors were highly skeptical of his goals, which left the young man largely to strive on his own to decipher hieroglyphs. He managed to get an inked copy of the Rosetta Stone but worked even more so from the epigraphic drawings people had made during their trips to Egypt.
Meanwhile, in Britain, there were those bent on figuring out the mysteries of the Rosetta Stone. They were led by the polymath Thomas Young. Any scholar worth his salt could read ancient Greek in those days, so they figured it would be a relatively simple matter to compare the ancient Greek at the bottom of the stone with the hieroglyphs at the top, and affect a translation.
It wasn't quite that easy, of course. They were able to determine that the odd script in the center of the stone was another version of ancient Egyptian (what we now call demotic), but they could not translate it. Young was able to prove that the glyphs inside the cartouches at the top of the stone were used to spell the name Ptolemy (from the line of Ptolemies who had ruled Egypt in the Greek period), so that established that hieroglyphs could be used to write foreign names. Therefore, hieroglyphs had phonetic properties. But Young and his team made no progress on the rest of the stone, and many argued that in native Egyptian it didn't represent a form of writing so much as a conveyor of ideas.
Back in France, young Champollion believed differently. He was one of the few who intuitively understood that the Coptic language of Christian Egypt was the last vestige of the pharaonic tongue, so he turned to a local Coptic priest, attended Coptic masses, and learned the liturgical Coptic language. This proved critical.
Champollion was working on some drawings a friend had made in Egypt and turned his attention to a cartouche in the transcriptions. The inscription had been copied at Abu Simbel, a site on the very southern fringes of Egypt. Champollion knew the Coptic word for "sun" was "re," and this cartouche had a sun disk in it. The rest is history.
As the story goes, Champollion read the name in the cartouche and ran excitedly to his brother's house to give him the news. And before he could deliver it, Champollion fainted dead away. His brother put him to bed. Champollion had a penchant for over-taxing himself, and his tireless efforts had caught up with him.
But upon waking Champollion could demonstrate that he could, in fact, read the name in the cartouche. I've outlined it in red here:
Champollion did not yet have a mastery of all the glyphs, of course, but he knew enough to understand what was written there: Ramesses. This was the cartouche of Ramesses II, one of the greatest pharaohs ever to sit on the throne of Egypt.
Eventually Champollion was able to go to Egypt himself. The story of his life is actually quite fascinating, between his involvement with the fortunes and fall of Napoleon and his efforts to stay out of the crosshairs of the Catholic Church, which was terrified that he would find proof the world was older than Christianity preached. But true to form, Champollion over-taxed himself and suffered a stroke while in Egypt. He died shrotly after returning home.
Champollion proved hieroglyphs could be read as a mix of phonetic and logogrammatic writing. He achieved a great deal in his short time, and one wonders how much farther we might have come had he lived to a ripe old age and taught us even more.
In the next installment we'll take a look at how hieroglyphs work and the different kinds the Egyptians used. Thanks much for reading.
And Happy Holidays to the WordPress community.
Adkins, Leslie & Roy. The Keys of Egypt: The Obsession to Decipher Egyptian Hieroglyphs.2000
MacArthur, Elise V. "The Conception and Development of the Egyptian Writing System." Visible Language, Christopher Woods, ed. 2010
Stauder, Andréas. "The Earliest Egyptian Writing." Visible Language, Christopher Woods, ed. 2010
3 thoughts on "A hieroglyphic primer, Part 1"
Pingback: A hieroglyphic primer, Part 2 | Ancient Near East: Just the Facts
Howard said:
"Islam arrived in Egypt in the seventh century BCE…" In the seventh century AD. You have it arriving before Alexander.
kmtsesh said:
Goodness, there's a bone-headed mistake. Thanks for bringing it to my attention. It's now fixed.
Finally, an update
Inventory Stela: Pious fraud?
Great Pyramid: the fringe obsession
King Tut: rock star, pop idol, enigma
Did the Hebrews build the pyramids?
Biblical Events & Historicity
Combating the Fringe
« Aug Jan »
Follow Ancient Near East: Just the Facts on WordPress.com
The Gosford Glyphs Hoax, Part 1
Nip Tuck: circumcision in ancient Egypt
The death of Tutankhamun: accident, disease, or murder?
Flying machines in ancient Egypt?
The enigma of Akhenaten
Magdalenian Girl...or Woman...or Girl?
Exodus: Fact or Fiction?


text:
Q: Submitting a Bug on Launchpad when there are Missing Debug Packages? I submitted a bug report to Launchpad using Apport. Shortly after, I received the following email:

Thank you for your report!
However, processing it in order to get sufficient information for the
  developers failed (it does not generate a useful symbolic stack trace). This
  might be caused by some outdated packages which were installed on your system
  at the time of the report:
outdated -dbg package for libdrm-radeon1: package version 2.4.91-2~16.04.1 -dbg version 2.4.70-1~ubuntu16.04.1
  no debug symbol package found for libboost-filesystem1.58.0
  outdated -dbg package for libdrm-nouveau2: package version 2.4.91-2~16.04.1 -dbg version 2.4.70-1~ubuntu16.04.1
  no debug symbol package found for libcairo-gobject2
  no debug symbol package found for libboost-system1.58.0
  outdated -dbg package for libdrm2: package version 2.4.91-2~16.04.1 -dbg version 2.4.70-1~ubuntu16.04.1
  outdated -dbg package for libwayland-cursor0: package version None -dbg version 1.9.0-1
  outdated -dbg package for libdrm-amdgpu1: package version 2.4.91-2~16.04.1 -dbg version 2.4.70-1~ubuntu16.04.1
  no debug symbol package found for libogg0
  no debug symbol package found for libatk1.0-0
  outdated -dbg package for libwayland-client0: package version None -dbg version 1.9.0-1
Please upgrade your system to the latest package versions. If you still
  encounter the crash, please file a new report.

The problem is that I have checked in Synaptic, and all of the packages referred to either don't exist, or the debug package is out-of date (and there isn't a new one that matches the main package). Can someone advise as to how I can submit this bug report, please?
I have read the page about ApportRetracingService on the Community Help Wiki. It accurately describes the situation I am in, but offers no help on how to remedy it!
Output of cat /etc/apt/sources.list:
# deb cdrom:[Ubuntu 16.04.1 LTS _Xenial Xerus_ - Release amd64
 (20160719)]/ xenial main restricted

# See http://help.ubuntu.com/community/UpgradeNotes for how to upgrade to
# newer versions of the distribution.
deb http://gb.archive.ubuntu.com/ubuntu/ xenial main restricted
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial main restricted

## Major bug fix updates produced after the final release of the
## distribution.
deb http://gb.archive.ubuntu.com/ubuntu/ xenial-updates main restricted
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial-updates main restricted

## N.B. software from this repository is ENTIRELY UNSUPPORTED by the Ubuntu
## team, and may not be under a free licence. Please satisfy yourself as to
## your rights to use the software. Also, please note that software in
## universe WILL NOT receive any review or updates from the Ubuntu security
## team.
deb http://gb.archive.ubuntu.com/ubuntu/ xenial universe
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial universe
deb http://gb.archive.ubuntu.com/ubuntu/ xenial-updates universe
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial-updates universe

## N.B. software from this repository is ENTIRELY UNSUPPORTED by the Ubuntu
## team, and may not be under a free licence. Please satisfy yourself as to
## your rights to use the software. Also, please note that software in
## multiverse WILL NOT receive any review or updates from the Ubuntu
## security team.
deb http://gb.archive.ubuntu.com/ubuntu/ xenial multiverse
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial multiverse
deb http://gb.archive.ubuntu.com/ubuntu/ xenial-updates multiverse
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial-updates multiverse

## N.B. software from this repository may not have been tested as
## extensively as that contained in the main release, although it includes
## newer versions of some applications which may provide useful features.
## Also, please note that software in backports WILL NOT receive any review
## or updates from the Ubuntu security team.
deb http://gb.archive.ubuntu.com/ubuntu/ xenial-backports main restricted universe multiverse
# deb-src http://gb.archive.ubuntu.com/ubuntu/ xenial-backports main restricted universe multiverse

## Uncomment the following two lines to add software from Canonical's
## 'partner' repository.
## This software is not part of Ubuntu, but is offered by Canonical and the
## respective vendors as a service to Ubuntu users.
# deb http://archive.canonical.com/ubuntu xenial partner
# deb-src http://archive.canonical.com/ubuntu xenial partner

deb http://security.ubuntu.com/ubuntu xenial-security main restricted
# deb-src http://security.ubuntu.com/ubuntu xenial-security main restricted
deb http://security.ubuntu.com/ubuntu xenial-security universe
# deb-src http://security.ubuntu.com/ubuntu xenial-security universe
deb http://security.ubuntu.com/ubuntu xenial-security multiverse
# deb-src http://security.ubuntu.com/ubuntu xenial-security multiverse

Output of apt-cache policy libwayland-client0 libdrm-radeon1:
libwayland-client0:
  Installed: 1.12.0-1~ubuntu16.04.3
  Candidate: 1.12.0-1~ubuntu16.04.3
  Version table:
 *** 1.12.0-1~ubuntu16.04.3 500
        500 http://gb.archive.ubuntu.com/ubuntu xenial-updates/main amd64 Packages
        500 http://security.ubuntu.com/ubuntu xenial-security/main amd64 Packages
        100 /var/lib/dpkg/status
     1.9.0-1 500
        500 http://gb.archive.ubuntu.com/ubuntu xenial/main amd64 Packages
libdrm-radeon1:
  Installed: 2.4.91-2~16.04.1
  Candidate: 2.4.91-2~16.04.1
  Version table:
 *** 2.4.91-2~16.04.1 500
        500 http://gb.archive.ubuntu.com/ubuntu xenial-updates/main amd64 Packages
        100 /var/lib/dpkg/status
     2.4.67-1 500
        500 http://gb.archive.ubuntu.com/ubuntu xenial/main amd64 Packages

redpajama_set_name: RedPajamaStackExchange


text:
Seaton start 2020 with big defeat while Farway United lose in their first league game for four months
Honiton 2nds at home to East Budleigh. Ref mhsp 40-16TI 9156. Picture: Terry Ife
Seaton Town started 2020 on the wrong foot when they were beaten 7-1 at home by Cronies.
The visitors had six different scores on a day to forget for Seaton with Lewis Cottam's goal a small consolation for the home side.
Tiernan West scored a brace while Michael Benyon, James Fanson, Peter Grover and substitutes Rian Antat and Aidan Barrett all netted.
Seaton's opponents are one of the league's top teams and their sixth-placed position is not very reflective of their ability given they have played at least two games fewer than the team's around them.
They are now 10 points ahead of Seaton who are in 11th place on 11 points. Up next, Seaton travel to 10th placed Chagford on Saturday.
In Divsion Three, Axmouth United suffered their fourth league defeat of the season against Westexe Park Rangers. Lee Dixon showed more of a scoring touch than his famous namesake when he scored one of his side's goals. Shellby Butler and George Harvey completed the day's scoring.
The result leaves Axmouth in 11th, just two places above the bottom. They will look to bounce back on Saturday when they travel to Lyme Regis Reserves.
Westexe's next opponents are Dunkeswell Rovers who were narrow 2-1 winners away at North Tawton. Tom Cligg and Max McKeown scored the goals for the away side. They are one of the team's pushing for a promotion place, a feat especially impressive considering they have played just one home game this season.
In Farway United's first Division Five match since September 28, it was a losing return to action as they were defeated 3-0 away at Exmouth Rovers. Matt Cousins scored a brace whilst Joel Rendall scored the final goal.
Having played a considerably fewer number of games, Farway currently find themselves in 11th place, just two places above the bottom.
They will look to host their first game of the year on Saturday when they welcome Bravehearts.
In the same division, Awliscombe were also defeated 3-0 but they lost away at Royal Oak.
The hosts, who are second in the table, picked up their seventh win of the season whilst Awliscombe were condemned to their fourth defeat of the campaign. Awliscombe play East Budleigh 2nds at home on Saturday.
Tame jackdaw who has a fascination for pencils has made his mark on Axminster's community after being rescued


text:
WHO: 7 million new omicron COVID cases in Europe last week
People wait in front of a pharmacy open on Sunday to get a COVID-19 test, in Paris, France, Sunday, Jan. 9, 2022. An unprecedented number of coronavirus infections is once again exposing the underfunding and shortcomings of public health care systems, even in developed parts of Europe. (AP Photo/Francois Mori)
COPENHAGEN, Denmark (AP) — There were more than 7 million new cases of the omicron variant of COVID-19 across Europe in the first week of January, more than doubling in just two weeks, the World Health Organization said.
WHO Europe director Dr. Hans Kluge said at a media briefing on Tuesday that 26 countries in its region reported that more than 1% of their populations are being infected with COVID-19 each week, warning there is now a "closing window of opportunity" for countries to prevent their health systems from being overwhelmed.
He cited estimates from the Institute of Health Metrics at the University of Washington that projected half of the population in Western Europe will be infected with COVID-19 in the next six to eight weeks.
"Omicron moves faster and wider than any (previous) variant we have seen," he said. Kluge called for countries to mandate the use of masks indoors and to prioritize vaccination, including booster doses, of at-risk populations, including health workers and older people. WHO's Geneva headquarters has previously pleaded with rich countries not to offer booster doses and to donate them instead to poorer countries where vulnerable groups have yet to be immunized.
Kluge said he was greatly concerned that as omicron moves east across the European continent, the variant will take a much higher toll on countries with lower vaccination coverage rates. In Denmark, he noted the coronavirus hospitalization rate was six times higher in people who weren't vaccinated compared to those who had been immunized.
(NEXSTAR) – The White House plan to send Americans free, at-home COVID-19 tests using the U.S. Postal Service launched its website to sign up a day earlier than expected Tuesday. For many, claiming the four free kits took a grand total of 15 seconds. For others, especially those living in multi-unit housing or multi-family households, there were some issues.
Here's what the USPS says to do if you're receiving error messages or having trouble claiming your COVID test kits.
City attorneys: new trash provider in six months, Red River continues until then
Why is Huel protein powder suddenly so popular?


text:
Movable cultural heritage
Laws and enforcement
In Australia, national and international cultural property is protected through the Protection of Movable Cultural Heritage Act 1986, which gives effect to the UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970.
There are laws to regulate the global movement of cultural material. In Australia, the relevant law is the Protection of Movable Cultural Heritage Act 1986 (PMCH Act), which regulates:
the export of cultural property from Australia
the import of foreign cultural property into Australia.
The PMCH Act gives effect to the UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970. If you breach the PMCH Act, you could face severe penalties, including seizure of the object, and fines or jail time.
Inspectors are authorised to conduct searches for Australian and foreign protected objects. Inspectors are appointed under the PMCH Act.
The Australian Federal Police and state and territory police are also inspectors.
The Australian Government Department of Immigration and Border Protection and the Australian Federal Police have important roles in detecting illegal exports and imports of cultural property.
What happens if an object is seized?
If you own material that is seized under the PMCH Act, you will be issued with a notice of seizure as soon as practicable after the material is seized.
If you wish to dispute the seizure, you should write to the appropriate person as identified in the notice of seizure within 30 days. You will then have a four month period to take legal action.
If you are not successful, or if you have not taken any action in the 30 day period, ownership of the material forfeits automatically to the Australian Government.
Australian protected objects are normally placed in an Australian museum, gallery or library for the benefit of all Australians. Foreign protected objects may be repatriated to the originating country.