If there was any doubt that biometrics have entered the mainstream, it was laid to rest by three Pennsylvania school districts that recently announced an experimental program that replaces lunch money with fingerprint scanners.
Under the program, students use their fingerprints to debit the cost of lunch against an account maintained by their parents. Reports say the program costs approximately $4,000 to $5,000 per lunch line to implement.
While some critics say the program is intrusive, supporters say it allows parents to be certain that lunch money is spent on just that: lunch.


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Not much is known about Eric other than he was a game devloper for Midway Austin he worked on Tribes: Aerial Assault and tribes 2. He also worked on outpost 2 red baron 3d and cyberstorm 2 in the 1998 and 1997 years.
http://www.mobygames.com/developer/sheet/view/developerId,31350/ used this website but reworded it.


Recreational cannabis, or adult-use has arrived California. Many people have been waiting a long, long, long time for 2018 here in California. While much is still yet to be finalized, There are many dispensaries across the state that are gearing up for a big opening day with giveaways, longer opening hours and much more. In lieu of legalization in California, we're compiling a the list of places where you can get your first purchase of legal recreational cannabis. Remember to read our buying tips before heading out to the dispensary for your recreational cannabis. Please note there may be more open, however these were the only ones we were able to verify with the dispensaries themselves.
Please continue to check back with this list, we will be updating this constantly as we find out more.
Click here for our most updated map.


text:
Q: Generator with return statement During my coverage, I scratched my head on the following case (python 3.4)
def simple_gen_function(str_in, sep=""):
    if sep == "":
        yield str_in[0]
        for c in str_in[1:]:
            yield c
    else:
        return str_in
        # yield from str_in

str_in = "je teste "
t = "".join(simple_gen_function(str_in))
p = "".join(simple_gen_function(str_in, "\n"))

print("%r %r" % (t, p))
# 'je teste' ''

Using return in the generator, the return was not "reached" while using yield from str_in I have the expected result.
The question seems simple, but I believed that using return in a generator, it was in reached.

A: The presence of yield in a function body turns it into a generator function instead of a normal function.  And in a generator function, using return is a way of saying "The generator has ended, there are no more elements." By having the first statement of a generator method be return str_in, you are guaranteed to have a generator that returns no elements.
As a comment mentions, the return value is used as an argument to the StopIteration exception that gets raised when the generator has ended.  See:
>>> gen = simple_gen_function("hello", "foo")
>>> next(gen)
Traceback (most recent call last):
  File "<stdin>", line 1, in <module>
StopIteration: hello

If there's a yield anywhere in your def, it's a generator!
In the comments, the asker mentions they thought the function turned into a generator dynamically, when the yield statement is executed. But this is not how it works! The decision is made before the code is ever excuted. If Python finds a yield anywhere at all under your def, it turns that def into a generator function.
See this ultra-condensed example:
>>> def foo():
...     if False:
...         yield "bar"
...     return "baz"
>>> foo()
<generator object foo at ...>
>>> # The return value "baz" is only exposed via StopIteration
>>> # You probably shouldn't use this behavior.
>>> next(foo())
Traceback (most recent call last):
  ...
StopIteration: baz
>>> # Nothing is ever yielded from the generator, so it generates no values.
>>> list(foo())
[]

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If you had to name one soup from Italy, minestrone would be it. A richly-flavoured collection of beans and vegetables in a tomatoey base, minestrone soup makes a wonderful, filling and nutritious lunch or supper. And it's very easy to make.
Peel and coarsely chop the onion. Heat the olive oil on medium heat and cook the onions in it until they are soft and slightly transparent but not coloured. While you are doing this, add the tomatoes to a large saucepan and break them up into small pieces. Bring to the boil and add the stock, bay leaf, thyme, pepper and the basil leaves torn into small pieces (save a couple of whole leaves for garnish). Bring back to the boil, reduce heat and simmer for about 20 minutes. When the onion is cooked, add that and the oil it was cooked in to the soup base.
Throw the contents of the large pan into a blender, and whizz until smooth.
If you are using pre-cooked beans from a can, you can skip this step.
Drain your soaked beans and add them to the soup base. If you have a pressure cooker, you can cook it for about 30 minutes (depending on the freshness and size of your beans, it may take a bit longer) until the beans are tender. If you don't have a pressure cooker, it may take 1-2 hours of simmering for the beans to be cooked.
Peel the potato and carrot and cut them into dice. Cut the celery into small pieces, and shred the cabbage. Pour a generous glug of olive oil into the frying pan, and heat it on medium. Add the vegetables and stir to get them all coated in oil, then place a lid on the pan and reduce the heat to low. The idea here is to sweat the vegetables for about 10-15 minutes until they are just beginning to soften.
When the beans are cooked, taste the soup base and add salt if required. If the base is too thick, you can also add more stock or water. Stir in the sweated vegetables and simmer for another 20-30 minutes until the veggies are cooked.
Pour soup into bowl, garnish with a basil leaf and accompany with some crusty bread and a glass of full-bodied red wine.
The video above is from the Keef Cooks YouTube channel. Click here to see the video recipe of Minestrone Soup on YouTube.


text:
Kids Have Found Workarounds To Screen Time Restrictions In iOS 12
September 27, 2018 at 12:25 pm by Vikas Shukla
Image Source: Apple.com (screenshot)
Screen Time is one of the biggest highlights of the iOS 12 software. It allows the iPhone and iPad owners to track the amount of time they spend on their devices and within individual apps. It also lets them set daily time limits on specific apps. Users finally had a way to add a digital dose of self-control. And parents began using the Screen Time restrictions to control their children's iPhone usage.
Kids discover multiple ways to bypass the Screen Time restrictions
At first, it seemed like an incredibly useful feature, at least in theory. But when it comes to real-life execution, the Screen Time restrictions didn't have the same impact parents and Apple hoped. Within just ten days of iOS 12 public rollout, kids have found not one but multiple workarounds to Screen Time restrictions. Kids are much more technologically-advanced than adults in Cupertino thought.
Reddit user PropellerGuy says in a thread that he limited his 7-year-old son's screen time soon after iOS 12 came out. Just a few days later he noticed that his kid was playing games more than he was allowed to, but he couldn't figure out how or why. Eventually, his son revealed his nasty little trick. The thread has so far received more than 8700 upvotes.
What PropellerGuy's son would do is deleting the games for which he has run out of screen time, and re-downloading it from the App Store. Thanks to iCloud, he wouldn't lose even one bit of data, and could resume playing where he left off. Re-downloading the game means the clock would start over again for the day, giving him extra playtime without any issues.
Of course, PropellerGuy (and other parents) could block it by turning off the Install Apps in Restrictions. You'll find it in Screen Time's settings. It removes the App Store icon from the device, but it also prevents apps from updating. So, this is not a great solution.
In the same thread, Reddit user TheInspiringDad says he had blocked YouTube. But his child found a workaround to it. The kid uses the YouTube iMessages app to send himself videos. Though YouTube is technically blocked, he can still watch those videos within iMessages. Should the parent consider blocking iMessage as well?
Yet another parent asked on Apple's official support forum how she could keep her teen from turning the time and date back on an iPhone. Her teen was bypassing the Screen Time restrictions by resetting his phone's time and date back to trick the iPhone into thinking that it was a new day. Apparently, you could do it even when the device is already in 'down time.' There doesn't appear to be a fix for this parent's problem.
What's the best solution?
No matter what kind of Screen Time restrictions parents introduce, sooner or later kids will find a workaround. The best way seems to be the old-school method of physically removing the iPhone or iPad from their possession after they have spent a certain amount of time on it. It may sound harsh but you know that you are doing the right thing for your child.
If you haven't yet tried Screen Time restrictions, you can set a time limit on any app that you think you or your child is addicted to. To see how much time you (or your child) are spending on specific apps, go to Settings > Screen Time > Tap the iPhone/iPad area at the top > Scroll down to see most used apps. If you want to set a daily time limit, go to Settings > Screen Time > App Limits > Add Limit > Choose a category > Add > Choose the time limit.
It would be interesting to see if or when Apple brings a fix to these cheats. The iOS 12 software brings many other features such as Siri Shortcuts, a revamped Stocks app, better notifications, an improved Control Center, and performance and stability improvements. Multiple tests have shown that older iPhones and iPads got a significant performance boost after upgrading to iOS 12.
Author: Vikas ShuklaAlthough he has a background in finance and holds an MBA, Vikas Shukla is a technology reporter. He has a strong interest in gadgets, gizmos, and science. He writes regularly on these topics. - He can be contacted by email at vshukla@valuewalk.com
New Samsung Galaxy S11 Rumor Indicates Major RAM Upgrade
FaceApp Is Not Uploading All Photos From Devices, But Many Still Worry

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As seen at WrestleMania 34 Braun Strowman picked a 10 year old boy named Nicholas out of the crowd to be his partner for his RAW Tag Team Championship Match against The Bar.
The identity of the boy known as "Nicholas" has been revealed. Bodyslam.net's own Brad Shepard was given the information that the boy is actually the son of WWE Official John Cone.
Please give credit to Bodyslam.net when using this information.


text:
Advice for presidential GOP candidates: Do your homework
04 Jun, 2014 by	Jonah Goldberg
Good for Rick Perry.
After a fairly disastrous first go at the White House, he's gearing up for a second try. Over the weekend, he told NBC News' Kasie Hunt: "I was not prepared properly." In 2012, he told CNN that the "idea you can just stroll in there and be in the mix and be successful, I think is a bit of a stretch. But, anyway, you live and learn."
That's a bit of an understatement. The last time around, Perry parachuted into the Republican primary right after the Iowa straw poll, effectively landing on the winner: Rep. Michele Bachmann. She may have been the shortest-lived front-runner ever.
Things only went downhill from there. His recovery from back surgery clearly played a role — he was on pain medication and had trouble sleeping — but even so, he was a hot mess. He campaigned as if he was running for the job of president of Texas — and that's when things were going well.
"It's three agencies of government when I get there that are gone — Commerce, Education and the, um, what's the third one there? Let's see. Oh five — Commerce, Education and the um, um," Perry rambled during a primary debate.
He's lucky he's not a horse, because they shoot them after stumbles like that.
I don't say good for Perry because I'm endorsing him; I say good for him because he's doing what he should have done the first time: his homework.
This is my biggest gripe about some of the GOP candidates in recent years. They don't think they have to do their homework, perhaps because they aren't so much running for president as running for greater celebrity.
Consider Herman Cain. I love listening to him, and so do a lot of conservatives. He's smart enough to be president. But he simply didn't do his homework, and he acted like that was something to be proud of, as when he of bragged about not knowing the names of leaders of "small, insignificant states" like Uzbekistan (which he jokingly pronounced "Ubeki-beki-beki-beki-stan-stan").
The one thing you cannot buy in politics is charisma. If you could, Mitt Romney would have bought a pallet of it at Costco and he'd probably be president now. Cain and Perry had the charisma, the natural political talent, and they squandered it by thinking all they needed was the sizzle without the steak.
I have similar worries about Ben Carson, who's on a book tour that feels a lot like a walk-through for a presidential run. Carson is amazingly popular on the Republican circuit. He is to older traditional conservatives what Rand Paul is to younger libertarians.
A world-renowned neurosurgeon, devout Christian and an African-American with a rags-to-riches story that beats any and all possible competition, Carson has enormous strengths. (Contrary to a lot of nonsense you hear daily on MSNBC, most of the base of the GOP would love to nominate a conservative black guy.) But while he speaks eloquently and passionately about the importance of doing homework in his own life and for children everywhere, it's not obvious he's taken those lessons to heart when it comes to politics.
In his book, "One Nation: What We Can All Do to Save America's Future," Carson says he'd declined invitations to get into politics in the past. Though he left some wiggle room: "If I felt called by God to officially enter the world of politics, I would certainly not hesitate to do so."
God may be paging Dr. Carson. He recently told the Weekly Standard's Fred Barnes that he's "starting to feel it. Because every place I go, it's unbelievable" how much support there is for him to run.
I have no doubt that's true. But most of the audiences he talks to are already in love with him. You can skate by with a lot of platitudes about common sense and the evils of political correctness (all of which I agree with) when speaking to an audience of your biggest fans. Perry learned that the hard way when he encountered audiences that didn't care that much about the Lone Star State.
Politics, particularly presidential politics, has to be about persuading people who disagree with you, not just telling those you had at "hello" what they came to hear. Maybe Carson is truly ready for a presidential run. If he is, he'd be very hard to beat.
(Jonah Goldberg is a fellow at the American Enterprise Institute and editor-at-large of National Review Online. You can write to him in care of this newspaper or by e-mail at: [email protected], or via Twitter @JonahNRO.)
Also see,
Mass killers hold culture – and country – hostage


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Home News Mo Gaba Way in Baltimore honors late 14-year-old superfan
Mo Gaba Way in Baltimore honors late 14-year-old superfan
Baltimore unveils Mo Gaba Way in honor of the late 14-year-old superfan
Updated: 2:23 PM EST December 2, 2020
Baltimore paid tribute to one of the city's biggest and most popular sports fans on Wednesday. In the summer, 14-year-old Mo Gaba died of cancer, but his legacy lives on in a special way. At the intersection of Ridgely and West Streets is Mo. Gaba Way. It leads up to Russell and Paca Streets near Oriole Park in Camden Yards and M&T Bank Stadium, the places where Mo's beloved Orioles and Ravens play. After the street sign was revealed, Gaba's mother, Sonsy Gaba, said she was proud of The legacy her son left in the city. "He just never gave up and didn't want anyone to worry about him. He just wanted to live every day like it was the best day of his life," said Sonsy Gaba. "What he did and how many people he touched in the 14 years of his life, I couldn't be more proud of him. He didn't do anything extraordinary. He cared for others, he loved hard and he was Mo. Mo." is Mo. "Mo became famous in Baltimore when he started calling radio broadcasts on 105.7 FM. Former Baltimore City Councilor Joe DiBlasi worked with the radio station to make the ceremonial sign a reality.
Baltimore paid tribute to one of the city's biggest and most popular sports fans on Wednesday.
In the summer, 14-year-old Mo Gaba died of cancer, but his legacy lives on in a special way.
Mo Gaba Way is at the intersection of Ridgely and West Streets. It leads up to Russell and Paca Streets near Oriole Park in Camden Yards and M&T Bank Stadium, where Mo & # 39; s beloved Orioles and Ravens play.
After the street sign was revealed, Gaba's mother, Sonsy Gaba, said she was proud of the legacy her son left in the city.
"He just never gave up and didn't want anyone to worry about him. He just wanted to live every day like it was the best day of his life," said Sonsy Gaba. "What he did and how many people he touched in the 14 years of his life, I couldn't be more proud of him. He didn't do anything extraordinary. He cared for others, he loved hard and he was Mo. Mo." is Mo. "
Mo became famous in Baltimore when he started calling radio broadcasts on 105.7 FM. Former Baltimore City Councilor Joe DiBlasi worked with the radio station to make the ceremonial sign a reality.
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text:
Крамаренко Олександр Андрійович (  12 лютого 1955 року, Кролевець, Сумська область, УРСР) — український незалежний журналіст.

Автор аналітичних публікацій у виданнях: «Комсомольская правда» (Москва), «Аргументы и факты» (Москва), «Спортивные игры» (Москва), «Футбол-хоккей» (Москва), «24» (Москва), «Начало» (Москва), «Пресс-бол» (Минск), «Українська правда», «День», "Молодь України, «2000», «Україна молода», «Киевский телеграф», «Сільські вісті», «Універсум», «Nova Ukraina» (Kraków). Автор сценарію та режисер документально-публіцистичного фільму «Закляття безпам'ятства. Голодомор 1932–1933 рр. на Луганщині»

Освіта
 1976 р. закінчив економічний факультет Ворошиловградського машинобудівного інституту;
 1993 р. бакалаврат факультету журналістики Московського державного університету ім. Ломоносова.

Професійна кар'єра
 1985–1996 рр. — незалежний журналіст;
 1996–1998 рр. — спецкор газети «Голос Донбасу» (м. Луганськ);
 1998–2000 рр. — спецкор газети «Експрес-клуб» (м. Луганськ);
 2000–2008 рр. — незалежний журналіст;
 2008–2012 рр. — спецкор газети «Гривна-плюс» (м. Луганськ);
 2010–2012 рр. — співпрацював з «Радіо Свобода».

Нагороди
 2007 р. — лауреат Другого Всеукраїнського конкурсу для журналістів з тематики Голодомору 1932–1933 рр., організованого Міжнародним благодійним фондом «Україна 3000», у номінації «Найкраща публікація в періодичній пресі»;
 2009 р. — присвоєне звання «Заслужений журналіст України»

Публікації
 «Голодомор був геноцидом»
 «Жертви Голодомору серед нас»
 «Кілька ознак "совка" в Україні»
 "Ми знаємо правду про геноцид (Відповідь українського журналіста російським історикам)
 «Геноцид-33 у сучасному українському вимірі»
 «Мова державна та мова індивідуальна»
 «Голодомор був геноцидом української душі»
 «Застереження старій Європі із глибини віків»
 «Постгеноцидне буття»
 «ВО "Свобода": Є певні запитання»
 «Де наша національна еліта»
 «Головні таємниці Голодомору»
 «Антиукраїнська сутність олігархічного футболу»
 «Блеск и нищета футбольной олигархии»
 «Хто може ховатися під маскою щирого патріота»

Фільми
 «Закляття безпам'ятства. Голодомор 1932–1933 рр. на Луганщині», 2008 р.
 «Стоїть гора високая»

Посилання
 Особистий блог журналіста

Хобі
 Футбол, рибальство, садівництво

Уродженці Кролевця

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text:
Абшеро́нський піво́стрів — півострів на Каспійському узбережжі Кавказу, вдається в море на 60 км.

Історія
Абшерон — старий нафтовидобувний регіон. У часи високого Середньовіччя (з VIII до XIII ст.) спостерігаємо численні письмові згадки бакинської нафти в працях арабських учених (Баладзорі, Масуді, Істахрі-Абу, Абу-Дулаф, Бекран та ін.), які описували самовилив нафти на поверхню та ранній колодязний видобуток на Абшеронському півострові. Так, Масуді у своєму трактаті «Середня книга» (перша половина X ст.) відзначає:…в Баку було два головних джерела: з одного добувалася жовта і біла нафта, а з іншого — чорна і синя. Прибуток з кожного джерела становив понад тисячу дирхемів на рік.Масуді та Істахрі, котрі відвідали район Баку в X ст., зазначали, що нафта й газ використовувалися для нагрівання води, приготування їжі, обпалення вапна, у військових та медичних цілях.

У X—XIII ст. в селі Балахани добувалася «легка нафта», а в Сурахани — «важка». Географ XIII століття Ібн Бекран пише, що нафту в Баку очищали, щоб позбутися від її поганого запаху і зробити нафту більш придатною для лікування.

Географія

Абшеронський півострів формою нагадує скорчений ніс, знятий у профіль. Удається до моря на 60 км, ширина до 30 км. На східному краю — піщана Шахова коса. Складений головним чином неогеновими і антропогеновими відкладеннями.

Поверхня — хвиляста рівнина (висоти від −26 м нижче за рівень моря біля берегів Каспію до 310 м на заході; середня висота 50—165 метрів) із брахіантиклінальними підняттями та грязьовими сопками (висота до 310 м на заході), з безстічними улоговинами, що містять солончаки і солоні озера; зустрічаються ділянки рухомих пісків. Ландшафт ефемерової напівпустелі із зимовою вегетацією трав. Поверхня рівнинна, місцями слабо погорбована.

На півострові є багаті нафтові й газові родовища (див. Бакинський нафтогазоносний район).

На південному узбережжі — місто Баку. Абшеронська група курортів. Багато грязьових вулканів.

Клімат

Переважає сухий субтропічний клімат. Середня температура січня +3 °C; липня +25 °C. Річна сума опадів коливається від 140 мм у південно-західній частині до 250 мм — у північній. Часті сильні вітри (норд).

Назва

Півострів отримав назву від селища Абшерон, що існувало до 20-х років XVIII століття. Найчастіше вважається, що слово «Абшерон»(آبشوران) походить від солона вода (мовою іраномовних татів аб — «вода», шерон — «солона»), первісно слово стосувалося Каспійського моря, а потім перейшло на прибережне селище.

Література

 Апшеронский полуостров / Словарь современных географических названий, Издательство «У-Фактория», 2003. — ISBN 5-94799-148-9
 Поспелов Е. М. Топонимический словарь. Издательство АСТ, 2005. — ISBN 5-17-016407-6
 Апшеронский регион

Півострови Азербайджану
Півострови Азії
Півострови Каспійського моря
Географія Баку


Who's sending us round the world?! I've missed all those offers!
looks like were back prayin 4 that lotto win Del……….did u keep our numbers?
We need a more achievable plan, with better odds than 1 in 13,983,816!!


text:
Welcome to downtown New Rochelle. We are a historic and walkable commercial district serving a city of nearly 80,000. Here you'll find mom and pop shops, restaurants ranging from Mexican to Korean to Soul, Westchester-County's busiest library (complete with its own public theater), and a nationally-recognized culinary school, the Culinary Institute of New York at Monroe College.
Downtown New Rochelle is also home to New Roc City, a major entertainment complex complete with a bowling alley, mini-golf, indoor trampoline center, Barnes and Noble college bookstore and a large movie theater with IMAX screens and reclining seats.
At the heart of it all is Ruby Dee Park at Library Green, downtown's main green space, where children play, neighbors exchange news, and everyone enjoys the greenery and fresh air. Library Green is also the home of the seasonal New Rochelle Farmers Market, Westchester's family-friendly farmers market and weekly festival.
Getting Here and Oriented:
Downtown's main shopping corridor is Main Street. There are clusters of retail and restaurants on Huguenot, which runs roughly parallel to Main Street, as well as on interconnecting streets (eg. Locust, North Avenue, Memorial Highway, Division Street). New Roc City and Monroe College are both on the northeastern portion of downtown, while the Library and Ruby Dee Park at Library Green are more centrally located, just south of the train depot.
The most convenient parking lots downtown are the Library and Library East lots, Avalon on the Sound, and the New Roc Lot. You can pay for and renew parking using the Park Mobile app in most City lots and parking meters, in addition to the pay stations.
Downtown Parking Facilities
Centre / Huguenot Lot
Division Street Parking
Huguenot / Centre Lot
Library Lot
Library South Lot
Maple Avenue Lot
New Rochelle Transit Center
Prospect Street Lot
New Roc Garage
Metered Parking Info
For more information see: City of New Rochelle's parking page.
New Rochelle Bike Share
Downtown is also home to several bike share stations.
Just off Huguenot, between North and Memorial Highway, the New Rochelle Transit Center offers Metro-North service to New York City via the New Haven line, and Amtrak service to Boston, New York and Washington, D.C. It also houses a bus terminal, accommodating as many as 300 buses per day, and taxi and airport limousine service.


text:
Q: What would be the Slater's determinant of an excited state? Setup
Introducing this spinorbital notation:
\begin{align}
\Psi_1=\chi_{(r1)}\alpha_{(\omega1)}  &= 1 \\
\Psi_1=\chi_{(r1)}\beta_{(\omega1)}  &= \bar{1}
\end{align}
and the Slater's determinant, for a system of two electrons, is:
\begin{align}
|\Psi\rangle = \frac{1}{\sqrt{2}}\cdot \left|
\begin{array}{cc}
1 & \bar{1}  \\
2 & \bar{2}  \\
\end{array}
\right| = |1\bar{2}-\bar{1}2\rangle
\end{align}
Question
Based on the example, what would be the Slater's determinant representation for an excited state like $\Psi_a^r$ (i.e. with parallel spins like: $|\bar{1}\bar{1}\rangle$ or $|\bar{1}\bar{2}\rangle$) and $\Psi_{ab}^{rs}$ (feel free to use any number) ?


Who is the Miley Cyrus of the folk music? Is Matt the Electrician a certified electrician? What about that mysterious Waterside Stage: real or conspiracy? These questions and more answered in this lineup preview episode of the Newport Folk Podcast! We sat down with Andy St. Pierre (Allston Pudding) and Jessica L Phaneuf (WUMB) to discuss the six most recent artists announced via the rolling lineup. Stayed tuned for the end of the episode, we've got another hint for the artist we'll be announcing tomorrow.


text:
Olmert asks Supreme Court to deny state request for partial retrial in Talansky Affair
The state's move had been expected since the state struck a plea bargain deal with Olmert's former chief of staff Shula Zaken.
By YONAH JEREMY BOB
Olmert in court on day of sentencing, May 13
(photo credit: POOL)
Former prime minister Ehud Olmert on Thursday filed a legal brief with the Supreme Court asking it to deny a special motion by the state to remand the Talansky Affair allegations against him to the Jerusalem District Court for a partial retrial.
The state filed the request on May 27 and the Supreme Court is due to hear the matter on Monday.
The state's move had been expected since the state struck a plea bargain deal with Olmert's former chief of staff Shula Zaken, but its motion and Olmert's response were still dramatic developments in his continuing legal battles.
In the worst-case scenario for Olmert, the remand could lead to a reversal of his acquittal in the case, a new conviction and more jail time on top of the six-year prison sentence he has received on bribery convictions in the separate Holyland Affair in the Tel Aviv District Court.
The Talansky Affair allegedly involved Olmert receiving large amounts of cash in envelopes from New York businessman Morris Talansky, not reporting them to the state comptroller, hiding them in his confidante Uri Messer's secret safe, as well as involvement in the disappearance of some of the money.
The state said the Jerusalem District Court should hear new evidence from Zaken and introduce two cassette tapes and her journal into evidence.
Opposing the state's motion, Olmert's legal team wrote that the motion had unconvincingly tried to pretend that all precedent about the finality of a trial court's ruling was irrelevant, with a singular focus on the powerful impact of Zaken's tapes.
Olmert said this tactical move was particularly troubling, since in most appeals the state is the party that insists on the finality of trial courts' verdicts, and pointed to the rarity of granting motions for retrials or to collect new evidence.
His brief said that the motion was an attempt by the state to use two cassette tapes to introduce a variety of other rejected evidential items, thereby doing an end-run on the rules preventing the introduction of new evidence that could had been submitted earlier.
The brief used the state's own language against it, noting that the state had told the Supreme Court that it should reverse Olmert's acquittal in the Talansky Affair even if the state was not allowed to introduce the new evidence.
In other words, Olmert said, if the new evidence was not necessary for the state to win, even in the state's mind, but only strengthened its appeal, then the evidence was not significant enough to warrant reopening the case for it.
Olmert continued that the state needed to admit that the cassette tapes could not stand on their own as evidence and made no sense without submitting other "new" evidence, which the state had previously tried to introduce but that the court had rejected.
The state, however, said it believed that acquittal could be reversed on the record already before the Supreme Court.
Moreover, the brief said that the state was being disingenuous by saying that Zaken would only testify for a short period of time that would be limited to explaining the tapes, and that the tapes were being used to improperly give Zaken a second chance to testify against Olmert after she had refused to do so at trial.
Olmert also slammed the state's claim that he and his alleged involvement in witness tampering were the reasons Zaken had refused to testify originally, and instead said that Zaken's current statements about Olmert were part of her false story, aimed at obtaining a shorter prison sentence in the Holyland Affair.
The state request had indicated that Zaken's tapes, from May 2011 – just before Olmert started to testify on the Talansky Affair – and October 2012 – three months after the court acquitted him in the case – show that Olmert used illegal means to pressure Zaken into refusing to testify and refusing to cooperate with the state.
Those means allegedly included various forms of pressure, as well as offering to get her legal expenses paid for her by associates.
Zaken's journal could be a crucial piece of proof against Olmert, and the court had refused to review its contents at the trial because at the time she refused to testify.
The state has yet to make a final decision on the issue.
Notably, the state did not ask to reopen evidence in the Rishon Tours Affair, which involved Olmert allegedly double-billing for reimbursement travel expenses, and from which Olmert was acquitted by the Jerusalem District Court in July 2012.


The answer to this question is very simple – I'm too pale! I'll try very hard to not make this post into a rant, although I'm not promising anything. So here we go.
When BB creams first came out, I was absolutely on that excitement train. Do I need moisturizing? Yes. Do I need just a tiny bit of coverage? Luckily, yes. Would I wanna have 2 in 1? Absolutely, who wouldn't?! There's a catch.
I tried one by one, every few months, dreaming of that perfect almost bare face, for the days I wasn't in the mood for full make up, but still wanted to look like a normal person. No success. It appears that I'm just too pale for BB Creams. Keep in mind that I'm not really blessed with a good brown tan even in summer, I usually get just a bit darker, sometimes not even worth switching foundation shades. Each and every one I tried, was few shades darker even on my hand, so imagine it on my paley (read white) face. It felt like I was entering Jersey Shore (no offense Snooki). Even though all of those are promising flawless natural coverage for every shade, apparently their shade in mind was oompa loompa.
So I think I'll just accept the fact that BB creams aren't for me and take this excuse to stock up on foundations. At least I can find the right shade in that department! Although if you have any suggestions or different experience with BB creams, don't hesitate to share in comments down below!


text:
Tate Papers no.14
Damien Hirst's Shark: Nature, Capitalism and the Sublime
Tate Papers ISSN 1753-9854
Luke White
Focusing on Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living 1991 which contains a preserved shark, this paper explores the longer cultural resonance of sharks as exemplars of the natural sublime. The paper argues that the shark, in Hirst's work and elsewhere, is a figure which intertwines an aesthetic of terrible nature with the capitalist sublime
Naum Gabo as a Soviet Émigré in Berlin Christina Lodder
Liubov Popova: From Painting to Textile Design Christina Lodder
Richard Hamilton's The annunciation Fanny Singer
William Blake's 1809 Exhibition David Blayney Brown and Martin Myrone
An Alternative National Gallery: Blake's 1809 Exhibition and the Attack on Evangelical Culture Susan Matthews
Lost in the Crowd: Blake and London in 1809 Philippa Simpson
Reasoned Exhibitions: Blake in 1809 and Reynolds in 1813 Konstantinos Stefanis
Surviving Reality: Lee Bontecou's Worldscapes Jo Applin
Cinematic Drawing in a Digital Age Ed Krčma
Ideas in Transmission: LeWitt's Wall Drawings and the Question of Medium Anna Lovatt
Dust and Doubt: The Deserts and Galaxies of Vija Celmins Stephanie Straine
Merzzeichnung: Typology and Typography Michael White
'Suffer a Sea-Change': Turner, Painting, Drowning Sarah Monks
Listening for the Sublime: Aural-Visual Improvisations in Nineteenth-Century Musical Art Charlotte Purkis
'Waste Dominion', 'White Warfare', and Antarctic Modernism Mark Rawlinson
Video Games and the Technological Sublime Eugénie Shinkle
Damien Hirst's Shark: Nature, Capitalism and the Sublime Luke White
The sheer volume of recent writings and academic conferences on the contemporary sublime suggest the subject is very much a matter of current concern.1 But there is also a sense in which the sublime is not ever quite contemporary. To discuss the sublime now, we find ourselves inevitably tracing our way back to a historical discourse, to eighteenth-century thinkers such as Edmund Burke and Immanuel Kant who theorised sublimity in its 'classic' form, or to nineteenth-century artists such as Caspar David Friedrich or J.M.W. Turner, with whom the aesthetic of the sublime is tightly associated. In fact, the very eighteenth-century thinkers who developed the notion of the sublime in its familiar, modern form were already looking back to the ancient world and to Longinus, and thus found themselves already caught up in the untimeliness of the idea.2
Such a notion of a 'contemporary sublime' thus seems to me to raise two closely linked questions. First: what does it mean for the sublime to be at once a matter of current concern, but also a very old idea? And second: what is the relationship between the sublime that cultural historians of the eighteenth century studied and the sublime now?
Answering these questions is complicated by the peculiarly intermittent unfolding of the history the sublime, which has cycled repeatedly between being a key aesthetic or critical idea and becoming something seemingly irrelevant and outmoded, rising from its grave repeatedly, like those movie-monsters who are never quite killed off because they are already (un)dead. This insistent repetition of the sublime – like the return of the repressed – involves us in the temporality that Freud called Nachträglichkeit (sometimes translated as 'afterwardsness'). Entwined as it is with a temporality of return, I understand the 'contemporary sublime' as a matter of our culture's haunting by the history of sublimity. In such Freudian terms, haunting and Nachträglichkeit speak in turn of trauma; and the trauma that I would argue lies at the heart of this haunting is the rise of the capitalist modernity in which, as Marx's translators put it, 'all that is solid melts into air', a phrase itself redolent with alchemical notions of sublimation.3 After all, parallel to the aesthetic revolution of the sublime ran the 'financial revolution' of the 1680s to 1750s.4 If we find ourselves tangling with the sublime again today, the reason for this might be our embrace within a capitalist modernity whose form of capital has come once more to bear uncanny resemblances to the imperial, hyper-liquid and perplexingly spectral capital of the eighteenth century.
To trace one aspect of this haunted present, I shall focus here on the natural sublime. A key aspect of the recent resurgence of the sublime as a subject for study has undoubtedly been its relevance as an aesthetic of terrible nature, at a moment when, with growing fears about environmental catastrophe, nature has reappeared as a limit to human power, progress and wealth, something which even threatens to destroy us. However, the approach I have outlined above implies that such representations of nature may be intimately bound with anxieties about capitalism. It is, in particular, the transfiguration of the natural world in early modernity by developing capitalist practices which, I suggest, is key in making sense of the sublime both then and now.
Hirst's shark
My starting place for tracing such returns of the natural sublime is Damien Hirst's art work, The Physical Impossibility of Death in the Mind of Someone Living 1991 (fig.1). This is not to propose that the work is 'sublime' in some affirmative sense, nor to imply that Hirst has an environmentalist agenda. He is not taken up here as an exemplary artist, but rather a symptomatic one, who tells us much about our own time. Thus, Hirst's art, riven with the contradictions of our society, is rather like capital's uneasy dream-image of itself. His best work condenses our lived contradictions into perplexing, unforgettable, iconic images, in just the way that dreams do.
The Physical Impossibility of Death in the Mind of Someone Living 1991
Glass, steel, silicon, formaldehyde and shark
Photograph: Prudence Cuming Associates
© Damien Hirst. All rights reserved, DACS 2010
The sensibility for the sublime, it would seem to me, plays an important role in the formation of these images, and Hirst's work is a locus where the histories of sublimity haunt contemporary culture. It often appears as if he has taken Burke's treatise on the sublime as a handbook for cultural production (which, of course, is exactly what it was). Hirst echoes Burke's fascination, for example, with the body, mortality, violence, pain and power. For Burke, such effects elicit 'the strongest emotion which the mind is capable of feeling',5 and it is in these terms that he defines the sublime. Hirst, too, orients his production towards this maximum of affect. In this context, Hirst's restaging of the Burkean sublime places him in a long tradition of the commercial exploitation of the tropes and themes of the sublime. This tradition of the commercialised sublime places Hirst as much in the company of the Hollywood blockbuster, with its concern for overawing its spectators, as it writes him into a history of the avant-garde. Hirst's shark is more Steven Spielberg than it is Barnett Newman.6
The afterlife of the sublime for Hirst, then, is a means to push his audience's buttons. Hirst has thus spoken of his interest in the shark, for the 'really powerful kind of horror'7 that it produces, and as a 'universal trigger'. During an interview he stated that 'everyone's frightened of sharks, everyone loves butterflies'.8 But though the shark is certainly for us a powerfully charged image, carrying the frisson of the Burkean sublime, it is not, as Hirst seems to suggest, simply a matter of 'universal' human responses. Rather, the figure of the shark as we recognise it today is also a peculiarly modern invention; its charge is tightly bound up with the transformation of ideas of nature as these developed alongside the emergence of capitalism and the sublime. If we turn to the ancient world, and to Pliny's description of the shark in his Natural History, we find a very different beast from the one lodged in the modern imagination. Pliny writes:
Divers have fierce fights with the canis marinus; these attack their loins and heels and all the white parts of the body. The one safety lies in going for them and frightening them by taking the offensive, for the canis marinus is as much afraid of a man as a man is of it.9
This fish is certainly fierce and dangerous, but is far from being the inhuman monster, with those ravening, all-devouring and insatiable jaws, and row upon row of razor sharp-teeth, and with its implacable pursuit of human flesh, that occupies the fantasies of contemporary culture. There is none of Hirst's 'powerful kind of horror' here, which is also to say categorically no sublimity. Even Pliny's name for this beast, canis marinus or 'dog of the sea', which, translated into one language or another, was the primary name used in Europe for sharks throughout the Middle Ages, serves to make this beast familiar, small and ordinary. Only in the sixteenth century did new words appear to describe the shark in European languages: in Spanish, tiburón; in French, requin; and in English shark. These words shed the humdrum connotations of the dog, allowing sharks to be reimagined as terrible monsters of the deep.
What is 'triggered' in Hirst's presentation of the shark, then, is not just primordial fear, but also a complex web of historically produced associations. It is this historical web, which stands as the ground of the sculpture's possibility, that I want to examine further.
Changing conceptions of nature
The date at which this occurred locates the emergence of the modern conception of the shark within the context of a larger re-figuration of nature itself. This transformation has been charted in Marjorie Hope Nicolson's Mountain Gloom and Mountain Glory (1959). In this now-classic publication, Nicolson asks how it was that during the seventeenth century rugged mountainous scenery transformed from being almost universally described in terms of the most ugly, disgusting and morally dubious things in the universe – 'warts' or 'wens' on the landscape, or even 'buttocks' sticking up out of it – to become the source of the deep feeling of awe, wonder, and reverence with which we are familiar today.10 She was thus struck with the strange (and sudden) modernity of what seems to us an entirely natural aesthetic response. It is this new experience which would, in the eighteenth century, be theorised through the notion of the sublime.
Nicolson explains this monumental shift in sensibility in terms of a cosmographic revolution centring on new scientific theories: Galileo's discovery that the earth does not lie at the centre of the solar system, or Descartes' and Newton's proposal of an infinite and centreless space, for example, or theories, such as those of Burnet or Agricola, about the earth's surface being formed through processes of violent change. Very different from the stable, orderly and anthropocentric Ptolomaic cosmos which was the previously dominant model, these visions recast the universe as vast, formless, dynamic and violent, radically displacing humanity from its centre. For writers of the seventeenth century, God was to be sought now not in orderliness, but in the scale and violence of creation. Vast mountains, echoing the characteristics of this new vision of the universe, became privileged sites for its appreciation. When early-seventeenth-century Northern Europeans on the Grand Tour crossed the Alps they perceived them merely as ugly and dangerous, but by the end of the century they found them instead exhilarating, fascinating and sublime.11
Alongside and against Nicolson's focus on science as causing these changes – which today seems somewhat reductive – I would also like to explore this in terms of the development of pre-industrial capitalism. The cosmographic vision of Milton's Paradise Lost (1667, republished in 1674) offers us a way of approaching this.
Gustav Doré
Illustration for Paradise Lost 1866
Book 3, lines 739–41
'Toward the coast of earth beneath, / Down from the ecliptick, sped with hoped success, / Throws his steep flight in many an aery wheel; / Nor staid, till on Niphates' top he lights.'
Woodcut on paper
Milton's epic poem was, of course, one of the canonical examples around which eighteenth-century critics developed theories of the sublime.12 Much of its sublimity, I would argue, comes from its powerful articulation of the new universe which Nicolson describes.13 The poem's vast, formless space resists mapping. Its locations are separated by immeasurable voids of dark, cold space.14 Gustave Doré's nineteenth-century illustration of Book 3, lines 739–41 of Paradise Lost, in which Satan is traversing these voids makes an admirable attempt to capture something of this quality (fig.2). The poem is characterised by disorienting shifts in scale or perspective, akin to the shock of the new experiences of looking through telescopes and microscopes. But this Miltonic universe, even in its adherence to the new sciences, has also been understood as an articulation of an emerging 'bourgeois' ideology, and as an apologia for 'marketised' social and political relations. Milton, after all, had served as a propagandist for Oliver Cromwell during the English Civil War. John Rogers thus argues that Milton's decentred universe drew on new materialist sciences to re-envision, at the level of matter itself, the organisation of a state run not according to the absolute decrees of a divinely instituted monarch, but to an order emerging spontaneously from the interactions of its parts.15 In such a universe, God's power is distributed atomistically into a vital, active, self-organising matter.16 But Rogers goes on to argue that these vitalist-materialist sciences themselves drew their paradigms of emergent organisation from the nascent discourse of political economy, in the 'nearly laissez-faire' writings, for example, of Thomas Mun and Edward Misselden, who were already arguing in the 1620s that that markets functioned most harmoniously when exempt from intrusive monarchic practices of price-fixing.17 It was when left alone by authority, they argued, that goods circulated freely, stimulating a vigorously productive economy. Rogers's argument is that if Milton's political 'proto-liberalism' is informed by scientific ideas of self-organising matter, these are informed in their turn by an embryonic economic liberalism.
What seems at first problematic with understanding this Miltonic vision of sublime nature as ideology for an embryonic liberalism, is that Milton's cosmos so often seems a hostile, inhuman place. The matter of this universe often seems to generate not a benevolent order, but rather formless monstrosity. The apotheosis of this darkly sublime principle of Miltonic nature seems, in fact, to be his vision of hell. But ideology, in any case, is always dependent on first raising the very contradiction that it wishes to dispel, and Milton's poem can thus be understood as shot through with the conflicts which he himself lived but could not fully articulate. Paradise Lost can thus be read as the poetic symptom of the anxieties of an emerging capitalist order.
In the poetry and science of the seventeenth century, then, 'nature' is produced through the same abstraction that now mediates social relations, and was already being recognised as eroding older forms of order, value and hierarchy.18 Like capital, nature seemed increasingly formless, mutable, dynamic, and productive of violent upheaval. Nature and capital alike appeared unbounded, unpresentable, and permeated by a purposiveness quite indifferent to human welfare. There is a profound homology between Newton's infinite, abstract space, which gave birth to innumerable paeans to the sublime vastness of the universe, and the spatial abstractions which Milton's and Newton's contemporary William Petty, another father of economics, was putting into practice in the mapping and colonial exploitation of Ireland under the name of 'political arithmetic'.
Nature, capitalism and the shark
Although this excursion into Milton seems to have moved us away from Hirst's shark in formaldehyde, I have aimed to sketch the transformed vision of nature in which the peculiarly modern figure of the shark emerges. In Book 2 of Paradise Lost, the fallen angels set out on their own colonial mission, 'On bold adventure to discover wide / That dismal world, if any clime perhaps / Might yield them easier habitation'. The landscape they encounter (much like that encountered by European colonists in reality) is shifting, extreme and hostile; they find 'a Universe of death' (a phrase which Burke picks out for special attention in his account of the sublime)19 in which 'all life dies, death lives, and Nature breeds, / Perverse, all monstrous, all prodigious things, / Obominable, inutterable, and worse / Than fables yet have feigned'20 (fig.3). The monstrous generation which this landscape produces – a deathly un-creation – marks the zenith of the infernal sublimity of Milton's universe; and though Milton does not give us any sharks in his poem, we might also recognise the shark, in the form in which it haunts the modern imagination, as just the kind of monster which such a landscape would throw up.21 That such a monstrously generative nature (the kind of nature which would produce the shark) is to be discovered in the context of a fantasy scene of colonisation is itself significant, and a matter to which I shall return shortly.
Book 2, ll.624–7
'all life dies, death lives, and Nature breeds, / Perverse, all monstrous, all prodigious things, / Obominable, inutterable, and worse / Than fables yet have feigned'.
The shark, I would argue, serves as a hyperbolic example of the terrible sublimity of this new conception of nature. The thrill of such a wild nature is pursued today through the shark in novels, films, wildlife documentaries and extreme tourism. My argument is that the shark provides, throughout its modern history, an image not only of nature as hostile but furthermore, and more precisely, of nature being as rapacious, insatiable, and unfeeling as capital accumulation itself.22
The trope which ties the shark to capitalism has thus been insistent. For a well-known example we need look no further than Steven Spielberg's film Jaws (1975). Here, the predatory instincts of the shark are mirrored on land by the economic forces that drive the suppression of public knowledge of the shark attacks, so as not to damage profits from the holiday trade. Such a privileging of economic rationality over people's welfare belies the very name of the seaside town, 'Amity', which evokes a pre-modern form of community based on human feeling, an escape from the dysfunctional urban modernity which Police Chief Brody had hoped to leave behind in New York.23 The water lapping at Spielberg's lens in the beach scenes gives visual form to the contrast between what lies 'above' the bright surface of American consumer culture, and the social violence which lurks below.
We Live in Financial Times 2008
Campaign Agency: DDB UK
Illustrator: Denis Scott
© DDB UK
For further examples, we could certainly trace the way that themes of economic exploitation permeate the genre of the 'killer shark' movie.24 But the shark becomes more generally – and repeatedly – a representative figure of capital, even in visual forms which would be far less easily understood as 'critiques' of capitalism: in images that might be understood, that is to say, as its own self-presentations. The cover for The Economist (by no means an organ of the subversive left) for 17–23 November 2007, under the headline 'America's Vulnerable Economy', pastiched the famous poster for Jaws, with a female swimmer clad in a stars-and-stripes bikini menaced by a monster shark emerging from the depths beneath her. Even here, in what we would expect to be the most sympathetic of depictions of the processes of capital, these are imagined through the image of the unfeeling, automatic predation of the shark. Similarly, an advertisement displayed in the streets of London on March 2008, for the Financial Times, illustrated 'in-depth thinking' about mergers and acquisitions with an image of a chain of ever-larger sharks swallowing their smaller brethren (fig.4). As I prepared this paper, I discovered a further example of the shark being used to sell a financial product in street advertising, this time a Henderson New Star investment fund. On a huge billboard, a diver was pictured next to a shark. The tagline of the advertisement claimed 'This fund is so flexible [this last word in giant letters] you're less likely to find yourself in the wrong place'. The fund, then, was being offered as a form of shelter from the perilous waters of the marketplace. But the emphasis of the advertisement on the word 'flexible' offers up another, parallel meaning. What was flexible in the image? It was the body of the shark itself, which we know to be lithe, elastic and muscular, and which was depicted curving around towards the poster's viewer in a sinuous arc. What was on sale here was not just protection, but a piece of 'shark-like' financial suppleness – a fund which will eat rather than be eaten.
Race, slavery and colonial exploitation
In mentioning William Petty's 'political arithmetic' above, I have argued for a link between the uses of spatial abstraction for sublime reverie and for colonial exploitation. These also intertwine in the figure of the shark. Petty's abstract space is reiterated in Hirst's vitrines, which figure processes of techno-scientific abstraction just as threatening to the living body as the shark itself. In Hirst's shark, these two forms of violence – natural and technological – seem deliberately intertwined, each serving as a reinforcement of the other. The rationalisation here is now, of course, not that of colonial expropriation, but rather that of the commodification and control of human life in late twentieth-century society. It is the space of the panopticon, the museum, the hospital, and, as Hirst's The Acquired Inability to Escape (made the same year as Physical Impossibility) makes clear, the office-worker's prison-like cubicle (fig.5). (Interestingly, Hirst himself, as he worked his way through art college, did time operating the phones for a market research company.) However much this art work may in other respects accommodate itself to the spectacular forms and ideologies of the market, it nonetheless speaks volumes about the experience of being locked within spatio-practical logics of modern, capitalist and technocratic society.
The Acquired Inability to Escape 1991
© Damien Hirst and Science Ltd.
However (and as I have already suggested in my account of the shark as fitting with the monstrously generative Miltonic landscape of hell-as-colonial-outpost), it was largely in relation to that earlier form of imperialist capitalism that the shark first came to figure as an image of the inhumanity of capital. It is, above all, in this context that the shark emerged in the Western imaginary in its specifically modern form, as a monster. The new words which came to name this beast – shark in English and tiburón in Spanish, for example – are imported from languages encountered in the New World, and carry with them the connotations of the new spaces of colonisation.25 These, the blank spaces on the map, were suitable screens for outward projection. The shark was a figure that allowed the violence of social relations to be imagined 'out there', at the wild margins of empire, in a hostile nature which 'over here' was tamed by civilisation.
James Thomson's poem, The Seasons (1730), is a case in point. Thomson was a key early eighteenth-century proponent of the natural sublime in poetry, and (to give you some sense of where his politics and his attitude to Empire may have lain), the writer of the lyrics of 'Rule, Britannia!' The Seasons, drawing out the imaginary geography of Empire, contrasts the gently bucolic nature of merry England with the sublime and violent nature of the colonial margins. Amongst the best-known of the horrors that he packs into his depiction of the latter is a description of a slave ship which has run into a tropical storm that will destroy it. Pursuing the ship is a shark, waiting to devour the bodies of the men aboard.26 Thomson's description of the shark runs:
Increasing still the sorrows of those storms,
His jaws horrific arm'd with three-fold fate,
Here dwells the direful shark. Lured by the scent
Of steaming crowds, of rank disease, and death,
Behold! He, rushing, cuts the briny flood,
Swift as the gale can bear the ship along;
And from the partners of that cruel trade,
Which spoils unhappy Guinea of her sons,
Demands his share of prey – demands themselves!
The stormy fates descend: one death involves
Tyrants and slaves; when straight their mangled limbs
Crashing at once, he dyes the purple seas
With gore, and riots in the vengeful meal.27
Thomson here makes much of the shark as a leveller, devouring slave and master alike. Their flesh is reduced to indistinguishable 'gore'. But this is ideology of course, erasing social difference to disavow the much more particular murderousness of the slave trade, which is now projected outwards onto the shark and into a 'natural' order. (We might at this point wonder whether Hirst's conflation of natural and technological violence also plays something of this role, where the violence of techno-capitalism is imagined as being also part of the prehistoric and even pre-human natural order of predation to which the archaic shark belongs.) But even as this disavowal is performed, the shark itself is nonetheless described in Thomson's poem metaphorically as a capitalist. It is a 'partner' in the 'cruel trade / which spoils unhappy Guinea of her sons', and one who 'demands his share of prey'. Like Milton (and Hirst), Thomson cannot entirely escape the anxieties his work may otherwise be understood to serve to disavow.
The shark and the slave, in fact, are often associated in Western culture, in England right from the very first recorded use of the word shark, in a broadsheet of 1569.28 A sixteen-foot shark had been caught off the Dover coast, and was brought to London to be presented as a show in Billingsgate, in a conjunction of money, media interest and exhibitionary spectacle that might remind a contemporary reader of Hirst exhibiting at the Saatchi Gallery or the Royal Academy. The name for this strange, monstrous fish – 'shark' – was to be discovered, explained the broadsheet, on the lips of a crew of slavers just returned from the Americas, whose survival of hardships had earned them something of a celebrity status in London that summer. The name 'shark' stuck; and so did the special association of the fish with the racialised bodies of the victims of the slave trade, an association lasting well into the twentieth century. As that century was about to dawn, Winslow Homer painted The Gulf Stream (Metropolitan Museum of Art, 1899), depicting a black sailor in a dilapidated boat, surrounded by sharks. In the middle of the century, the plot of Tintin and the Red Sea Sharks (originally published in 1958) revolved around a ring smuggling Africans enslaved whilst on the pilgrimage to Mecca. And still in 1999, a full century after Homer's painting, in the shark-attack movie Deep Blue Sea, the character played by rap artist L.L. Cool J., in a moment of cinematic reflexivity, can still complain: 'Brothers never make it out of situations like this!'
In conjunction with this continued association of the shark with slavery, Thomson's figuration of the shark as a capitalist can be approached through Paul Gilroy's work on the Black Atlantic.29 Gilroy argues that the experience of the Middle Passage served as a blueprint for capitalist modernity. Slavery would provide the testing ground of a logic where all human life and labour were subject to the calculation of profit.30 Thomson's shark reducing its victims to homogeneous 'gore' thus not only serves to ideologically erase social difference, but also as a powerful image of the reduction of the particularity of the human body to the abstraction of exchange-value.
Visions of global empire, then and now
John Singleton Copley's Watson and the Shark 1778 (fig.6), which created a 'sensation' at the Royal Academy some 219 years before Damien Hirst' s work, reprised many of Thomson's themes. It commemorates the salvation from the jaws of a shark, whilst on a slave-trading expedition, of one Brook Watson, then a rising figure in the City of London.31 Like Thomson's poem, Copley's painting allows his elite London audience to envision themselves at the heart of the global-colonial network of enterprise from which their wealth was derived, staging a contrast between their own lives and this exotic and dangerous elsewhere. Its depiction of 'honest Tars'(as one reviewer called them) pulling together to save Watson provides a reassuring image of colonial endeavour. Its disavowal of social difference – echoing Thomson's – is amplified in the compositional inversion which places Watson, the most socially elevated figure in the painting, at the base of the composition, and a black sailor at its pinnacle.
Watson and the Shark 1778
Hirst's sculpture, I suggest, involves us in an updated version of the fantasy of Thomson and Copley's global space of empire. The shark in Hirst remains a token of the exotic, fearsome nature of the antipodes, put on display through the power of money, and by the communicational technologies which allow one to have a shark caught on the other side of the world, refrigerated and shipped back to London. We are positioned, like Thomson's and Copley's audiences, at the heart of a spider web of wealth and power. This is surely a part of the frisson of pleasure that Hirst offers us.32 This is, of course, not the Whig-liberal Empire of the eighteenth century which formed the context of the development of the sublime in British criticism, but rather the informational, transnational capital of a new kind of globalisation, within the flows of which the London of the 1980s was asserting itself. This globalisation, of course, is no longer based around slavery, but those very different forms of the calculation and control of human labour powers which I have mentioned already in relation to Hirst's Acquired Inability to Escape. Hirst's shark, with its imperial sublime, however, allows us to imagine today's Empire through the schema of its older type.
Nature, now
The nature we meet in Hirst's art work is transformed, too. If nature in the eighteenth century still seemed a powerful limit to human endeavour, the industrial and technical developments of the nineteenth and twentieth centuries made it seem increasingly less significant. Cultural historian David Nye has charted the development of a 'technological sublime', which replaced the natural variety.33 By the 1960s, the sociologist and philosopher Theodor W. Adorno could think of the natural sublime as an ephemeral stage in European aesthetic sensibility, which had quickly lost its power to present humanity with the 'non-identitical'.34 For the literary critic and political theorist Fredric Jameson, in the 1980s, the natural sublime had been replaced by the sublimity of the 'second nature' of the man-made environment, which was what now seemed primarily to face humanity as a terrible and counter-purposive Otherness.35 If, with the growth of late twentieth-century environmental anxieties, nature has been reasserting itself as outside human control, then this is a nature which is now clearly overcoded with the powers of capitalist techno-science to transform it: a 'third nature', if you like, which is neither fully cultural nor fully outside of culture, but a hybrid of both.36 This is the 'techno-nature' we find in Hirst's vitrines. It is also more generally omnipresent in contemporary representations of sharks. The sharks we meet in horror films – in Jaws itself, or more recently in movies such as Deep Blue Sea (1999) or Shark Swarm (2008) – are repeatedly the products of human interference with nature.37 It is a commonplace, furthermore, to describe the shark through technological metaphors: Hooper, the marine biologist in Jaws, is typical, calling the shark 'a perfect engine – an eating machine'. In this regard the notoriously obvious mechanical nature of Spielberg's 'shark' makes a certain kind of a sense in embodying how we imagine such creatures, as at once an absolute of voraciousness but also as hollowed out of desire: empty, subjectless, automatic. Peter Benchley's novel, on which Spielberg's movie was based, extends these metaphors in its descriptions of the shark. When it devours its first victim, Benchley, making the shark more machine than fish, describes it as hitting her 'like a locomotive'.38 In the first description we have of the monster, it is figuratively decomposed not into a unified entity with a will or agency, but rather, a series of organs which communicate with each other through processes 'transmission'. It is a kind of cybernetic organism, processing data or 'signals' (a word which Benchley repeats) from the world outside it. The cybernetic motif is taken up more emphatically later in the book, where the shark is found 'banking', registering 'impulses', 'locking on' to these and 'homing' in on them.39 The shark here is even more clearly a piece of military hardware, a computerised weapon, at a moment, at the very end of the Vietnam War, when information technology was increasingly permeating both warfare and everyday life.
What I have argued here is that these ways of figuring contemporary anxieties about the penetration of the 'natural' world by technology are themselves possible on the basis of histories of representation in which the shark – and more generally the sublime, terrible nature of which it is a representative – has served as a displaced figure of the economic relations of capitalist modernity. Sublime nature is overdetermined, from the start, by a vision of the social. The contemporary reappearance of the natural sublime has occurred at a moment when the vision of the unified planetary scale serves as an image at once of an eco-system but also of a global economic order. But this planetary economico-environmental order is often imagined in terms of older maps of Empire.
Finally, I would like to focus upon a further example of where we find the contemporary sublime of the shark overlaid with old maps of Empire. In the summer of 2007 two very large sharks were spotted off the coast of Cornwall, prompting an immediate shark frenzy in the tabloids, and speculation that these were killer Great Whites. (See especially the editions of The Sun published from 28 July–1 August of that year.) The sightings, the newspapers implied, were the result of environmental changes – raising the spectre of British waters, with global warming, becoming the hunting ground of these monsters more often associated with the tropics. This also, however, figures the collapse of the comforting global order of Thomson and Copley, and the return of a violence which is both social and natural to the once tame and safe heart of power. Read in this way, this image of a tropical monster besieging our shores, produced at a time of profound paranoia about terrorism, raises the spectre of the chaos, poverty, war and exploitation which has long been exported to the former colonies, coming home to roost at the former heart of empire.
We see a similar instance where behind the natural sublime there lurks a set of more properly social fears about the nature of the global order in the disaster movie The Day After Tomorrow (2004), which also envisions a turning inside out of the map of empire, where the tame heartland reverts to absolute wilderness, though this time in its arctic rather than tropical form. That such a scenario is motivated by political as well as ecological fears is revealed in the film's bizarre final fantasy of reconciliation in which, after the rich northern hemisphere has been overcome by climatic disaster, the survivors are welcomed as refugees in the now relatively-temperate global south in exchange for the cancellation of 'Third World' debt.
1. For example, this paper was delivered first in 2010 at a symposium which was one of a series organised by Tate in relation to its research project, The Sublime Object: Nature, Art and Language, funded by the Arts and Humanities Research Council.
2. Even Longinus himself, whose essay, in the form in which we have it, ends up with a plaint against the degradation of poetry and morals with the increasing materialism of his own day, found himself looking backwards (to Homer and to Plato, for example) for his models of rhetorical sublimity.
3. The phrase is from Chapter 1 of The Communist Manifesto, available online from the Marx and Engels Internet Archive at http://www.marxists.org/archive/marx/works/1848/communist-manifesto/ch01... accessed February 2010.
4. See in particular P.G.M. Dickson, The Financial Revolution in England: A Study of the Development of Public Credit 1688–1756, New York 1967. This period, which takes us almost exactly from Boileau to Burke, also sees the development of key financial institutions such as the Bank of England and Lloyds of London, the tradability of national debt, a massive explosion of joint-stock companies and financial speculation, and the generalisation of credit throughout society.
5. Edmund Burke, 'A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful', in A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful and Other Pre-Revolutionary Writings, London 2004, part 1, section 7, p.86.
6. Or perhaps rather, if, as Jean-Luc Godard suggested, the 1968 generation were the children of Mao and Coca-Cola, then Hirst's art is the product of a union between Barnett Newman and Steven Spielberg. Figured this way, the Hirstean sublime might raise some uncanny questions about what it is that ties together Newman and Spielberg – seemingly at opposite ends of a cultural spectrum though they are.
7. Damien Hirst and Gordon Burn, On the Way to Work, London 2001, p.19.
8. Damien Hirst, I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, reduced edition, London 2005, p.132.
9. Pliny The Elder, Natural History, trans. by H. Rackham, London 1983, vol.3, p.267 (translation slightly altered).
10. Marjorie Hope Nicolson, Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite, Seattle and London, 1997, p.29. It is in particular Hobbes who finds buttocks a suitable description for the Derbyshire peaks (Nicolson, Mountain Gloom, p.65).
11. Compare, for example, John Evelyn, who, crossing the Alps in 1644, writes that it is 'as if nature had here swept up the rubbish of the Earth in the Alps' (cited in Nicolson, p.62) with Dennis, who in 1688 wrote: 'We walk'd upon the very brink, in a literal sense, of Destruction … The sense of all this produc'd different emotions in me, viz., a delightful Horrour, a terrible Joy, and at the same time, that I was infinitely pleas'd, I trembled … Nature seems to have design'd [the Alps], and execut'd [them] too in Fury. Yet she moves us less when she studies to please us more. … Transporting Pleasures followed the sight of the Alpes, and what unusual Transports think you were those, that were mingled with Horrours, and sometimes almost with despair?' (cited in Nicolson, Mountain Gloom, pp.277–8). Dennis's paradoxical emotions – joy and yet terror, horror and yet delight – in the face of such a nature already take us into the aesthetic territory which Burke would theorise through the notion of the sublime.
12. See for example John Dennis, 'On Milton's Sublimity, from The Advancement and Reformation of Modern Poetry', in Milton: The Critical Heritage, ed. by John T. Shawcross, London 1970, pp.125–7, or Addison's extended critique of Paradise Lost in a series of Saturday Spectator papers from nos.267 to 369 (5 January – 3 May 1712). Milton's role in the English canon of sublime literature, as developed in the eighteenth century is discussed at length in Leslie Moore, Beautiful Sublime: The Making of Paradise Lost, 1701–1734, Stanford 1990, and also Jonathan Brody Kramnick, Making the English Canon: Print-Capitalism and the Cultural Past, 1700–1770, Cambridge 1998. Burke discusses Milton as exemplary of the sublime in his Philosophical Enquiry, in part 2 section 3 ('Obscurity'), part 2, section 5 ('The Same Subject Continued) and part 5, section 7 ('How Words Influence the Passions'). See Burke, Philosophical Enquiry, pp.103, 105–6, 197–8.
13. Indeed, several twentieth-century critics have investigated Milton's relation to the new sciences, for example Karen Edwards, Milton and the Natural World: Science in Paradise Lost, New York and Cambridge 1999; John Rogers, The Matter of Revolution: Science, Poetry and Politics in the Age of Milton,Ithaca and London 1996; Christopher Hill, Milton and the English Revolution, London 1979, pp.398–401.
14. Satan describes the space he traverses between worlds as a 'dark unbottom'd infinite Abyss' (Paradise Lost, 2.405). It is a 'void profound / Of unessential Night [which] receives him [who enters it] … / Wide gaping, and with utter loss of being / Threatens him, plung'd in that abortive gulf' (2.238–440). It is:
… a dark
Illimitable Ocean without bound,
Without dimension, where length, breadth, & highth,
And time and place are lost; where eldest Night
And Chaos, Ancestors of Nature, hold
Eternal Anarchie, amidst the noise
Of endless Warrs, and by confusion stand. (2.891–7)
It is in particular books 2 and 3 that to have so many fine examples of this perplexing space, but Milton's grand and terrible vision of the universe is by no means limited to these.
15. As John Rogers has put it, we can understand Milton's poem as subject to the 'need to forge an ontological connection between physical motion and political action'. Rogers, The Matter of Revolution, p.ix.
16. Rogers picks out, in particular, Milton's account of creation, as given by Uriel in book 3. In this, in a 'massive liberalisation of the cosmos', matter becomes 'God's disidentified body' (Rogers, The Matter of Revolution, p.113). Raphael's account of the creation in 7.276–84 (though he generally depicts a more hierarchical order) also depicts the world as paradoxically self-generating. This strange – and actually rather heretical – vision of matter as imbued with divine spirit allows Milton to propose a third way between the Calvinist vision of pre-destination, in which God actively commands everything from a central location, and the Hobbesian vision of matter as constituted by violently colliding particles, and society by the war of all against all, whose destructive conflict can only be held in check by the will of an absolute sovereign. The poem in fact seems to waver between these different positions, as if between them they pose a structure of the possibilities of thinking within which Milton was interpellated.
17. Rogers, The Matter of Revolution, p.22.
18. For more on the early modern anxieties about the liquidity of capital, its unsettling social effects, and its transformation of the world of appearances, see Jean-Christophe Agnew, Worlds Apart: The Market and the Theatre in Anglo-American Thought, 1550–1750, Cambridge 1986.
19. Burke, Philosophical Enquiry, pp.197–8.
20. Paradise Lost 2.571–3; 2.622; 2.624–7.
21. It is also not incidental that it is the Miltonic vision of such monstrous productivity which Alexander Pope was to take up in his satire of the emerging capitalist literary industry of the early eighteenth century, in his Dunciad. I discuss Pope at length in my PhD thesis, 'Damien Hirst and the Legacy of the Sublime in Contemporary Art and Culture', Middlesex University 2009.
22. Throughout modern culture the image of the shark brings together the two inter-folded forms of the 'inhuman' which Jean-François Lyotard proposes surround and construct the 'human' in modern discourse: the inhumanity of nature and that of techno-capitalist reason. Jean-François Lyotard, The Inhuman: Reflections on Time, trans. by Geoffrey Bennington and Rachel Bowlby, Cambridge 1991.
23. No less a politician than Fidel Castro read the film as 'an indictment of greedy capitalists willing to sacrifice people's lives to protect their investments'. Cited in Joseph McBride, Steven Spielberg: A Biography, London 1998, p.255. Interestingly enough Spielberg, who is often imagined as ultra-conservative, when he was told the remark by a journalist, is reported to have found Castro's analysis a 'wonderful' and perspicuous interpretation of the film.
24. In Shark Swarm (2008), for example, the sharks have been made hyper-aggressive by the illegal dumping of toxic waste by a real-estate developer, who is seeking to drive a fishing community out of business in order to buy up their land cheaply.
25. For further discussions of the development of the figure of the shark in relation to the colonial experience, see J. I. Castro, 'On the Origins of the Spanish Word "Tiburón", and the English Word "Shark"', Environmental Biology of Fishes, vol.65, no.3, 2002, pp.249–53; Tom Jones, 'The Xoc, the Sharke, and the Sea Dogs: An Historical Encounter', in Virginia M. Fields (ed.), Fifth Palenque Round Table, 1983, San Francisco 1985, pp.211–22.
26. Samuel Holt Monk, in his still-classic account of the sublime, calls the passage 'too well known for quotation'. Samuel Holt Monk, The Sublime: A Study of Critical Theories in XVIII-Century England, Ann Arbor 1960, p.89.
27. James Thomson, 'Summer' in The Seasons, Oxford 1972, lines 1013–25.
28. That this is the first recorded use of the term is proposed by the OED, and also the etymologies offered by Castro and Jones. The anonymously authored broadsheet in question is entitled 'The True Discripcion of This Marveilous Straunge Fishe, Which Was Taken on Thursday Was Sennight, the XVI. Day of June, This Present Month, in the Yeare of Our Lord God, M.D.LXIX.' (1569) and is to be found in Joseph Lilly (ed.), A Collection of Seventy-Nine Black Letter Ballads and Broadsides, Printed in the Reign of Queen Elizabeth, between the Years 1559 and 1579, London 1867, pp.145–7.
29. Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness, London 1993.
30. There is a link here, again, to William Petty, whose 'political arithmetic' was also a matter of such calculations; Petty measured the economic 'cost' of possible massacres of the Irish people in terms of the damage to the labour power of the nation.
31. Watson would later become an Alderman of the City of London, Member of Parliament (to which he spoke against the prohibition of slavery), Lord Mayor of London, a Director of the Bank of England, and finally a Baronet.
32. For more on this, see my analysis of Hirst's shark and also his 'diamond skull' (For The Love of God 2007) in my essay 'Damien Hirst's Diamond Skull and the Capitalist Sublime', in Luke White and Claire Pajaczkowska (eds.), The Sublime Now, Newcastle upon Tyne 2009, pp.155–171.
33. David Nye, American Technological Sublime, Cambridge MA 1994.
34. Theodor Adorno, Aesthetic Theory, trans. Robert Hullot-Kentor, ed. Gretel Adorno, Rolf Teidemann and Robert Hullot-Kentor, London 2002, p.70.
35. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, London 1991, especially pp.34–7. As it emerges from Jameson's account, the prominent sublime of that decade was a 'cybersublime': the subject lost in the infinity of a virtual reality entirely unmoored from the limits of the physical world, but which Jameson proposes in any case serves itself as a cipher for, or way to start to imagine, the unthinkable flows of postmodern capital itself.
36. For more on such a 'third nature', see Gene Ray, 'History, Sublime, Terror: Notes on the Politics of Fear', in White and Pajaczkowska (eds.), The Sublime Now, pp.133–54.
37. The behaviour of the shark in Jaws, it is implied at one point, may be the result of overfishing; Quint's story about the sinking of the USS Indianapolis – the ship which delivered uranium for the bomb dropped on Hiroshima – creates alternative associative links. In Shark Swarm (2008), the killer sharks have mutated owing to dumping of toxic waste by a real estate developer. In Deep Blue Sea, genetically-modified, super-intelligent sharks escape and pursue the scientists that bred them. Again, it is capitalism which is posited at the heart of this transgression of the 'natural' balance of nature: a businessman has sunk $200 million into the work, in order to profit from the development of a cure for Alzheimer's.
38. Peter Benchley, Jaws, 2nd printing, London 1976, pp.9–12.
39. Ibid., p.53.
This paper is developed from a presentation given at the symposium, 'The Contemporary Sublime', held at Tate in February 2010, as part of Tate's research project, 'The Sublime Object: Nature Art and Language', funded by the Arts and Humanities Research Council. I should like to thank Middlesex University for the funding of my PhD, during which I largely developed my research on Hirst and the histories of the sublime. Other papers relating to the Sublime Object can be found in Tate Papers no.13 and no.14.
Luke White is Lecturer in Visual Culture and History of Art and Design at Middlesex University.
Tate Papers Autumn 2010 © Luke White
Luke White, 'Damien Hirst's Shark: Nature, Capitalism and the Sublime', in Tate Papers, no.14, Autumn 2010, https://www.tate.org.uk/research/publications/tate-papers/14/damien-hirst-shark-nature-capitalism-and-the-sublime, accessed 22 January 2020.
Tate Papers (ISSN 1753-9854) is a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today.
Replication and Decay in Damien Hirst's Natural History
Petra Lange-Berndt
Petra Lange-Berndt, Replication and Decay in Damien Hirst's Natural History; Tate Papers no.8
4 Apr – 9 Sep 2012
The first substantial survey of Damien Hirst's work in a British institution, bringing together key works from over twenty years.
In-A-Gadda-Da-Vida: About the artists: Damien Hirst
Angus Fairhurst, Damien Hirst & Sarah Lucas
Brian Dillon on Damien Hirst
Brian Dillon on Damien Hirst at Tate Modern
The Sublime Object: Nature, Art and Language
A research project investigating the concept and cultural practice of the sublime in nature, art and language.


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Second time around, Bolivia was as beautiful as the first, when I first visited it in 1999. Still rustic, still raw, still very beautiful! It truly does have some of the most spectacular scenery on this earth. We had such an amazing time, so much so that that I had no time to write, or at least I did not make the time … way too busy enjoying ourselves! So, in the next couple of blogs I hope that I can delight you with some brilliant pictures that will tell the story that my fingers have not had the time to type.
We crossed the border from Argentina into Bolivia at Villazon, and made our way directly to Tupiza, only a couple of hours up north. Wow, amazing how a border can make such a difference. This is Pacha Mama (Mother Earth) country! At 3160 metres above sea level, it's pretty high … having said that we spent a lot of our time in Bolivia in high altitude … where the breathing's tough, but the views spectacular!
Tranquil, relaxed Tupiza provided us with some great market experiences, relaxing walks, new friends and the organisation of our four day trip through the Salares de Uyuni (Salt Flats of Uyuni) and the Reserva Nacional de Fauna Andina Eduardo Avaroa, through Valle Hermoso where we both stayed as well as organised our tour. I can highly recommend both the lodging and the tour. Starting in Tupiza we would finish up in the town of Uyuni. Along with Mathilde (France), Andrew(Australia) and DaniloFunks (our Swiss rapper!) we set off on the journey of a life time.
We're on the road to somewhere … come on inside!
It's all about Evo, Villazon.
With its raw energy and constantly high altitudes, Bolivia is not for everyone but we were rewarded at every hair-pin turn, every nook and cranny … Bolivia, scenery wise, you are the jewel in the crown! On our Uyuni tour, we spent all of our time above 3000 metres above sea level, even reaching close to 5000 at times. The wow factor was a constant!
Potatoes in their many varieties, Tupiza.
Orange juice with our favourite French gal, Mathilde.
Definitely good fruit in Bolivia.
Great views from Cerro Corazon de Jesus, Tupiza.
Not everyone's life is easy, Tupiza.
The beginning of four days of fun and adventure.
Laguna Colorada, and the gorgeous flamingos.
Incahuasi Island surges out of a sea of salt.
Just passing through a small village.
Four days of a string of magic moments; lakes of every colour and description, geysers, hot springs, spectacular sunrises, blow-your-socks-off sunsets, seas of salt, islands rising out of the salt rather than the sea, warm nights in cold places, cold nights in even colder places, wildlife particular to the area.
Always make time to have a laugh!
Vizcacha … odd little thing!
It's a big, wide world out there.
Random! How technology has changed our world.
Dali's rocks … Eduardo Alvaroa National Park.
Uyuni Ninjas … with Andrew.
Dan, Andrew and Mathilde … awesome travel mates!
A little bit of vegemite … please!
Danilo funks … oops, jumps!
The Salt Flats; nature doing its thing.
Laguna Colorada … where alpacas and flamingos meet.
Life in a cold, remote village.
It was altitude all the way in most of Bolivia.
And finally … back in Uyuni!
And 'Asi es la Vida!' (Such is Life!) … my friends!
Bye, bye Uyuni, our next Bolivian adventure awaits us!
This was only the beginning of seven spectacular weeks in Bolivia! The pictures speak louder than my words ever could … and that is most certainly saying something!