Have you thought about using email marketing but find that you have no idea where to begin? You can stop your search for what you need to do because you're in the right spot now! Peruse this piece for advice, tips and guidance on how to make the most of email marketing.
Tie together one clear point in your email message. You want to keep your customers from being bombarded with content in your emails, but you also don't want to make them too simple and boring. Think of what your message is, and say it clearly and simply. People will appreciate having access to clear information and not having to read through a long email.
Any content you intend on emailing out should be proofread and edited. It's essential that your emails or newsletters are correct, especially if you want to appear professional. Test the email layout in multiple email clients and browsers to make certain that the email design is being delivered in the way you desire. Ensure that any links contained in your email are functioning, as well.
Keep track of the subject lines on e-mails that get opened and those that do not. Choose an email and use two different subject lines to see what works better. This gives you the information you need to figure out which subjects work and which don't.
Test email formats. New offers and the most crucial information should always be at the top. You should also test out different formats and determine which format your readers respond to the most. Then, when you figure out what works for you, you want to use it to your advantage. This will ensure your customers will know what they are getting from your emails and where to go when they need more information.
Keep things consistent. Always use the same company logo and colors in your email. The font that you select should be easy to read. Once you have sent a few emails, your recipients will be able to immediately recognize them, and will start to take notice. Familiarity is a crucial factor to the success of your email marketing campaign, and your overall business.
Be sure you get a subscriber's permission before emailing. If your emails are considered spam, you won't be taken seriously. Some may dislike unwanted emails so much, they decide to no longer buy from you or work with you.
It is a very good idea to require people that are interested in receiving emails from you to double opt-in. Although that may seem like overkill, it ensures that the individual truly wants your emails and reduces the likelihood that you will get in trouble for sending spam.
When you offer your customers lots of options, you will have a much more effective email marketing business. Customers should be able to select the frequency with which they receive messages and what personal information they want to disclose to the business. They will be more comfortable when they have more control.
In marketing your business, you need to decide which marketing tools will be most effective. Marketing emails have proven to be one of the most successful methods of increasing your customers base. This article contains a few useful tips you should apply to your next email marketing campaign.
Before sending any emails, be sure to proofread them thoroughly. All correspondence should be completely coherent and error-free. Prior to sending a message, test your email layout so that you know everything will be readable. Test links that you include in your email to be sure they are working.
You can use A/B testing to improve the results of your emails' subject lines. Take one email and choose two different subject lines for that email. Split your mailing list into two groups and send each group the email but with the different subject line. This will let you see which types of subject lines increase your open rates and, conversely, which types of subject lines get ignored in the inbox.
Create emails that contain great content. Give people useful information and don't just spend your time only trying to sell them things. Offer special articles to your subscribers that may not be on your site. Another idea is to have special offers that are only available via email. Send out relevant information, special discounts and seasonal greetings; avoid sending emails that ask for a sale every single time.
Branding your business is essential, and should be incorporated in your marketing emails. For this reason, it is important to create a template that incorporates your logo, and consistent formatting throughout all your marketing materials. By doing so, you can make your emails recognizable to your readers and make use of any preexisting familiarity they have with your company.
It is very important that you gain permission from anyone before sending correspondence by email. If you don't, your clients may trust you less and hurt your company's name. Many ISPs will put you on a blacklist for following inappropriate email etiquette. This could seriously undermine your efforts and strategy.
Be persistent with your campaign. Staying persistent with the proper type of customers is the key to success. Persistence with the incorrect audience can annoy them and waste your time.
Encourage your customers to buy from you by offering rewards in your emails. Customers are more likely to buy your products if you make it tempting to do so. One common example of such an incentive is to offer free shipping if a customer's total order exceeds a certain amount.
With a wide variety of affiliate marketing options out there, be sure to analyze your ability to master the technology involved. Focus on the specifics of the product and the characteristics of the target market. Unlike spammers, successful and ethical affiliates respect the privacy and preferences of online users. Carefully plan every move before you strategically implement it.
See how a company tracks outside orders (not on their site) before choosing an affiliate program. You do not want to lose hard-earned commissions because the company can't credit your affiliate ID for a transaction placed by your customer over the phone.
It is tempting to market highly popular products in affiliate marketing, but that may not always be the best strategy. While quality is always a major concern, it does not necessarily translate into popularity. Fierce competition will likely go hand in hand with a very popular product. You want to be sure you are going to be able to turn a profit, with popular items that may not be possible.
Affiliate marketers gain higher commissions through text services. Texting can be a very good way to keep customers up to date with products and services, and there are many businesses that use these services everyday.
There are many different options for partners in affiliate marketing and each has their own positives and negatives. Some are not user-friendly. It's definitely not the best case scenario, but savvy affiliate marketers will not let that keep them from making the most money possible. You establish trust through this method and garner purchases.
Honesty in business, even affiliate marketing, is an important concept that you must practice. If you are endorsing a product that you are profiting from, let the audience know and don't attempt to mislead their choices. When you are truthful with your customers about affiliates they will be more apt to visit.
Strive to earn your readers' trust. If your readers consider you a useful source of information about a topic, they may repay you by buying products through your affiliate links.
Understanding your audience's demographic is key in building affiliate marketing success. You will have to put in hard work to satisfy your readers. Find out why they are visiting your website. What are your visitors viewing?
Interesting newsletters can help entice people to subscribe your mailing list. In the past, people loved to get emails. Nowadays, emailers do whatever it takes to safeguard their address from getting overrun with spam.


Smoking is injurious to health, this quote you see on every television, hoardings, banner etc. Smoking…Actually do not smoke that means smoking with an electronic cigarette, even though you smoke, but actually, it does not harm or injurious to your health. Smokers are suffered various health problem because of smoking. WHO (World Health Organization) plays an important role in health education for people. As per WHO it is necessary to educate people for their healthy lives.
You want to quit smoking, but you don't. This happens to everyone. Yes, it is very difficult to quit something which you are addicted to… but if this addiction is in the form of poison, then it would be started to kill you slowly and silently.
Immediately, you cannot quite be smoking. You would be reduced the frequency the number of cigarettes you smoke per day. Here you need to switch to Nicotine Replacement Treatment. A person is not addicted to the cigarette, he addicted to nicotine, which is present in the tobacco. If you really want to quit the smoking, you only the right person, who decides, quite smoking… for you and your family!
Nowadays various forms of devices have come up in the market, which helps you to reduce the habit of smoking as well as quite smoking permanently. These are anti-smoking chewing gums, nicotine patches, which help supplement the nicotine absence in the body.
One more device has come up in the market is an electronic cigarette. It is known by a number of names in the market like the e-cigarette, smokeless cigarette.
Electronic cigarette works as an actual cigarette. It's successfully simulating the smoking of an actual cigarette. This cigarette is exactly similar to the conventional cigarettes. It is functionally different and unique. The main function of this electronic cigarette, it does not burn any tobacco, but when it is inhaled the sensor (Flow Sensor), which is present inside the electronic cigarette is triggered and releases a jet or a stream of liquid gas, which contains the chemicals nicotine. A chemical is called propylene glycol and an odor that can be stimulated the flavor, taste, and feel of inhaling like tobacco.
So if you really want to save you and your family's life… switch to electronic cigarette. you can use many times for smoking. it is effective in chains smoker.


Govan Shipyard is going through some major changes, one of which is the demolition of the cranes which have dominated the Clyde landscape for years.
Back in January there were four cranes still standing.
Roll forward to the start of March and there was just one left.
The cranes aren't that old having been built in 1974 but were deemed not fit for purpose going forward and hence scrapped. While one of the cab's has been passed to the Scottish Maritime Museum in Irvine and parts of the cranes will be displayed at Fairfield Heritage Centre at Govan it's a shame that these landmarks will no longer be seen or heard. The Times They Are a-Changin'.


text:
import React from 'react';
import {
  StyleSheet,
  View,
} from 'react-native';

// Make a component
const CardSection = props => (
  <View style={styles.containerStyle}>
    {props.children}
  </View>
);

// ========================================================
// PropTypes check
// ========================================================
CardSection.propTypes = {
  children: React.PropTypes.element.isRequired, // for single child
};

// ========================================================
// Styles
// ========================================================
const styles = StyleSheet.create({
  containerStyle: {
    borderBottomWidth: 1,
    padding: 5,
    backgroundColor: '#fff',
    justifyContent: 'flex-start',
    flexDirection: 'row',
    borderColor: '#ddd',
    position: 'relative',
  },
});

// ========================================================
// Exports
// ========================================================
// Make the component available to other parts of the app
export { CardSection };

redpajama_set_name: RedPajamaGithub


text:
Q: Why does Firefox seem to have an `innerHTML` property on jQuery objects, but Chrome requires `.get(0)`? When using the following code:

hello

I can try to get the text inside the div by doing:
$('.try').innerHTML

and this will return the value I expect when using Firefox.
However, if I try to run the same thing on Google Chrome, I am told that this is undefined. To do the same thing on Chrome I must do.
$('.try').get(0).innerHTML

Can anyone explain how this is being evaluated differently in each Browser, and how I can fix this?

A: This will retrieve the HTML inside the "try" elemented class (hello):
$('.try').html()

But this will retrieve only the text (hello):
$('.try').text()

A: tl;dr:
The sample code mixes jQuery techniques with native javascript properties.
jQuery's $():
$('.try') will:

Return a collection of matched elements either found in the DOM based on passed argument(s) or created by passing an HTML string. 1.

Thus the return value of $('.try') is a collection, which typically wouldn't have a property innerHTML† (like an element would).
As has been mentioned by others, browsers can define a function for $() however they choose. It may or may not return values similar to jQuery's $() function.
As @Kind user suggested in comments, use .text().

Get the combined text contents of each element in the set of matched elements, including their descendants, or set the text contents of the matched elements.2

So to use jQuery:
$('.try').text()

$(document).ready(function(readyEvent) {
  console.log('first element with class "try" text: ',$('.try').text());
});
#main{
            color: red
        }

hello

Or with native javascript (using document.getElementsByClassName()) .textContent or .innerHTML can be used:
var tryElements = document.getElementsByClassName('try');
if (tryElements.length) {
    tryElements[0].textContent;
 }

document.addEventListener('DOMContentLoaded', function(readyEvent) {
  var tryElements = document.getElementsByClassName('try');
    if (tryElements.length) {
        console.log('first element with class "try" text: ',tryElements[0].textContent);
     }
});
#main{
            color: red
        }

hello

† Though it would be possible to add it to the collection prototype...
1http://api.jquery.com/jQuery/
2http://api.jquery.com/text/

A: .innerHTML is a pure html dom function. When using jQuery, use:

*

*$('.try').html()
or

*

*$('.try').text()

A: Firefox and Chrome developer tools both implement a function called $ which can conflict with jQuery. You probably have the developer tools open in one browser but not in another.
.innerHTML is a raw DOM accessor. You probably want to stay in jQuery land, and use $('.try').html()

A: I think you have stick to either JQuery or pure Javascript, Because for class selectors you used JQuery ( $('.try') ) and access the value inside dev you used pure javascript (innerHTML).
So you can use like this to access the html inside the div
var element = $('.try').[0] || $('.try');
var value = element.innerHTML;

or else directly use JQuery method, library will handle browser issue.
$('.try').html();

redpajama_set_name: RedPajamaStackExchange


text:
HTML Form field generators and helpers

## Getting Started
Install the module with: `npm install formcaster --save`

```javascript
app.locals(require('formcaster'));
```

## Documentation
_(Coming soon)_

## Examples
```javascript
!=fInput({ name:'supername', label: 'A quick status update', value: 'gross', attr: {placeholder: 'kansas', class:"span8 title", autofocus: 'autofocus'}})
```

## Contributing
In lieu of a formal styleguide, take care to maintain the existing coding style. Add unit tests for any new or changed functionality. Lint and test your code using [grunt](https://github.com/gruntjs/grunt).

## License
Copyright (c) 2013 Matt McManus
Licensed under the MIT license.


text:
Home Space Alien life
Enceladus' hidden ocean is kept warm by porous core
The findings could have important consequences for the prospect of finding alien life there.
in Alien life, News, Remote sensing, Space
Saturn's icy moon Enceladus is one of the most promising places in the solar system for extraterrestrial life. Buried under miles and miles of ice lies a warm ocean that stretches across the whole body. Recent observations, like those performed by Cassini before it perished, suggest that geysers emanate from hotspots, capable of warming the ocean long enough for some form of life to appear. Now, in a new study, scientists have come just a tad closer to understanding Enceladus' dynamics after they found evidence that suggests the moon's core isn't rocky but rather porous.
Artist impression of plumes gushing out of Enceladus' south pole. Credit: NASA.
The resourceful Cassini spacecraft explored Saturn and its moon Enceladus for 13 years. A few months back its mission came to an end and NASA engineers instructed the craft to make a suicide jump into Saturn's atmosphere. NASA thought it's best to destroy the craft in a controlled fashion then risk having Cassini crash into Enceladus, contaminating the moon in the process.
When Cassini first arrived in Saturn's system in 2004, NASA scientists marveled when they learned tall geysers were ejecting material hundreds of miles into space from the south pole. Eventually, scientists learned that there is a huge liquid ocean on the little moon and that the tall plumes are made of water-ice mixed with traces of carbon dioxide, ammonia, methane and other hydrocarbons. We also know that the ocean is convecting, meaning it's active.
Heated from the core
The geysers erupt from cracks present on the moon's southern polar region. These cracks are known as "tiger stripes" — parallel depressions that are 100km long and 500m deep. According to temperature readings made by Cassini, the tiger stripes are hotter than the rest of the icy crust. So, what's the heat source?
Scientists are aware that tidal heating can explain some of the heat on the small moon, which is only 241 km (150 miles) in diameter. However, NASA has calculated that the power required to keep the geysers active is in the order of 5GW — enough to power the city of Chicago — and tidal heating can account for just a fraction of that.
In the new study, researchers at the Université de Nantes, France, have accounted for the missing heat. According to their study published in Nature Astronomy, Enceladus' tiny core is not solid but rather porous.
The mushy core takes in water from the ocean, which the French researchers calculated it comprises 20% of the core's mass. The tidal forces associated with the pore water are now more than sufficient to explain how Enceladus' heat is generated. The researchers are careful to note that the porous core is not really like a sponge but rather more like sand or gravel.
The team led by Gael Choblet found heat dissipation from the core is not homogeneous, but rather appears as a series of interlinked, narrow upwellings with temperatures in excess of 363K (85°C). The computer model suggests that the hotspots are mainly concentrated at the south pole, in agreement with actual observations. Since the heat is concentrated on just one side of the moon, it's natural to have enhanced hydrothermal activity which explains the hydrogen in the plumes.
One interesting finding is that the internal tide produces enough heat to warm Enceladus' ocean for billions of years to come, with important consequences for the prospect of finding extraterrestrial life there. The moon itself is only a hundred million years old. By the most recent estimates, life here on Earth took about 640 million years to appear so if we're to take this at reference, Enceladus still has a long way to go. Just as well, life might already be presented since the conditions there could be far more hospitable than the hell early Earth must have looked like.
Tags: enceladussaturn

redpajama_set_name: RedPajamaCommonCrawl


How To Send a Plain Text EMail in Java using JavaMail API ?
Java Mail API is used to create your own email client. This class provides the code required to model your email client similar to Outlook, Hotmail and many others. In JavaMail you'll find APIs and provider implementations allowing you to develop fully functional email client applications. Below java program shows you how to send a plain text email using JavaMail API.
* Created on Apr 18, 2014. Copyright(c) http://kodehelp.com All Rights Reserved.


text:
Q: AngularJS - Manipulate elements from an extension's directive without touching the core files Here's the scenario... I'm using AngularJS and I need to do some modifications to the Datetimepicker extension without modifying the core files or use other extensions.
Anyway, all I needed to do was to clear the timepicker by means of a function (maybe?). The original Timepicker this extension is based upon seems to allow clearance of the time.
Here's my first attempt: plunkr
Here's the function:
  $scope.clearPicker = function() {
    $scope.date = null;
    $scope.date.setHours(0); // Trying to clear the Timepicker
  };

Another attempt is to resort to jQuery: plunkr2
Here's the function:
  $scope.clearPicker = function() {
    $scope.date = null;

    angular.element(document.getElementsByClassName('datetimepicker-wrapper'))
    .find('input')
    .val('');
  };

But of course many would say that the latter is not the Angular way.
So how should I go about injecting functions into an extension?


Kudelski and QuarksLabs have begun their work on the Bulletproofs audit.
Lots and lots of discussion about a new request for funding to write a Monero compatible client in the Ruby programming language.
Which migrated to "Why not Python?"
Which obviously became "Why not Rust?"
And you can bet NodeJS was mentioned.
Why doesn't Monero have a music video?
Bulletproofs audit funding is complete. Three disparate audits will take place.
Ledger code was merged into the Monero codebase.
There should be a final push of patches this week.
The exact height of the fork will be published in the next few days.
General consensus points to a new default ringsize of 7.
Bulletproof audit funding (FFS) is scheduled for Monday, March 5th.


Beautiful southern exposure, offering views of the Gulf of Mexico, Jr. Olympic sized swimming pool, the lake and beautifully landscaped grounds. With Approximately 1500 square feet, this is the largest two bedroom available in Beachplace. The interior is very light and bright with a tropical feel and the split floor plan allows for your guests privacy with access to their own seperate bath.


Keisham Priyokumar is perhaps the most important author in this regard since his stories capture the challenges in presenting the subjectivities and a coherent narrative of the killings. His work shows that fiction can also provide an important intervention in the linear and sanitised histories that one comes across concerning these events. Here, I have dwelled on one short story by Priyokumar in order to understand the predicament of the writer in fictionally re-presenting real incidents of ethnic violence, and also to reflect on our own interpretive engagement with narratives of such nature. In a way, the difficulty faced by the author while trying to reconstruct this particular story leads us to a scenario where one can reconcile with narrative perspectives or voices that are sutured.
In the first edition of his collection of short stories Nongdi Tarakkhidare (The Rain that Failed) (1995), Keisham Priyokumar expresses his objective of presenting "inner worlds", and contends that the seriousness of literary work lies in the ability to depict the changing world. This is not an "experiment", he says, but the "journey" of the short story in Manipur (ibid). Priyokumar makes clear his commitment to representing people who live at the periphery of progress and modernity and to whom he dedicated his multiple awards winning book, including the Sahitya Akademi Award. As someone who is particularly conscious of the contribution of his stories in the field of arts, there has been a discernible change in his assessment of his own work and role as a writer. A decade later, he maintained that the long standing aim for a "new expression" in his writing is deliberate.
Amidst the gradual evolution of the short story form in Manipur in conjunction with the changing social situation, the 1970s marked a new wave in short story writing. Considered as path-breaking, the bi-monthly journal Meirik (Sparks) had its inception during the 1960s. From 1974 onwards it became a collective venture of some of the most renowned writers in Manipur. Conceptualised under the leadership of Nongthongbam Kunjamohan, the first volume of Meirik came out in 1974. The other writers were Shri Biren, Yumlembam Ibomcha, Lamabam Birmani, Keisham Priyokumar, Laitonjam Premchand, among others (Aruna, 2009). It heralded a new and experimental style in form and themes, and the use of dreams and allegories became popular. As subsequent writers began to focus on marginalised voices, the influence of Meirik became even more apparent in the realistic portrayal of society and contemporary issues besetting the state.
Although the generation of short story writing to which Priyokumar belonged was in itself a groundbreaking one, for him, a desire for further change, if not disillusionment, set in. It stems from problems regarding publishing and even of readership. He says, "[m]oreover, our literature is not able to do anything for the society today… So, I can write no more short stories. This is what worries me. For now, I can just quietly observe and listen". Following this rather grim declaration in Lan amasung Mang (War and Dream) (2000), The Rain that Failed has seen its third edition due to its resonance in the current socio-political atmosphere. He admits that he continues to face queries from fellow writers as to whether he will write again or not. The eponymous short story "The Rain that Failed" won him critical acclaim and was adapted in theatre and as a telefilm. From "The Rain" to other stories in the 1995 collection, one sees a collage of fragmented narratives and fractured selves of individuals getting habituated to living with ethnic conflict and everyday violence.
Priyokumar's work has stood out for its ability to sensitively and insightfully portray the lives of the underdogs and those living at the darker end of modernity and development. His changing perspective regarding the efficacy of the function of writers in contemporary times points towards the complex and rather important role of the fiction writer. He therefore brings up the centrality of the short story writer in relation to 'acts' of witnessing and questions about translating the real experiences and testimonial utterances into fiction. In the entire process of conceiving a story, the writer then draws upon the lives of the people he comes across for inspiration and presents the experiences as those of the fictional characters.
"The Rain", written in October, 1994, is one of the most poignant stories to have captured the deep-rooted social and personal devastations of the nineties Kuki-Naga clashes. Apart from it, the author has dwelled on the subject in "Ahing Ama" (One Night) and "Mangsatheigi Mang" (Mangsathei's Dream) from War and Dream (2000). Based on the life of Chongnikim, whose husband died in the killings, "The Rain" is told through a series of flashbacks and reminiscences of events preceding Lungjahao, the husband's, death. Set against a secluded village in Manipur that is situated near the Barak River (Assam), the story opens with a glimpse of a beguilingly simplistic life led by the couple even while facing acute adversity.
In the story, Priyokumar depicts a multi-cultural society that draws its peaceful co-existence from a mutually demarcated distance and civility. This is only ritually crossed while carrying out trade-related transactions. Lungjahao cuts and sells bamboo to the "extremely thin, dark complexioned" Moti, which are then carried across to the other side of the village on a makeshift ferry through the powerful streams of the Barak river. However, when the much anticipated rain never comes and fails to fill the river, Lungjahao goes to another village to fish in order to provide for his family. Chongnikim's good-humoured parting remark, "Be careful, lest the fish kills you" ("The Rain" 95), proves ominously prophetic when Lungjahao is brought back dead.
Here, the authorial position is propelled by a revisiting of that fleeting moment. Through this story, he taps into the ways individual as well as community histories are fictionalised. His statement moreover contains an important question about the author's role in the retelling of real events that are marked by violence, and by extension, questions the efficacy of literary representations.
The challenges of translating acts of violence in socio-historical or literary narratives have been documented in various works, of which some have paid attention to the adoption of certain narrative tactics. One way to invent ways to write about violent acts that exceed "possible representation" is through fiction (Gopal 247). Also, as Veena Das notes in her seminal work Life and Worlds (2006), "[s]ome realities need to be fictionalized before they can be apprehended" (39). Both Das and Priyamvada Gopal have illustrated these challenges and the overcoming of it in their analyses of Saadat Hasan Manto's writings. For Gopal, Manto's Partition narratives demonstrate this struggle with representation and yet they invent ways to fictionalise the real accounts through the trope as well as palpability of the body, and the horrors and controversy surrounding the dead.
In the context of the Kuki-Naga clashes, few testimonial accounts from the affected people and victims have been found in works that successfully straddle forms such as journalistic report, political study, and academic approach. And these are shaped through years-long engagement with the groups involved in peace and rehabilitatory initiatives (Phanjoubam Tarapot 2005; AK Singh 2008). The visible element of authorial testimony in Priyokumar's confession however takes us to discrepancies in the very idea of witnessing. The immediate concern therefore is with the role of the author as a proxy witness. His representation of the pain and violence among the victimised characters in the stories remain partial representations since his witnessing is twice removed.
This is not to delimit the artistic possibilities of the writer in imagining or even inhabiting the space of the victim. Rather, it is to remind ourselves of the "impossibility of bearing witness" in testimonies, which according to Giorgio Agamben is a lacuna present in all forms of testimony. (34). Das however warns of transporting theories from Holocaust studies since the violence is embedded in a different sociality (103). And this is why although Agamben's idea of the limits of testimony helps us to understand the complex registers of witnessing and narrativising, the varying contexts of making the unsayable experiences legible are markedly different in the present case.
The allusion to dreams and a conscious construction of alternate realities is one way to retell acts of violence, and figures as a much more powerful leitmotif in Priyokumar's War and Dream. The resort to dreams possibly points towards not just the incomprehensibility but the unwillingness to understand the actual events that have occurred. With Chongnikim, there seems to be an attempt to comprehend the ongoing violence around her through alternate means such as slipping into dreams or dream-like state. Most of the experiences mirroring her immediate past involving Lungjahao's death are assembled through memories, dreams and hallucinations.
One way to understand the unsayable in the realm of the everyday is to recognise this very impossibility of making legible the horrors of violence. However, as with most cases of post-violence trauma, the next best step is to acknowledge the myriad, seemingly inconsequential ways in which memories of violence are "constantly interposed and mediated by the manner in which the world is being presently inhabited" (Das 76). Das's concept of fragments lies in this very inhabiting of the world, or the ways in which the past manifests itself unannounced in the everyday. However, the understanding of fragments posited in this essay is different. Here, the focus is on the disjointed, discordant, and multiple ways of speaking and narrativising past trauma, and recognising their centrality in the appraisal of the gaps in historical documentation when it comes to the Kuki-Naga killings.
In "The Rain", Priyokumar hints at the ambiguity of the salvaging power of Christianity during the mass killings. The role of Christianity was constantly invoked during the clashes on the basis of a common ancestry and beliefs of the Kukis and Nagas. It also played a crucial role in the formation of peace committees during the clashes. By 1996, there were attempts to strike conciliation through the retrieval of common roots by leaders and state representatives from both ethnicities. For instance, Rishang Keishing expresses the view that, "The Kuki and the Naga are Christians, believers in and followers of Jesus Christ … The Kuki and Naga belong to Mongoloid race; thus they are racially and religiously one only", (Singh 177).
The moon shone bright against the clear, cloudless sky. The small porch in front of the house was lit by the moonlight. But there was complete darkness inside the house. Chongnikim did not look at the moon… She continued to stare at the small cross that was planted at the courtyard. She could see nothing besides the cross.
This is where the concept of fragments takes us into the deeper economy of multi-layered narratives and subjectivities of afflicted individuals in Priyokumar's story. At the outset, the concept is fraught with limitations, since it evokes an idea of incompleteness and thus needs to be made a component of a larger whole. Gyanendra Pandey has highlighted the indispensability of fragmentary points of view while dealing with histories of sectarian strife and violence. His idea of fragments connotes both scattered pieces of writings such as "a weaver's diary", a poetry book written by an unknown writer, and minorities—i.e., writings from the "smaller religious and caste communities, tribal sections, industrial workers, activist women's groups", etc. (47). As a concept, fragments helps uncover the difficulty of representing limit experiences marked by violence, survival and victimhood, and also enables one to comprehend the stories themselves. It, therefore, signifies a narrativising technique which is used by the writer struggling to recount experiences that defy coherent reconstruction. It also serves as an interpretive tool to understand the move away from smooth, linear narratives.
To understand such histories, it is imperative to look beyond violence as always extraordinary, and thus disregard its banality, but to recognise the very qualification of some kinds of violence as momentous and others as insignificant. In the case of the Kukis and Nagas, one could see the emergence of contradictory narratives surrounding violence, per se, in relation to these communities. One simplifies it by viewing the rift as intrinsic to their ethnic identities, a history that dates back to late 19th – early 20th century colonial accounts about Kuki-Naga hostility. And the other regards the clashes as an "aberration" or absence in a long history of normality and harmony.
Stories like "The Rain" can be situated vis-à-vis larger debates about epistemic silencing and subduing of individually lived atrocities and personal memory under official histories. Priyokumar's story provides an important juncture in the historicising of violence while it occurs, and afterwards, by presenting the perspective of those who are at the receiving end of that violence.
The writings available on the Kuki-Naga killings are viewed somewhat suspiciously on the grounds that some of them are extensions of the sectarian ideologies that went into the making of the clash itself. Such critical observations highlight the difficulty of finding unbiased perspectives about the killings. Some scholars have noted that "spontaneous" reporting involved in newspapers would be ideologically toned down compared to the deliberations and studied reconstruction of the accounts, since in the latter, there is an advantage of retrospectively analysing the causes or culprits (Singh 29). The so-called objective reporting and archiving also includes collating not only statistics and reliable reports, but also many subjectively constituted narratives such as rumours, hearsay and testimonies. While interruptions such as these in selective writings would eventually form parts of the archive of the said events, one may also look at the ways fictional representations fill the gap for silenced or sidelined histories.
Not only do Priyokumar's short stories such as "The Rain" provide a crucial intervention in this historical lacuna, but the cracks and fissures in the telling itself indicate the enunciatory possibilities of fragmented narration, speech and subjectivity. The unsayable and unhearable in relation to real acts of violence are represented through fragmented speech that also characterise the structure of the short story. Fragments, thus, proves to be an apt metaphor and analytical tool while dealing with the recovery or readings of 'unofficial' records. As narrative device, it aids the authors' reconstruction, and the readers' deciphering, of such stories. Hence, the idea of stuttered utterances and narratives in fiction provides a counterpoint to the politics of making whole that underlies our own interpretative practices.
Agamben, Giorgio. Remnants of Auschwitz: The Witness and the Archive. Trans. Daniel Hellr-Roazen. New York: Zone Books, 1999.
Aruna, Nahakpam. "Contemporary Manipuri Short Stories" ("Houjikki Matamgi Manipuri Warimacha", 2001), Eastern Quarterly, Vol 5.Issue 1: Literature, Society, polity: Trendsand Perspectives, 2009. Trans. Dhiren Sadokpam. <http://www.manipur researchforum.org/ContemporaryManipuriShortStories.htm>, 2009.
Das, Veena. Life and Worlds: Violence and the Descent into the Ordinary, New Delhi: Oxford University Press, 2006.
Gopal, Priyamvada. "Bodies Inflicting Pain: Masculinity, Morality and Cultural Identity in Manto's 'Cold Meat'", The Partitions of Memory: The Afterlife of the Division of India, ed. Suvir Kaul. Delhi: Permanent Black, 2001. pp. 242-268.
Pandey, Gyanendra. Routine Violence: Nations, Fragments, Histories, Delhi: Permanent Black, 2006.
Priyokumar, Keisham. "Nongdi Tarakkhidare" (The Rain that Failed), Nongdi Tarakkhidare, 1995. Imphal: Raj Publications, 2012. pp. 89-98.
—Lan amasung Mang (War and Dream). Imphal: Raj Publications, 2000.
Singh, Aheibam Koireng. Ethnicity and Inter-community Conflicts: A Case of Kuki-Naga in Manipur. New Delhi: Mittal Publications, 2008.
Tarapot, Phanjoubam. Bleeding Manipur, New Delhi: Har-Anand Publications, 2005.
 "Ayibagi Wahei Kharadang" (From the Author), The Rain That Failed, February 27, 1995.
 "Ayibagi Maikeidagi" (From the Author), War and Dream, December 10, 2008.
 "From the Author", Lan amasung Mang (War and Dream) (2000).
 "The Rain that Failed" has been variously translated and adapted as: The Turmoil by the Manipuri Theatre Academy, Wangoi under Jawaharlal Nehru Manipur Dance Academy in its September 10, 2003 production; and But it Never Rains by Ningthouja Lancha (Manipur Film Forum), Doordarshan Kendra Imphal, 2001.
 "Ayibagi Waarol" (Author's Note), The Rain, October 23, 1999.
 Other testamentary accounts from the concerned ethnic groups are found in the writings of KNO's official representative PS Haokip, such as "Kuki and the Naga Public Clashes", a "rejoinder" to the NSCN-IM's article, also titled "Kuki and the Naga Public Clashes".
 For further details see Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive (1999). Writers like Urvashi Butalia (The Other side of Silence), Thomas Blom Hansen (Wages of Violence) and Pandey (Routine Violence) have also explored the challenges of writing about violent episodes in history due to the provisionality of testimonies and witnesses' accounts, ideological biases of the confronting parties, and the politics of silence.
 According to Agamben, the idea of the unsayable is glorifying silence and is limiting at the same time (32).
 The working of political organisations and civil societies in Manipur clearly point towards the centrality of ethnically imbued collective movements and activities. The efforts to provide a redressal for the entire populations affected in the Kuki-Naga clash can be seen from this context. Even though an official enquiry committee was not formed to address the cause or book the culprits, the constitution of the Committee for Restoration of Normalcy (CRN) with Kuki and Naga representatives is important in this regard. It is another matter that the Kuki Inpi Manipur (KIM) withdrew from the CRN in 1996 after ethnic tensions seeped into the organisation itself.
Loiya Leima Oinam teaches at Ramjas College, University of Delhi. She has recently submitted her doctoral dissertation to the Department of English, University of Delhi.


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Crăsnășeni – wieś w Rumunii, w okręgu Vaslui, w gminie Tătărăni. W 2011 roku liczyła 136 mieszkańców.

Przypisy

Wsie w okręgu Vaslui

redpajama_set_name: RedPajamaWikipedia


I love that stamp too Michelle - and love how you've used it for the cute challenge today!
You looking at me!!!! Fabulous!
OMG, j'adore ! This card is both adorable, funny and so much CAS ! Your coloring is just perfect and this sentiment is great! I just love it ! Thanks so much for sharing and for playing along at Less is More !
Totally adorable card! Love it!
So happy to have you joining us for the first time Michele! Kristie is amazing isn't she!! Those giraffes are super cute! Their faces make you smile! I struggle with CAS cards and this one is awesome! So happy to have you in our gallery at Seize the Birthday. Please join us again soon!
I soooo want some Gerda Steiner images and these are awesome, giraffes are my favourite! Love their expressions, and a great one layer card.
Michelle, I simply love this card, the stamps are so cute, CAS at its best!


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S-Lenses For ultimate photographic perfection
S-Accessories Professional equipment for the S-System
About the M-System Closer to the decisive moment
Leica M-E The Entry Level Leica M
Leica M10-P Go unnoticed in the street.
Leica Q-P A statement of understatement
Leica V-Lux 5 The superzoom camera for explorers
Leica FOTOS
Sportoptic
Leica Akademie Singapore
Tim Page | 21
The exhibition series '21' is a collection of 21 pivotal moments of Tim Page's career as a war photographer. The series takes the viewer on a visual journey from scenes of the Vietnam War, Cambodia, Cuba and Europe. All images were taken on a Leica M and a 21mm lens. All visitors are welcome to view the '21' exhibition at Leica Gallery Melbourne or Leica Store Sydney until 31 October 2019.
Tim Page left England at 17 to travel across Europe, the Middle East and to India and Nepal. He found himself in Laos at the time of the civil war and ended up working as a stringer for United Press International.
From there he moved on to Saigon where he covered the Vietnam War for the next five years working largely on assignment for Time-Life, UPI, Paris Match and Associated Press. He also found time to cover the Six Day War in the Middle East in 1967.
The role of war-photographer suited Page's craving for danger and excitement. He became an iconic photographer of the Vietnam War and his pictures were the visual inspiration for many films of the period. The photojournalist in the movie Apocalypse Now, played by Dennis Hopper, was based on Page.
Level 1, St Collins Lane
E-Mail: info.lcau@leica-camera.com
Mon: 10:00 18:00
Tue: 10:00 18:00
Wed: 10:00 18:00
Thu: 10:00 19:00
Fri: 10:00 19:00
Sat: 10:00 18:00


text:
Q: An ejected project cannot use the build command anymore I am new in Angular. I accidentally ejected my project using command-line, i don't remember which command i used. but when i try to run command
ng serve --open
it throws me an error of

An ejected project cannot use the build command anymore.

I also re-installed angular-cli as said in this Stackoverflow Question but no use.
Can anyone help me with this?

A: open the angular-cli.json, you should see this at the top
"project": {
   "name": "proj-name",
   "ejected": true,
}

remove the ejected part and it should work

A: once you ejected the project you will get a webpack.config file
And also you can see some commands in package.json script tag
"scripts": {
"ng": "ng",
"start": "webpack-dev-server --port=4200",
"build": "webpack",
"test": "karma start ./karma.conf.js",
"lint": "ng lint",
"e2e": "protractor ./protractor.conf.js",
"pree2e": "webdriver-manager update --standalone false --gecko false --quiet"

},
you can still run the project by using npm start
you can still build the project by using npm run build


text:
Sports...Delivered. Sign up for our sports newsletters and stay in the game!
Florida Gators didn't do enough for Tim Tebow
They got more from him than he got from them. That's the bottom line of the University of Florida and Tim Tebow.
The school got two national titles, got the 22 straight wins, got the four Jan. 1 bowls, got the Saturday sellouts into forever, got the Heisman Trophy winner on display, got the Golden Gators rain of money, got the national TV showcase, got the uptick in applications that always comes with athletic success and got such a grown-up furor over Tebow that $15,000 in extra security was hired for the final Gator Walk of his career.
And Tebow?
He got a winter in Nashville to correct his flawed delivery.
"He'll be fine," Sam Wyche said.
Hopefully, he will.
"He's going to make whoever takes him look very smart," said the former NFL coach.
Hopefully, that's the case. And Wyche should know. He coached Joe Montana and Boomer Esiason to Super Bowls and, for two days recently, joined the coaching team to correct Tebow's throwing flaws. Big flaws. Obvious flaws.
In his final game as a Gator, former NFL coach Brian Billick took a telestrator to highlight the long delivery, the two-handed hold, the loopy follow-through — all that stuff that should have been addressed at Florida.
Why wasn't it? Was it as simple as Florida had a better chance to win without changing his game?
The bigger question: Do you blame Urban Meyer?
Meyer is a great coach. He runs a great program. He wins, he doesn't cheat, he seems to care. There are pockets that need cleaning up, notably with behavior, the way any program has issues.
But what's clear today is he got more from Tebow than Tebow got from him.
Meyer got the big contract, got a nation's applause, got being called the game's top coach, got the chance to coach wherever he wanted for the highest price he could name, if that's what moved him.
OK, this isn't a sympathy call. He won the Heisman, set all kinds of records, had the time of his life and made himself a forever name at a great school.
But such an obvious flaw should have been taken care of in the past four years, not the past four weeks. Meyer didn't do Tebow right in that regard. Yes, Tebow tried for a bit to play under center and be more of a conventional quarterback.
That didn't look so hot. So, again, do you blame Meyer for moving Tebow back when Florida struggled some? Knowing what was good for Florida wasn't necessarily good for Tebow?
A coach's job is to win, after all. No one won more over the past four years than Meyer. So that mission was accomplished.
But this delivery is an another subject altogether.
"I'm not changing who I am or how I approach football," Tebow told ESPN's Adam Schefter. "But there are things that I can get a lot better at — my fundamentals.
"I've never been asked to shorten or quicken my release and not have a loop in it."
No doubt, this says something about Tebow. He's changing the delivery ahead of being told to do so by whoever drafts him. He's trying to move up the learning curve, show he's coachable.
But it says something else about the coaching he got at Florida. It says they didn't want to mess with a good thing. It says they worried that any correction of his delivery wouldn't benefit them.
Lots of people, smart people, football people, have questions about Tim Tebow as an NFL quarterback. There's plenty of room to doubt.
Just as many smart people think he's going to be a hit as a pro. It's a good draft debate.
That verdict might take years to sort out.
This one is much clearer as Tebow spends his winter in Tennessee: Florida got more out of him than he did out of Florida.
Dolphins' Chad O'Shea faces the tall task of making Miami's offense respectable in 2019 | Countdown to camp


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Guest Post – WATCH: Japan, One Year Later
by John Endo Greenaway · March 12, 2012
by Greg Voakes, from the Huffington Post
March 11 marks the 1 year anniversary of the fifth largest earthquake to have ever been recorded and the effects of the event are still felt today. About 40 miles off the northeast coast of Japan, the 9.0 magnitude quake wreaked carnage to the islands of Japan, triggering a devastating tsunami with waves as high as 30 feet. The crushing waves crippled the Fukushima nuclear power plant and forced the nuclear reactors to meltdown. The Fukushima disaster caused the surrounding land, air, and water to be contaminated and forced people out of their home permanently. Efforts to contain the radiation are still ongoing.
The tsunami put over 300,000 people out of homes and 20,000 people were either killed or are considered still missing. Entire towns were covered with nothing but debris and 90 percent of the population in the area was forced to flee to safety.
But Japan is resilient. The country of Japan and its people are determined to restore Japan to its original state. The government has spent billions of dollars and the people of Japan have spent countless hours restoring their devastated lands to what it once was. Workers are currently decontaminating the homes of those who were forced to evacuate by scraping the top two inches of the soil in the area. Towns that were once reduced to just rubble are now being repopulated with buildings and infrastructure at an amazing pace. No matter how long it takes, the Japanese are committed to making their lands flourish once more.
OnlineSchools.org presents Japan One Year Later
Follow Greg Voakes on Twitter: www.twitter.com/gvoakes
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360fusion provide online tours to entice, promote and retain golfers through visual exploration. We have developed a unique way of showcasing your golf course to enable members and visitors to experience the individual holes on a course through a virtual online visit. In addition to the visual tour, we also provide course information, videos, maps and hotspots around the course, to enhance user experience further.
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Your golf club will find an increased traffic to your website & a longer browsing time from customers. By keeping up with fast moving technology and being ahead of the game creatively & digitally, golfers will want to explore your site.
The old saying goes.. a picture speaks a thousand words.. therefore a virtual tour will speak one million. There are options available through our sponsorship scheme for golf courses when it come to our virtual tours. 360fusion can produce a virtual tour in exchange for green fees. If you want to find out more about our golf course virtual tours and our sponsorship scheme, please Contact Us.


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Prospect Update: Benoit-Olivier Groulx
Photo: The Star
By Thomas Harrington
A second-round pick from the 2018 NHL Entry Draft, Benoit-Olivier Groulx completed his junior career this past season.
Groulx started out the year as the captain of the Halifax Mooseheads. In 26 games, he scored 15 goals and 41 points. Unfortunately, Halifax was struggling, and they ended up finishing the season in ninth place in the eastern conference. As a result of the team's struggles, Groulx was traded to the Moncton Wildcats for three draft picks in late December. Groulx finished his career in Halifax with over 200 points in 221 games. Groulx finished the season in Moncton, scoring 14 goals and 37 points in 29 games for his new team.
Unfortunately, as a result of the pandemic, the QMJHL's season was cut short, and Groulx and the Wildcats did not get a chance to participate in the postseason. At the time the season was canceled, Moncton was at the top of the eastern conference and had the second-best record in the QMJHL. Groulx's 78 points had him tied for 12th in scoring and his 49 assists were tied for seventh in the QMJHL. He finished his junior career with 244 points in 250 games. After the season was over, Groulx was named the top defensive forward in the QMJHL.
Groulx was in the mix to make Team Canada at the World Junior Tournament, but he ended up being the final player cut from the team. Canada was able to win gold at the tournament. Hopefully, being so close to the tournament will serve as motivation for him going forward.
Despite how last season ended, Groulx was still able to meet one of the expectations I set for him a year ago and came very close to my second. My first expectation for him was to have 70+ points, as long as he was healthy. Well, despite the season being cut short, he finished the year with 78 points in 55 games. If he had played over 60 games, he would have undoubtedly broken his career-high of 80 points set the season before. My second expectation for him was to make Team Canada. Well, this one didn't quite happen, but he got about as close as he possibly could by being the team's final cut.
While I only had two expectations for Groulx, I did have a hope as well, and that was for him to win the Memorial Cup in his final season of junior hockey. Well, unfortunately, because of the ongoing pandemic, he didn't even get a chance to do that, but he was on one of the best teams in the QMJHL, and in some parallel universe where there is no pandemic, he would have had the opportunity.
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This coming season, Groulx will be turning pro. Assuming the AHL is able to play this year, I believe that he'll spend the entire year with the Gulls. He's got good hands and is responsible defensively, but he'll likely need some time in the minors to adjust to the pro game before getting a shot at the NHL.
Expectations are hard to set for this coming season, but assuming the Gulls are able to play, I just want Groulx to play as much hockey as possible. Goals and points will be nice, but I want him to focus on his overall game, especially early in the season. He's got enough talent that the points will come for him if he can adjust from junior hockey to pro hockey. He's a smart player with good defensive skills. If he can prove invaluable on San Diego's penalty kill, that will lead to more ice time for him and hopefully more offensive opportunities.
In terms of his NHL future, I think Groulx is at least one year, possibly two, from getting a shot at Anaheim's lineup. He's a skilled player, but doesn't have the overall talent level of some of Anaheim's recent first-round picks. However, Groulx is a very smart, dependable player who can be a very effective penalty killer. If he can carve out a spot on San Diego's second or third line and be one of their top defensive players, then I think he could get a shot at the NHL in a season or two.
As the 2019-2020 season began, Groulx signed his entry-level contract with the Ducks. It will run for three years and start whenever this season begins. Once completed, he'll be a restricted free agent. I'm hopeful that he can develop into a solid third-line winger. If he can do that, he can expect a one-way deal in three years. However, if he's still rounding out his game between the NHL and AHL, then he'll likely be re-signed on a two-way contract.
The next prospect update will be on Roman Durny.
Prospect Update: Olle Eriksson Ek
Prospect Update: Jack Badini
Prospect Update: Josh Mahura
Prospect Update: Jackson LaCombe
Prospect Update: Mathew Hill
Prospect Update: Jack Kopacka
Prospect Update: Trevor Janicke
Prospect Update: William Francis
Listen to our hockey podcast by clicking below or visit us at Podomatic, Rumble, Spreaker, or YouTube.


text:
module.exports = function () {
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  this.plugin('ready', moduleContainer => {
    this.nuxt.__module_hook = moduleContainer && ctr++
  })

  // Add hook for renderer
  this.nuxt.plugin('renderer', renderer => {
    this.nuxt.__renderer_hook = renderer && ctr++
  })

  // Add hook for build
  this.nuxt.plugin('build', builder => {
    this.nuxt.__builder_hook = builder && ctr++
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}


text:
Ann Hamilton, O N E E V E R Y O N E, 2017
Paul Bardagjy
O N E E V E R Y O N E · Connor
O N E E V E R Y O N E · Porscha
O N E E V E R Y O N E · Tanya
O N E E V E R Y O N E · Zoë
O N E E V E R Y O N E · John
O N E E V E R Y O N E · Adam and Cora Lenore
O N E E V E R Y O N E · Robert
O N E E V E R Y O N E · Chaisten
O N E E V E R Y O N E · Jessica
O N E E V E R Y O N E · Diana
O N E E V E R Y O N E · Christopher
O N E E V E R Y O N E · Ann
O N E E V E R Y O N E · Jack
O N E E V E R Y O N E · Glenys and Leslie
O N E E V E R Y O N E · Juan
O N E E V E R Y O N E · Cirina
O N E E V E R Y O N E · Sareena and Jose
O N E E V E R Y O N E · Alison
O N E E V E R Y O N E · Agna and Javeroh
O N E E V E R Y O N E · Justin
O N E E V E R Y O N E · Tory
O N E E V E R Y O N E · Tavia
O N E E V E R Y O N E · Clay and Ann
O N E E V E R Y O N E · Amber
Ann Hamilton, process for O N E E V E R Y O N E, 2017.
photo by Christina S. Murrey
O N E E V E R Y O N E
Porcelain enamel Dimensions variable
Commission, Landmarks, The University of Texas at Austin, 2017
Health Learning Building (HLB) 30.27542, -97.73329 Health Discovery Building (HDB) 30.277845, -97.735078 Health Transformation Building (HTB) 30.277486, -97.735019 Accessible during regular business hours Monday through Friday, subject to closure for events. All visitors must check in at front desk.
Ann Hamilton. ONEEVERYONE. GalleryLOG for Landmarks
Video of Ann Hamilton. ONEEVERYONE. GalleryLOG for Landmarks
Landmarks Feature: A Q&A with Ann Hamilton
Video of Landmarks Feature: A Q&A with Ann Hamilton
Landmarks Features: Ann Hamilton with the Humanities Institute - 26 January 2017
Video of Landmarks Features: Ann Hamilton with the Humanities Institute - 26 January 2017
Play Audio GuideRead Audio Transcript
O N E E V E R Y O N E is a series of photographic portraits by Ann Hamilton commissioned for the Dell Medical School. The series illuminates particular links between touch and vision, contact and caring. Hamilton photographed more than 530 participants from the Austin community. They stood behind a frosted, plastic material that puts in sharp focus whatever it touches, while progressively softening receding features. To viewers of the resulting portraits, the cloudy screen becomes the image surface, a translation that binds visual and tactile perception.
Touch has been key to Hamilton's work from the outset. Among her earliest works was (suitably positioned) (1984), in which a man's business suit covered in protruding toothpicks provoked in viewers a distinctly heightened experience of tactile sensitivity. Hamilton has combined the tactile and the photographic in many works; reflections (2000) is a series of photographs shot through multiple layers of slightly wavy glass that produced blurry images—a precedent for O N E E V E R Y O N E. Also creating soft-edged images was the small camera Hamilton placed inside her mouth for face to face (2001). Opening her lips exposed the film and transposed her (silenced) mouth into a speaking eye. By the end of the 1980s Hamilton had begun to produce the complex, community-engaging, site-related installations that have consumed the majority of her efforts since.
The democracy of art is perhaps Hamilton's central principle, and it is clearly reflected in the remarkable openness of O N E E V E R Y O N E—from its enormous range of participants to texts and images available freely in print and on the work's website. That collaborative effort is deepened by Hamilton's commitment to the extended community of the Dell Medical School. Hamilton references John Berger's A Fortunate Man: The Story of a Country Doctor, which considers with great sympathy the relationships forged between a physician and his patients. A highly developed sense of touch, and an equal ability to see his patients clearly, as whole beings rather than as aggregated physical parts—while at the same time understanding them to be inextricably connected to their town and its culture—were central to Berger's quietly heroic practice. Hamilton's O N E E V E R Y O N E represents a similar devotion.
LEARNING AT HOME WITH LANDMARKS
Bring the Landmarks collection into your home-learning environment. Check out how you can engage with this work by browsing the learning resources featured on this page:
View Photo Gallery - Click on the arrows on the sides of the image above to to view images of the work. Spend time on each photo and examine details carefully as if you were with the work in person.
Play Audio Guide - Select "Play Audio Guide" in the upper right corner to hear a short audio guide about the art and gain a deeper understanding of its meaning.
View Videos - Select "View Videos" to watch a 3-minute video with the artist and to understand their process.
Activity Guides - Choose the activity guide below best suited for young learners in your home.
Still have questions or want to share your Learning at Home with Landmarks experience with us? Keep the conversation going by tagging Landmarks on social media.
yc_hamilton_v1.pdf
Subject: Color and Layering
Activity: Tissue Paper Drawings
Materials: Black marker, white paper, colored tissue paper, scissors, glue, paint brush
Vocabulary: Collage, Layer, Shapes
At Dell Medical School students learn to become doctors. These photographs by Ann Hamilton are of people who have either received care or who have taken care of others. They look blurry because the artist hung a cloudy sheet of plastic in front of people before she took their photograph. She did this to help us focus on certain parts of the body, like a hand or a face.
What does the world look like through a foggy window?
How are these photos different from the ones we take?
Can you imagine what this person is thinking or feeling?
If Ann Hamilton took your photo, how would you pose?
Look at the portraits by Ann Hamilton. The parts of the people touching the plastic sheet are in focus, the rest of the picture is blurry.
Use a black marker to draw a large drawing on a white sheet of paper. Try to use the whole sheet. The more simple the drawing is the better!
Tear or cut different colored tissue paper into shapes. Using a paintbrush, cover your drawing with a thin layer of glue. Don't worry, the black lines will show when the glue dries! Create
a collage by layering the tissue paper onto the glue. Layer colors to create new colors. The shapes don't need to match the drawing. Just use them to ll the entire sheet with colors!
Look Again:
Look at your drawing and at Ann Hamilton's photograph. Is your drawing blurry like the person in the photograph?
Collage - A work of art made by gluing paper, string, or other objects onto a sheet of paper
Shape - A form like a circle, square, or triangle
Layer - Placing one shape on top of another
Artists with Related Works:
Sol LeWitt, Wall Drawing #520
Older Children
oc_hamilton_v1.pdf
Subject: Drawing Emotion
Activity: Make a silhouette with symbols and words that describe you
Materials: Flashlight; large sheet of paper; pencil; crayons, colored pencils, markers, or paint
Vocabulary: Silhouette, emotion
Artist Ann Hamilton took photos of people behind a cloudy sheet of plastic to make these photographs. They are hanging in the Dell Medical School to represent all the different kinds of people who need care or who have cared for others. Even though they are blurry you can see details of a person's face, hands, or an object they are holding. This helps the artist show us what the most important part of the picture is.
What are some reasons why someone would have their picture taken?
If this person could talk, what do you think he or she would say?
Pretend you are inside this photograph. What does it feel like?
Can you assign a mood to these photographs?
Create a silhouette of your head by standing sideways a foot away from a wall. Have a friend shine a flashlight toward you so that your face casts a shadow against the wall. Have another friend tape a large sheet of paper to the wall and trace your profile. If you want a larger canvas lay down on a large sheet of paper and trace your entire body!
Use crayons, colored pencils, markers, or paint to fill in your silhouette with facts you want people to know about you. What is your favorite food? Where do you like to go on vacation? What do you like to play with your friends? What makes you happy or sad? What is the most important thing about you? Use art to show who you are!
You can visit www.hamilton-landmarks.org to see more photographs taken for this project.
Silhouette - The outline of a person or object
Emotion - A strong feeling, like happy or sad
ag_hamilton_v1.pdf
Subject: Mirror Images
Activity: Pick a figure and mirror the pose; answer the questions
Materials: Pencil or pen and paper; your imagination!
Vocabulary: Haiku
O N E E V E R Y O N E is a series of photographs by Ann Hamilton for the Dell Medical School. She took more than 500 portraits of people who have received care or who have cared for someone else. By putting a cloudy sheet of plastic in front of the person in the picture, many of the peoples' features are blurred, making it feel like it could be anyone, even you, in the photograph.
Can you assign a mood or feeling to these images?
Why do you think the artist created blurry rather than clear portraits?
What do you think it feels like to be photographed behind a sheet of plastic?
What do you think you can see or hear behind the plastic?
The cloudy atmosphere in the photographs ignites the sense of touch, something we don't often see in photographs.
Pick a figure that you find particularly interesting. Mirror their pose. Think about why he or she is holding their posture that way. Why are his hands in that position? Why is she making that facial expression? Imagine what that person could be thinking or what they have experienced.
After you've lived in this person's shoes, write a haiku as if you were this person. A haiku in a three-lined poem; the first line has 5 syllables; the second has 7; and the third has 5 again. They are short and sweet! For example:
Caring is a gift
of patience to a patient.
Give care and take care.
You can see more photographs from this series at www.hamilton-landmarks.org.
Share your haiku and see if your listeners can guess which photograph inspired you.
Haiku: A short, three-lined poem that originally developed in Japan
Essay by Nancy Princenthal
"Let's be in touch," we say casually, although to be truly in touch is rare, a prized and intimate experience that cross-wires several systems of perception, emotion, and understanding. These are connections that Ann Hamilton has long explored with great depth and delicacy. In O N E E V E R Y O N E, a series of photo portraits commissioned by Landmarks for the Dell Medical School at The University of Texas at Austin, Hamilton illuminates particular links between touch and vision, contact and caring. Positioning subjects behind a material called Duraflex®—which has been aptly described as feeling a little like skin and, when looked through, as resembling a frosted shower curtain—Hamilton has photographed more than five hundred people. Among Duraflex's properties: whatever touches the surface from behind is seen from the front in sharp focus, while everything else becomes progressively soft; in photographic terms, it creates a very shallow depth of field. To viewers of the resulting portraits, the plastic screen becomes the image surface, a translation that binds visual and tactile perception.
Touch has been key to Hamilton's artistic practice from the outset. Among her earliest works was (suitably positioned) (1984), a man's business suit covered in toothpicks, which made its wearer a human porcupine, and provoked in viewers a distinctly heightened experience of tactile sensitivity. By the end of the 1980s Hamilton had begun to produce the complex, site-related installations that have consumed the majority of her efforts since. For privation and excesses (1989), at Capp Street Project, San Francisco, she had thousands of pennies laid into a field of honey on the gallery floor; a woman wringing her hands in a honey-filled felt hat sat at the rear, and behind her, three sheep grazed in a pen. The full-body experience engaged viewers' sense of smell. At the Dia Center for the Arts in New York City, tropos (1993–94) included a floor carpeted with horsehair. In myein, conceived for the United States Pavilion at the 48th Venice Biennale (1999), bright red powder drifted over walls marked with Braille, and visitors were invited to write with their fingers in the pigment that fell to the floor.
More than once, Hamilton has combined the tactile and the photographic. In abc-video (1994–99), a carefully inscribed alphabet was slowly erased and then, it seems, re-written by an inky fingertip. Developed in connection with myein, reflections (2000) is a series of photographs shot in the reflection made by multiple layers of slightly wavy glass, producing images of a figure that appears to be underwater—a precedent for O N E E V E R Y O N E's blur. Also creating soft-edged images was the small camera Hamilton placed inside her mouth for face to face (2001). The work made the artist into a kind of pinhole apparatus—opening her lips exposed the film—and transposed her (silenced) mouth into a speaking eye.
The Duraflex sheet behind which subjects stood during photo shoots for O N E E V E R Y O N E prevented them from seeing the camera, and although they heard Hamilton's voice directing them, they felt themselves to be in a private space. In a public conversation with Jack Risley at The University of Texas at Austin, the artist said that the process created "a quality of interiority," a valuable condition at a moment when "the notion of private images and private space is changing." Hamilton has also said that trust—with respect to the camera, and the artist—was another big issue in the process of creating these images. As it happens, trust is also essential to a relationship the subjects shared: all of them are either care providers, administrators, or patients from Austin's extended medical community. Photo shoots were open to all and held at community health clinics, a student union, university campuses, a children's hospital, a retirement community, and elsewhere. According to Hamilton, "Touch and human recognition is the core of medicine," and she also noted a similarity between the way the subjects address themselves to her camera and the way patients present themselves to doctors. In both cases, "You offer yourself up."
Typical for Hamilton's work, O N E E V E R Y O N E is a project with several components. The primary element is an image library containing more than 20,000 photographs of roughly 530 people. Installed at Dell Medical School are a few dozen that have been printed on enameled porcelain panels, which are lustrous (they are finished with a thin layer of glass) and softly white—like trays for medical instruments, as Hamilton points out. Whether at slightly more than life-size or somewhat smaller, the subjects are dignified, even grand, but also muffled—quieted—by the process, which prohibits the preening display so common in the age of social media. And the emphasis on touch is extended by Hamilton's frequent focus on hands at the expense of faces. When the subjects make manual gestures, they consolidate the connection between touching and seeing. We see a man cradling a baby, a cross-generational handshake, and a flutter of fingers. Choices of physical self-presentation—clothing, ornaments—further acquire, in some portraits, an emblematic force, forming additional accents, as in spoken language, of color, texture, and form.
In addition to these porcelain panels, a generous selection of images appear in a wordless book. Published in a run of 10,000 copies and distributed freely on campus, the book's 900 pages make it as thick as the kind of old-fashioned telephone directory it resembles. The thin, pliable, off-white paper of this publication evokes, as does Duraflex, the tenderness of skin, further modulating the color and resolution of the photographs. It also binds them into the kind of physical index of connectedness—a phonebook—that has been abandoned in the digital age. An additional component of O N E E V E R Y O N E is a free newspaper in which a selection of the photographs will appear alongside contributions by scientists, philosophers, poets, and essayists. These essays are also available on the project's website—a final and crucial component—along with at least one image of each participant, which may be downloaded for free.
These several image vehicles all place the subjects securely in the present, while framing them in many kinds of history. The blur that envelops O N E E V E R Y O N E's subjects can be associated with a period, in the late nineteenth century, when the still-novel medium of photography was believed, by a surprising number (and range) of people, to be capable of capturing departed spirits; not coincidentally, it was a time when various spiritualists also promised such capture. Historian Tom Gunning writes, "Not only did the darkness needed to protect the sensitized photographic plate from exposure serve as an analogy for the darkness in which mediums held their séances, but photographs could also provide evidence of the existence of spirit beings." Impinging on the film or the plate's emulsion, the dead made manifest their otherwise invisible presence. In the present, when more and more of our time is spent staring at images on screens, Gunning continues, "The difference between our daily existence and that of phantoms becomes attenuated." In other words, we have become the ghosts once thought to be exposed in darkroom-born images; touch, in both cases, is the interface. Related, too, is the healing offered by Franz Anton Mesmer, an eightneeth-century Viennese doctor who, as Mark Alice Durant writes in The Blur of the Otherworldly, "theorized that magnetism flowed through the universe via the fluidium." Mesmer believed that a diaphanous medium joined all bodies "in the universal waltz of influence," which a skilled practitioner—a mesmerist—could channel for medical benefit.
Hamilton, an avid reader, is interested in the writing of literary scholar Brian Rotman (he is a contributor to the O N E E V E R Y O N E newspaper), who argues in Becoming Beside Ourselves that both mind and God are ghost effects of the alphabet—immaterial entities brought forth by writing's capacity to sustain identity over time and space in the absence of the speaker's body. "Writing, by rescuing speech from oblivion," Rotman concludes, "allows utterance to live beyond itself." But Rotman believes that alphabetic writing is giving way to gestural languages caught in real time by digital technology, which is driven by a dispersed community of meaning. The digitally enabled "I" is "immersive and gesturo-haptic," Rotman writes, and "increasingly defined by the networks threading through it." Philosopher Vílem Flusser, too, felt that language born of breath and inscribed in printed words was becoming obsolete. While "the alphabet permits us to stabilize and discipline a transcendence of images that has been won, with effort, through speech," Flusser wrote, "thinking is not a continuous, discursive process." Instead, we think in images, which are fluid, and our brains more resemble networked databases than inscribable clay tablets. Writing, Flusser predicted in 1987, is nearing an end.
Hamilton is also interested in the fact that we "live in a world of touch-less images" where, paradoxically, pictures can be brought to life and manipulated by a finger placed on a computer screen—"That space of no space," she calls it. Digital screens (and photographs of all kinds) have played an important role in Hamilton's work. But she does not altogether share Flusser's, or Rotman's, rather drastic vision of a post-bibliophilic future. Just as constant as touch in her work has been the presence of books and other forms of printed matter, which are also central to O N E E V E R Y O N E. Several times, books have entered her work as objects to be altered, such as tiny stones replacing typographic marks, or lines of text being slowly, systematically burnt with a stylus. In her conversation with Jack Risley, Hamilton said, "The book is a beautiful democratic object. It's portable, it has a rhythm, it's in your hand. When you fall into a book you're falling into another world that extends like a landscape even if it's not literally one. That close at hand and far away which is how I would characterize reading is carried always in a book."
The democracy of art is perhaps Hamilton's central principle, and it is clearly reflected in O N E E V E R Y O N E's remarkable openness—its enormous range of participants; the free distribution of its newspaper, and of its book, which Hamilton hopes will "circulate throughout the community, hand to hand"; and the public availability of its website. An internationally celebrated artist, honored with a MacArthur fellowship in 1993 and the National Medal of the Arts in 2015 (among many other awards), and installations at major museums and public spaces around the world, she has had a wary relationship with the art market. Hamilton's choice to live and work in Columbus, Ohio, where she grew up (she was born in Lima, Ohio, in 1956) reflects a wariness of art's commercial capitals. Engaging with local communities is a through-line in her installations that brings together people from disparate disciplines as contributors, fabricators, performers, participants, and viewers; many of these terms become fluid in her work. Among the several installations involving expanses of billowing and swirling fabric (Hamilton's BFA from the University of Kansas at Lawrence in 1979 was in textile design; she also received an MFA in sculpture from Yale in 1985) are two that required the audience to help set the cloth in motion. By pumping swings suspended from the vaulted ceiling of the great drill hall in New York's Park Avenue Armory (the event of a thread, 2012–13), audience members caused a giant curtain to move up and down, and by pulling on ropes, viewers at an open-air pier in Philadelphia set in motion enormous swirling skirts, which were also animated by wind, and even by the movement of passersby (habitus, 2016).
Woven fabric is a social metaphor as well as a physical material in Hamilton's installations. The stuff of shelter and privacy, communion and solitude, it also evokes an interweaving of knowledge and skills. Though not a traditional textile, Duraflex is a protective material. Produced by Bayer MaterialScience, it came to Hamilton's attention as the result of a project undertaken for an exhibition at the Warhol Museum in Pittsburgh called Factory Direct, which wove together artists and the local industry. That collaborative effort is deepened by O N E E V E R Y O N E's commitment to the extended community of the Dell Medical School. Along with the writing of Rotman, Hamilton cites John Berger's book-length essay A Fortunate Man: The Story of a Country Doctor, which considers with great sympathy the relationships forged between a particularly thoughtful, generous physician in rural England and his patients. A highly developed sense of touch, and an equal ability to see his patients clearly, as whole beings rather than aggregated physical parts—while at the same time understanding them to be inextricably connected to their town and its culture—was central to the doctor's quietly heroic practice. Hamilton's O N E E V E R Y O N E represents a similar devotion.
Nancy Princenthal is a New York–based art critic and former senior editor of Art in America. She has written and lectured extensively on leading women artists such as Agnes Martin, Petah Coyne, Hannah Wilke, and Nancy Rubins. Princenthal is co-author of After the Revolution: Women Who Transformed Contemporary Art (2007) and The Reckoning: Women Artists of the New Millennium (2013). She is currently on faculty at the School of Visual Arts, New York.
Bibliographic Highlights
Ann Hamilton: Stylus. St. Louis, MO: The Pulitzer Foundation for the Arts, 2012. With texts by Ann Hamilton, Matthias Waschek, and Steven Henry Madoff.
Ann Hamilton: Whitecloth. Ridgefield, CT: The Aldrich Museum of Contemporary Art, 1999. With an essay by Nancy Princenthal and a poem by Ann Lauterbach.
RECTO/VERSO: Video by Ann Hamilton. Hamilton, NY: Colgate University and Picker & Clifford Gallery, 2013. With texts by Susan Stewart and Linn Underhill.
Simon, Joan. Ann Hamilton. New York, NY: Harry N. Abrams, 2002.
Simon, Joan. Ann Hamilton: An Inventory of Objects. New York, NY: Gregory Miller, 2006.
View Ann Hamilton's website
Commissioned by Landmarks for the Dell Medical School, O N E E V E R Y O N E includes photographs of more than five hundred members of the Austin community. The project welcomed the participation of all who had either provided or received care.
Funding for O N E E V E R Y O N E was provided by the capital improvement project for the Dell Medical School. This project would not have been possible without generous assistance from many, including:
Andrée Bober and Landmarks
Pat Clubb and University Operations
Douglas Dempster and the College of Fine Arts
Gregory Fenves and the Office of the President
Clay Johnston and Dell Medical School
Landmarks Advisory Committee
Bob Rawski and the Office of Facilities Planning and Construction
David Rea and the Office of Campus Planning and Facilities Management
Frederick Steiner and the Campus Master Planning Committee
Nisa Barger, project manager, Landmarks
Andrée Bober, curator and director, Landmarks
Ann Hamilton, artist
Veronica Harris, Office of Facilities Planning and Construction
Page Sutherland Page
Jim Shackelford, Office of Facilities Planning and Construction
Bill Simpson, Office of Facilities Planning and Construction
Chris Upton, Office of Facilities Planning and Construction
Vault Fine Art Services
Central Health/Southeast Health and Wellness Center
The Contemporary Austin
Dell Children's Medical Center of Central Texas
Seton Healthcare Family
Dell Medical School
North Central Health Center
The Senate Chamber at the Texas State Capitol
Visual Arts Center
Westminster Retirement Community
Adam Boley, photography assistant
John Daigre, Dell Medical School
Deb Duval, event coordinator
Kara Gut, Ann Hamilton Studio
Gilles Heno-Coe, Landmarks
Lisa Jones, Dell Medical School
Emily Kelly and the Visual Arts Center
Jennalie Lyons, development, Landmarks
Nicole Monahan, Ann Hamilton Studio
Jessica Naples, Ann Hamilton Studio
Emily Nobel, translator
Nick Nobel, external relations, Landmarks
Nancy Princenthal, curatorial contributor
Ricardo Puemape, facility manager, Dell Medical School
Jack Risley, Department of Art & Art History
Nicole Rome, Ann Hamilton Studio
Carl Solway, Carl Solway Gallery
Pauline Strong and the Humanities Institute
Gary Susswein and University Communications
Stephanie Taparauskas, development, Landmarks
Amanda Tofflemire, Dell Medical School
Catherine Zinser, education, Landmarks
O N E E V E R Y O N E, a public art project by Ann Hamilton, is framed by the idea that human touch is the most essential means of contact and a fundamental expression of physical care. Commissioned by Landmarks for the Dell Medical School, it began as a campaign to photograph more than five hundred members of the Austin community. The project welcomed any person who had ever received or provided care—everyone.
With more than twenty-one thousand images, the photographs of O N E E V E R Y O N E expanded to assume multiple forms: architectural porcelain enamel panels that line the corridors of the medical school; a newsprint publication featuring contributions by poets, philosophers, scientists, and essayists; a book intended to circulate freely that holds at least one portrait of each participant; a website where the same photographs may be downloaded; an exhibition in collaboration with the Visual Arts Center; and a library of images that will enhance future buildings of the medical complex.
The relationship between photographer, camera, and subject is central to Hamilton's concept and follows naturally from her early photographic experiments. These featured self-portraits (body object series) as well as images made by placing a pinhole camera in her mouth, causing it to function both as shutter and eye (face to face).
To create O N E E V E R Y O N E, participants stood behind a semi-transparent membrane that focused only the points of the body touching the material. The subjects, directed by the artist to turn in various ways, could not see through the membrane and relied on the sound of her voice for guidance. Hamilton describes this condition as analogous to the experience of medical care: the sitters, like the patients, offer themselves for physical examination. In doing so, they accept vulnerability and extend trust.
Her resulting portraits share an ethereal quality. They capture expressions of intense inward focus as the subjects—unable to see behind the membrane—shed recognition of the camera and concentrated on the artist's verbal prompts. Faces are elusive, obscured by the material that only renders sharply the contact of touch. By trading literal appearance for a less tangible resemblance, a different kind of portrait emerges—one that is at once intimate and ineffable.
O N E E V E R Y O N E extends the broad and most consequential themes of Hamilton's art: the primacy of sense experience; the systematic representation of the individual; the commonalities of peoples in all their manifestations; and the power and poignancy of communal exchange.
—Andrée Bober, Landmarks Director
ONEEVERYONE Scope
Download the diagram.


Many legal disputes arise from trees, fences, structures, docks, driveways, along your lot lines. The best advice within this article might be to introduce yourself to your neighbor as soon as you can since getting along with neighbors makes any legal issue easier to solve. Even if neighbors get along, things can change when one of you moves. At that time, a survey or title search might reveal issues that neither neighbor worried about but now a closing will force you to agree on some legal issue.
Your neighbor may try to take advantage of your need to complete a closing. In other words, if you need something from your neighbor and time is of the essence since a closing is scheduled, your neighbor might ask for an unreasonable settlement as they know you are now desperate to close. The best way to avoid this is to plan ahead. If you plan on selling your house next Spring, for example, talk with an experienced realtor, attorney or surveyor now and try and predict what issues could come up at closing and work on solutions now, not later.
As to potential issues and solutions, they often relate to things on the ground that don't match legal descriptions of record. If the stairs down to the dock and dock itself, for example, cross over your lot line, you either need to move all of that on to your land or get a deed or easement from your neighbor to confirm of record that you have the right to use those improvements as now situated. To entice your neighbor to sign, money is often exchanged as well. Most fail to understand what or why you are paying your neighbor. You are not buying this land at fair market value, you instead paying your neighbor to avoid the costs of litigation. Make sure you fully understand your rights before you make such a deal.
Stepping back from these ideas of how to solve a boundary problem, it's best to avoid in the first place by having a survey and knowing your lot lines. That sounds easy enough but often you buy a property with existing issues, whether you know that or not so if its an existing lot with neighbors just try to understand potential issues and resolve them as soon as you can. The best time to resolve an issue is when neither party is in a hurry. Again hopefully you've gotten to know your neighbor and then work on formalizing (have a written agreement) any boundary issues so that each of you can avoid problems in the future.