Buying a diamond in the rough and doing a smart renovation then selling or renting it at a killer profit is a difficult thing to pull off in 2019.
Novice property investors think the biggest part of property investing is choosing the right wall colors and flooring.
* Expensive licensed trades people.
* Interest or holding costs.
With the hidden costs being so potentially high, we look at a strategy that allows enough 'fat' for the renovator to keep a pipeline of renovation momentum.
To remove the cost of stamp duty, a smart property buyer will negotiate a deal with a lengthy settlement and a 3 the renovator to complete renovations on the property then reselling it prior to settlement.
The key to selling the property prior to settlement is using a clause called the 'and or nominee' clause. This allows the original buyer to sell/transfer their obligation of the contract of sale, including the stamp duty, to any buyer all before the settlement date.
This strategy needs a decent time frame, 5 weeks for a renovation plus 4 weeks for a selling campaign plus a standard settlement of 60 days. Therefore a 6-month settlement period would be sufficient.
Buyer's agents are highly valuable to successfully pulling off this kind of deal. They are able to create renovations for their clients easier and more secure.
Don't Pay Tax On Your Profit.
If you choose to renovate after you settle on the property, there are still great ways to reduce your overhead costs.
Consider living in the property and making it your principle place of residence. This means you won't have to hand over half your profit to the ATO when you sell because you will only pay tax on the profit, if it's an investment property.
A traditional agent can charge over $15K per property sale. In this day and age there are many options that can halve this cost and still use the guidance of experienced real estate agents.
Consider calling a buyers agent they have a network of buyers that are looking for off-market property to purchase.
Are You Cut Out For Renovations?
A successful property renovator takes capital growth into his or her own hands rather than the traditional buy and wait model.
They are confident in their ability to complete many tasks quickly whether it's doing the job themselves or coordinating a team to complete the works.
Every property renovation is different and presents different challenges. Having the ability to make a quick and wise decision is key.
It's vital to pick your battles wisely when it comes to taking on works. A good renovator understands their skills and what they are capable of completing. Things like painting, tiling and landscaping can be a quickly picked up. Installing a kitchen on the other hand is something that requires a level of trade skill.
A great network of people that can assist you in the knowledge and understanding of the task at hand is vital. If a renovator doesn't have a resourceful network of friends or is good at sourcing cheap labor things can become difficult and very costly, taking away from profits.
Trade experience isn't always the leading skill of a property renovator, more so the ability to roll up their sleeves and do a lot of the simple work long into the night, if need be.
A killer attitude and the right plan is a successful renovator's best friend.
Mark Ribarsky, a Bachelor of Business, is the founder of Wise Real Estate Advice & Property Managers Melb. He is an experienced residential property developer, a fully licensed real estate agent, a buyer's agent and property manager.


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The 2001 All-Ireland Minor Hurling Championship was the 71st staging of the All-Ireland Minor Hurling Championship, the Gaelic Athletic Association's premier under-18 inter-county hurling tournament. The championship began on 21 April 2001 and ended on 9 September 2001.

Galway were the defending champions and were hoping to win a third successive championship.

On 9 September 2001, Cork won the championship following a 2-10 to 1-8 defeat of Galway in the All-Ireland final. This was their 18th All-Ireland title, their first in three championship seasons. It remains their last All-Ireland victory.

Cork's Kieran Murphy was the championship's top scorer with 5-28.

Results

Leinster Minor Hurling Championship

Round robin

Semi-finals

Final

Munster Minor Hurling Championship

Quarter-finals

Semi-finals

Final

Ulster Minor Hurling Championship

Semi-final

Final

All-Ireland Minor Hurling Championship

Quarter-finals

Semi-finals

Final

Championship statistics

Top scorers

Top scorers overall

Top scorers in a single game

References

External links
 All-Ireland Minor Hurling Championship: Roll Of Honour

3
All-Ireland Minor Hurling Championship

redpajama_set_name: RedPajamaWikipedia


For punctuation and symbols, use the default function by first tapping the ?123 key, and then optionally tap ~[<.
Android's on-screen keyboard contains additional options for some keys if you tap-and-hold them, for example tap-and-hold U to get access to ü and other diacritics. This also works for some punctuation keys, such as the currency symbol showing other currencies.


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Dentist Goes on Trial in Germany After Attempt to Pass Off Fake Picassos
San Antonio Museum Receives 31 Portraits of Latinx Americans by Timothy Greenfield-Sanders
By Maximilíano Durón
Maximilíano Durón
Photo Editor and Top 200 Lead Editor, ARTnews
More Stories by Maximilíano
A Soon-to-Open Private Museum in China's Shunde District Could Offer a New Model for Arts Spaces in the Country
Angola Freezes Assets of Sindika Dokolo, Closely Watched Collector and African Repatriation Activist
Economics of Art and Avocados: Carmen Argote Transplants the World to the New Museum in New York
Timothy Greenfield-Sanders, Sonia Sotomayor, 2010.
©TIMOTHY GREENFIELD-SANDERS
Houston art dealer and collector Hiram Butler will donate a suite of 31 large-scale portraits of Latinx Americans photographed by Timothy Greenfield-Sanders to the San Antonio Museum of Art. The gift will go on view at the museum in October in an exhibition titled "The Latino List: Photographs by Timothy Greenfield-Sanders."
The photographs, which measure close to 5 feet by 4 feet, relate to The Latino List: Volumes 1 & 2, two documentaries directed by Greenfield-Sanders that originally aired as a documentary on HBO featuring interviews with 30 Latinx celebrities conducted by NPR's Maria Hinojosa and writer Sandra Guzman. Among the subjects of the portraits are the writer Sandra Cisneros, singer Gloria Estefan, actor America Ferrera, labor-rights activist Dolores Huerta, journalist Soledad O'Brien, Supreme Court Justice Sonia Sotomayor, and Marta Moreno Vega, a former director of El Museo del Barrio and the founder of the Caribbean Cultural Center African Diaspora Institute in New York.
Butler, who grew up in Eagle Pass, Texas, along the U.S.-Mexico border, about two and a half hours away from San Antonio, said he gave the gift to honor his friendships with Greenfield-Sanders, whom he has known since 1979, and Banks Smith, a trustee of the San Antonio Museum.
Butler also has a connection to the city. "I grew up on the border," he told ARTnews. "San Antonio was our connection to civilization." He remembers visiting the museum in its early years in the 1980s to see its encyclopedic holdings, now numbering nearly 30,000 works and objects. "The San Antonio Museum of Art captured my imagination because of its collection of antiquities, which is extraordinary," he said.
Timothy Greenfield-Sanders, Sandra Cisneros, 2011.
As San Antonio prepares to celebrate its 300th anniversary next year, the gift will help to enrich the culture of the city, according to the museum's director, Katherine Crawford Luber. "We represent the rich cultural diversity of the world," she said. "That's what attracted Hiram to the museum. Artistic impulses from everyone around the world are reflected and explored."
She noted that the gift comes at a heated moment in the U.S., with talk of building a wall along the border and anti-Latino rhetoric common in the presidential campaign. She sees the work as a way for the community of San Antonio, which has a Hispanic population of 58 percent, "to see opportunities that are available."
Butler echoed the sentiment. "The subject matter is important and topical because we have this president who is vilifying Hispanics," he said. "This series is proof-positive that that man is wrong."
The full list of portraits follows below.
Henry Cisneros
César Conde
Ralph de la Vega
Emilio Estefan
Giselle Fernández
Nely Galán
Maria Hinojosa
Consuelo Castillo Kickbusch
Robert Menéndez
Janet Murguía
Judy Reyes
Chi Chi Rodríguez
Eddie "Piolín" Sotelo
Jon Seda
Soledad O'Brien
Anthony D. Romero
Julie Stav
Christy Turlington Burns
Dr. Marta Moreno Vega
Raúl Yzaguirre
Hiram Butler
Katherine Crawford Luber
Timothy Greenfield-Sanders

redpajama_set_name: RedPajamaCommonCrawl


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SpaceX set to launch astronauts from U.S. soil for first time since 2011
NASA photo
NASA's SpaceX Demo-2 mission will return U.S. human spaceflight to the International Space Station from U.S. soil with astronauts Robert Behnken and Douglas Hurley on an American rocket and spacecraft for the first time since 2011.
3 p.m. (CDT)
History is set to be made today. NASA's SpaceX Demo-2 mission will launch at 4:33 EDT from the historic Launch Complex 39A at NASA's Kennedy Space Center in Florida. Astronauts Robert Behnken and Douglas Hurley will be the the crew for the first U.S. human spaceflight to the International Space Station from U.S. soil since 2011.
Before serving as a commercial launch site, Launchpad 39A sent the first astronauts to the Moon and supported dozens of Space Shuttle missions.
"This will be SpaceX's final test flight for NASA's Commercial Crew Program and will provide critical data on the performance of the Falcon 9 rocket, Crew Dragon spacecraft, and ground systems, as well as in-orbit, docking and landing operations," NASA reports.
Watch it live on NASA TV HERE.


Description: Hey Ladies, if you could have a super power which one it would be? Would you like to have the ability to fly, or would you like to be the fastest person on this world? Maybe you would like to be invisible or have a super strength. In this new Super Princesses game you can turn your favorite Disney Princesses into superheroes. I think that every Disney princess has her unique super power.


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Motorcyclist killed in head-on crash with truck
PLAINFIELD TWP., Mich. — A 25-year-old man from Sand Lake died from his injuries after witnesses say he drove into the path of a pickup truck late Saturday.
It happened at Rogue River Road NE near Woodwater Drive NE around 6:45 p.m.
Deputies say the driver of the motorcycle, Jonathon Harden, was driving eastbound on Rogue River Road NE when he drifted into the westbound lane of traffic and was struck by a pickup truck headed westbound.
Jonathon Harden, 25 (courtesy photo).
The driver of the truck was not injured but his passenger suffered a minor hand injury.
Police say it does not appear alcohol or speed played a role and say Harden was wearing a helmet at the time of the crash.
Harden has just begun learning how to ride his motorcycle, a relative confirmed to FOX 17.
"He was with his friends and being very careful, he swung out in a curve too far and was hit head on by a truck," said Bonnie Jo Harden, Jonathon's mother.
"He was a fun kid who went 90 miles an hour through life because he wanted to experience everything."


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Anders Lundelius, född 1747, död 1823, var en svensk möbelsnickare, verksam främst under 1780- och 1790-talen. Han var far till Lorentz Wilhelm Lundelius

Han tillhörde ursprungligen ebenistsocieteten men upptogs 1791 som mästare i Stockholms snickarämbete. Lundelius utförde byråar och bord i gustaviansk stil under stark påverkan från Georg Haupt, senare mahognymöbler med mässingslister i sparsmakad stil. Lundelius är bland annat representerad med arbeten i Nationalmuseum, Nordiska museet och Kungliga Husgerådskammaren.

Källor

Representerade vid Nationalmuseum
Svenska möbelsnickare
Födda 1747
Avlidna 1823
Män


Oftel has threatened action against BT over alleged breaches in its pricing policy.
The telecoms regulator has issued a provisional order to BT requiring it to make public the discounts offered to secure a contract with a key customer, IBM. The telco, however, believes it has "done nothing wrong".
BT is accused of making an illicit offer of a discount via a third party during a period of bidding for a managed data network contract with IBM, a complaint filed by rival network supplier Vanco claimed.
As a result of the provisional order, BT must make public the discount offer or withdraw it.
David Edmonds, director general of telecommunications, said: "It appears to me that BT has, effectively, offered a discount scheme to a customer which is not transparent and has not been published, contrary to the conditions of its licence."
Allen Timpani, chief executive of Vanco, said: "BT was the incumbent supplier to IBM and said it couldn't compete. A week or two later, BT suggested IBM speak to a third party which offered a discount scheme which was not published or transparent."
"It is good news. It is the first time since 1999 that a provisional order has been issued."
A BT representative said: "We are considering the content of the order and we will respond when we have had time to digest the details. We are a compliant company and we will comply with the order if it is shown that we have done anything wrong."
BT did not believe that Oftel's findings are correct and disputed the claim that it has breached its licence, but said it would co-operate with any Oftel investigation.
"BT will be examining this order carefully and considering its options but it believes that there is no breach. BT has not offered IBM any discount," a spokesman said.
BT has no legal control over any offer that is made by an indirect channel partner, he added.


Senior media and public relations officer Josée-Britanie Mallet said the gallery regularly reviews and tests its emergency plan "to safeguard the gallery's visitors and staff, collection, and building assets," Mallet said.
Built in the late 1980s, the gallery on Sussex Drive is a far cry from Notre-Dame de Paris, the almost 800-year-old cathedral gutted by a fire on Monday. However, the Canadian institution and the iconic French church are both repositories of cultural treasures for which disaster planning is a must.
On Monday night, Annie Hidalgo, the mayor of Paris, tweeted that firefighters, police and municipal workers created "a formidable human chain" to save Notre-Dame's artworks.
The Guardian reported Tuesday that large paintings inside Notre-Dame de Paris were believed to have been damaged by smoke and are likely to be transferred to the Louvre on Friday.
"The crown of thorns, the tunic of Saint Louis and several other major works are now in a safe place," Hidalgo tweeted.
Mallet said the gallery could not disclose the specifics of its emergency plan because for security reasons.
The gallery's security and conservation policies, which are posted online, do refer to a disaster control plan, also known as its business continuity plan, that comes into effect in the event of emergencies. In such situations, the response is overseen by the "designated coordinator for collection rescue (the most senior conservator present on site at the time of the emergency)," the gallery's conservation policy notes.
Opened in 1988, the gallery's concrete and granite building uses construction materials that are non-flammable where possible, and was designed with fire zones that isolate areas of the building, Mallet said.
Msgr. Kevin Beach, rector of Saint Patrick Basilica in downtown Ottawa and a former rector of Notre-Dame Cathedral Basilica on Sussex Drive, said that during renovations in the last 20 years, both of these churches, which date back to the 1800s, have had their smoke detectors and sprinkler systems extended and improved.
While churches keep irreplaceable papers such as those pertaining to marriages and baptisms in fireproof metal vaults, their artworks and religious items are meant to be out in the open and appreciated by visitors and parishioners, Beach said.
In December 2017, just a few days before Christmas, the church of Living Waters Christian Assembly on Slack Road burned to the ground. Among the items lost in the fire were the media, lighting, musical equipment and costumes that had been used for more than 25 years to stage the church's passion play.
An online crowd-funding page was created with the goal of raising as much as $500,000 to replace the contents of the building that were lost. To date, the Living Waters campaign has raised just under $7,000, with about five-and-a-half months until the fundraising drive ends.
In the summer of 2016, St. Isidore Catholic Church, a 137-year-old stone church almost an hour east of Ottawa, was destroyed by fire. A new church is to be built on the ground of its predecessor, and there was a groundbreaking for that project last fall.


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New mixtape by Rocko "IGNANT". Listen and download.
New artist Dej Loaf out of Detroit, MI has been making some serious noise in the industry with her hit single "Try Me". Check her out!
Lira Mercer is gorgeous! Check her out asap!
LIFE OF LUXURY AVAILABLE ON ITUNES AND SPOTIFY.


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Not A Game For Boys*** (King's Head Theatre)
Posted: June 13, 2015 in Theatre
This review was originally written for The Public Reviews: http://www.thepublicreviews.com
Cab drivers sometimes appear to us as if they are glued inside their vehicles, but this revival of Simon Block's 1995 one-act comedy serves to remind us that they also have social lives. The play takes place in a Table Tennis club, where a drivers' team is playing a key relegation match and the King's Head's thrust staging means that we get a chance to see the cabbies' faces as well as the backs of their heads. Team captain Eric (Bobby Davro) and Oscar (Alan Drake) are in their 50s and have been swinging their bats for the club for 30 years. Eric regards relegation as unthinkable, but Oscar realises that the game is now for, if not exactly boys, younger men (and indeed women). Tony (Oliver Joel) is 29 and the team's star player, but he is so beset with personal problems that his contribution to the vital match becomes doubtful. The sense that an era may be coming to an end had been spurred by the sudden mid- match death a week earlier of "Fat Derek", a teammate. "The breeze as he went down rustled my Evening Standard" recalls Oscar, who now sees a future of Bridge and Bowls. He is a single man and his acute awareness of the advantages and disadvantages of independence comes through strikingly in Drake's performance. His policy is never to get involved in the problems of the others just because "it's policy", but he always manages to do so anyway. Eric fusses around like a mother hen, using the club to grab time for himself, away from his cab and a family that includes a mother with dementia. Tony is torn between settling down with his girlfriend and sowing more wild oats, dalliances with a lady in the back of his cab in the Aldwych (not in broad daylight surely!) making his choice more difficult. Fine performances bring out the comedy and the pathos in these characters. The three actors play well off each other and get the banter of working class Londoners precisely right in Jason Lawson's fast paced production. Much of Block's dialogue is very funny, but it is underpinned with essential truths about the need to escape from the pressures of everyday life, if only to be faced with more pressure. Not A Game For Boys is 75 minutes of lightweight fare, but, in this skilful production, it is always entertaining and occasionally moving.
Performance date: 12 June 2015
d(ARE) / Here Be Lions** (Print Room)
It is difficult for most of us to imagine what it must be like to live with severe neurological difficulties, disconnected from the rest of the World. Dancer Sandrine Buring created d(ARE) to express her interpretation of the feelings of patients in a French children's hospital where she worked alongside theatre maker Stephane Olry, who responded with a text which is presented here as a piece of immersive theatre. d(ARE) is performed by Burring in the Print Room's studio space. She enters to dance playfully with a large, suspended bell jar which is swinging like a pendulum. When she enters the jar, two spotlights pick out her pale, semi-naked body as she writhes, claws at the glass, peers out and then sleeps. She becomes a stark and unsettling embodiment of isolation and despair. There is no sound accompaniment to the 25 minute dance, save for pitiable noises coming from within the jar. For the performance of Here Be Lions, the audience is ushered into the theatre's main space, being used for the first time since the Print Room moved into what was the Coronet Cinema. We are asked to sit on deck chairs, laid out in a circle, amidst a thick theatre fog, which persists for the entire performance. This is something like sitting on an English beach in the middle of Winter and, although blankets are provided, it is extremely cold. The intent is to replicate the insular existence of patients at the hospital, but, once initial curiosity has passed, what should be an experience that is emotionally disturbing becomes no more than uncomfortable in a physical sense. There is one change in lighting, but, otherwise, we are asked to spend more than an hour staring at almost nothing. Olry's writing, as translated by Neil Bartlett, is beautifully literate, but it is merely descriptive, telling no continuous story and developing no distinct characters. Repetition of points, also makes the piece longer than it needs to be. Hayley Carmichael, unseen throughout, interprets the text superbly and Phil Minton provides startling sound effects, but, nonetheless, interest wanes several times during the performance. It is questionable whether the fog yields much that could not have been achieved by dimmed lighting, in which case, maybe the effectiveness of both components of this production could have been heightened by combining them together in the same space without a break. As it is, a worthy project which has many strong qualities, suffers from a shortage of dramatic impact.
Teddy*** (Southwark Playhouse)
Posted: June 9, 2015 in Theatre
It's rockin' and rollin' down at the Elephant and Castle with this trip back to the days of Teds and Judys, Brylcreem and Brillo, times when Camp was just a brand of coffee. Tristan Bernays' lively piece, more a long poem than a play, takes place in 1950's London, still blighted by bomb sites and post-War austerity, but with a new dance and a new style of music drifting across the Atlantic, bringing with it a glimmer of light for youngsters longing to escape to a better life. Teddy and Josie are two such youngsters and they narrate the story of their chaotic night on the town directly to the audience, only occasionally interacting with each other. The star attraction for them is the American singer Johnny Valentine (Will Payne), who is appearing at a local club with his band. Bernays captures the feeling from films of the era like Jailhouse Rock that Rock'n'Roll was somehow a forbidden fruit and that teenagers tempted by it could get into serious trouble. It was as if the establishment was using forms of entertainment to warn rebellious youth to conform or else and, sure enough, our couple drift into crime as the evening starts to go wrong and what begins as an ebullient celebration of a bygone era becomes progressively more downbeat. Joseph Prowen and Jennifer Kirby are absolutely terrific in the lead roles, both cocky Cockneys, jiving their way around a derelict church, the "flicks" and finally the music club. They both master the rhymes and metre of Bernays' intricate verse superbly. Their tentative steps into the world outside their drab and oppressive homes are a joy to behold – a scene in which they have to stop jiving and dance to a slow number is particularly hilarious. Eleanor Rhode's direction, with choreography by Tom Jackson Greaves, keeps the piece moving at a bouncy pace, but Bernays' use of narration, rather than having scenes played out fully, results in several points where the production flags just a little. Dougal Irvine's original songs are a pastiche of Rock'n'Roll, a musical form which may not have worn particularly well, with even Elvis himself now being better remembered for middle-of-the-road material. Teddy is an interesting and unusual work of theatre, most notable for Prowen and Kirby both of whom must be going places.
Performance date: 8 June 2013
Oresteia***** (Almeida Theatre)
Beginning the Almeida's Greek Season in just about as ambitious a way as possible, Robert Icke has created a new version, directed by himself, of Aeschylus' trilogy from c.458BC. Many Greek tragedies are notable for their brevity and intensity. This runs for a bum-numbing 3 hours 40 minutes, but the intensity is there in spades and "new version" means much more than just a new translation – it is modern in language, characters and relevance. Time is one of the most significant themes and digital clocks can be seen on stage, in the auditorium and even the foyer; they stop to highlight the precise time during the performance when each key incident occurs and they even count down the two interval breaks to get us back to our seats promptly for the resumption. We are reminded repeatedly that the time which each of us spends in the universe over the entire course of its existence is miniscule. At the beginning and the end, the Chorus reads out a roll call of Gods of all main religions from ancient Greece to the present, as if pointing a finger of guilt at them for all the carnage brought about in the name of religion throughout the ages, up to and including the year 2015. The overriding theme is the link from the Gods to family, going through the military. Agamemnon (Angus Wright) receives a sign from the Gods to commit an act which will lead to victory in a war, but will have devastating consequences for his wife Klytemnestra (Lia Williams) and their family. The trilogy follows their son Orestes (Luke Thompson) through from a happy family childhood to the realisation of his own fate. The Almeida stage is widened to its full expanse and left bare, save for a few furnishings, and clouded screens at the back conceal a bathroom in which key events take place as if in distant nightmares. Such is the power of the raw drama in the first three hours that they feel like one, scenes gripping with the ferocity of the eagle's talons, referred to in a repeated metaphor. Williams is magnificent, reacting like a wounded tigress to her husband's foul deeds. Wright and Thompson are also superb, as is Jessica Brown Findlay (an impressive stage debut for the former Downton star), making a relatively brief appearance as Elektra. It is only in the final section that the production loosens its grip as it centres on an overlong trial sequence and its key themes become lost. Now the play questions how it can ever be possible to discern between truth and fantasy when the perceptions of two or more people can be so contradictory; unintentionally, the play actually demonstrates its own point by relating the same events as Sophocles' play Elektra, but with major differences. When the question of gender inequalities is thrown in late on, the point being made is an important one, but it feels like too much of a diversion from the main track. Nonetheless, this brave production is a substantial achievement and it augurs well for what is to come in the Almeida's Season.
The Elephant Man*** (Theatre Royal Haymarket)
Obvious comparisons can be drawn between the fascination which Victorians had for freak shows and the modern day obsession with Hollywood movie stars. In the 1880s, John Merrick, the title character of Bernard Pomerance's play, drew the masses to grubby funfair tents to stare disbelievingly at his grotesque deformities and then he moved upwards to become the darling of high society, whose members were equally intrigued, but in a slightly more refined way. Hollywood has turned out few bigger names in the last decade than Bradley Cooper, star of many critically acclaimed and commercially successful films. Huge crowds might gather in Leicester Square to gawp at his appearance for a premiere, but now he can be seen in a more civilised (and probably drier) setting just around the corner by anyone prepared to cough up for a ticket at West End prices and pay £10 for a programme (justify that please!). Defying the suggestion that movie stars are superhuman, Mr Cooper shows that he is in fact made of just flesh, blood and bone and he is actually not at all bad, or rather he is as good as Pomerance's somewhat creaky play allows him to be. In David Lynch's 1980 film of this story, John Hurt had to give his performance whilst buried in tons of prosthetics, but, in Pomerance's stage version, we see Merrick as the human being behind the disfiguration, Cooper distorting his face and body and straining to speak in an affected English upper class accent. He gives Merrick dignity, but Pomerance does not overcome the character's problem with articulation, not finding a way to express his inner thoughts to the audience. As a result, the surgeon, Frederick Treves becomes the play's more interesting character, a scientist in the post-Darwin era, struggling to find a moral code to equate with his beliefs. Alessandro Nivola gives a compelling performance as Treves, but this production's star turn comes from the wonderful Patricia Clarkson as the actress Mrs Kendall who befriends Merrick. This character is the polar opposite of Treves in her certainty that moral conventions are there to be defied and Clarkson, giving her both the classiness of a society lady and the sauciness of a mischievous tart, lights up the stage with her every appearance. London theatre needs to see her again, often. Director Scott Ellis's production, transferred more or less intact from its Broadway run, is conventional and efficient, the simple set designs by Timothy R Mackabee ensuring that the focus stays where it needs to be – on the actors. However, the play itself still falls well short of classic status.
The Clockmaker's Daughter***** (Landor Theatre)
It's time to pop Champagne corks. Here we have a brand new British musical that does not simply recycle old hits and is not adapted from a film, a play or a novel. Michael Webborn and Daniel Finn conceived and developed this show as a totally original piece of musical theatre, the story, words and music being woven together from the very start in a process which now looks set to pay them handsome dividends. The show is a fairy story with hints of Pinocchio (maybe even Frankenstein in its darker moments). Abraham (Lawrence Carmichael), the clockmaker in the small Irish town of Spindlewood, grief-stricken at the loss of his only daughter, makes a clockwork replacement for her, Constance, who takes human form but needs to be wound up to become active. Abraham holds her key. Of course, this all requires considerable suspension of disbelief, but didn't Wicked? The songs work perfectly in harmony with the book to propel the story. Webborn and Finn's lush, melodic music has touches of Irish folk and, if influences of previous shows can sometimes be detected, they are only the best shows. Constance is a massive starring role and it gets a massive starring performance from Canadian actor/singer Jennifer Harding. Her quizzical eyes and beaming smile convey astonishment and joy at the world outside her maker's home, her mechanical movements becoming progressively more human as she grows in confidence. The town's dressmaker (Jo Wickham) turns into Constance's adversary and the story's villain, but her son, Will (an endearing performance by Alan McHale) befriends the girl, leading to a tentative romance. Robert McWhir's production, choreographed by Robbie O'Reilly, is mysterious, enchanting and, at times, dazzling. A company of 20 fills this small stage as the townsfolk of Spindlewood celebrate New Year, Market Day, a wedding, etc. The chorus singing and dancing is marvellous to hear and behold. David Shields' set designs of gold-painted pillars and clocks enhance the timeless, magical feel, with moveable blocks quickly adapting from, say, a library to the town's bridge. As with all good fairy tales, this is also a morality tale and the show has darker themes which come to the fore in Act II, changes in tone always being driven by the music. Abraham can now be seen as a possessive and manipulative father, Constance becomes a social outcast and the people of Spindlewood, earlier a joyful throng, turn into an unruly mob in a powerful transformation scene. Drawing parallels with racism, the story asks what is the difference between clockwork and bones, or between oil and blood. The serious undercurrents give the show depth and texture. British musicals have had a rough time in the last couple of years. Producers who have dropped new works straight onto West End stages, expecting them to make a running start, may want to ponder the advantages of opening in a small venue such as the Landor, thereby giving a show time to settle, breathe and find its audience. The Clockmaker's Daughter could be adapted easily for a bigger stage, but it is here for just five weeks, an opportunity to get in on the birth of something very special.
Photo: Poppy Carter


No matter how seasoned a traveler you are, there are always new destinations to visit and more refined tips to pick up along the way. So, to celebrate the announcement of the A-List 2012, the best of the best in the travel industry, we gathered some of the leading experts to join our panel and help deliver the most up-to-date travel advice, perfect for veteran jetsetters or aspiring globetrotters. The chat takes place tomorrow, October 23, from 2–3 p.m. ET. We hope to "see" you there!


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Week 2: Cree#
joncorbett
January 2020 edited January 2020 in 2020 Week 2: Indigenous Programming
A simple example of "Hello World" in the first iteration of Cree# with it's graphic output.
Programs in Cree# are told as stories, connecting with the Cree tradition; the graphical output can't exist without the story that the code is telling. A Cree# program is also a multimedia story. In the above example, we have Raven (the Trickster), a character from Cree folklore who is as well known for his mischievousness as he is known for his role as a teacher and a guide. The program initializes when Raven flies on to the screen and lands on a tree and ends when the Raven flies away. But while sitting on the tree, Raven can perform a number of tasks. In the above example, the Raven says "Hello World" in Cree. But Raven can perform any number of activities, which occur randomly or are controlled through user interaction. It is in the tree-state that the actions of Raven can occur in any order, these activities are only dependant on the storyteller, as each storyteller that tells this story does so with slight modifications and changes in behaviours of Raven in order to emphasize a particular aspect of the story. The Cree# language favours this flexibility in the body of the story so that the generative and dynamic nature of the storyteller's personality can be reflected in the code, the result is that though a similar (or same) story by different storytellers (i.e. programmers) will be noticeably different in their graphic output, even though they tell the same story.
For an example of what that looks like, here is a longer program in Cree#:
ᒥᔭᐦᑲᓯᑫ᙮
ᒪᒪᐁᐧᔭᐢ ᐃᐧᐦᐅᐃᐧᐣ ᐊᒐᑭᐯᐊᐧᓯᓇᐦᐃᑭᐧᐣ᙮ᑕᓂᓯ᙮
ᐅᓯᐦᒋᑫᐤ ᑳᐦᑳᑭᐤ᙮
ᐅᓯᐦᒋᑫᐤ ᒥᐢᑎᐠ᙮
▬
ᑳᐦᑳᑭᐤ᙮ᐊᐧᐢᑭᑕᐢᑌᐤ᙮ᒥᐢᑎᐠ᙮
ᐃ|| ᑲᐦᑲᑭᐘᐠ᙮ᐊᐧᐢᑭᑕᐢᑌᐤ᙮ᒥᐢᑎᐠ᙮
| ᑳᐦᑳᑭᐤ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮
ᑳᐦᑳᑭᐤ ᐃ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮
ᑳᐦᑳᑭᐘᐠ᙮ᐅᔭᐱᐤ᙮
ᑳᐦᑳᑭᐤ |᙮ᐃᑌᐧ᙮ᑕᓂᓯ ᒥᓯᐁᐧ ᐊᐢᑮᕀ᙮
ᑳᐦᑳᑭᐤ᙮ᓇᓇᒫᐢᑲᒋᐤ᙮
ᑳᐦᑳᑭᐤ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮
ᒥᔭᐦᑲᓯᑫ ᒥᐢᑎᐠ᙮
Because I am still working on the language there is no way to test the above code, so to provide a bit of background to Cree#: its intent is to capture story elements and animate them on the screen. Before writing the code, there must be a series of images or animations created first (like sprites or animated gifs). These are placed in applicable library folders that can then be used in the program by "Creating" them. The verbs used must also be predetermined and unique.
Now as far as the language itself goes the only punctuation in Cree is the full stop "᙮" which is used here to separate statements. The two glyphs used for "start" and "stop" are a horizontal bar "▬", and a circle "◯" respectively. Or in other words "open the circuit" and "close the circuit".
Commands follow basic sentence construction of [noun].[verb], and in some cases [noun].[verb][parameter], and in most cases as long as the program reads in those patterns the order of the instructions is not necessarily relevant. The only exception is smudge, which must be the first line of the program, can be the last line, and can also receive parameter(s) so [smudge] and [smudge][parameter].
Here is a quick run through of the example code:
In this example I start the program with a smudge, then declare two "noun" variables "Raven" and "Tree", open/start the "animation" on line 5. In the first two lines I first add one Raven (ᑳᐦᑳᑭᐤ) to the tree , the next line changes the singular Raven to an array of 5 Ravens (ᐃ|| ᑳᐦᑳᑭᐘᐠ) - note the suffix change from "ᐤ" to "ᐘᐠ", this changes the singular to the plural. And now when I reference the Raven its as an array I can use both singular and plural forms:
Line 8: 1 Raven leaves flying
* because I don't indicate which Raven, one of the array is chosen at random and removed.
Line 9: Raven #3 leaves flying.
* Note that placing a number at the end of the array variable indicates the index - see the end note about Cree numbers
Line 10: using the variable in its plural form ᑳᐦᑳᑭᐘᐠ means apply the action to the entire set
Line 11: Raven #1 speaks "Hello Turtle Island"
Line 12: Raven shivers with cold
Line 13: ᑳᐦᑳᑭᐤ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮ //Raven leaves flying
* this actually only removes 1 raven at random, to remove all I could smudge the singular ᑳᐦᑳᑭᐤ or all ᑳᐦᑳᑭᐘᐠ, or send them all flying ᑳᐦᑳᑭᐘᐠ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮
Line 14: smudge the tree
* the smudge function is used to "cleanse" or reset anything in the program. calling ᙮ᓯᐯᐧᐱᐦᐋᐤ᙮ without any variable will just wipe everything
A note on numbers - the glyphs used for Cree numbers are based on "sticks" with the vertical bar or pipe being 1, 2 pipes is 2, 3 pipes is the same as the syllabic ᐃ, 4 is then ᐃ| - an so on much like roman numerals. There are glyphs for indicating 5, 10, and 20, and higher numbers have differing ways of representing them. An extended example - in many Indigenous numbering systems (not just Cree) the representation of 5 is a hand, and 20 is a person or body, because we are made of 20 digits (10 fingers and toes).
Cree is also a morphemic language, so as long as you know the rules for combining syllables your programming can also be a series of syllable commands strung together. For example there is a prefix "mista" (ᒥᐢᑕ) that can be added to a word to make it a larger version of itself, like ᒥᐢᑕᑳᐦᑳᑭᐤ would be Big Raven, in Cree# this is also a way of adding so - ᒥᐢᑕᑳᐦᑳᑭᐤ (literally big ravens) would actually be a way of increasing my array of 5 Ravens to 6 Ravens. Likewise the suffix "osis" (ᐅᓯᐢ) makes it smaller. ᑳᐦᑳᑭᐤᐅᓯᐢ would therefore remove 1 from the array. And though I have yet to see a need for it, combining the two is still a legal statement so "mista-kahkakiw-osis" or ᒥᐢᑕᑳᐦᑳᑭᐤᐅᓯᐢ, is the same as saying Raven = Raven + 1 - 1.
I'm interested to hear more about the intended audiences, and how they might begin to use Cree#. Is one audience people who can already read and write Cree, and what would they need to orient them to using Cree writing in this way? Is one audience people who don't already read and write Cree, but who would be learning Cree keywords as part of learning Cree# programming? (This is the way that many non-English speaking students encounter and learn English keywords in programming languages). Are there primary audiences -- ones who the eventual examples, tutorials, and other documentation will target, or who would ideally encounter Cree# in specific cultural contexts?
In this instance Cree# is just a small part of a larger language revitalization project. I am using Cree, because that is my heritage, but as I am also concurrently creating an Indigenous Computing Framework for it to built upon, my basic model should/could be translated to other Indigenous languages.
But just in terms of Cree#, it is more of an umbrella for the Anishinaabe language family, and can easily be modified for Ojibway, Oji-Cree, Saulteaux, Odawa, as well as Inuktitut. And my current "primary" audience I would say are actually grade school students aged 10 to 16 who have a variety of competing languages, with English still being the first language for a majority of them. So Cree# is intended to be a way for today's Indigenous youth to be able to use their ancestral tongue in a context that promotes and encourages their worldview (which is more holistic than Western pedagogies). And hopefully encouraging them to see IT trades in a more favorable light.
As an aside, Indigenous peoples are by far are the most underrepresented group in IT today. A good example of this under-representation can be seen at Google whose employee diversity consists of 0.8% Indigenous (Native American) of their entire organization, with more than half of those being non-tech administrative positions. Some have argued this is due to Western education systems and heavy colonial presence the underscores the IT sector in general.
Denise_Thwaites
What a wonderful approach to engaging new generations with language revitalisation. I really look forward to following this project.
I'd love to know more about your experience and process of creating Cree#. Have you found the formal constraints of developing machine-readable Cree# a challenge to conveying the nuances of Cree language? Or has the process enabled your more detailed engagement with the linguistic complexities/intricacies of Cree?
January 2020 edited January 2020
Hi Denise!
the biggest challenges thus far are in terms of plain word construction. There are a number of obstacles with creating a consistent lexer and parser and keeping the actual programming true to the Cree language constructions. For example, modifying syllables of the noun is dependent on animacy. But because animacy is spirit related it does not necessarily mean living or moving. For example, blueberry is inanimate, but raspberry is animate, because raspberry is medicinal and rocks are sacred so rocks are also considered animate. This creates a bit of a challenge when trying to determine the intent of the programmer, when they are referring to "a berry" - because animacy is important to meaning and may not be discernible from the context of the provided instruction(s).
My favorite Cree word to use for examples of morphemic construction is hippopotamus, because it depends on who you ask - each Cree nation has different relationships to the hippo, based on when they were first exposed to the animal. As it is not native to the Americas, it is described similarly, here are a couple examples:
Syllabics: ᑭᐦᒋᑭᐢᐸᑲᓴᑫᐏᒥᐢᑎᑇᒥᒪᐦᑭᑑᓂᓃᔃᐱᑌᐏᐊᑖᒥᐯᑯᐱᒫᑕᑳᐏᑯᐦᑰᐢ
Phonetical: kihci-kispakasakêwi-mistipwâmi-mahkitôni-nîswâpitêwi-atâmipêko-pimâtakâwi-kohkôs
Literal: [great]-[thick-skinned]-[big-thighed]-[big-mouthed]-[two-toothed]-[underwater]-[swimming]-[pig]
Syllabics: ᑭᐦᒋᒪᐦᑭᑑᓂᑭᐢᐸᑲᓴᑫᐏᒥᐢᑎᑇᒥᐊᑖᒥᐯᑯᐱᒫᑕᑳᐏᑯᐦᑰᐢ
Phonetical: kihci-mahkitôni-kispakasakêwi-mistipwâmi-atâmipêko-pimâtakâwi-kohkôs
Literal: [great]-[big-mouthed]-[thick-skinned]-[big-butt]-[underwater]-[swimming]-[pig]
Really the only two constants in this case are "Great" and "Pig"; the middle syllables can usually be swapped around and the resulting word will still mean the same thing. So in Cree# you should be able to string "ideas" together in this kind of "lego-block" syllable structure and still have the parser understand and perform the same functions. In my original long example the instructions from lines 7 to 12 are interchangeable and can occur in any order and the parser will still be able to process it as a whole unit (and not just as individual lines).
KalilaShapiro
@joncorbett said:
In this instance Cree# is just a small part of a larger language revitalization project.
I'd love to know more about this language revitalization project!
Are you approaching this from a linguistic standpoint? What intrigues me is that, as opposed to the binary code logic usually expressed in coding languages (i.e. Java), you're aiming to focus on storytelling. Construction from words, not numbers. Are you backing that up with some sort of mathematical function?
Using the actual writing of code to enforce culture is not something I've ever thought about before but it makes sense. Do you think most code using the English language as a basis has an overarching affect on the world? English is already the lingua franca. Do you think languages that are built off of English affect how we implement them and the type of code we create? Based off of this and what I already know about speaking different languages and how that changes how we think, I'm inclined to say that yes - it does change not just what we code but how we code.
(Also, the pun Cree# is clever and I love it)
I'm curious to know more about the choice of the trickster figure. I'm definitely a novice in this arena but I've heard the trickster figure described (in reference to Gerald Vizenor's fiction writing, at least) as a sort of response to structures of power which insist on single truths. In which the trickster undermines claims of hierarchal systems of knowledge (such as imperial bureaucracies) by positioning himself as somewhat illegible in those systems. If this is at all accurate, the raven sounds like a particularly interesting "speaker" considering the hierarchal structure of code and the English language norm. Can you speak more to the choice?
tanisi Kalila and Zach!
I'll do my best to answer these questions, starting with Kalila's:
1) Language revitalization is something I actually fell into by accident (or perhaps the Creator led me? LOL). Back when my current research was just an idea of "Why can't I program in Cree?", I was more interested in the domination of English in programming, which led to the realization that it wasn't just English that was the issue, but a large part of programming involves understandings that are not necessarily congruent with cultures that are more ontologically or axiologically focused.
Though I mention language revitalization as a tertiary benefit in my first draft proposals, it was when I presented my project at the American Indigenous Research Association Annual meeting in 2018 that I was approached by a couple Mid-West US band representatives who were super excited about it. They were excited because they knew of a number of bands that have shut off all Western access to their language that stems from previous experiences of academic exploitation (especially by linguists), going so far as to now deny all language exposure to anyone not born in the community (i.e. in the presence of any "outsider" including their own kin, they only speak English if at all possible). What they liked was that my framework allows for language use in the community, capturing stories and teachings as code allows them a way to encode and archive their language, but also allows them to share their culture, as you still get graphical output that can share the stories they want to share, but "hides" the language that runs it keeping it protected. It was at that point I realized that language revitalization and community autonomy was extremely important to these communities and my work will help them in a way pursue these initiatives free of Western influence. That was super exciting to hear, and is now more of a leading concern and not just a happy byproduct.
That in mind, the answer is "no, I am not approaching it from an exclusively linguistic stand point". Though I do make use of linguistic practices, (my PhD co-advisor is Christine Schreyer, who I affectionately refer to as the Mother of Kryptonian, as she created the script and language for the Superman movies), I am careful now to not mention linguistics, because I don't want to alienate those communities who are sensitive to that terminology. But, I do feel there is a definite need to leverage linguistic practices in the underlying language development, it just is not the main point of engagement. I like to say I am programming with culture, not language - or culture is my main computing interface.
2) I'll tell you - creating a programming language where I am trying to avoid number usage altogether is a huge challenge. Computers are inherently mathematical. So performing certain types of tasks like simple counting, keeping track of array sizes, or tracking time - are obstacles I am still working out, I do need to make the environment flexible enough to allow users to adjust things mathematically, the question is how to do this? and is still a development area I haven't quite figured out yet. But at his time I do think these will undoubtedly be operations "behind the scenes". I'm hoping my experience in this working group will give me more ideas of how that might be accomplished. My previous discussions with my cohort Daniel Temkin has already got my wheels turning in this regard, but I am hopeful that I will find even more ideas through this forum.
3) I definitely think that English dominance in computer programming has an overarching affect - Gretchen McCulloch has a great article in Wired magazine from last year "Coding Is for Everyone—as Long as You Speak English" that addresses this question quite nicely.
4) As for the effects of English in code implementation, I see a perpetuation of existing programming paradigms, continual use of English automatically adopts Western and settler/colonial perspectives and practices. Therefore the pedagogical foundations of computer programming are rooted in Western ideas of what coding is, before you even start to learn how to program. For example, I am trying to get the program to be considered as a whole unit not just a collection of linear or progressive commands, which is why morphemic programming is such a challenge, because existing programming frameworks don't support this way of understanding, the theories behind holistic programming paradigms is one step I think to changing this, as is identifying colonial or power-related concepts and practices and removing them in a decolonial computing context.
5) And I totally agree, language is extremely important in what we code AND how we code!
In response to Zach's post
6) The trickster figure (in my tradition is Raven, in others it might be Coyote, Raccoon, Rabbit or just "an animal") But I think in all cases, the role of the trickster is always viewed as teacher and/or benefactor often by way of illustrating what we should NOT do. And, I believe Vizenor understands the complexity of the trickster role, because Indigenous knowledge and thought systems are holistic - the avatars of the trickster are just pieces of a much larger landscape of knowledge that can't be viewed in isolation. I'm not sure I have ever explored the undermining of hierarchical systems - but I like it! I think I will investigate that further! My own belief sees Raven as a knowledge keeper, who at times is a bit too proud for his own good which is why he is always getting in to trouble. Afterall, for all his knowledge he still is not smart enough to ask himself "what could possibly go wrong?" LOL.
My choice of Raven for examples actually is tied to several things:
1) As a knowledge keeper, he is always sharing knowledge, so code = knowledge = code?
2) He is a reminder to watch for pitfalls (in coding)
3) He is also involved with the creation of the world, and by extension the creation of my code.
4) Ironically, Raven also happens to be the Corbett family crest in English heraldic tradition
The use of Cree numerals such as ᐃ|| is a striking aspect of the Cree# language design. Widespread use of Western Arabic numerals across many language contexts is a common feature of language globalization in technical discourse. Whether in hardware interface, software, or programming language design, numbers are often treated as a separate category of symbol with a special relationship to the ontology of computing. This special status is mutually reinforced by many areas of computing culture, from language design. For example, numbers as primitives or distinct numeric types in typed languages) to hardware (for example, the majority of all keyboard layouts have a numeric row as a point of consensus, and that row is often 1234567890. From this point of view, the hegemony of Western Arabic numerals in computing culture may be even greater than the hegemony of Global English.
This is even true among Non-English-based_programming_languages, the majority of which use Western Arabic numerals rather than a native numeric systems, or prefer it when it is one of multiple numeral systems in the language. For a variety of examples, UrduScript uses Western Arabic numerals rather than Urdu numerals, תמלילוגו (TamliLogo) uses them rather than Hebrew numerals, کاتی (Kati) uses them rather than Perso-Arabic numerals, and 中蟒 (Chinese Python) uses them rather than Chinese numeral characters.
This commonality makes relatively rare counter-examples such as Cree# even more remarkable. When I looked through other counter-example to see their strategies I selected two as different points of reference. The first is an esoteric programming language. Lingua::Romana::Perligata ("Perl for the XXI-imum Century") implements Perl programming in Latin. Not only are Roman numerals used, but floating point numbers are described with Latin fractions (unum quartum = 0.25) and indexical references are written Latin language: $unimatrix[1][3][9][7]; is written septimum noni tertii primi unimatrixorum ("seventh of ninth of third of first of unimatrix"). Notably, this is for input only: the language outputs Western Arabic numerals by default. However, it supports optionally converting output to Roman numerals using come / comementum ("beautify").
Another example is a pragmatic non-English scripting language. চা Script (ChaScript) is a Bengali web script based on ECMAScript. It uses Bengali numerals in both code input and output.[1] One thing informing the native-numeral aspect of চা Script design might be available layouts for Bengali keyboards, many of which likewise include a Bengali number row rather than a Western Arabic number row (or use Bengali numerals as the primary markings on a dual-marked row).
চা Script also has an online editor that provides quick-buttons for common keywords so they needn't be typed. However, perhaps the most interesting thing to me in the context of discussing the Cree# design and goals is the parser. The চা Script parser passes through Western Arabic numerals (and some English keywords), such that it is valid to write চা Script code in various forms of code-mixing and code-switching between চা Script with Bengali keywords and numerals and (English) JavaScript with Western Arabic numerals.
For example, this JavaScript prints numerals from one to ten:
var a = 1; while (true) { if (a > 10) { break; } document.write(a + "\n"); a = a + 1 }
...while this equivalent চা Script prints numerals from ১ to ১০:
ক = ১; চলবে { যদি(ক > ১০) { থামো; } দেখাও(ক + " "); ক = ক + ১ }
...and this valid চা Script uses code-mixing with a combination of চা Script and JavaScript English keywords and Western Arabic Numerals. It also prints from ১ to ১০ (1-10):
ক = 1; চলবে { if(ক > 10) { break; } দেখাও(ক + " "); ক = ক + 1 }
I'm curious whether a polyglot that also supports Western Arabic numerals (both ০-৯ and 0-9) is part of Cree# already, or is planned (or not). Does such a thing enhance accessibility and expressivity or instead detract from or compromise the goals of the language design? Thinking about these related issues has also made me wonder about what kinds of keyboards or other input devices / software layers are currently being used while developing Cree# (or other Anishinaabe languages, or beyond)--and what interfaces people might use in the future.
To be clear, চা Script is not a programming languages for indigenous peoples or tribes living in Bangladesh, such as the Chakmas, the Marmas, or the Tripuras, each of whom have their own languages distinct from the dominant Bengali. However it is addressing a linguistic community (Bengali speakers) that is arguably technologically underserved in that language. ↩
Thanks for the additional examples Jeremy! These are a couple I do not have in my references yet, so I thank you immensely.
One of the issues with Indigenous numeric systems (in particular North American Indigenous) is that at some point you run into issues with certain number representatives where, for example, anything over 100 is just considered "a lot" or "many" (some Pacific Island communities only go up to 20, so 21 is considered "many" and there is no numbers past this), though some communities may have words for special/sacred concepts or numbers like 1000 or 1M, but there are sometimes limits. Additionally, describing numbers in fractions or decimals is sometimes problematic, because aside from common separations of one half or one quarter there is no way to determine fractional parts, the language just never developed these processes. Although - the Inca Quipu comes to mind... it was an ancient form of accounting that used knotted strings, and was a decimal-based system, so decimal fraction systems did exist pre-contact.
Numbers are a challenging topic. And to your point -
Does such a thing enhance accessibility and expressivity or instead detract from or compromise the goals of the language design?
I am not sure if including it Cree# will be an enhancement or a detraction. I think that Western Arabic numbers are, generally speaking, relatively "colonial-free" glyphs used to reference the abstract concept of what a number is, and is probably (as you say) more dominant than English usage, and so may not be that "bad". At this moment, I only have 23 Cree glyphs for number representation (0 through 20, 100, and 1000) So my math capabilities are limited and I do have the ability to use Western Arabic numerals in the language. And I also have to consider other indigenous languages that may adopt this model, and if their primary numerics are Western Arabic then I think I will incorporate both and let the user decide.
How can I get the cree compiler / IDE? This is really blowing my mind. Something about this makes me think about how we could create a programming language to express dreams (dream logic).
Hi Meredith! Ancestral Code/Cree# is still in its infancy, but I hope to release a working beta version of it later this year (I'm shooting for July). I'm sure Mark will be able to facilitate the notification of its release when I have it stable and with adequate documentation
Mace.Ojala
The indispensable Donna Haraway has stuff to read about tricksters, namely the coyote. Isn't the Hacker also a trickster character?
This Cree# language looks like it would be great to program with a stylus or a pen or another instrument like that, rather than a keyboard.
Could you speak a little about the implementation? For starters, the implementation language; and whether its own glyphic limitations have an impact on your code? Are you writing your Cree# implementation in a language derived from European tradition? - and does that make a noticeable difference?
barry.rountree
Hi @joncorbett
For example, I am trying to get the program to be considered as a whole unit not just a collection of linear or progressive commands, which is why morphemic programming is such a challenge, because existing programming frameworks don't support this way of understanding.....
From the bad advice file...
There are nonlinear programming frameworks, mostly of the constraint-solving variety (AMPL, Prolog), but I don't think they're heading off in a directly you'd find useful.
Those frameworks in turn are written in languages that don't support what you're doing, which in turn are compiled into an instruction set architecture that makes a lot of assumptions that you might not care to make, which in turn runs on a processor whose foremost design principle is backwards compatibility. So....
If you wanted to design your own processor and assembly language to support your higher-level language natively, what would that look like?
Something like Learning FPGAs (O'Reilly) isn't going to be adequate, but the equipment costs are in the tens of dollars (and a few hundred hours). At the end of the process you will have created a toy CPU with its own assembly language with a few dozen lines of code. Getting a processor that's designed around Cree# will get you most of your way towards a PhD in computer engineering.
One of the many reasons this is a terrible idea is that, given a moderately competent framework, you should be able to emulate any other framework (just a lot more slowly). Puzzling out how you want your arithmetic to behave will be hard enough when you have easy-to-use debugging tools and a GUI interface. Trying to work this out by virtually wiring up bits of logic on a PCI board will be much, much harder.... but perhaps interesting to think about.
(Processor designs are just another kind of code susceptible to CCS analysis. There will just be a lot fewer people able to give you feedback.)
Anyway, something to think about, and then avoid doing.
I'm very interested in the morphemic aspect. In nearly all programming languages, an identifier would appear as the same token each time; you wouldn't have a plural version, or a different tense for instance.Cree# carrying meaning within these variations is a challenge to how programming languages are designed. You mentioned that this added a lot of complexity for you, @joncorbett. I'm curious if there's more you can tell us about how this is implemented, but also whether this idea is carried over to variables defined by the user.
@Temkin said:
In nearly all programming languages, an identifier would appear as the same token each time
This complexity is an interesting bridge between the Cree# conversation and other current working group discussion threads of Inform7, which is natural-language-based programming paradigm. Inform7 has a lot of rules around verbose identifiers and how they are disambiguated by section of the code text, region of space, or period of time -- and "The Big Green Tree" can also be referred to while writing code as "tree", "the tree" ,"the big tree" "the green tree" et cetera with disambiguation that resolves automatically or asks for clarification if there are other trees--big, green, or otherwise.
@Mace.Ojala said:
Absolutely! Writing would be great! One thing I am actually working on is a mechanical keyboard based on the Syllabic Star Chart:
I have a few SketchUp designs on the go for it, just need to get into the maker-space to print the pieces
@jang asked:
the implementation language; and whether its own glyphic limitations have an impact on your code? Are you writing your Cree# implementation in a language derived from European tradition? - and does that make a noticeable difference?
I am currently using C# and Go for writing the interpreter. C# is a challenge for the unicode aspect - I need to capture the hex values of the glyphs. And Go does have a bit better support for runes using their unicode library. So far it hasn't been too bad, but as this is my first attack at writing a language, and I am new to Go, so I am spending a fair bit of time on these exact issues - of what can I do with the languages that are available.
and thanks for the cautionary tales @barry.rountree. It's funny that you mention
given a moderately competent framework, you should be able to emulate any other framework (just a lot more slowly)
Because this is actually an element of my Indigenous Computing Framework - this idea of computing efficiency is something that (I say) is irrelevant in an Indigenous worldview. Part of this project stems from a work I wrote using Processsing to mimic how I would bead an image, consider these two code snips:
Regular Loop
for(int x = 1; x<= NumberOfRows; x++){
placeBeadAt(x, currentColumn);
My chosen code
switch(x % 2){
for(currentColumn = NumberOfColumns;
currentColumn >0; currentColumn--){
for(currentColumn = 1; currentColumn <= NumberOfColumns; currentColumn++){
Though the first example is simpler and more efficient it does not reflect my physical process, and is not in alignment with my axiological or cultural values. So, even though I know my code for the loop I chose is lengthier, the symbolic relationship to having the code render a "continuous" image in a left to right (down) right to left manner is more congruent to an Indigenous model of "looping" and therefore efficiency, verbosity, and even meandering spaghetti code are not concerns, as long as the relationship of the code to culture holds value. I'd even go so far as to say its axiological composition supersedes common notions of linearity and/or syntax. - oh and I definitely don't want to be producing and new hardware except for my keyboard, so no PCI boards for me, I'd like to be able to complete my PhD before man lands on Mars.
@Temkin, with regards to the morphemic nature - this is still very much in design, part of the issue is some of the ways that Cree applies meaning and part of it is the combining of ideas into words that make sense. Because i can have two nouns when concatenated form a respresentation or idea of a new word. A good example is in Anishinaabe (another language similar to Cree), they use the word manidoomin for a bead... but this is actually to morphemes manidoo meaning "spirit" and min meaning "berry". So in a morphemic programming construction placing two nouns together could carry three meanings, and in Cree# this maybe useful for unique interactions, as I mentioned ("mista"ing something) or (another word +"osis") something else can be substitutions for add/increase or subtract/decrease. But this is just a basic concept, I am still learning the nuances of Cree morphemes so I can't think of another decent example at the moment. But suffice to say, that the idea is to take two or more ideas in a single sequence to create a third thing:
ice + water = cold drink
ice + water + lemons + sugar = better cold drink
I have been toying with an idea that this could be a clever way of performing a switch/case providing the language is constructed properly. Though I am still trying to figure out where my comparative tokens would be in that design.
In an English context, Computational Morphology is not bad in its approach to breaking down morphemic structures of English, and I am still trying to evaluate if it will be useful in building similar extractions for programmatic Cree.
@jeremydouglass I have looked at Inform7 a couple years ago and read through a few sample programs, as it was how I originally thought of making my language - just with images instead of text as the output. I think I will need to revisit this, because if they are using lexemes as in your "The Big Green Tree" example, then this is something worth look into again, because I was not aware they had that capability.
@joncorbett Thank you for your detailed and thoughtful response! I'm sorry for the delay in my reply.
The history of linguistic exploitation is not one I've heard before, so thank you for sharing that. It makes total sense that you'd want to avoid that terminology given that. I was wondering about the point made by some of the people who heard your presentation - sharing culture without sharing the language. Would all the code be hidden? How would you protect it from outsiders looking in and breaking it down ("decoding" it)? It seems like you're caught between trying to make something for Cree speakers but also striving to protect indigenous languages. Technically speaking, how are you planning to resolve this?
Also, a question about the morphemic nature: could coders in Cree# hypothetically create their own words by combining other words? If yes, how would that look in an output?
Thanks again for your reply and sorry for all my questions! I find this work fascinating as language revitalization is something I'm personally interested in.
Thank you @joncorbett ! As someone from a semiotics and critical theory background, it is fascinating to learn more about the possibilities and challenges of coding in Cree#, while also learning about Cree language and culture.
Quick question - Would there be any particular cultural protocols to follow, if I (as a non-indigenous person), wanted to learn cree#? In The Australian context (where I am), there are particular protocols and permissions that one must seek when its comes to referencing First Nations stories, imagery and songs. So I wondered whether the same would apply to cree#, or if broader uptake would be welcomed?
Lesia.Tkacz
@joncorbett This is wonderful! It's a powerful and important statement to focus on storytelling right from the beginning, rather than simply on calculation and logic. I also find it interesting to hear that Cree# is part of a larger language revitalization project. This gets me thinking about the range of possible digital resources that languages can have (digitized texts or audio, datasets, corpora), and efforts in computational linguistics to create or improve human language technology for low-resources languages. In this context too, I can see how hiding and protecting a language from those who might abuse it for their own gain should be an important feature considered for all language technology. Unfortunately, I've yet to hear computational linguists regularly and carefully consider anything to do with political power, control, and ownership when it comes to developing language technology systems, and for whom. In this sense then, Cree# is leading the way with regards to how this could be approached.
dcuartielles
@barry.rountree said:
This is kind of the idea I am supporting in a different thread ... that the whole system is built under a series of assumptions not supported by other human languages than English.
I agree here ... the discussion around having Cree# made by making a processor is out of the scope of @joncorbett's PhD. It is nevertheless interesting to entertain the idea of an assembly language following a different understanding of technology.
.... but perhaps interesting to think about.
Yeah :-)
This brings up a conversation of adoption, that I was trying to spark at a different thread. How much of a language / culture you need to adopt before you can build something on top of that. At the end of the day, even if you were to make you own indigenous-risc instruction set, it would be built on top of a technology supporting a different understanding of the world. People would have to adopt a different culture before being able of even making that instruction set.
[I inhale and totally change topic]
I was thinking about compilers in languages that compile their own language. C is written and compiled in C ... how much should Cree# develop before it could be compiled in Cree#? That is maybe a different approach to making these indigenous programming languages and allowing a certain community to entirely take control of it once its core has been developed.
gohai
@joncorbett Thank you for sharing this work.
One aspect that I am curious about (after reading the initial post): whether implementing the language (through an interpreter or compiler) made apparent any impedance mismatches with traditional textbook ideas of compiler generation (parsers, lexers, abstract syntax tree, and the like)? What was the most difficult part to implement?
miltonlaufer
Hey, great post. This script language is fascinating. I was wondering if you could elaborate a little bit more in which aspect do you think Cree# differentiates itself from other programming languages. Thank you!
I am really appreciating the dedication. Inspiring work with the layout and everything
Sorry Gang! I was at a couple symposiums the past two weeks... great to see such a conversation continued in my absence. Just to catch up:
@gohai
What was the most difficult part to implement?
This is definitely the morpheme component that I am still working on... being able to add or change a function by prepending or appending functions to alter the intent of the programmer. For example adding "osis" to "smallerize" something or adding a pluralization to a noun to convert it to an array. The other part is the collective nature of the instruction set. Essentially, the start and end have to be static, but the internal instructions within the block should be able to execute in any order or as described by the programmer (if linear instructions are required). I am still working through these ideas, I hope to find a happy solution that doesn't complicate the coding, and is flexible enough for Indigenous programmers to utilize.
I was wondering if you could elaborate a little bit more in which aspect do you think Cree# differentiates itself from other programming languages
The primary differences occur in the user's cultural perspective. As this is something not usually considered by the programming environment. So things like numbers, loops, conditionals, and variables all need to be considered in a cultural context and usage before creating the programmatic equivalents. In the Olelo Hawaiian version of C# their if statement is a direct reference to rivulet that is branched for growing taro root and then re-enters the river farther downstream. This kind of anecdotal reference assists Indigenous programmers in understanding what they want the system to understand. In many cases Indigenous languages ARE the culture so creating these kind of references are what help the programmer bind the function of the program to a deeper understanding of the knowledge thew system is being asked to represent.
@Lesia.Tkacz said:
Unfortunately, I've yet to hear computational linguists regularly and carefully consider anything to do with political power, control, and ownership when it comes to developing language technology systems, and for whom.
I agree Lesia, this is true - that is: in the current political and academic context (from the perspective of the linguist). Unfortunately, there is a very long history of linguists and academics in general capitalizing on the IP of Indigenous community knowledge without reciprocity or acknowledgement of the communities they engaged with (as experienced by in the Indigenous context). This has resulted in a lot of Indigenous communities (especially in North America) being skeptical, suspicious, and resistant to Western research practices in their communities. My hope is that the more platforms that are developed with and for Indigenous people with a culturally-awareness at its base, the more likely this attitude will change.
Cree# is leading the way with regards to how this could be approached.
I certainly hope so!


Patapsco Valley Pastured Pork™ | Page 3 of 0 | Ritter Farm, LLC.
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We offer all the classic items such as Bacon, Pork Chops, Ham, and Ribs; as well as those hard-to-find cuts: Pork Belly, Boston Butts, Picnic Roasts, Pork Cheeks, and Pork Rib Roasts. We also have Scrapple, Pudding, Fatback, Leaf Lard, and Offal. If you're looking for something else, just ask. We specialize in custom butchering and gourmet cuts.


text:
Ornelugt er en ubehagelig lugt eller smag, der ofte bemærkes i forbindelse med tilberedning eller spisning af svinekød eller svinekødsprodukter fra hangrise, som ikke blev kastrerede som pattegrise.

Undersøgelser har vist at mange forbrugere er følsomme over for ornelugt, og det er derfor nødvendigt for svineproducenter at kontrollere ornelugten. Det tyder på at kvinder er mere følsomme end mænd, og at nogle etniske grupper er mere følsomme end andre. Der er i de fleste lande nedlagt forbud mod kød med ornelugt.

Kontrol af ornelugt

Landmænd har i flere hundrede år kastreret grise for at undgå ornelugt. Denne praksis består i, at pattegrise kastreres mellem 2. og 7. levedøgn. I nogle lande som Holland, Schweiz og Norge er det blevet mere og mere udbredt at hel bedøve eller give lokalbedøvelse for at reducere smerter og stress ved kastration . Reglerne er forskellige fra land til land. Kastration med og uden bedøvelse har i de senere år været udsat for kritik fra flere dyreværnsforeninger.

I nogle lande som Australien slagtes grisene i en tidligere alder. Det er fordi, de to naturlige stoffer, der giver ornelugt, androstenon og skatol, først akkumuleres i spækket på orner. Man kan derfor ved at slagte hangrise tidligt forbygge ornelugten.

En alternativ metode til kontrol af ornelugt er at vælge pattegrisens køn før fødslen for kun at fremavle hungrise. Dette gøres ved kønssortering af sæd og kunstig befrugtning. Det har der været positive resultater med i kvægavlen, men der forskes stadig i teknikken og der findes p.t. ingen teknisk eller økonomisk løsning i svineproduktionen.

Opdræt af grise med "mindre lugtgener" er også blevet testet, men uden den store succes. Sugar Mountain Farm er en svineproducent, der mener, at dette er muligt gennem ændringer i opdræt og foder. En af fordelene ved hangrise er, at de har en bedre kødprocent og vokser omkring 10 % hurtigere end en galt (kastreret hangris) og gylt (hungris) og derved giver bedre foderudnyttelse.

Årsager

Ornelugt skyldes akkumuleringen af androstenon og skatol i spækket på hangrise.

Androstenon (et mandligt feromon) dannes i testiklerne hos hangrise i takt med deres stigende kønsmodenhed, mens skatol (et biprodukt, der dannes i grisenes tarmflora eller den bakterielle omsætning af aminosyren tryptofan) produceres hos både han- og hungrise. Niveauerne er dog langt højere hos ikke-kastrerede hangrise, da kønshormonerne reducerer leverens evne til at udskille stoffet skatol, hvorfor skatol ophobes i spækket i stigende grad, når hangrisene nærmer sig kønsmodenhed.

Hangrise producerer disse stoffer naturligt, og efterhånden som de ophobes, vil det kunne lugtes, når kødet tilberedes.

Nye metoder

Da kastration i de senere år har været udsat for kritik, søger både producenter og svinebranchen alternativer til kontrol af ornelugt. Vaccination mod ornelugt er en sikker og meget effektiv  metode, der siden 1998 er anvendt i Australien og New Zealand, og som bruger grisens immunforsvar til at kontrollere ornelugten. Brugen af en vaccine er lige så enkel og sikker som fysisk kastration. Den kan injiceres sikkert og muliggør produktionen af svinekød af høj kvalitet, der samtidig er sikker for forbrugeren at spise.

Vaccinen stimulerer grisens immunforsvar til at danne specifikke antistoffer mod grisens egen GnRF (Gonadotrophin Releasing Factor). Det hæmmer testikelfunktionen og standser produktionen og akkumuleringen af stoffer, der giver ornelugt.

Ved at stimulere produktionen af antistoffer, der er specifikke for GnRF, stopper vaccinen en reaktionskæde, der fører til udskillelse af testosteron og andre mandlige kønshormoner, herunder androstenon, én af de to årsager til ornelugt. Det andet stof, der forårsager ornelugt, nemlig skatol, elimineres også, da de lavere hormonniveauer muliggør, at det frit kan udskilles via leveren.

Grisen skal vaccineres to gange for at opnå den ønskede virkning. Tidspunktet for den første vaccination er relativt fleksibelt, men der skal gå mindst fire uger mellem dem, og den anden injektion skal finde sted fire til seks uger før slagtning. Efter anden dosis standser hangrisens testikler deres vækst. .

Vaccinen er en mere dyrevenlig og miljøbæredygtig løsning mod ornelugt, der giver fordele ved naturlig svinevækst, som fx bedre foderudnyttelse og højere kødprocent, mens spisekvaliteten bevares.

Se også

 Grise
 Svinekød
 Kastration
 Vaccination

Bibliografi

Eksterne henvisninger

 http://www.boartaint.com/
 http://www.thepigsite.com/swinenews/18969/boar-taint-an-understanding-of-what-it-is
 http://www.eufic.org/page/en/page/FAQ/faqid/what-is-boar-taint/

Tamsvin
Lugt


as well as the time between the "switches" of information which is shown.
Run Minecraft and the Plugin should work perfectly!
Why the prefixes disappear and when someone join or left they come back again for seconds... Please help me!
I really like this and don't want to find a different one. Please update soon!
Hi there... Can you update to 1.13 please?
How do I have to configure the plugin if I want to see the prefix of a player in front of his name in the tablist?
But the prefixes are not shown before player names.
If I use variable %prefix% in the footer, there are no problems.
My server support said that Tablist is editting anything in server properties and server can't load it then.
tablist won't be editing your server properties file, that isn't possible I'm afraid.
Plugins will show in he crash file, and sometimes it literally is th eplugins that were doing something at the time that get listed, not always related to the actual crash.
You have an unrelated underlying issue.
I hope but is been a year since the owners were on.
Yeah, it works on 1.13 fine, but I just would like official support.
Hello, I was wondering if there is a way to display how many people are connected to the bungeecord proxy?


text:
The Democracy Collaborative is a 501(c)(3) non-profit, American think tank and research center founded at the University of Maryland in 2000. It is based in Washington, D.C., and Cleveland, Ohio, and researches strategies to address income inequality, and to contribute to community wealth building and environmental and social sustainability.

Projects

Community-Wealth.org
Community-Wealth.org is a Democracy Collaborative project that seeks to facilitate conversation and creation of more equitable wealth distribution in American communities.

The Next System Project
The Democracy Collaborative's website calls the Next System Project "an ambitious multi-year initiative aimed at thinking boldly about what is required to deal with the systemic challenges the United States faces now and in coming decades."

Fifty by Fifty
Fifty by Fifty is an initiative that seeks to expand employee ownership in the United States. The Democracy Collaborative initiative hopes to help create 50 million employee owners by the year 2050.

People
Marjorie Kelly, Director of Special Projects, Distinguished Senior Fellow, cofounder of Business Ethics magazine.

References

External links

 Official website

Political and economic think tanks in the United States
501(c)(3) organizations
Organizations established in 2000


Still from Bangkok, Thailand, this time I am writing about this Nirai Kanai restaurant specializing in Okinawan cuisine! Although Okinawa is a part of Japan, its popularity might not be as high as other destinations like Tokyo, Osaka, Kyoto, etc. Okinawa is actually an island located southernmost of Japan, considered tropical island, this place is stunningly beautiful all year long. The best part is that Okinawan people are known for their longevity, thanks to the healthy and nutritious Okinawan cuisine combined with good lifestyle.
Nirai Kanai restaurant is actually originated from Tokyo, Japan, bringing the concept of authentic Okinawan theme as well as the cuisine. Nirai Kanai itself means "Land of God" or "A Place Where Gods Live", as believed by Ryukyuan people, the original people of Okinawa.
In Bangkok, there are 2 outlets of Nirai Kanai already, one in Nihon Machi Mall in Sukhumvit 26, and this one that we are going to review, in Thong Lor 11. This outlet is much more bigger than the other one, since it occupies a whole house-alike area, with spacious indoor and outdoor seating area. Decorated with a touch of rustic and vintage Okinawan village theme, guaranteed you'll feel like you are in typical stalls in Okinawa once you step in!
With so many seating areas, it's very nice to explore the place first before you decide where to sit. We preferred to sit in the outdoor seating area because it looks very Okinawan and we simply couldn't stop admiring all the colorful details!
Nirai Kanai's menu is nothing but impressive. The selections of food from snacks (or tsumami, best enjoyed with alcoholic beverages) to Okinawan dishes like Goya, Rafute, etc are just overwhelmingly impressive. To cut it short, this is like your one-stop Okinawan restaurant where you can find EVERYTHING you commonly find in the island itself.
When I saw this on the menu, I was ecstatic because this is not something I can find everyday in my life. Shikuwasa is Okinawan orange, sometimes also addressed as Taiwan Tangerine. Green, small fruits with sour taste and very strong fragrance. What I love about this fruit is the fragrance, a strong citrus fragrance which is a mix of orange, lemon, and lime in one go. Better yet, the shikuwasa here are imported directly from Okinawa, there you go!
MUST ORDER dish when you are here, this vinegar-ed mackerel are served on bamboo, and torch-grilled in front of you on the table. This dish is fascinating seen from any ways: the presentation and action are just too good to be missed.
We actually have visited this restaurant twice during these 2 months, and the result of this mackerel will be up to your waitress, really. The first time we came here, our waitress was an experienced woman who torch-grilled our mackerel longer, resulting in darker-colored yet super crispy skin with perfect taste. The second time we came here, another waitress did the grilling for only a short time, the skin didn't become crispy and the taste was very salty and sour, probably because the salt and vinegar weren't properly evaporated.
I think even people who don't like mackerel can actually eat this dish, no fishy smell at all and very fresh!
Okinawan-style salted and pickled grilled pork perfect as side dish to accompany drinking alcoholic beverages. The grilled pork are thinly sliced, and definitely very fatty. Served with green vegetables, this dish is refreshing, salty, and addictive.
Pork ears with garlic sauce, good-tasted snack and popular option as well since it contains lots of collagen. I personally REALLY like pork ears because of the texture, very crunchy and fun to eat. Unlike typical pork ears cooked with Chinese style (sweet), this one has a balanced sourness infused.
Okinawan cuisine use lots of tofu as ingredients and Tofuyo is one of signature dishes from the island. Tofuyo is tofu fermented in a mixture of awamori, rice malt, and red yeast for a long period of time. Because of its distinctive intense flavor, Tofuyo is often referred as "Okinawan Cheese", and usually served in small cubes. It should be enjoyed just a tiny bit at a time (by toothpick or such utensils) and best combined with alcoholic beverages as well.
Personally I don't really like tofuyo because of its overly-strong smell and taste, but if you order some awamori or other alcoholic beverages, I guarantee that this will taste so much better paired with them!
This platter of Okinawan Salad basically covers everything you wanna try in little yet satisfying portions. First, of course they have the infamous Goya Chanpuru (stir-fried bitter gourd and egg), Umibudou (Okinawan seaweed), Sunui Usachi (thin seaweed with vinegar), Aloe Sashimi, and Horenzo.
Goya Chanpuru is very, very famous in Okinawa, and if you happen to visit there, you will find many food and drinks made using goya. Goya is actually bitter gourd, and as the name suggests, it *is* bitter. I have never really liked goya but still find it edible somehow. Here the goya isn't too bitter because they are served cold, and I think it's very enjoyable too compared to the ones in Okinawa. Goya Chanpuru itself is a stir-fry of goya with egg, and the thinly-sliced goya are very crunchy and fun to eat. I recommend this to anyone who wants to experience the authentic taste of Okinawan food!
Umibudou, literally translated as "sea grapes" is soft and succulent seaweed from Okinawa, also known as green caviar. As some other ingredients in Nirai Kanai, the umibudou is imported directly from Okinawa to ensure the freshness and authenticity. Amazing! ;-0 Although the taste itself is kinda bland, but the beautiful "grapes" are so crunchy it's difficult to stop munching when you start eating. MUST TRY!
As for the other three, I recommend the Aloe Sashimi and pair it with the miso dipping sauce. Aloe is very good for health and it's great to eat them fresh as sashimi. The vinegar-ed thin seaweed is very sour and might not be everyone's favorite. For something simple and easy to take, go for the Horenzo.
Sunui is also another Okinawan type of seaweed called "mozuku", a kind of thin brown seaweed usually served in vinegar. Tasted like typical kakiage (vegetable tempura), you can enjoy it with dipping sauce or natural salt provided.
Beautiful presentation of Japanese Sea Bass sashimi, this can never go wrong for raw fish lovers.
Okinawan braised pork belly dish that can bring you to heaven right away, LOL! The pork are slow-cooked until very soft and melt in the mouth as immediately as they touch your tongue. Although the pork are bigger and thicker here in Nirai Kanai, taste-wise, we prefer the one in Tontoki Jakarta.
Well-marinated and juicy were my first impressions of this dish. A delightful combination of sweet, savory, and sour taste really made a well-balanced dish, not mentioning the super tender pork meat. However, I still prefer Rafute thousand times better than this.
Awamori is never complete without skewers, right? We ordered the assorted platter, which included 5 sticks of: chicken and scallion, chicken meatloaf, mushroom, chicken gizzard, chicken wing.
Pork spare ribs with Okinawan soba noodles in soup, I was actually surprised they have it here! The soup was clear yet tasty, and the spareribs were chewy in a nice way. I don't remember eating hot soup dishes like this in the sunny island, but well, it happened to be super cold in Bangkok, so this was a great choice.
Served with Okinawan lemon sauce, the karaage must be dipped into the ponzu sauze to gain the maximum citrus flavor. The karaage itself was deep-fried into perfection where the color was perfectly golden and the crunch was amazing.
Okinawan okonomiyaki, we tried this before in SAKANA DELONIX, and although the appearance is about the same, the ingredients are somewhat different. Here they put quite a lot of sliced pork and mainly spring onions, while in SAKANA, there were more shredded cabbage involved. It felt like eating an omelette with bunch of spring onions and pork, nothing really special.
Literally translated as "Homemade Black Sugar Pudding" is a recommended dessert to try here. Okinawa is known as producer of black sugar and the people use this often for their food or drinks. With aromatic caramel-alike flavor, this pudding is definitely not to miss!
Make sure to keep a space for this Okinawan Donuts that are served with ice cream of your choice. The deep-fried donuts have rough yet fragile surface with slightly hard texture, but very enjoyable eaten with one (or two) slap of ice cream.
Okinawan cuisine is probably very different from typical Japanese dishes because of its bold and strong flavors, combined with exotic plants and fruits as ingredients. Those are the things that make Okinawan cuisine very unique, healthy, and amazing, at least for me. In Jakarta, there are currently 2 restaurants specializing in Okinawan dishes: Tontoki in Mid Plaza 1 Building and EN Japanese Dining in Senayan City. While I go VERY often to Tontoki, I have never really tried Okinawan dishes at EN. I must say that for now, Tontoki has been doing a splendid job satisfying my cravings for Okinawan dishes, and I hope that something like Nirai Kanai can open in Jakarta as well.
It has been a wonderful experience dining at Nirai Kanai, and we certainly think it's very worth visiting if you happen to be in Bangkok (there are also outlets in Tokyo, Singapore, etc). Thanks for reading!
** This review is written based on our visit on 16 December 2015 & 20 January 2016.


I can find very little information on Private Idris Morris, Welsh Regiment, died before 30th August 1916. It is possible that his full name could be Private, Jacob Idris Morris, 9th Battalion, Welsh Regiment, Service Number 50055 and died 7th July 1916. There is great deal more information available on this soldier.