text:
< Back to all news release
[facilitate Magazine] Long term security and safety management ensured with TAURI temperature tablets
CDS Staff
The use of temperature-checking devices has increased tenfold since the outbreak of the coronavirus. For instance, Amazon has been using thermal cameras to check over 100,000 employees a day since April 2.
SPONSORED CONTENT: Crystal Display Systems is partnering with Glory Star to help ensure security and safety as the world attempts to resume normal working life.
In February, one of the largest case studies on coronavirus symptoms involving 56,000 laboratory confirmed patients and conducted by WHO, proved that over 88 per cent developed fever as a symptom – 20 per cent more than symptoms of coughing and shortness of breath. WHO heavily encourages early screening procedures, such as a temperature checks in order to detect symptomatic patients and to reduce the risk of spreading coronavirus. In this troubled time, customers and employees are counting on their employers and stores and venues to look out for their safety.
CDS and Glory Star are strongly supporting the government's advice to stay at home where possible to help prevent the spread of the coronavirus. As lockdown is eventually lifted and life slowly adapts to the new realities of social distancing and enhanced levels of hygiene and symptom awareness, CDS has introduced a new product to its range that it hopes will give some reassurances to workplaces and public spaces such as shops and leisure venues.
The TAURI by Glory Star, a temperature-sensing tablet, is an adaptation to CDS' existing range of distributed commercial tablet devices, by the addition of a thermal imaging camera system to monitor the temperature of staff and visitors.
'Out of the box' defence
Coupled with a simple app and a locked-down operating system, the solution gives a standalone 'out of the box' first layer of defence, zero-contact, automatic temperature sensing system at the entrance to a premises or threshold.
TAURI works as a self-verification tablet on entry to a premises; the system monitors the temperature and informs the user of the result visually on the screen alongside an image of the user and a thermal map from the camera, increasing hygiene and safety as no physical contact is necessary.
TAURI, using advanced German infrared technology, can check a person's body temperature in under three seconds and within three feet of the monitor. This is achieved without touching a screen, reducing the need for an inefficient and potentially infectious thermometer. A beep and red light indicates the temperature is too high and a green light when the temperature is acceptable. Further optional functionality includes Mask Detection, overt temperature email alerts, and the option for facial identification (subject to activation).
The system is calculated with an algorithm for object heat and constantly calibrates to the ambient environment – with fast-detection temperature accuracy, tolerance at +- 0.3 degree Celsius, and with a refresh rate at 64Hz for increased efficiency.
TAURI tablets are standalone automatic systems that are simple and intuitive to operate with Android 7.1, integrated connection and are available in four sizes – 7", 10.1″, 15″ and 21.5″.
The future is promising for TAURI with plans of software upgrade options that will include customised flagging, capacity counting, advertising, and reporting.


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LG unveils its latest TV lineup with brighter display & smarter webOS at CES 2023
by Kanika Gogia · News, Technology, TVs · 07 Jan 2023
The biggest tech event of the year is here and we've seen some of the biggest & latest innovations that will hit the markets in the next couple of months. At CES 2023, LG showcased its latest lineup of next-gen TVs which will surely please OLED fans. The tech giant teased the upgraded models of its high-end OLED Series with better brightness levels, improved panels, and advanced AI algorithms for unmatched picture quality. LG is one of the biggest names when it comes to OLED TVs. Right from stunning designs to top-of-the-line specifications, the LG OLED TVs are packed with everything that you need for a top-notch viewing experience.
Here's everything LG revealed about its 2023 OLED TV models. Let's have a look.
New LG C, G, & Z OLED TV lineups
LG dropped the new models of many of its OLED TV lineups, including C3, G3, and Z3 OLED TVs. It's worth mentioning that the latest C3 and G3 OLED series don't show any big design changes, rather, they bring some meaningful improvements to the already-brilliant & beautiful displays. The upgraded models will come with improved panels, better color accuracy, and advanced AI capability, all thanks to the new α9 AI Processor Gen6. The new processor also paves the way for AI-assisted Deep Learning technologies like improved AI Picture Pro and AI Sound Pro to offer greater upscaling, enhanced dynamic tone mapping, and virtual 9.1.2 surround sound. All these techs work together to deliver a fantastic viewing experience.
Also, LG's 2023 OLED TV lineup comes furnished with the newly-designed in-house TV operating system, webOS that offers a new Quick Cards option to easily access favorite content. LG also continues to lead the gaming TVs league with 4K 120Hz refresh rates, Freesync Premium, Nvidia G-Sync, a lightning-fast 0.1 millisecond response time, and HDMI 2.1 features. In short, the latest LG OLED TVs will make an incredible option for entertainment lovers as well as gaming enthusiasts.
Other improvements to the 2023 LG OLED TV lineup
The year edition of the LG OLED G Series is packed with LG's Brightness Booster Max technology that increases the brightness by up to 70%, as compared to last year's G2 model. The company has also added the brightness is mapped and controlled on a pixel-by-pixel basis. The 2023 G3 OLED Evo model also brings an aesthetic upgrade with the ultra-seamless One Wall Design, which leaves no gap when wall-mounted.
The newest addition to the LG lineup of 8K TVs, the Z3, is claimed to be 30 to 40% brighter than before. The LG Z3 OLED 2023 model will be available in 77 and 83-inch sizes. It's certainly like other 8K TVs, the Z3 OLED TV will come with a premium price tag, and won't attract most buyers.
In the past few years, the LG C Series OLED TV has gained a lot of popularity for its amazing picture quality and offers the best value for money among high-end TVs. We've always recommended the LG C2 Evo as the best OLED TV for gaming, streaming, and HDR performance. Also, it continues to be our favorite pick when it comes to OLED panels. We can't wait to get to test and recommend the latest LG C3 OLED TV.
Price and Availability of LG's new OLED TVs lineup
Right now, LG did not reveal the pre-order date and prices of its new OLED TV lineup. However, we can expect it to hit the markets in the coming few months. Also, the G3 and Z3 TVs will undoubtedly cost more than the C3 model. You can also check out the 2022 models of LG OLED TVs. You might even manage to grab a good deal on LG C2, G2, and Z2 models as LG clears out its stock in the upcoming weeks.
LG Signature OLED M Series
Alongside the new C3, G3, and Z3 OLED TVs, LG also showed off its Signature OLED M Series which gives you the freedom to place your Television where you want, without worrying about any cables. You can connect your gaming consoles, streaming devices, cameras, and more directly to a wireless AV box which can be placed anywhere in the room like a shelf or a table. It means you don't have to connect any device directly to the TV. Instead, everything goes into the box so you can enjoy a clean space with no cables hanging off the TV. While LG did not mention anything about the pricing, it seems to be incredibly expensive.
There's no doubt that LG is the unruled king of the OLED world. That said, Samsung also recently teased its exclusive lineup of Neo QLED, Micro LED, and OLED TVs with some significant upgrades. It will be interesting to see how these two tech giants compete with each other in the OLED space.
What do you think about the latest LG TV lineup? Will you consider these models when buying a new OLED TV for your smart home? Do share your views in the comments below.
Asus introduces 2023 lineup of ROG Flow Series X13, X16, and Z13 laptops with several upgrades
How to fix incoming calls not showing on Samsung Galaxy Devices – Top 15 ways
Best Monitors for Microsoft Surface Pro and Surface Laptops in 2022

redpajama_set_name: RedPajamaCommonCrawl


London - South African javelin thrower Sunette Viljoen has narrowly missed out on a medal after finishing fourth in the woman's javelin final at the London Olympic Games on Thursday night.
The 28-year-old Viljoen struggled on the night, with her best throw coming on her very first attempt when she reached 64.53m, which left her in fourth spot.
Barbora Spotakova from the Czech Republic won gold in 69.55m, while Germany's Christina Obergfoll claimed silver in 65.16.
Another German, Linda Stahl, pipped Viljoen for the bronze medal with a best throw of 64.91.


It's always been very important to me to do what I believe in. That's why it's so rewarding to have the flexibility and the capital to back the businesses that I really think can flourish.
Here in Wrexham, it's an exciting time. The launch of the Development Bank of Wales has been warmly welcomed throughout the region and we're now busy providing funding where it is needed most.
I love the fact that I am working with a team at the development bank that shares the same values and client relationship ethos as myself; we genuinely benefit from a positive can-do attitude.
Importantly, there is plenty of scope for growth. From tourism businesses to service providers and food manufacturers, I work with some truly inspirational business owners. I get to work with businesses across a diverse range of industries, in an economy that is ripe for growth.
I really couldn't ask for more. A job I love that gives me the satisfaction of directly influencing the prosperity of the Welsh economy by creating and safeguarding jobs and wealth. It's a win-win scenario for my career and my family.


text:
Elitenicheresearch
Keyword Analysis & Research: massacre at glencoe movie
massacre at glencoe movie 1.03 0.7 8939 81 25
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movie 0.94 0.3 1062 24 5
Keyword Research: People who searched massacre at glencoe movie also searched
massacre at glencoe movie 1.19 0.2 2358 88
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What happened at the Glencoe Massacre in Scotland?
The Massacre of Glencoe (Scottish Gaelic: Murt Ghlinne Comhann) took place in Glen Coe in the Highlands of Scotland on 13 February 1692. An estimated 30 members and associates of Clan MacDonald of Glencoe were killed by Scottish government forces, allegedly for failing to pledge allegiance to the new monarchs, William III and Mary II.
Is the movie The massacre of Glencoe a true story?
The Massacre of Glencoe (1971) 58min | Drama, History | 1971 (UK) The true story of the events leading up to the infamous massacre of the Macdonalds by the Campbells in February of 1692.
What happened to Maclain of Glencoe?
Maclain of Glencoe delayed signing the oath and when he arrived in Fort William he found he had to go to Inveraray. Difficult travelling and the absence of a sheriff meant that Maclain did not sign the oath until 6th January 1692. Maclain returned to Glencoe believing his signature was accepted.
How many people died in the Battle of Glencoe?
An estimated 30 members and associates of Clan MacDonald of Glencoe were killed by government forces billeted with them, on the grounds they had not been prompt in pledging allegiance to the new monarchs, William III of England and II of Scotland and Mary II .
Search Results related to massacre at glencoe movie on Search Engine
The Massacre of Glencoe (1972) - IMDb
Aug 18, 1972 · The Massacre of Glencoe: Directed by Austin Campbell. With James Robertson Justice, Andrew Crawford, William Dysart, David Orr. The true story of the events leading up to the infamous massacre of the Macdonalds by the Campbells in February of 1692. Director: Austin Campbell
Director: Austin Campbell
The Massacre of Glencoe (Full Movie) HD - YouTube
https://www.youtube.com/watch?v=TcB0IFBwk-k
Feb 13, 2014 · The true story of the greatest Scottish clan feud ever!James Robertson Justice in The Massacre of Glencoe.A rarely seen movie by Scotland's international Awa...
Massacre of Glencoe - Wikipedia
https://en.wikipedia.org/wiki/Massacre_of_Glencoe
VHS PAL RIPP! THE MASSACRE OF GLENCOE (1972) …
https://www.youtube.com/watch?v=ktPS6gH0hto
THE MASSACRE OF GLENCOE (1972) Austin Campbell - James Robertson Justice - Full Movie - YouTube.
The Massacre of Glencoe - Wikipedia
https://en.wikipedia.org/wiki/The_Massacre_of_Glencoe
The Massacre of Glencoe is a 1971 British historical drama film directed by Austin Campbell and starring James Robertson Justice, Andrew Crawford and William Dysart. The film depicts the 1692 Massacre of Glencoe in Scotland.
The Massacre of Glencoe - YouTube
https://www.youtube.com/watch?v=_5bAZVEspgo
Feb 04, 2013 · One of the most notorious incidents in history when the clan MacDonald were slaughtered by the Campbells in 1692 in Glencoe, Scotland.Lyrics and music by Jim...
The Massacre of Glencoe | ScottishHistory.org
scottishhistory.org
https://www.scottishhistory.org/articles/massacre-of-glencoe/
On 1 February the Earl of Argyll's Regiment of Foot under the command of Major Robert Duncanson marched out from Fort William and headed south to Ballachulish. A detachment of two companies numbering 120 men under Captain Robert Campbell of Glenlyon continued on to Glencoe. They had orders for 'free quarter', claiming that there was no room at Fort William d…
Glencoe Massacre - Discover Glencoe
discoverglencoe.scot
https://discoverglencoe.scot/key-information/history/about-glencoe/glencoe-massacre/
The Massacre of Glencoe. The infamy of the massacre of Glencoe is not so much in the numbers killed, but in the way it was carried out. In 1691, King William the Third, recognising the resurgence of the Jacobite cause, ordered all the clan chiefs to sign an oath of allegiance by 1st January 1692. Maclain of Glencoe delayed signing the oath and when he arrived in Fort …
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text:
package com.gemstone.gemfire.internal.cache.control;

import java.util.Set;

import org.apache.logging.log4j.Logger;

import com.gemstone.gemfire.CancelException;
import com.gemstone.gemfire.LogWriter;
import com.gemstone.gemfire.i18n.LogWriterI18n;
import com.gemstone.gemfire.internal.cache.GemFireCacheImpl;
import com.gemstone.gemfire.internal.cache.control.InternalResourceManager.ResourceType;
import com.gemstone.gemfire.internal.cache.control.MemoryThresholds.MemoryState;
import com.gemstone.gemfire.internal.cache.control.ResourceAdvisor.ResourceManagerProfile;
import com.gemstone.gemfire.internal.i18n.LocalizedStrings;
import com.gemstone.gemfire.internal.logging.LogService;
import com.gemstone.gemfire.internal.logging.LoggingThreadGroup;
import com.gemstone.gemfire.internal.offheap.MemoryAllocator;
import com.gemstone.gemfire.internal.offheap.MemoryUsageListener;

/**
 * Allows for the setting of eviction and critical thresholds. These thresholds
 * are compared against current off-heap usage and, with the help of {#link
 * InternalResourceManager}, dispatches events when the thresholds are crossed.
 *
 * @author David Hoots
 * @since 9.0
 */
public class OffHeapMemoryMonitor implements ResourceMonitor, MemoryUsageListener {
  private static final Logger logger = LogService.getLogger();
  private volatile MemoryThresholds thresholds = new MemoryThresholds(0);
  private volatile MemoryEvent mostRecentEvent = new MemoryEvent(ResourceType.OFFHEAP_MEMORY, MemoryState.DISABLED,
      MemoryState.DISABLED, null, 0L, true, this.thresholds);
  private volatile MemoryState currentState = MemoryState.DISABLED;

  // This holds a new event as it transitions from updateStateAndSendEvent(...) to fillInProfile()
  private ThreadLocal<MemoryEvent> upcomingEvent = new ThreadLocal<MemoryEvent>();

  // Set when startMonitoring() and stopMonitoring() are called
  // Package private for testing
  Boolean started = false;

  // Set to true when setEvictionThreshold(...) is called.
  private boolean hasEvictionThreshold = false;

  private OffHeapMemoryUsageListener offHeapMemoryUsageListener;
  private Thread memoryListenerThread;

  private final InternalResourceManager resourceManager;
  private final ResourceAdvisor resourceAdvisor;
  private final GemFireCacheImpl cache;
  private final ResourceManagerStats stats;
  private final MemoryAllocator memoryAllocator;
  private final LogWriterI18n log;

  OffHeapMemoryMonitor(final InternalResourceManager resourceManager, final GemFireCacheImpl cache, final ResourceManagerStats stats) {
    this.resourceManager = resourceManager;
    this.resourceAdvisor = (ResourceAdvisor) cache.getDistributionAdvisor();
    this.cache = cache;
    this.stats = stats;

    this.memoryAllocator = cache.getOffHeapStore();
    if (this.memoryAllocator != null) {
      this.thresholds = new MemoryThresholds(this.memoryAllocator.getTotalMemory());
    }

    this.log = cache.getLoggerI18n();
  }

  /**
   * Start monitoring off-heap memory usage by adding this as a listener to the
   * off-heap memory allocator.
   */
  private void startMonitoring() {
    synchronized (this) {
      if (this.started) {
        return;
      }

      this.offHeapMemoryUsageListener = new OffHeapMemoryUsageListener(getBytesUsed());
      ThreadGroup group = LoggingThreadGroup.createThreadGroup("OffHeapMemoryMonitor Threads", logger);
      Thread t = new Thread(group, this.offHeapMemoryUsageListener);
      t.setName(t.getName() + " OffHeapMemoryListener");
      t.setPriority(Thread.MAX_PRIORITY);
      t.setDaemon(true);
      t.start();
      this.memoryListenerThread = t;

      this.memoryAllocator.addMemoryUsageListener(this);

      this.started = true;
    }
  }

  /**
   * Stop monitoring off-heap usage.
   */
  @Override
  public void stopMonitoring() {
    stopMonitoring(false);
  }
  public void stopMonitoring(boolean waitForThread) {
    synchronized (this) {
      if (!this.started) {
        return;
      }

      this.memoryAllocator.removeMemoryUsageListener(this);

      this.offHeapMemoryUsageListener.stopRequested = true;
      synchronized (this.offHeapMemoryUsageListener) {
        this.offHeapMemoryUsageListener.notifyAll();
      }

      if (waitForThread && this.memoryListenerThread != null) {
        try {
          this.memoryListenerThread.join();
        } catch (InterruptedException e) {
          Thread.currentThread().interrupt();
        }
      }
      this.memoryListenerThread = null;
      this.started = false;
    }
  }

  public volatile OffHeapMemoryMonitorObserver testHook;

  /**
   * Used by unit tests to be notified when OffHeapMemoryMonitor
   * does something.
   */
  public static interface OffHeapMemoryMonitorObserver {
    /**
     * Called at the beginning of updateMemoryUsed.
     * @param bytesUsed the number of bytes of off-heap memory currently used
     * @param willSendEvent true if an event will be sent to the OffHeapMemoryUsageListener.
     */
    public void beginUpdateMemoryUsed(long bytesUsed, boolean willSendEvent);
    public void afterNotifyUpdateMemoryUsed(long bytesUsed);
    /**
     * Called at the beginning of updateStateAndSendEvent.
     * @param bytesUsed the number of bytes of off-heap memory currently used
     * @param willSendEvent true if an event will be sent to the OffHeapMemoryUsageListener.
     */
    public void beginUpdateStateAndSendEvent(long bytesUsed, boolean willSendEvent);
    public void updateStateAndSendEventBeforeProcess(long bytesUsed, MemoryEvent event);
    public void updateStateAndSendEventBeforeAbnormalProcess(long bytesUsed, MemoryEvent event);
    public void updateStateAndSendEventIgnore(long bytesUsed, MemoryState oldState, MemoryState newState, long mostRecentBytesUsed,
        boolean deliverNextAbnormalEvent);
  }
  @Override
  public void updateMemoryUsed(final long bytesUsed) {
    final boolean willSendEvent = mightSendEvent(bytesUsed);
    final OffHeapMemoryMonitorObserver _testHook = this.testHook;
    if (_testHook != null) {
      _testHook.beginUpdateMemoryUsed(bytesUsed, willSendEvent);
    }
    if (!willSendEvent) {
      return;
    }
    synchronized (this.offHeapMemoryUsageListener) {
      this.offHeapMemoryUsageListener.offHeapMemoryUsed = bytesUsed;
      this.offHeapMemoryUsageListener.notifyAll();
    }
    if (_testHook != null) {
      _testHook.afterNotifyUpdateMemoryUsed(bytesUsed);
    }
  }

  void setCriticalThreshold(final float criticalThreshold) {
    synchronized (this) {
      // If the threshold isn't changing then don't do anything.
      if (criticalThreshold == this.thresholds.getCriticalThreshold()) {
        return;
      }

      // Do some basic sanity checking on the new threshold
      if (criticalThreshold > 100.0f || criticalThreshold < 0.0f) {
        throw new IllegalArgumentException(LocalizedStrings.MemoryThresholds_CRITICAL_PERCENTAGE_GT_ZERO_AND_LTE_100
            .toLocalizedString());
      }
      if (this.memoryAllocator == null) {
        throw new IllegalStateException(LocalizedStrings.OffHeapMemoryMonitor_NO_OFF_HEAP_MEMORY_HAS_BEEN_CONFIGURED
            .toLocalizedString());
      }
      if (criticalThreshold != 0 && this.thresholds.isEvictionThresholdEnabled()
          && criticalThreshold <= this.thresholds.getEvictionThreshold()) {
        throw new IllegalArgumentException(LocalizedStrings.MemoryThresholds_CRITICAL_PERCENTAGE_GTE_EVICTION_PERCENTAGE
            .toLocalizedString());
      }

      this.cache.setQueryMonitorRequiredForResourceManager(criticalThreshold != 0);

      this.thresholds = new MemoryThresholds(this.thresholds.getMaxMemoryBytes(), criticalThreshold, this.thresholds
          .getEvictionThreshold());

      updateStateAndSendEvent(getBytesUsed());

      // Start or stop monitoring based upon whether a threshold has been set
      if (this.thresholds.isEvictionThresholdEnabled() || this.thresholds.isCriticalThresholdEnabled()) {
        startMonitoring();
      } else if (!this.thresholds.isEvictionThresholdEnabled() && !this.thresholds.isCriticalThresholdEnabled()) {
        stopMonitoring();
      }

      this.stats.changeOffHeapCriticalThreshold(this.thresholds.getCriticalThresholdBytes());
    }
  }

  float getCriticalThreshold() {
    return this.thresholds.getCriticalThreshold();
  }

  public boolean hasEvictionThreshold() {
    return this.hasEvictionThreshold;
  }

  void setEvictionThreshold(final float evictionThreshold) {
    this.hasEvictionThreshold = true;

    synchronized (this) {
      // If the threshold isn't changing then don't do anything.
      if (evictionThreshold == this.thresholds.getEvictionThreshold()) {
        return;
      }

      // Do some basic sanity checking on the new threshold
      if (evictionThreshold > 100.0f || evictionThreshold < 0.0f) {
        throw new IllegalArgumentException(LocalizedStrings.MemoryThresholds_EVICTION_PERCENTAGE_GT_ZERO_AND_LTE_100
            .toLocalizedString());
      }
      if (this.memoryAllocator == null) {
        throw new IllegalStateException(LocalizedStrings.OffHeapMemoryMonitor_NO_OFF_HEAP_MEMORY_HAS_BEEN_CONFIGURED
            .toLocalizedString());
      }
      if (evictionThreshold != 0 && this.thresholds.isCriticalThresholdEnabled()
          && evictionThreshold >= this.thresholds.getCriticalThreshold()) {
        throw new IllegalArgumentException(LocalizedStrings.MemoryMonitor_EVICTION_PERCENTAGE_LTE_CRITICAL_PERCENTAGE
            .toLocalizedString());
      }

      this.thresholds = new MemoryThresholds(this.thresholds.getMaxMemoryBytes(), this.thresholds.getCriticalThreshold(),
          evictionThreshold);

      updateStateAndSendEvent(getBytesUsed());

      // Start or stop monitoring based upon whether a threshold has been set
      if (this.thresholds.isEvictionThresholdEnabled() || this.thresholds.isCriticalThresholdEnabled()) {
        startMonitoring();
      } else if (!this.thresholds.isEvictionThresholdEnabled() && !this.thresholds.isCriticalThresholdEnabled()) {
        stopMonitoring();
      }

      this.stats.changeOffHeapEvictionThreshold(this.thresholds.getEvictionThresholdBytes());
    }
  }

  public float getEvictionThreshold() {
    return this.thresholds.getEvictionThreshold();
  }

  /**
   * Compare the number of bytes used (fetched from the JVM) to the thresholds.
   * If necessary, change the state and send an event for the state change.
   */
  public void updateStateAndSendEvent() {
    updateStateAndSendEvent(getBytesUsed());
  }

  /**
   * Compare the number of bytes used to the thresholds. If necessary, change
   * the state and send an event for the state change.
   *
   * Public for testing.
   *
   * @param bytesUsed
   *          Number of bytes of off-heap memory currently used.
   */
  public void updateStateAndSendEvent(long bytesUsed) {
    synchronized (this) {
      final MemoryEvent mre = this.mostRecentEvent;
      final MemoryState oldState = mre.getState();
      final MemoryThresholds thresholds = this.thresholds;
      final OffHeapMemoryMonitorObserver _testHook = this.testHook;
      MemoryState newState = thresholds.computeNextState(oldState, bytesUsed);
      if (oldState != newState) {
        this.currentState = newState;

        MemoryEvent event = new MemoryEvent(ResourceType.OFFHEAP_MEMORY, oldState, newState, this.cache.getMyId(), bytesUsed, true, thresholds);
        if (_testHook != null) {
          _testHook.updateStateAndSendEventBeforeProcess(bytesUsed, event);
        }
        this.upcomingEvent.set(event);

        processLocalEvent(event);
        updateStatsFromEvent(event);

      } else if (!oldState.isNormal()
          && bytesUsed != mre.getBytesUsed()
          && this.deliverNextAbnormalEvent) {
        this.deliverNextAbnormalEvent = false;
        MemoryEvent event = new MemoryEvent(ResourceType.OFFHEAP_MEMORY, oldState, newState, this.cache.getMyId(), bytesUsed, true, thresholds);
        if (_testHook != null) {
          _testHook.updateStateAndSendEventBeforeAbnormalProcess(bytesUsed, event);
        }
        this.upcomingEvent.set(event);
        processLocalEvent(event);
      } else {
        if (_testHook != null) {
          _testHook.updateStateAndSendEventIgnore(bytesUsed, oldState, newState, mre.getBytesUsed(), this.deliverNextAbnormalEvent);
        }

      }
    }
  }

  /**
   * Return true if the given number of bytes compared to the
   * current monitor state would generate a new memory event.
   *
   * @param bytesUsed
   *          Number of bytes of off-heap memory currently used.
   * @return true if a new event might need to be sent
   */
  private boolean mightSendEvent(long bytesUsed) {
    final MemoryEvent mre = this.mostRecentEvent;
    final MemoryState oldState = mre.getState();
    final MemoryThresholds thresholds = this.thresholds;
    MemoryState newState = thresholds.computeNextState(oldState, bytesUsed);
    if (oldState != newState) {
      return true;
    } else if (!oldState.isNormal()
        && bytesUsed != mre.getBytesUsed()
        && this.deliverNextAbnormalEvent) {
      return true;
    }
    return false;
  }

  private volatile boolean deliverNextAbnormalEvent = false;

  /**
   * Used by the OffHeapMemoryUsageListener to tell us that
   * the next abnormal event should be delivered even if the
   * state does not change as long as the memory usage changed.
   * For some reason, unknown to me, if we stay in an abnormal
   * state for more than a second then we want to send another
   * event to update the memory usage.
   */
  void deliverNextAbnormalEvent() {
    this.deliverNextAbnormalEvent = true;
  }

  /**
   * Update resource manager stats based upon the given event.
   *
   * @param event
   *          Event from which to derive data for updating stats.
   */
  private void updateStatsFromEvent(MemoryEvent event) {
    if (event.isLocal()) {
      if (event.getState().isCritical() && !event.getPreviousState().isCritical()) {
        this.stats.incOffHeapCriticalEvents();
      } else if (!event.getState().isCritical() && event.getPreviousState().isCritical()) {
        this.stats.incOffHeapSafeEvents();
      }

      if (event.getState().isEviction() && !event.getPreviousState().isEviction()) {
        this.stats.incOffHeapEvictionStartEvents();
      } else if (!event.getState().isEviction() && event.getPreviousState().isEviction()) {
        this.stats.incOffHeapEvictionStopEvents();
      }
    }
  }

  /**
   * Populate off-heap memory data in the given profile.
   *
   * @param profile
   *          Profile to populate.
   */
  @Override
  public void fillInProfile(final ResourceManagerProfile profile) {
    final MemoryEvent tempEvent = this.upcomingEvent.get();
    if (tempEvent != null) {
      this.mostRecentEvent = tempEvent;
      this.upcomingEvent.set(null);
    }
    final MemoryEvent eventToPopulate = this.mostRecentEvent;
    profile.setOffHeapData(eventToPopulate.getBytesUsed(), eventToPopulate.getState(), eventToPopulate.getThresholds());
  }

  public MemoryState getState() {
    return this.currentState;
  }

  public MemoryThresholds getThresholds() {
    MemoryThresholds saveThresholds = this.thresholds;

    return new MemoryThresholds(saveThresholds.getMaxMemoryBytes(), saveThresholds.getCriticalThreshold(), saveThresholds
        .getEvictionThreshold());
  }

  /**
   * Returns the number of bytes of memory reported by the memory allocator as
   * currently in use.
   */
  public long getBytesUsed() {
    if (this.memoryAllocator == null) {
      return 0;
    }

    return this.memoryAllocator.getUsedMemory();
  }

  /**
   * Deliver a memory event from one of the monitors to both local listeners and
   * remote resource managers. Also, if a critical event is received and a query
   * monitor has been enabled, then the query monitor will be notified.
   *
   * Package private for testing.
   *
   * @param event
   *          Event to process.
   */
  void processLocalEvent(MemoryEvent event) {
    assert event.isLocal();

    if (this.log.fineEnabled()) {
      this.log.fine("Handling new local event " + event);
    }

    if (event.getState().isCritical() && !event.getPreviousState().isCritical()) {
      this.log.error(LocalizedStrings.MemoryMonitor_MEMBER_ABOVE_CRITICAL_THRESHOLD,
          new Object[] { event.getMember(), "off-heap" });
    } else if (!event.getState().isCritical() && event.getPreviousState().isCritical()) {
      this.log.error(LocalizedStrings.MemoryMonitor_MEMBER_BELOW_CRITICAL_THRESHOLD,
          new Object[] { event.getMember(), "off-heap" });
    }

    if (event.getState().isEviction() && !event.getPreviousState().isEviction()) {
      this.log.info(LocalizedStrings.MemoryMonitor_MEMBER_ABOVE_HIGH_THRESHOLD,
          new Object[] { event.getMember(), "off-heap" });
    } else if (!event.getState().isEviction() && event.getPreviousState().isEviction()) {
      this.log.info(LocalizedStrings.MemoryMonitor_MEMBER_BELOW_HIGH_THRESHOLD,
          new Object[] { event.getMember(),  "off-heap" });
    }

    if (this.log.fineEnabled()) {
      this.log.fine("Informing remote members of event " + event);
    }

    this.resourceAdvisor.updateRemoteProfile();
    this.resourceManager.deliverLocalEvent(event);
  }

  @Override
  public void notifyListeners(final Set<ResourceListener> listeners, final ResourceEvent event) {
    for (ResourceListener listener : listeners) {
      try {
        listener.onEvent(event);
      } catch (CancelException ignore) {
        // ignore
      } catch (Throwable t) {
        this.log.error(LocalizedStrings.MemoryMonitor_EXCEPTION_OCCURED_WHEN_NOTIFYING_LISTENERS, t);
      }
    }
  }

  LogWriter getLogWriter() {
    return this.log.convertToLogWriter();
  }

  @Override
  public String toString() {
    return "OffHeapMemoryMonitor [thresholds=" + this.thresholds + ", mostRecentEvent=" + this.mostRecentEvent + "]";
  }

  class OffHeapMemoryUsageListener implements Runnable {
    volatile boolean stopRequested = false;
    long offHeapMemoryUsed; // In bytes

    OffHeapMemoryUsageListener(final long offHeapMemoryUsed) {
      this.offHeapMemoryUsed = offHeapMemoryUsed;
    }

    @Override
    public void run() {
      getLogWriter().fine("OffHeapMemoryUsageListener is starting " + this);
      long lastOffHeapMemoryUsed;
      synchronized (this) {
        lastOffHeapMemoryUsed = this.offHeapMemoryUsed;
      }
      while (!this.stopRequested) {
        updateStateAndSendEvent(lastOffHeapMemoryUsed);

        synchronized (this) {
          long newOffHeapMemoryUsed = this.offHeapMemoryUsed;
          if (this.stopRequested) {
            // no need to wait since we are stopping
          } else if (lastOffHeapMemoryUsed != newOffHeapMemoryUsed) {
            // no need to wait since memory used has changed
            // This fixes a race like bug GEODE-500
            lastOffHeapMemoryUsed = newOffHeapMemoryUsed;
          } else {
            // wait for memory used to change
            try {
              do {
                this.wait(1000);
                newOffHeapMemoryUsed = this.offHeapMemoryUsed;
                if (newOffHeapMemoryUsed == lastOffHeapMemoryUsed) {
                  // The wait timed out. So tell the OffHeapMemoryMonitor
                  // that we need an event if the state is not normal.
                  deliverNextAbnormalEvent();
                  // TODO: don't we need a "break" here?
                  //       As it is we set deliverNextAbnormalEvent
                  //       but then go back to sleep in wait.
                  //       We need to call updateStateAndSendEvent
                  //       which tests deliverNextAbnormalEvent.
                  // But just adding a break is probably not enough.
                  // We only set deliverNextAbnormalEvent if the wait
                  // timed out which means that the amount of offHeapMemoryUsed
                  // did not change.
                  // But in updateStateAndSendEvent we only deliver an
                  // abnormal event if the amount of memory changed.
                  // This code needs to be reviewed with Swapnil but
                  // it looks to Darrel like deliverNextAbnormalEvent
                  // can be removed.
                } else {
                  // we have been notified so exit the inner while loop
                  // and call updateStateAndSendEvent.
                  lastOffHeapMemoryUsed = newOffHeapMemoryUsed;
                  break;
                }
              } while (!this.stopRequested);
            } catch (InterruptedException iex) {
              getLogWriter().warning("OffHeapMemoryUsageListener was interrupted " + this);
              this.stopRequested = true;
            }
          }
        }
      }

      getLogWriter().fine("OffHeapMemoryUsageListener is stopping " + this);
    }

    @Override
    public String toString() {
      final StringBuilder sb = new StringBuilder(getClass().getSimpleName());
      sb.append(" Thread").append(" #").append(System.identityHashCode(this));
      return sb.toString();
    }
  }
}

redpajama_set_name: RedPajamaGithub


text:
Whispers from the Past: Political Figures Caught Up in NSA Intercepts
Mark Stout
Special Series - (W)ARCHIVES
Word that President Donald Trump as well as some of his family and associates may have appeared in National Security Agency (NSA) intercepts as masked (and in some cases later unmasked) identities has caused a great deal of sturm und drang in the United States. Many Americans are convinced that the mentions of Trump-linked personalities in signals intelligence reports indicates that the "deep state" or the Obama administration was "surveilling" them and that this is a dangerous politicization of the intelligence community. Eli Lake of Bloomberg View, for instance, wrote:
One U.S. official familiar with the reports said they contained valuable political information on the Trump transition such as whom the Trump team was meeting, the views of Trump associates on foreign policy matters and plans for the incoming administration.
Lake's source is doubtless correct that these reports contained "valuable political information," even if his conclusion that there is a legitimate "unmasking" scandal afoot is off base. Because America is important, foreigners spend a lot of time talking amongst themselves about Americans. The NSA targets the communications of influential foreigners, so we should expect the names of Americans to appear on a routine basis. Moreover, American officials who are named in intercepts often have reason to be grateful for that fact.
Consider this recently declassified NSA intercept from January 1973, part of a substantial collection of once extremely sensitive intercepts the agency posted without fanfare on its website. Back in the day, NSA entitled this particular report, "U.S. Ambassador to Rome Reportedly to Succeed [U.S. Ambassador Ellsworth] Bunker in Saigon; Kissinger Reportedly Apprehensive About Possible Negotiations Failure, Surprised by Nixon's Defense of [South Vietnamese President Nguyen Van] Thieu." On its face, this title makes it look like NSA is collecting on the ins and outs of State Department personnel deliberations and on the activities of President Richard Nixon and his senior aides. Shady stuff, indeed.
Actually, not really. Reading the full report makes clear that nothing of the sort was going on. In fact, the NSA says the series of intercepts
provided National Security Advisor Henry Kissinger and other senior American negotiators with unique insights into how their South Vietnamese allies were reacting to developments at the Paris Peace Talks with North Vietnamese envoy Le Duc Tho.
This particular report gave the text of a message from South Vietnamese Ambassador Pham Dang Lam in Paris to Thieu in Saigon. Saigon's ambassador reported that an unnamed source close to the White House told him that U.S. diplomat Graham Martin had agreed to become ambassador to South Vietnam and had sought and received assurances from Nixon that the Communists would not be allowed to take over South Vietnam. Lam also advised Thieu that Washington Post reporter Murrey Marder had told him that National Security Advisor Henry Kissinger seemed afraid that the Paris Peace Talks would fail and was at odds with President Nixon over certain unspecified points.
This was potentially valuable information to Nixon and Kissinger because it gave them insight into what the South Vietnamese government thought the White House was planning. This information could be used to keep a step ahead of the South Vietnamese. The intercept also hinted to Nixon and Kissinger that Murrey Marder could possibly be used to influence the South Vietnamese or pass a deniable message to them. Also, the information about Kissinger's pessimism and the disagreement with Nixon was potentially invaluable. If Kissinger meant to convey those impressions, then the intercept told him that he had succeeded. If, on the other hand, he had accidentally shown some of his cards, he was now aware of it and could take steps to repair the damage.
Nixon and Kissinger realized the value of having the NSA report foreign views of what they were doing. That is why you will see the notation "TOHAK" on this intercept and others in this lengthy series. "TOHAK" means "to Henry A. Kissinger."
This is why I would say to Trump: Calm down, ask to read the intercepts in which you, your family members, and associates are allegedly named. The intercepts can be valuable to you. They may tell you what foreign actors really think of you and the people around you. Surely a great negotiator like you can find a way to exploit that knowledge to produce a win for the United States.
Dr. Mark Stout directs graduate programs in Global Security Studies and Intelligence at Johns Hopkins Krieger School of Arts and Sciences Advanced Academic Programs in Washington, DC. He has previously worked for the Department of the Army, the State Department, the CIA, and the Institute for Defense Analyses.
Special Series, (W)ARCHIVES


QinetiQ North America announced that it has won the competition for the US Army's Common Robotic System-Individual (CRS(I)) program. For more information see the IDTechEx report on New Robotics and Drones 2018-2038.
The seven-year Indefinite Delivery Indefinite Quantity contract, valued up to $164m is for the delivery of small ground robots. It includes a Low Rate Initial Production phase worth approximately $20m over one-to-two years, followed by a series of annual production releases. QNA has been awarded a $4m initial order as part of the LRIP phase.
"Providing robust, reliable, and exceptionally capable ground robots to support our armed services has been a driving passion at QinetiQ North America for decades now," said Jeff Yorsz, President of QinetiQ North America. "Our CRS(I) robot combines performance, intuitive control, and easy transport with a very competitive price point. This will redefine the market for next-generation back-packable robots."


text:
Mini 'Brown Bag' Research Session
Mini-'Brown Bag' Research Session
BROWN BAG SESSION | 2 June | 15:00 - 17:30 | Zoom
(Junior) Fellows, Research Associates, and University Interns: Mini-'Brown Bag' Research Session. If you would like to join us, please email alessandra.benedicty@wereldculturen.nl for the Zoom link. The Zoom link will be sent the morning of Tuesday, June 2.
In an effort to nurture research on the collection of the Nationaal Museum van Wereldculturen (NMVW), which consists of nearly 450,000 objects and 750,000 photographic images, the Research Center for Material Culture (RCMC), the research institute of the Tropenmuseum, the Museum Volkenkunde, the Afrika Museum, and the Wereldmuseum in Rotterdam, welcomes fellows, junior fellows, research associates and university student interns.
In response to the request from one of our year-long PhD interns, Johanna Strunge, that we learn more about each other's inquiries and offer a means of doing research in a time in which social distancing and travel restrictions ask that we think our work differently, this mini-conference offers just one way for us to connect across spaces. We especially thank those joining us from around the world in the hours "entre chien et loup" [between dusk and dawn].
Researchers will briefly (4-5 minutes) present their work. Head of the RCMC Wayne Modest and Chief Curator Henrietta Lidchi will will start-off our discussions.
15:00—15:10 Opening and Welcome: Wayne Modest, Head, Research Center for Material Culture
15:10—15:20 First Deliberations: Henrietta Lidchi, Chief Curator
15:20—15:40 Materialities I
Roberto Costa | The Making of Asmat Vernacular Crucifix-type Carvings through History
Ella Broek | The Affective Potential of the Koto: On the dynamic interaction between clothing and the body
Tania Christina Monteiro | Meeting Mami Wata
Mary Caton Lingold | Musical Life (1600-1800): Experiences of survivors of the Middle Passage living on Caribbean plantations
10-minute Q&A
15:50—16:10 Engaging Otherwise with Ethnographic Museums
Ailish Toal | Impossibilities of Translating Gender: Recent scholarship on Hijra/Kinnar and Fa'afāfine
Jessica Hemmings | Reading Material
Fresco Sam-Sin: Things That Talk
Sara Guagnini | Memory, affects, emotion, desires, imagination and creativity in the Anthropocene
16:20—16:30 Break
16:30—16:50 Materialities II: Between and Among Mbembe's 'Post-Colony'
Amélie Couvrat Desvergnes | Study on the Materiality of the Indian Northwestern Drawings and Paintings (Pahari and Punjab) from Museum Volkenkunde
Karwin Cheung: Visualising Kongosan: Geumgangsan 1910-1945
Sabine Bolk | Re-telling the History of the (Indo-)European Influence on Batik
Carlee Forbes | Creative Mediations: Art, innovation, and collecting in colonial-Era Congo, 1880-1940
17:00—17:15 Urbanisms and the Ethnographic Museum
Johanna Strunge | Coffee, tobacco and spices on display - Colonial goods shops in museums
Paoletta Holst & Paolo Patelli | Blending Pure Water, Urbanism, Pseudo-science, (Amateur) Ethnography, Entrepreneurialism — in/from the works of H. F. Tillema
17:25—17:30 Final Words, Wayne Modest
Working together with Batik-makers, researchers, museum professionals, collectors and connoisseurs of Batik, our research project retells the history of the (Indo-)European influence on Batik between 1850 and 1890 on the North-coast of Java, Indonesia.
Answers are given in words and images to the following question: How was Batik influenced by Europe?
Can this influence truly be traced back to one or two individuals, Indo- European Batik entrepreneurs Carolina Josephina von Franquemont and Catharina Carolina van Oosterom-Philips? And what other factors played a role in this development? How is this evident in Batik designs from before 1890, from before Batiks were signed, and what can actually be considered as an (Indo-) European influence?
A major part of the project consists of finding ways of making what is found available for Indonesian Batikmakers and other interested parties. Last October, I launched the project on Java with a series of talks, discussions and workshops hosted by museums and local organisations. At the moment, I am mostly working on articles and researching the provenance of Batiks from the museum collections in combination with earlier done archival research on other locations.
Batik bedcover, donated by a niece of Von Franquemont, WM - 26938
Sabine Bolk (1984) is a Dutch artist who has been exploring Batik, the Indonesian resist-dye technique for textile, for the last 11 years. The inspiration doesn't only come from the technique, but also from the language of the patterns and the philosophy of Batik. On her blog 'The journey to Batik' she writes about her discoveries, journeys and research. Sabine is currently a Research Associate at the Research Center for Material Culture in Leiden (NL) to research the batik collections in Dutch museums & archives. She writes for different platforms, organises events, gives talks, presentations and workshops. She not only gets inspiration from Batik, she also works on promoting, preserving and protecting Batik.
How do Dutch-Surinamese wearers of the koto experience wearing their costumes? And how are embodied sartorial practices involved in the construction of their subjectivity/identity, both during specific Koto ceremonies as well as in the course of everyday life?
Rather than seeing dress as a neutral instrument to convey identity, this research examines its ability to actively shape the subject from a phenomenological perspective. Following the idea that the body is the primary site for experiencing and becoming to know the world, Broek focuses on bodily sensations and experiences, and the possibility for action that clothing can provide. Central to this research is the kotomisi, a woman dressed in Afro-Surinamese costume, of which the koto (the name of the skirt as well as the entire costume) and angisa (folded headgear) are important parts. It considers, for example, the weight of an angisa folded with three cloths or the skid resistance of a starched skirt.
In wanting to learn from this tradition, rather than simply recording it, a major element of Broek's research is aimed at supplementing current museum collections with supplemental information geared towards making tangible connections between the objects (the kotos) and the people who make, carry, collect and cherish them. Through this, she hopes to arrive at a well-contextualised heritage collection surrounding the satorial and cultural relevance of traditional dress to the Dutch-Surinamese community.
Ella Broek is a dressmaker and anthropologist and currently a research associate at the Research Center for Material Culture. Her interests sit at the intersection of social sciences and cultural heritage studies on the one hand and the multidisciplinary field of (fashion) design, where craft, design and theory converge, on the other. Within this general focus, her current work takes agency as a primary topic, discussing and investigating materials (and their potential to act) within varying cultural traditions. Of particular note is her ongoing research into the satorial tradition of the koto, a form of cultural dress worn by Surinamese women, for which she works with specific local Dutch-Surinamese communities in Rotterdam. Her crossover practice originated from her personal fascination with how clothing can be experienced and how that experience can ultimately be influenced through design processes. Ella enjoys collaborating with others to translate findings into (public)programs.
Atlantic Africans created one of the most revolutionary aesthetic movements of the modern world. From the shores of West African kingdoms to Caribbean plantations and mainland American and European metropoles, they circulated music of many kinds in the face of enslavement. I am writing a book about musical life (1600-1800) that focuses on the experiences of survivors of the Middle Passage living on Caribbean plantations. The project examines an assemblage of artifacts, including published colonial travel narratives, archival documents, and musical performance. One of the key sources on the subject was written by John Stedman, an Anglo-Dutch soldier hired by the colonial government to help suppress Maroon uprisings in Suriname in the 1770s. He wrote a great deal about the music he heard in Suriname, and his memoir includes a detailed illustration of African instruments, coupled with descriptions of their use. In the 1970s, scholars Richard Price and Sally Price discovered that some of the instruments depicted in the well-known travelogue survive in Museum Volkenkunde. I will visit the RCMC to study these objects as well as other instruments from the period, which are extraordinarily rare because they represent the handiwork of enslaved performers, and thus offer a uniquely unmediated window into the world of Afro-Atlantic music. Of all the archival and literary records that I explore in my book project, these objects are the only ones crafted by enslaved African performers themselves. The instruments speak to the massive legacy of enslaved artisans and performers, and they have much to teach me about the materiality of Afro-Atlantic tradition
Surinamese Drum believed to be collected by Stedman in Museum Volkenkunde.. ca. 1883. RV-360 - 5685
Dr. Mary Caton Lingold is Assistant Professor of English at Virginia Commonwealth University. An interdisciplinary scholar, she bridges the fields of sound studies, African diaspora studies, music, colonial literature, and digital humanities. She received a PhD in English and a graduate certificate in African & African American Studies from Duke University. Prior to that, she earned an MA from the University of Colorado at Boulder and a BA from Trinity University in Texas. She is currently writing a book about music in the African Atlantic world from 1600-1800. Other recent work includes an edited collection, Digital Sound Studies (Duke 2018), Musical Passage: A Voyage to 1688 Jamaica (www.musicalpassage.org), and a forthcoming essay on seventeenth-century Afro-Jamaican composer, Mr. Baptiste, which will be published Fall 2020 in Early Music.
Karwin Cheung | Visualising Kongosan: Geumgangsan 1910-1945
The mountain range of Geumgangsan is located on the east coast of the Korean peninsula, today it lies just north of the boundary between North and South Korea. Dotted with temples and scenic sights these mountains became an important site for Buddhist monks and Confucian scholars alike during the Goryeo dynasty (918-1392). During the Joseon dynasty (1392-1910) these mountains were the setting for many paintings and travelogues.
Not long after the start of the Japanese colonization of Korea in 1910, Kongosan (the Japanese name of the mountains) became the most important tourist destination of the new colony. Tourism was an essential element of colonial modernity as introduced in Korea. Japanese authorities, most importantly the ministry of railways, expanded ample resources to physically integrate the mountains into the Japanese tourist network through the construction of railways and hotels. Material culture was another method of integration; through modern media such as art, design, photography, and guidebooks the site of Geumgangsan and its existing patterns of travel were rearraranged.
In addition, I currently do research on the collection of Chinese literati painting at Nationaal Museum van Wereldculturen. I am interested in how these collections were built up and the reception of classical and modern Chinese painting in the West. NMVW holds one of the finest European collections of Chinese literati painting with works from the Ming, Qing, and Republican periods. The collection is especially strong with regards to works from the 19th and 20th century.
Guide to the Diamond Mountain, 1915. RMV 7178-37. Copyright protected image.
Karwin Cheung is Assistant Curator of the East Asian collections at National Museums Scotland. His current work focuses on transnational interactions in East Asia, the history of collections, and the reception of East Asian painting in the West. His most recently curated exhibition was Diamond Mountains at Museum Volkenkunde (2018).
In my research project I look into Asmat Christian religious and liturgical woodcarvings,in particular wooden crucifix-type carvings. My study of the crucifixes held in the Asmat collection at the Tropenmuseum is part of a broader inquiry that takes into account Asmat crucifixes held in other museum collections (e.g., Ethnographic Museumof the University of Zurich, Museum of Ethnography in Stockholm, Ethnological Museum in the Vatican) and makes use of the archival material, contemporary crucifix carvings and further ethnographic data I collected during my six-month fieldwork in the Asmat region. The goal of my project is to provide aesthetic, technical and historical insights into the trajectories of the Asmat crucifix handicraft while shedding light on ethno-histories and ethno-theological reflections that these objects and their making evoke. In my examination I also comparatively refer to crucifix-type carvings made by the Kamoro, whose carving tradition and Christianisation show meaningful similarities with their Asmat neighbours.
Asmat crucifix. before 1960. TM-2970-15
Roberto Costa is a doctoral candidate in Anthropology at Macquarie University. His doctoral thesis draws on six months of fieldwork conducted in an Asmat village among a local carving community (West Papua, Indonesia). His research project focuses on Asmat woodcarvers' search for the prestige and life power they previously would have obtained through now-abandoned ritual practices (headhunting and cannibalism). In doing so, Roberto explores the impact of local Christian theology on artistic practices; new paradigms of leadership and talent; the quest for self-representation in the West and reciprocity in non-Asmat relations; and local ruminations about history and nostalgia.
Amélie Couvrat Desvergnes | Study on the Materiality of the Indian Northwestern Drawings and Paintings (Pahari and Punjab) during the 19th Century from Museum Volkenkunde
Through objects from Museum Volkenkunde, I am currently researching the shift that occurred in material usage for the production of pictorial artworks during the first half of the 19th century in north-west India (Pahari and Punjabi regions). This particular region definitely opened up to the Western influence, until the British took over the administration of Punjab after the Sikh Wars in 1849. Prior to this, the region saw the incursion of European travellers and scholars, British officers posted in the various stations of the Hillsand French militaries, all of whom had commissioned accomplished paintings or graphic "souvenirs". Whereas traditional handmade papers were still fabricated in Kashmir and Punjab, European imported papers started gradually to be used by Indian masters and scribes to fulfil the aesthetic taste of the Western patrons and to respond to the growing demand of the British administration. The RCMC fellowship allowed me to conduct a preliminary survey on a selection of drawings and explore their materiality. I have also fully used the resources of the RCMC library which holds numerous relevant publications. Hence paper, the physical support of the artworks, has been examined and studied as an ethnographic object, an economic commodity and colonial marker to understand further the artistic, cultural and political upheaval which occurred during this time period. Beyond the material aspect, the intention was also to define the meaning of Indigenous Art Collecting by European intellectual figures, such as Jean-Philippe Vogel for this case.
Image: RV-3025-123/121 studie of local birds, Mughal, Kangra, 1800-1900 ca.
Amélie Couvrat Desvergnes is an independent paper and book conservator in the Netherlands. She is specializing in Islamicate and Persianate paintings and manuscripts and she has conducted several research projects on the materiality of some particular items (techniques and materials of Indian drawings, interleaving materials found in Iranian and Moroccan manuscripts, to name a few).
Carlee will research three sets of objects held by the NMVW. The groups include: late 19th-century wooden tableware pieces that replicate European models; late 19th-century engraved gourds; and finally early 20th-century woven mats from coastal Congo. Her research examines these objects within the context of their production and analyzes them as products made for export to Europe. She seeks to demonstrate how these Congolese artists drew from long-standing historical art forms and highlighted their innovations as they worked with novel materials and reformulated iconographies for new audiences. This project argues that these objects were integrally connected to developing colonial systems, created at a time of major transformations that came with the emergence of the Congo Free State, and later the Belgian Congo
Wooden cup and saucer made for tourists, Congo, before 1885. RV-2668-1983
Carlee Forbes is in the final stages of completing her PhD in Art History at the University of North Carolina, Chapel Hill. She is currently a Curatorial Fellow at the Fowler Museum at the University of California, Los Angeles. At the Fowler, she is part of a collaborative project using combined curatorial and conservation methodologies to explore the African material from the museum's Sir Henry Wellcome collection. The project seeks to examine questions of provenance, collection histories, patronage, and materiality.
Sara Guagnini | Memory, affects, emotion, desires, imagination and creativity in the Anthropocene: learning from a more-than-human participatory project in the Tropenmuseum in Amsterdam.
I am using the archives of the Tropenmuseum in Amsterdam as a starting point to develop a transdisciplinary and participative action approach to the studies of the so-called Anthropocene - the era of man as destructive force - which combines a criticism of colonial legacies in the way the natural and Earth sciences produce and disseminate knowledge about environmental challenges with current debates on the use of memory, affects, emotions, desires, imagination and creativity as resources in empirical research. Particularly, I draw on participative, feminist and creative methodologies to design a series of co-creative and cross-cultural dialogues in the ethnographic collections of the Tropenmuseum in Amsterdam. In doing so, I hope to produce a more inclusive and culturally informed ecological knowledge, whilst cultivating non-Eurocentric, anti-racist, anti-ecocide/genocide modes of thought and action in the attempt to connect, and benefit a plurality of voices and bodies within and beyond Europe and institutions such as museums and universities. So far, I have tried to rise to this challenge by exploring the lives of a Buddha's head coming from Borobudur (Central Java, Indonesia) together with a diverse group of 14 participants (among whom also two local villagers from Borobudur); and as well, by shifting my focus from discursive practices to affects, memory, desires, sensory forms of knowledge production and to emotional relations of care, sympathy, empathy, and solidarity.
Buddha's head, Borobudur, ca. 800. TM-A-5947
Sara Guagnini works as a researcher at the intersection of humanity, arts, and social sciences and runs a (temporary) community art space in Amsterdam, called Circe's Circus Nimboscope, where she shapes intimate creative projects around people and communities and hosts co-creative writing circles. At the moment, she is a Research Associate at the Research Center of Material Culture in the Netherlands, where she hopes to further develop her ideas on how colonial archives can be used as starting point to discuss in a more inclusive manner other ways of knowing and shaping our surroundings and to imagine how they should be. In this context, Sara is working on an essay which meditates on the role that colonial archives may have in fostering aid connections between humans and non-humans (ie. places, plants, animals) in a national and transnational global context.
The Reading Material project attempts a step towards decolonising the Tropenmuseum archive by offering speculative voices for archival accessions through literary pairings with textiles held in the collection. The research approach proposes a triangulation of existing textiles with existing literature and new commissioned fiction and poetry. This approach aims to unlock some archival silences by offering speculative rather than definitive voices for archival accessions with limited or partial provenance. Reading Material is interested in testing a playful triangulation between textiles and texts that span material and literary genres as well as geographies and languages. Multiple, rather than singular, voices are sought in an attempt to loosen the archive from a blinkered quest for accuracy through a single definitive historical voice. It is an intentionally eclectic strategy that moves from selected textiles towards literary voices, and from selected literature back into the archive in a search for combinations which do not exclusively privilege either the textile or the text.
A batiked book cover TM-5663-1385
Jessica Hemmings is Professor of Craft & Vice-Prefekt of Research at HDK-Valand, University of Gothenburg, Sweden. She studied Textile Design at the Rhode Island School of Design, graduating with a BFA (Honors) in 1999 and Comparative Literature (Africa/Asia) at the University of London's School of Oriental and African Studies, earning an MA (Distinction) in 2000. Her PhD, awarded by the University of Edinburgh in 2006, is published by kalliope paperbacks under the title Yvonne Vera: The Voice of Cloth (2008). In 2010 she edited a collection of essays titled In the Loop: Knitting Now published by Black Dog and in 2012 edited The Textile Reader (Berg) and wrote Warp & Weft (Bloomsbury). Her editorial and curatorial project, Cultural Threads: transnational textiles today, is a book about postcolonial thinking and contemporary textile practice (Bloomsbury: 2015) and was accompanied by a travelling exhibition Migrations (2015-2017).
www.jessicahemmings.com
Hendrik Freerk Tillema was a Dutch pharmacist, advocate for hygiene and sanitation standards in the Dutch colonies, motor-car enthusiast, city councillor, film pioneer, amateur ethnographer, self-published publicist, who made a fortune in the Dutch East Indies as a wholesale dealer in pure water and whiskey.
His collection of photographs and films produced or collected in the Dutch East Indies archipelago is still considered an essential source of anthropological information. His work has been acquired and therefore institutionalised by several museums and archives (among them Museum Volkenkunde, Eye Filmmuseum, Tropenmuseum).
The project seeks to recompose and blend (hi)stories and trajectories within the processes of production and collection, institutionalisation, departmentalisation or dispersion of the traces of his work(s), trying to bring in voices and objects that eluded or escaped the logic(s) of the archive(s) – from personal memories to advertisement materials – through a methodology informed by an artistic research approach.
Expected outcomes include a performance-lecture, a film-essay, an archival/spatial intervention.
Image: Photographs for an advertisement and "user manual" showing Tillema and his Hygeia water bottles, 1924-1932 (reference number: RV-A440-z-6)
Paoletta Holst is a Dutch artist, editor and architectural historian based in Brussels.
Paolo Patelli is an Italian architect, artist and researcher based in Amsterdam.
Fresco Sam-Sin | Things That Talk
Things—the objects, tools, and artifacts of everyday life—are the material expression of human experience. Without them, we would lose track of what makes us who we are. Things outlast us, and we rely on them to tell our stories when we are gone. Things That Talk is a place for learning the language of objects from the full sweep of human history. It is a durable, living archive of stories about the interconnected world of things. And it invites ongoing collaboration from a diverse range of communities. The platform facilitates storytelling by giving contributors all the basic curation, sequencing, and visual tools they need to narrate an object. And those tools are also evolving.
Fresco is a lecturer of Manchu language and culture at Leiden University, founder and project owner of Manchu studies platforms Manc.hu , Buleku.org and QingMaps.org . Editor in chief of DEBTELIN.nl . Research associate at the Research Center for Material Culture, and a certified scrum Product Owner. Active in sharing and creating innovative pedagogy design for the humanities. He was educated at Leiden University and in Peking (BLCU, Minzu University). Fresco holds an MA in Sinology (2008; Leiden), taught Mandarin Chinese at Leiden University and Dutch high schools. Author of Mandarin textbooks, and the first teacher educator for Mandarin at Leiden University Graduate School of Teaching (ICLON).
Florent Molle | Exhibit the social history of HIV/AIDS
An exhibition on the social history of HIV/AIDS is being prepared at the Mucem, Museum of the Civilizations of Europe and the Mediterranean, to open in 2021. A collection work was carried out in the 2000s, which enabled the constitution of a fund kept in the current "sport & health" section of the Mucem. This corpus consists of banners, leaflets, posters, association magazines, prevention brochures, books, objects related to events, information cards, postcards, t-shirts, audio and video supports, clothes, badges and red ribbons, prevention materials, but also medicines, photographs and works of art, collected mainly from numerous associations fighting against HIV-AIDS but also from individuals or institutions in almost all European and Mediterranean countries.
The theoretical construction of the project is led by a driving committee made up of researchers in the human sciences (anthropology and sociology), specialising in the theme of HIV-AIDS, and a monitoring committee made up of people concerned, in different capacities, by the disease. Without being able to fully reflect the diversity of the target populations, nor the singularity of the struggles in Europe and the Mediterranean, this community committee - whose composition may vary according to the meetings - forms a "source community" for the museum and this project in particular.
The aim of the project is to encourage this collaboration between academics, museum professionals and local experts. The proposed research project aims as much at the preparation and implementation of this exhibition as at its critical questioning. What is the nature and modalities of the various commitments in the exhibition's heritage activity? What tools are available in curatorial practices to carry out the work with the "source communities"?
The ambition of my collaboration with the Nationaal Museum van Wereldculturen is to meet museum professionals working with this notion of "source community". I would like to carry out observations and interviews in order to be able to understand the working method developed at the NMVW and to compare it with what the Mucem organises.
Dutch memorial quilt for Thai AIDS victims, 1999-2008. 7057-1. Image is protected by copyright.
As Heritage Curator at Mucem, Florent is responsible for collections related to sports and health. In 2017, he curated an exhibition on the social and cultural history of football. Florent is currently working on an exhibition related to HIV/AIDS. He has a background in social and cultural anthropology.
In recent years I have regularly traveled to Togo / Benin with the organization Roots Reconnection group. The purpose of these trips has been to establish and exchange connections between and among: Suriname, West Africa and the Caribbean at different levels (economic, spiritual and cultural etc.), as well as to create a more deep spiritual connection (vodun, winti) to 'decolonize' thought and action. By stigmatizing Vodou and Winti, a real "decolonization" of thinking is impossible. The essence of such traditions is to build community.
During my travels I heard several stories about the water goddess Mami Wata. During my trip in Togo / Benin I met Mami Wata and a Dan priestess. She introduced me to her traditions and ritual customs. One of the rituals is an Ifa oracle, which constitutes a living question and answer conversation with nature.
The water spirit / goddess Mami Wata (mother water) is a complex symbol from Africa with multiple meanings, including a nourishing mother, a sexy woman, the provider of wealth, the healer of physical and mental disorders and the embodiment of dangers and desires, risks and challenges, dreams and ambitions, fears and premonitions. People are attracted by her beauty, prosperity and (financial) happiness but repelled by her potential destructive powers. To win the favor of Mami Wata, one must be clean and fragrant both inside and out.
Often portrayed as a mermaid, a snake charmer, or a combination of both, she and a "school" of related African water spirits all honor the essential, sacred nature of water. In both West Africa and Afro-Caribbean religions, water spirits have played or still play a prominent role. Rivers, lakes and seas were the primary infrastructure for communication, transportation and trade, and they provide fish for daily living. At the same time, these waters were and continue to be threatening and unpredictable. Water held a dominant but ambivalent position in the lives of Africans and Afro-Caribbeans. Water spirits or water goddesses reflect the equivocal aspects of water's power (Stipriaan, 2003).
Such stories about Mami Wata (and water goddesses in other traditions) intrigued me. The collaboration with the RCMC offers me the opportunity to research objects of the NMVW collections, to map the lesser known histories of this material culture and to incorporate this knowledge into the final result of my research. To make my artistic research possible, I will be added to the team as a Research Associate for a year and will be supervised by Wendeline Flores, a curator with expertise in the field of water goddesses.
White skirt as part of the clothing of a Togolese Mami Wata priestess (mamisi), Togo. TM-6495-39
Tania Christina Monteiro is an artist, (yoga) teacher, cultural entrepreneur and traveler. She has a Master's degree in Educational Sciences and has studied at Toneelacademie Maastricht. The combination of art, culture and education is a common thread in Tania's life. She empowers and inspires others through fashion, yoga and theater. In addition, she also is interested in stories related to cultural heritage.
Mirjam Shatanawi | Framing Indonesian Art
This research project focuses on how 'Islam' was collected, categorized and exhibited in Dutch museums, in particular the almost total absence of Indonesia in the narrative of Islamic art history.
The National Museum of World Cultures, comprised of the Tropenmuseum, the Afrika Museum and Museum Volkenkunde has one of the largest and most important collections of art and material culture from Indonesia. Despite this long history, few objects in the collection have been classified as 'Islamic' and there is no terminology to denote 'Indonesian-Islamic' stylistic influences. The situation in other museums with Indonesian collections – be it in Europe or Indonesia itself – is not much different.
The exclusion of Indonesia from the field of Islamic art can be traced back to the late 19th century when Western art historians and museums started to study the artefacts they collected from Muslim regions, and Islamic art as a field of enquiry emerged. Framing Indonesian Art: Colonial Discourse and the Question of Islam will focus on a group of objects from Indonesia, that were collected during the colonial period, as a case study to understand the historical conditions leading to the Western disregard of Indonesian Islamic art and to investigate alternative approaches to the concept of 'Islamic art' in an Indonesian context.
Drs. Mirjam Shatanawi is lecturer at the Reinwardt Academy (Amsterdam University of the Arts). Between 2001 and 2018, she worked as curator at the Tropenmuseum in Amsterdam, the Museum of Ethnology in Leiden and the Wereldmuseum in Rotterdam. She is the author of Islam at the Tropenmuseum (2014). She has curated exhibitions on topics as wide-ranging as contemporary art from Iran, the global Sixties and the artistic encounter of the Dutch artist M.C. Escher with Islamic art.
Johanna Strunge | Coffee, Tobacco and Spices on Display: Colonial goods shops in museums
I am researching the intersections of urban and museum spaces. Taking German port cities as an example, I ask how they were shaped by colonialism and how this reflects upon museums. A special focus hereby lies on the analysis of the forgotten in museums. An object group in the museum's collections has proven to be particularly relevant for these questions: Shops that sold colonial goods such as coffee, tea, tobacco etc. to the population, so-called Kolonialwarenläden (tr. Colonial Goods Shops). Since the middle of the 19th century, they have been an essential and significant part of urban life. Becoming obsolete over the course of the 20th century, some of these shops were translocated to museums. In the process they have found their way into various kinds of museums – ethnological museums, historical museums, district museums and industrial and technical museums. This allows the question of (post-)colonial continuities in museum spaces in a cross-museum view. My previous analysis additionally suggests that the way these shops are presented, often is an exemplary history of forgetting the colonial past.
My stay at the RCMC not only provides me with important impulses for these complicated questions of decolonization of such museum spaces, but it itself has a history related to the topic as the Tropenmuseum started as an institution for exhibiting colonial goods.
Permanent exhibition Haarlem (predecessor of the Tropenmuseum) showing cautchouc, fruits and other food, 1871-1923 https://hdl.handle.net/20.500.11840/exh580
Johanna Strunge is a PhD fellow in the "Exhibiting Knowledge | Knowledge in Exhibitions" research group at Göttingen university (Germany). As part of a cooperation she is part of the Research Center for Material Culture for the academic year 2019/20. Johanna studied history, philosophy and public history with a focus on gender and colonial histories in Berlin (Germany). Most recently, she worked as an associate researcher for an exhibition on Berlins colonial history and was curator of an exhibition about the revolution 1918/19 in the Berlin district Schöneberg.
Daniela Tenenbaum
Daniela Tenenbaum began studying architecture at the Bezalel Academy for Arts and Design in Jerusalem and completed her bachelor's degree with a major in art history and a minor in communication at the Freie Universität, Berlin. During her time in Berlin, Daniela worked in an art gallery for three years as an assistant curator, organizing and curating exhibitions as well as producing events. She is currently completing a master's degree at Utrecht University in the Arts and Society program. Daniela's research focuses on the complex relationship between museums and political and societal engagement. Her thesis centres around the role Rapid Response Collecting can play as a catalyzer for the promotion of notions of democracy and social equality within museums.
My research project is looking at what gets lost when we analyse cultural artefacts within the binary Western understanding of gender. It interrogates museum spaces as sites where established narratives, often based on colonial legacies, are put forward. In regards to gender, cultural artefacts are often taken out of context and based on Western assumptions of gender. This does not account for many societies where gender is recognised beyond a Western male-female binary model. This research looks in particular at the alternative gender identities of Hijra in India and Fa'afafine in Polynesia and discusses the danger of simply 'translating' these identities to Western terms such as 'transgender'. Doing so leads to generalisations of cultures and gender identities. It is that these identities are understood firmly within their cultural context. I use cultural artefacts from both of these societies, both to analyse how gender difference is often overlooked, and also to demonstrate the importance of understanding the complexities of these distinct identities. I also look at how globalisation and Western understandings of 'homosexuality' have impacted these communities over recent years.
Bahuchara Mata, India, 1900-1950. TM-4816-363
Ailish Toal is an Irish MA student. She graduated from University College Dublin in 2017 with a Bachelor's degree in History and Politics. She is currently in the process of completing her Master's degree in Gender Studies at Utrecht University. She was recently an intern with the Research Center for Material Culture where her research focused on gender difference in the non-West.
Alessandra Benedicty-Kokken
Research Coordinator & Senior Researcher


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Wages & salaries for Child care workers in Lawrence, KS ?
The BLS estimates that in Lawrence, KS there were around 680 employed in the field of Child care workers.
Child care workers in Lawrence, KS earned 5% less than average for Child care workers in the United States.
Child care workers in Lawrence, KS earned 46% less than the average worker in Lawrence, KS.
Child care workers in Lawrence, KS earned 49% less than the average worker in Kansas.
Child care workers in Lawrence, KS earned 55% less than the average worker in the United States.


Vehicle manufacturers use sound-deadening material on the floor pans to, you guessed it, deaden sound coming into the interior. Racecars don't need this stuff and it can be a pain to remove.
You are a racer, which means you are a bit nutty. What I mean is you lie in bed at night and obsess over minute details of your car. The front toe setting is 1/32 of an inch off. Your differential fluid viscosity is too thick. The car is one pound too heavy. These are the things that only racers concern themselves with. This month's Toolshed Engineer is going to help you lose that one extra pound that your racecar has, and we are going to do it with … science!
Unless you drive a formula car or a sports racer, most of us race a machine originally designed and manufactured for passenger transportation. That means it has a bunch of stuff that isn't needed for racing around a track, namely sound-deadening material glued to a floor pan. Racecar drivers want their cars loud and light and this gooey, hard-to-remove stuff serves neither of those purposes. So, we want to get rid of this unneeded evil. If you have ever tried to use a putty knife and simply scrape the sound-deadening material off, you have realized that this material is seemingly welded to the floor pan. I've tried everything, elbow grease, chisels, hammers, and it is useless. The stuff simply won't go away.
Most race shops have a torch handy, and you can heat the material up to the point where it becomes a black gummy mess that you can scrape off. You will burn most of your clothes off in the process, make an awfully smelly, smoky mess as you try to get all of this material off of the floor pan. Instead of using fire, you can use ice to solve your problem.
Not just any ice will fix your predicament. It has to be dry ice. Pick up a block of dry ice — a seven pound block costs around $20 — set it on the floor pan and wait a minute. It will cool the sound deadening material to the point where the adhesive is no longer affective. Then grab a big mallet and start pounding on the floor pan. Voila! The vibration of the mallet impact knocks the pesky sound deadening material right off the floor pan in little easy-to-clean-up chunks. Yes, science is awesome!
Be careful though, dry ice is dangerous stuff to work with. If it touches your skin it will burn you, badly because it registers at -109 degrees Fahrenheit. Use large leather welding gloves to handle the material. Once you have the right gloves and a nice big hammer, the process is easy. With one block of dry ice and 10 minutes, I was able to clear out the entire hatchback area out of an Acura Integra. The process is simple — and kind of fun.
Here is some "I-learned-the-hard-way" advice. 1) Use a large-faced mallet as opposed to a smaller metal or woodworking hammer. The dry ice makes the sound deadening material extremely brittle, but it also makes the floor pan brittle too when the temperatures are so low. I actually put a hammer through a floor pan with some overzealous whacking. 2) Before you go crazy making your racecar as light as possible, find out what your minimum class weight is. There is no point in taking away evenly distributed, low-center-of-gravity, safely mounted, weight from a car, just to have to add 10 pounds of weight in another manner to get the car to legal weight. We all want the lightest car possible, but sometimes looking at the bigger picture can save you a bunch of unnecessary work and expense.
When all is said and done and every square inch of sound deadening material is removed from the floor pan, you will be glad to know you have removed about the same weight as a bottle of water. I know, I know, you're a racer and every ounce of weight counts. Plus, you won't be able to sleep at night until every sliver of this stuff is removed from your floor pan. I get it. Sweet dreams and happy pounding. I'll see you at the track.
Here is a pile of all of your hard work, the debris of sound-deadening material removed from the floor pan. If you took the time to weigh all the pieces, trust me, you will be pretty disappointed in the actual weight loss.
Boom! There it is, a job well done. All the unwanted sound-deadening material is vanished. Amazing what science can do.
Be careful with heat. Many times an O.E.M. fuel tank is just below the floor pan you are melting away to get rid of sound-deadening material. You don't want to go boom!
Now that things are cooled down and lost their adhesive attributes, get the BFH and pound away. The pieces of sound deadening material will fly right off the metal. Science is awesome!
If you have all the time in the world and you are a glutton for punishment you can use a scraper and slowly scrape off the material after it is heated. Monotonous and boring. Use science instead.
Dry ice blocks cool the metal and sound-deadening material to a temperature where adhesive doesn't work anymore and the material becomes brittle. Move the pieces around, wait a minute or two and then pound away with a hammer. You can clear an entire trunk in about 5 to 10 minutes.
Leather welding gloves, a hammer and dry ice is all you need to get rid of the sound-deadening material. The gloves are the most important tool for safety. Dry ice will burn you, just like regular heat can burn you. Do not make direct contact with the skin.
Heed the warnings on the dry ice packaging. Yes, this stuff can burn you. Yes, this stuff can suffocate you. And most importantly do not eat it — not that anyone would, but obviously some moron did, which is why there is a warning label on the packaging. Thank you, Darwin.