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Black Lives in American History
Pandemics and COVID-19
Who Owns the Past? Museums and Cultural Heritage Repatriation
Lauren Henry
Eric Michael Rhodes
Sarah Van Beurden, Steven Conn
In November 2018, a report commissioned by French President Emannuel Macron called for artifacts taken to France during the heyday of European imperialism in the nineteenth and twentieth centuries to be returned to Africa, sending shockwaves throughout the museum world. "I cannot accept," said Macron, "that a large part of the cultural heritage of several African countries is in France." The expropriation of material culture has proven controversial in a variety of contexts, from the acquisition of Native American remains by American museums to the complicated provenance of Greek and Roman antiquities held by such major art institutions as the Getty Villa in Los Angeles and New York's Metropolitan Museum of Art. In fact, debates about the rightful ownership of conquered cultural artifacts are almost as old as imperial conquest itself, as evidenced by Cicero's 70 BCE denunciation of the Roman plundering of Greek temples in conquered Sicily.
This month, your History Talk podcast hosts Lauren Henry and Eric Michael Rhodes speak with two experts in material culture and museum studies — Professor Sarah Van Beurden and Origins editor Steven Conn — about how cultural heritage repatriation debates have played out differently around the world, as well as what these debates reveal about the very nature of cultural heritage itself.
To learn more about museums and cultural heritage, check out Putting Race on Display: The National Civil Rights Museum, A Postcard from Warsaw, Poland: POLIN Museum of the History of Polish Jews, and China Dreams and the "Road to Revival" For more information about the history of Congo and Central Africa, check out Dr. Van Beurden's Origins article, A New Congo Crisis?.
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Lauren Henry, Eric Michael Rhodes , "Who Owns the Past? Museums and Cultural Heritage Repatriation" , Origins: Current Events in Historical Perspective
https://origins.osu.edu/historytalk/museums-cultural-heritage-repatriation-restitution-african-art?language_content_entity=en.
Lauren Henry:
Welcome to History Talk, the podcast that brings together experts to discuss current events in historical perspective. My name is Lauren Henry, and I'm here with my cohost, Eric Michael Rhodes. On today's episode, we'll be discussing the debate over the repatriation of objects held by foreign cultural heritage institutions.
Eric Michael Rhodes:
During the 19th and 20th centuries, administrators and academics brought nonWestern artifacts to European and American shores under the banner of imperialism at the outset of the modern colonial era. Napoleon filled his Louve with objects from the new French Empire, ranging from Italy, Egypt. The old adage goes "to the victors go the spoils". However, the expropriation of colonized material culture has always been controversial. Cicero spoke out against his fellow Roman senator Varonns for plundering cultural property of a defeated nation. After Napoleon's defeat at Waterloo in 1815 the Duke of Wellington returned thousands of works of art to Spain, Prussia, Italy, and the Netherlands, claiming that their theft was, quote, contrary the practice of civilized warfare, unquote.
Nevertheless, many museums retain ownership of plundered objects, to this day, 90 to 95% of African cultural heritage, for example, is held by nonAfrican institutions. The New York Times reports that the Musee Quai Branly in Paris alone holds over 70,000 SubSaharan African objects. Last year French President, Emmanuel Macron created a commission to look into the restitution of African artifacts to the continent, claiming that quote, African heritage can't just be in European private collections and museums, end quote. The commission's report released late last year advocates the permanent return of objects seized under European colonization to any postcolonial nation desiring to reclaim their works. Many other institutions, however, from the Berlin forum to the British Museum have been far less sanguine about the precident being set by France. For example, displayed an Italian judicial decision to Getty Villa in Los Angeles stated last month that had no intention of returning the Roman bronze known as victorious youth. So what is at stake in this repatriation debate? And what is the history of cultural heritage repatriation?
To help us sess out these questions, we're very fortunate to be joined by two esteemed scholars. Up first is Dr. Sarah Van Beurden. She is Associate Professor of History and African American and African Studies at The Ohio State University. Dr. Van Beurden's multi-disciplinary work takes both an historical and art historical lens to colonial and post colonial Central Africa. Thanks for joining us from Europe, Sarah.
Dr. Sarah Van Beurden:
Next, we welcome Dr. Steve Conn, the W. E. Smith professor of history from Miami University, where he focuses on American cultural and intellectual history. Dr. Conn is one of the nation's foremost experts on museums, and is also a managing editor of our parent publication Origins: Current Events in Historical perspective. So glad to have you on, Steve.
Dr. Steven Conn:
Thanks for having me, guys. It's great to be here.
So let's start with the very basics. How do we define cultural heritage and what is meant by cultural heritage repatriation?
Cultural heritage, what falls under that definition is a range of things that represents the past and particularly the cultural past. It includes both tangible object and buildings and untangible elements such as languages such as ceremonies such as dance practices, for example. And then the cultural heritage repatriation is used currently in current debates and sort of designate the return of objects to a location or community of origin Repatriation is the more neutral term. The other term that gets used in current debates is restitution which is a lot less neutral than repatriation is also the reason that a lot of European museums like to avoid it. Because restitution implies making up for a past wrong and that past wrong and a lot of these contexts and all of them is colonialism.
In what context then did Western institutions come to hold on to non Western artifacts in the first place?
In my own understanding, cultural artifacts have moved around quite a lot over the centuries, I think you can discover that the Chinese gathered things from the hinterlands of their empire in the early modern period. West African empires also gobbled up things from other cultures as part of warfare and, and conquest. But I think for our purposes, what we're really talking about, and you said this, you hinted at this at the, in the introduction, once the European Imperial project really got underway in the 18th and 19th centuries in a in a big way. That's when the wholesale importation, of these things started to happen to places like London and Paris and Berlin, that goes hand in glove with the development of what we think of as the modern museum. In some sense, the museum, capital M, was created to be the warehouse of all this stuff that was coming in from around the world, we don't really have museums in in the modern sense, the sense we understand today before the 18th century.
We use the term collecting and collection are also terms like repatriation that are selectively neutral, and that actually cover a very wide base of avenues of acquisition and the type of larger acquisitions that Steve also reference that happened the late 19th century and in the 20th century, in the context of empire come via various avenues, via missionaries, via so called explorers and pioneers, often in the context of military exhibitions by colonial official scientific expeditions they bought from art dealers and collection collectors. With few exceptions, we tend to know very, very little about the specifics of the conditions in which these were acquired. What we do know is that particularly in this context of conquest and colonialism, the threat of violence in a large number of these exchanges was probably a factor as was the unequal relationships of power and economic resources. But we shouldn't forget that there was also a certain category of that material that from the 19th century on was made to be sold to museums and collectors. So communities came to realize fairly early on that there was a foreign interest in their material culture, and they responded to this demand. And they responded to this interest by producing material so that that category of objects is certainly also represented in museum collections.
Yeah, and I would I would just also add that well, that's certainly true in Africa, which is Sarah's expertise. I think that kind of a market also began to develop in the United States. In the West, especially among Pueblo Indians groups where they recognize that the textiles and the ceramics had a value, so they started producing them for a market. I would just reiterate and emphasize that this is really muddy. How did these museums acquire this material? It comes through a variety of avenues, all of which tend to be pretty murky, if we try to look into the details of it deeply.
So far, we've heard about statues, textiles, what sort of objects are we talking about when we have these debates? And are there particular types of artifacts that are especially controversial?
Well, in the American context, far and away, the most controversial material is human remains. So it's not even cultural production in that sense that Sarah described it at the outset. It's not the ceramics and the textiles so much as the skeletons and other kinds of physical remains that that these museums, many of them affiliated with universities in the United States as well accumulated especially early in the 20th century.
In the European context, human remains are certainly part of the debates. But the larger focus of the debate is actually on the category of so called authentic arts. So the pieces, often large sculptural pieces that are sort of reconceived as art in the context of these Western museums. And in the context of Western art historical scholarship in the early 19th century,
What is the scope of this situation nowadays, to what extent do Western museums continue to hold objects of cultural import to non Western nations?
A great deal, part of what's at stake here, and Sarah's also just hinted at this is that objects may have resided in a museum for 100 years. But the vocabulary with which we described them, the categories into which we put them have shifted a great deal. And so while the object itself may just still be sitting there, it has meant a variety different things across the decades. And it's in those changing meanings of all of this, that the controversies have erupted. Depending on how you want to begin to define these questions, the problem gets bigger, or it gets smaller, it becomes controversial or not controversial. Again, depending on the fights we're having over the language we use to describe all of this stuff in the first place.
It is certainly true that very big and important collections with some of the oldest material is often in the West at the studies the case for Africa. But I have to create some nuance there. Because Lauren, as you said, the number of 90 to 95% of African cultural heritage being in the West is often thrown around lately. And I believe, actually that that number is exaggerated for one that doesn't take into account the intangible cultural heritage, which of course, still exists in location. And there are also a number of large museum collections on the African continent itself. So the number of 90 to 95% is is likely to be greatly exaggerated in the case of Africa.
But I think it's also fair to say, what we ultimately wind up fighting about in specific examples tends to be what we would all acknowledge are the remarkable, the spectacular, the singular, the unique. Museums are filled to bursting with broken pot shards, from archaeological excavations, small pieces of busted pots that are thousands of years old. Nobody's really fighting over those. What we're really fighting about are those remarkable objects that you would want to go see in a museum in the first place. Those tend to be where these fights erupt.
We should also not forget that museums are important, but there are also very large collections that are in private hands in the west and this material you have a lot less sort of understanding of how large exactly the amount of that material, those collections, are and where they are exactly. So that is also something to take into account.
That's a great point. museums in some ways are on the front lines of this controversy, because they are more transparent in the first place than those private collections are. So that's a great point.
Just to follow up, Steve, if you could maybe talk us through how the parameters of this debate do change based on language. And what are some of the different ways in which these questions have been interpreted and the scope has changed as a result?
When Sarah was describing the variety of ways in which this material comes into Western hands--and it includes adventurers, and colonial administrations and missionaries, missionaries--hugely important in all of this includes the private market, especially for East Asian material, it falls into a variety of categories. Some of this is simply curiosities. Some of this is souvenirs of travel. Some of this is categorized as anthropological or ethnographic material. By the middle of the 20th century, more and more people began to view at least a lot of this material in the category of art. And once it becomes art, then it has a value in an art market that it didn't have, if it was simply a souvenir from a travel adventure. And so I think it's at that moment that the terms of this debate begin to shift. When people see this cultural material now, in the category of fine art, then it has a value that it might not have had previously, let's say, in the 19th century, or even early in the 20th century. In the United States, there's a pivotal moment here, when the Metropolitan Museum of Art, the temple of fine art, opens a gallery of non Western art, the Rockefeller gallery, and that's really symbolically the moment in the United States context, at any rate, where people say, Aha, this isn't just I anthropological curiosities, this is art capital A, that's an important moment in this shift in people's attitudes.
I absolutely agree with that, that it is sort of that shift that has made these objects more valuable as financial resources and as resources in the tourist industry. So that also contributes to the reasons that these objects have sort of become the focus of recent debate added to that is that they're often seen as a representative of a pre colonial past. And, and this last argument, I think, is very important is protection of these objects. And the possession of these objects by Western museums was often used as a justification for colonialism actually. The fact that these populations that these communities and these cultures needed somebody else to protect their material culture for them. And that also connects to the post colonial context, because post colonial regimes then try to sort of reclaim these objects and these collections because they have become the symbol of sovereignty.
So there are two things that are happening simultaneously in the mid 20th century. If we tie some of these threats together. On the one hand, some of this material is moving into the category of art, and therefore we take it more seriously. We, the grand collective we, take it more seriously. At the same time, of course, the European empires are dissolving, and these newly independent post colonial nations are emerging now on to the world stage and now want to demonstrate that their cultures to compete with the Western cultures on these terms of art and artistic production. So these two things happen at the same moment, which sort of leads up to the why the United Nations initially gets involved in some of this in the 60s and 1970s.
Sarah, can you tell us a little bit about the history of repatriation during the 20th century, particularly regarding African artifacts in Europe?
Yes, there's actually very little history of actual repatriation, quite the opposite. But the United Nations and subsidiary UNESCO play an important role into discussions around heritage, particularly in the second half of the 20th century, of course. A convention that is particularly important is UNESCO convention of 1970s, it had a very long title, it was called the Convention on the Means of Prohibiting and Preventing the Import, Export and Transfer of Ownership of Cultural Property. What it really was, was sort of a discussion about the rights of nations to possess their cultural heritage. But there was a very, very important caveat to discussion, even though this discussion has come about because there were so many newly independent countries in the United Nations that were pushing for this discussion. That particular convention of 1970 was actually non-retroactive, which meant that it didn't apply to the colonial period, the period that many of these newly independent countries wanted to discuss. So even though that is a very important convention, it has actually been the opposite of helpful for debates about material that was removed during the colonial period. It is helpful in the context of debates of objects that are removed illegally after 1970. So that it is a strong argument for the return of those objects. UNESCO has established an intergovernmental commission to sort of look at the cases that--where this convention can be applied. But since 1980, when this commission became operational, only six cases have been resolved before the commission. And only one includes an African country, which was Tanzania, which I'll claim for the return of a mask from us with New Zealand in Geneva. And that was a mask stolen in 1984. And it's not returned until 2010, actually.
Sorry, you said six cases since 1980?
Good grief. Thank you. I didn't know that. That's, that's remarkable.
But aside from what the UNESCO has facilitated, there are also bilateral negotiations that have taken place around the subject of cultural artifacts and the return of cultural artifacts. And there have been instances of success. A well-known one is the return of human remains, and particularly those of Sarah Baartman to South Africa. There's also the example of the return of an obelisk from Aksum to Ethiopia from Italy. That was also a case that was debated for a very long time. And it was also a case in which the UNESCO eventually stepped in to help with the negotiations. And there is also the example of 114 objects that were returned from Belgium to their former colony, Congo, which at the time was called Zaire in the late 1970s and early 1980s. The latter sounds like sort of unique events in terms of a return. But if you look at it, in context of the collections of the big African Museum in Belgium, which contains 125,000 objects they estimate, then 114 objects, of course, looks quite different.
The question of remains, I think, is a really nice point to draw in a transatlantic comparison. So, Steve, you mentioned NAGPRA, the Native American Graves Protection and Repatriation Act earlier. I was wondering if you could talk to us about how these debates have played out differently with regards to Native American cultural heritage and American museums?
NAGPRA is a product of the late 1980s and early 1990s, it began to get shaped in Congress in the late 80s, and President George H.W. Bush signed it in 1990, or 91, I can't quite remember which. So NAGPRA does a couple of things, first of all, it applies only to institutions that receive federal funding. So once again, the question of those private collections gets left to the side. Now, it is also the case that virtually every Museum in the United States gets some kind of federal funding one way or another. So effectively, it applies to virtually every Museum in the country. And it sets up a legal process for federally recognized Native American tribes to initiate a repatriation process. And there are a whole set of steps that have to be followed, there are all kinds of paperwork that have to be done when it was passed. I think there was a fair bit of hand wringing on the part of museums, that this was going to create a rush on the museum's that it was going to be kind of a chaos. In fact, in the 25 odd years since it's been enacted, that has been, I think, a remarkably smooth and in some cases, low key, and in other cases, really quite constructive interaction that has taken place between museums and Native American groups. Many American museums with Native American collections, now have somebody on staff designated as the NAGPRA representative so that every time a Native American group wants to explore the question, there's a person on staff there at the museum to do this. The way in which NAGPRA is framed privileges religious claims over everything else. And so what you have to demonstrate if you're a Native American group, is that the object is somehow religiously significant. And that means that again, a lot of those broken pottery shards, nobody's interested in those. What they're interested in is things that have a religious significance. And that's been the bulk of the NAGPRA activity at least as far as I understand it since the Act was passed.
Well, repatriation seems to be gaining momentum in 2019. It's also generated much controversy. Sarah, what are the dividing lines in the repatriation debate?
Well, there are many fault lines but generally speaking, the pro camp points to the need to address the injustices of colonialism and points to the value of having heritage representation accessible for one's own population. You could say that if the return of plundered Nazi arts, if you can justify that, then it becomes difficult to not also justify the return of some of the things that were removed, at least during colonialism. The no camp, the firm no camp, can rationalize a range of our documents. Often they argue that the possession of these collections and these objects in the West is not illegal, because, for example, because there were no laws about these kinds of things in the late 19th century, when some of these objects were removed. That doesn't come til later. Another very common argument is about the scientific value of these collections as they exist. So that means that if we pull these collections apart, then we won't have the added scientific value of being able to look at this material together. A very commonly heard argument is also that conservation is much more secure in Western museum than in African museums, or you sometimes also hear that there are probably no museums in Africa, which is very far from the truth. So there is also the Cosmopolitan argument that says, will you want global audience to have access to this kind of material, it is important that people in the West can go and see this material, because it will help with existence that they feel and was the othering process that happens with regard to, for example, African population. I would like to note that that argument gets used in favor of keeping things in Europe, but it never gets used in favor of creating more universal museums in Africa. So it's also unevenly applied, those arguments are easier to refute than the arguments that points to the complexity of the process of return. For example, who do you return objects to? Do you return them as the French report says to a state? Do you return them to communities of origin that exist within states that are smaller than these states? What do you do if the communities of origin are at war, or in conflict with the state in which they exist? Then who do you return objects to then? Or do you return objects to the descendants of families from whom they were removed? There's a lot of complexity. Some of the debate is much more nuanced. There's a group of people that argue, so yes, return should absolutely be possible. But we should look more closely at the material and decide on the basis of what we know about the material whether something can be returned or not. For example, there is a very clear category of material that is the consequence of documented violent confrontation. And the Benin plunder is a famous example of this, when England plunders the Royal Court of Benin in the late 19th century those objects are the easiest, I think, to discuss what is much more difficult is this much broader category of objects of which we know very little about the provenance we simply don't know very well, where they come from. An important potential criticism is that this is actually a very Eurocentric debate, because it is only able to see these objects as museum objects. And it focuses on this figurative art that is considered to be quote unquote, art with it, they gave the space and while some of these objects might have been discarded by their communities of origin after youth, for example, or would not be objects that are considered as museum objects in the context of return. That doesn't apply to all of them. But it's certainly the case that there might be a heavy dose of Eurocentrist.
Let me pick up on Sarah's point about the trickiness when you actually go from abstract principles to enacting a repatriation on the ground. And so I'm going to pick on my favorite example here, the Metropolitan Museum of Art and the Euphronios crater. The Euphronios crater is a beautiful piece from the ancient world that came into the Met's collection in what everybody acknowledged what sketchy circumstances. The American Museum Association has a set of ethical guidelines that everybody's supposed to sign on to. This started also in the '70s. The Met was always very slow to do this, because a lot of the stuff that it buys, it buys in ways that we might not approve of. So the Italian government had been demanding this back, because the Italian government maintained that it had been looted or purchased illegally, or that the chain of provenance was not adequate, and legal, so back and forth, back and forth. And the Euphronios crater was finally returned to Italy just a few years ago. So though the Italian government has been fighting this for a long time, it only just returned the piece relatively recently. But of course, the irony here is that the Euphronios crater is Greek. It had originally been plundered from Greece by the Romans, and then put in a Roman tomb there. So it's not clear to me why the Italians get it back. Why don't the Greeks get it back if it was originally a Greek piece, which had been plundered by the Romans 2000 years ago, give or take? So this is where I think this problem of who gets it under what circumstance gets really complicated. And what troubles me is that in some sense, it posits that there are these continuities of history that the group of people that produce this object in the mid-19th century is exactly the same as the group of people who now make a claim to it in the early years of the 21st century. And of course, we know that's not really true. The Romans are not the Italians and the Greeks today are not the Greeks of Pericles. I think when we think about how you actually do these repatriations, it gets pretty complicated pretty quick I mentioned before that one of the things that troubles me about NAGPRA, is its privileging of religious claims. And so I have this sense that part of the reason NAGPRA passed at all in an otherwise relatively conservative presidency was precisely because it's part and parcel of the increasingly obtrusive role of religion in public life. When we begin to talk about ownership, it seems to me that we are pretty close to the kinds of trademark fights that go on among big corporations. Who gets to use the Coca-Cola logo? Who gets to use the Ashanti logo? Who gets to use the Navajo logo? It seems to me that turning this material into yet another trade marketable commodity, does damage to that, yes, admittedly cosmopolitan and perhaps even Western notion of a kind of universal commons.
We've talked a lot about the American context and we've also talked a bit about what happened in France with the report that the Macron government commissioned I wondered if we could look a little bit beyond and maybe in questions of how these controversies have taken shape outside of France in the United States. You mentioned Italy for example.
Well you know in some ways the first repatriation controversy maybe the longest enduring is the demand for the Elgin Marbles back. Lord Elgin absconded with those early in the 19th century, put them in the British Museum, and the Greek government has wanted them back for a very long time. When those marbles were taken, of course, there was no Greece, it was part of the Ottoman Empire. So here we are, again, and who owns them, when they were taken off the Acropolis. Part of what makes NAGPRA work is that it is an intra-national process, everything gets exponentially more complicated when we're talking about sovereign nations having these kinds of negotiations. The Chinese government has made demands on American museums for the return of material it claims was pillaged, or otherwise illegally removed from China. The Italian government is going after the Getty. One of the most high profile examples of this is the Peruvian government going after Yale University for the material associated with Hiram Bingham's expedition to Machu Picchu early in the 20th century. So this is an international issue to be sure. But as I said, I think part of what makes the American situation different, and in some ways maybe smoother, is precisely because you don't have to deal with international jurisdiction. It stays in house as it were.
That's a very good explanation of how complicated these things become on the internet national level, because states have to be involved in order to make official claim. The number of official claims that have happened today and in the past is much, much smaller than the contours of the public debate that is taking place today. That doesn't mean that they have not happened to the more successful ones and have often come from smaller Pacific communities, from indigenous communities in Australia, for example, from smaller Pacific Islands. Indonesia, for example, has made successful claims against the Dutch claims. There have been official demands from African nations as well, but a lot less. That the idea of claims for restitution knows a very long history. And these claims often go back to even before independence. And that was certainly the case in the history that I know best, which is the Windsor restitution that came from Congo, that asked for museum collections in Belgium. That debate is going even before Congo becomes independent. And in the context of Congo's, independence, Congo asks for the resources of its nation. A very important part of that world, the very famous mines in the Katanga regions, the diamond mines, the gold mines, and the uranium mines, of course, the copper mines. But in the same breath, they also asked for these museum collections in Tervuren, because just like the economic resources, these were seen as cultural resources for the construction of a sovereign nation, and these demands come back again and again and again. It is also the case with the the Benin Bronzes that were taken from the Kingdom of Benin which today is in Nigeria. The claims on those objects have existed for a very long time as well. There is a history to these claims, and there is a large public debate. But it is true that there have been fairly few official claims in comparison.
So it seems like there's a range of different claims being made by states, both in Africa and in Asia and groups within states, for example, in the case of NAGPRA and Native American groups. Has there been a range of responses to these claims internationally? Are there some states that are better off or more willing to countenance repatriation than others?
Yes, I would say that there is a good range of responses. The most well-known one, of course, comes from France were Macron in addressing, I believe it was an audience of university students in Ouagadougou, in Burkina Faso, said that African heritage should be returned to African nations. And as a follow up to that, he ordered a report on this from two academics: Felwine Sarr, who's a Senegalese economist, and Benedicte Savoy, who's a French art historian who actually works in Berlin, and they wrote this report that has to become a manifesto for the return of all the material that was removed during colonialism. I think that is sort of the more quote unquote, progressive response that we see in Europe at the moment. Germany, where this debate has been taking place for the last 10 years is more careful. And in Germany, people are more united around the idea that this material is shared heritage, and that we should develop ways of circulating this material without necessarily changing the ownership of the material. So ways of sharing that material, I think that concept of shared heritage can be a little bit dangerous, because the reality on the ground is that this material is not shared at all. The term shared heritage hides that a little bit, if you will. The debate in Belgium on the other hand, and takes place in different contexts as well. In Belgium, the African diaspora is a very important part of this debate, and is actually pushing a lot of this debate. Although the government has now, with the Minister of Foreign Affairs, as well as the director of the large African museum in Belgium have now both said that they do believe that conversation around restitution should happen. But I think the largest response has come from France. And actually, in response to that report, new claims for restitution are starting to be made by former French colonies. So I think that that is the situation where things might evolve the quickest.
If we were to look at what the Soviet Union took out of Eastern Europe during and in the wake of the Second World War out of private collections, but also even out of national museums in places like Poland and Hungary and whatnot, I don't think the Soviet Union, now Russia, has been particularly forthcoming about any of that. So while we talk, you mentioned a moment ago, Lauren, the question of looted Nazi art, we've talked a lot less about things that were looted by the Soviet Union. And that may be another frontier in this conversation in the coming decades, depending on the politics that go on in Russia.
And I think what's interesting there, again, is that we have this in the same way that the Metropolitan Museum repatriated something to Italy that had then been looted from Greece, I know that for example, Priam's Treasure which is the famous collection that the Soviet Union took out of Berlin in 1945, was itself the product of an archaeological dig in Turkey. And I believe that those materials are still with the exception of some which were returned to East Germany, I think in the 1960s are being held, I think, as collateral in a very sort of interesting debate about restitution for the losses that the Soviet Union suffered during the Second World War.
Sometimes, of course, these claims are a way of actually addressing--and actually often I think these claims are a way of addressing which larger problems, right, problems of inequality, particularly in the African European case today,
Well, and that's what makes me also a little uncomfortable about repatriation, I'd like more clarity about why we need to do this. Sarah, you started off by making this distinction between repatriation, which has a kind of neutral valence, and the word restitution which obviously implies repayment. And Lauren just mentioned that this is the way the Soviet Union at least initially viewed what it was taking back as a kind of payment for all of its pain and suffering. I think in the end, if we think of cultural material as somehow making up for the sins of the past, we're asking that stuff to do too much. If what we really need to do is think about the politics and the economics of developing nations and nations that suffered under colonialism, then we should talk about politics and economics. But I think what I worry about is that culture becomes a proxy for these essentially political debates that we therefore aren't really having. And I don't want us to somehow put the burden on Benin Bronzes or on Priam's Treasure treasure to do political work that's necessary. If those Benin Bronzes wind up back in Nigeria, nothing about the lives of Nigerians is going to change.
I think it's right to be critical of that question from that point of view. It is certainly legitimate to ask the question, why did Macron bring this up at this point. Why is discussion being steered into direction of debates about cultural heritage, instead of talking about immigration politics, for example? There's obviously something thing going on here, we certainly have a right to be critical of the emergence of this debate at this time. However, that being said, I do think that certain acts of restitution can have a real effect on bilateral relationship. So I do think that saying, okay, there are political reasons for this debate to be coming up right now. And to be saying, This is incredibly complex, let's not talk about it. Those are not reasons enough, for me, at least personally, not to have the discussion and not to have to debate because it is also a way of talking about different things. And I say this, of course, as a Belgian, it is a way I believe that we need to have this debate in Belgium, because we don't talk enough about decolonization and we don't talk enough about the colonial past. So I think it is a debate that is very important for Africa. But it is very important for Europe as well and it is important to have it and if we have it in the context of cultural heritage, but it might have some effect upon African European relationships, and that, again, might then reverberate in other contexts as well come in political and economic context.
Sarah, you write about these issues in the Congo. How do African governments invoke moral and political justifications to call for repatriation? How have they done so in your research?
Well, in my research, the demand for restitution at the point of independence, as I said, sort of stands for the broader issues of self representation and a control of resources. And that is also how this demand was formulated in the very beginning later on in the 1970s, with the emergence of the Mobutu regime and its cultural politics of authenticity, which was sort of a resourcing of Zairian society based upon pre colonial cultures in that context, that demand for resources and cultural resources, is of course, also formulated in the context of National Cultural politics to construct that sovereignty with.
And I would add to that for Native American groups NAGPRA has been also a way to assert sovereignty in a very complicated legal web. NAGPRA, becomes part and parcel with tribal police forces and tribal health systems and all sorts of other things where by individual native groups are trying to reassert their in a sense national sovereignty as against the sovereignty of the United States.
How has the international art market affected questions of repatriation
Art markets have played in the past and still play a considerable role. It is crucial in determining the financial value of these objects is crucial in determining what objects are considered to be art and what objects are considered to be ethnographic artifacts. For example, there is an artist circle and anthropological input as well, but the art market is still very much part of that world as well.
In as far as the art market in total has just exploded over the last, I don't know, call it quarter century as one percenter money has poured into the art market that necessarily has driven up the prices for the kinds of materials that we're talking about, even as people are paying hundreds of millions of dollars for Leonardo as well.
I'd like to ask the both of you, what is the difference between heritage and history, and to what extent is culture bound up in objects?
History is bound up in objects at two levels, the first of which has to do with what the object represents about the moment in which it was created. And that's usually what anthropologists and our historians are interested in discerning. What does this tell us about a moment in time when this particular thing, whatever the thing is, was produced? But I think one of the things that we've been really talking about here is that second level of history. What happens to the object after it gets produced and what are its travels what are the ebbs and flows of its meaning and its value, both monetary and otherwise? And the biographies of these objects are themselves really quite interesting and often quite complicated.
I would absolutely agree with that. And that is something that I sometimes find missing in exhibitions on African objects is the fact that these objects have accumulated multiple meanings in multiple contexts at this point. And that it is that the history of accumulation and the way in which these different meanings of use in an initial context, meanings as a trade object, meanings as a museum object, meanings as an art object, meanings as a sort of scientific specimen, if you will. That large range of meanings needs to be exposed more, I think, in order for us to not only understand the cultures that these objects come from, but also understand sort of the travel that they have made these objects.
Yeah, I got to tell one story. I'm sorry about this, because it's about my daughter. And she's really cute. I first started thinking about this years ago when I was in a museum in Philadelphia with my then about six year old daughter, and we were looking at the Egyptian mummies and the information that you get, and I'm trying to be tedious and pedantic and explaining this to her is about the, the dynasty and the this and of that, and how old this thing is. And she looked up at me, and she said, but what's it doing in Philadelphia? And that question, which is kind of obviously brilliant, right, because it does have some very interesting backstory that the museum was not telling me that explained how this Egyptian thing got buried, dug up and then wound up in Philadelphia, right? And, and every museum object has that kind of a story and I think those are the things that we we need to explore more thoroughly.
Well, I think that's a perfect place to wrap it up for this month. Thank you to both of our guests Dr. Sarah Van Beurden and Steve Conn.
This episode of History Talk was brought to you by Origins: Current Events in Historical Perspective, an online publication of the public history initiative, the Goldberg Center and the history department at The Ohio State University in Columbus and Miami University, in Oxford, Ohio. Our main editors are David Steigerwald, Steven Conn and Nicholas Breyfogle. Our audio and technical advisor is Paul Kotheimer. Our audio producers and hosts are Lauren Henry and Eric Michael Rhodes. Song and band information can be found on our website. You can find our podcasts and more on our website Origins.osu.edu on iTunes, Stitcher, SoundCloud, as well as wherever else you get your podcasts and as always, you can find us on Twitter @OriginsOSU and @HistoryTalkPod. Thanks for listening.
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The Best Historical Anime
Home > Blog > The Best Historical Anime
Many people know that the most important events in the history of humankind are presented in many films and books. However, not all cinephiles know that there are anime series on historical subjects. Here is the historical anime list that will interest even the most demanding film critics.
This cartoon series represents the USA in the 20s of the 20th century. New York is the center of the main action. Cartoon makers were able to recreate the atmosphere of that time. You will see gangsters, exquisite ladies, retro cars, casinos, gangster clashes and much more interesting things in this anime.
The mystical name of this anime immediately prompts the audience to the idea that the action takes place in London. The cartoon depicts the period of the Victorian era. One of the main characters of the anime has his own business for the production of toys and lives a normal life.
However, once he learns that his butler is a demon who is called upon to protect his house by any means. Do not expect to see the exact reproduction of the atmosphere of the Victorian era in this series. For example, the main character has a chainsaw, which is not consistent with the period presented in the anime.
The Last Vampire
This anime tells the story of the Japan-Vietnam War. The main character is a teenage girl who at first glance is no different from her peers.
However, in fact, she is a vampire and a spy. The cartoon shows a lot of cruel and bloody scenes. This is a kind of mixture of horror and fiction.
Gji Wu Gen
The king of the northern lands of Van refuses to submit to the will of the Gods, thereby incurring their anger on his people. Wu Gen is the son of the rebel king. Wang comes to the aid of his old friend and rival Qi Yu, the legendary sword master. If King Van fights for his people, seeking to overthrow the gods, then the swordsman fights only to protect the queen with whom he is in love.
Intrigue in the Bakumatsu
Anime actions take place in Tokyo, Japan. The girl meets a mysterious man who gives her a pocket watch. They look unusual, but behave even more strangely – they always show one direction, as if pointing the way somewhere. As a result, the girl comes to the temple of Toria.
Suddenly the temple transfers her from the present to the period of Bakumatsu. Being in an era where values are completely different from the values of her time, she wants to go back to her home as soon as possible.
The Emperor's Strategy
Born in an imperial family, Chu Yuan weighs in every step, fearing to lose everything because of his own negligence. He ascended to the throne at the age of eighteen, and six months later, civil unrest began in Yunnan Province. Although not all the courtiers showed unanimity, they waited for the new emperor to cope with this situation. The emperor had not yet managed to undertake anything. Duan Bai Yue led the troops to quell the rebellion. In the dim light of the moon, Chu Yuan put a wax seal on a secret letter and sent it over 800 miles to Yunnan.
The pen pressed so hard on the paper that the outlines of the letters were visible on the back. One could understand how angry the young emperor was when he was writing those lines.
Young Ye Xing Yun, after the departure of his teacher, becomes the new leader of the great Tianyuan clan. New opportunities force Ye Xing Yun to step on a dangerous path, but tactics, strategic thinking and the help of experts are excellent tools for solving problems and revenge.
The Age of Valor
Toyotomi Hideyoshi is about to unite the provinces into one state. He wants to capture the castle of Odovar, which is defended by Udziyasu Hojo, known as "Leo Sagami." Generals trained by Hideyoshi himself (Ishida Mitsunari, Kato Kiyomasa, Fukushima Masanori, Ootani Yitsitsugi, Sima Sakon and Nao Kantsugu) participate in the battle. Among the warriors, there are two people, for whom the capture of the castle is of particular importance. These are brothers Nobuyuki and Yukimura from the Sanada clan. Yukimura bravely rushes into the thick of battle. His brother does not lag behind.
Blazing Night Raid
China, 1931. The KMT with the support of the United States seized power and moved the capital to Nanjing. The Communists and a number of military leaders do not agree with this alignment; a sluggish civil war is raging in the country; the strangest unions and alliances appear and die. Japan, of course, could not stay away from these events, but the difficult situation in the Yamato land precluded direct intervention.
Therefore, the Japanese authorities entrusted the actions in Shanghai to unofficial structures, including the secret organization Sakurai. The combat part of the organization consists of four agents with unique abilities: a telepath and aristocrat Yukina, who came to China in search of her older brother, her servant Natsume, who possesses super-sharp vision, a hereditary samurai Kazura, who owns the gift of teleportation, and telekinetic Aoy. These fighters of the invisible front "solve questions" day after day in favor of the Land of the Rising Sun.
London is divided into the east and west by a large wall. The girls serve as secret spies, enrolled in queen Mayfair's prestigious school. Girls use their individual abilities to remain active in the underworld of disguise, espionage, penetration and car chases.
The action of the "Rose of Versailles" takes place in the second half of the 18th century in pre-revolutionary France. General de Jaré has no heir. The desire to raise a son who will continue his paternal military career turns out to be so strong that the general calls his last daughter Oscar-Francois and raises him as a boy. When Oscar turns 14, her father presents her to the king – not as a shy debutant, but as a contender for the title of the commander of the Queen's personal guard. Oscar achieves this high rank and becomes the bodyguard of the young Marie-Antoinette.
Mai Mai Miracle
Japan, 1955. The quiet town of Hofu is surrounded by rice fields; life flows slowly and steadily. However, the 9-year-old Cinco Aoki, the leader of the local children, never feels bored. After all, there are so many mysterious and interesting things around! She learned that once their city was the capital of Suo, from where it was within easy reach of Kyoto, the ancient imperial capital, by the Inland Sea. A thousand years ago, the daughter of the governor lived in a house by the sea. The anime tells about the world of childhood, which is so pure, naive and simple, and which has no boundaries. You can make friends with a strange visitor from Tokyo and with a princess from the distant past.
Everything is possible, as long as there is the strength of the spirit and imagination. Cinco and her friends touch this thousand-year magic. Watch this good historical anime to plunge into the atmosphere of a miracle.
Croisee in a Foreign Labyrinth
Paris, the last quarter of the 19th century. Wars and revolutions have died down for a long time; the barricades of the Commune remained in the recent past. France is still a world power, and its capital is the center of European culture. Oscar Claudel is a merchant and traveler. He brought a young girl Yune from Japan, and she began working in his store. Very soon, Yune settled into a new house and began to bring benefits, not only helping with the housework but also attracting visitors with her exotic look. The young master gradually learns to appreciate the young assistant, who, as it turns out, understands much more than he says. As always, problems are not at all in the language gap, problems are usually in our heads, in honesty with ourselves and with each other.
How Do Manga and American Comics Differ?Manga And Anime: Two Different But So Close Kinds of Japanese Entertainment

redpajama_set_name: RedPajamaCommonCrawl


A settlement from the Volkswagen emissions scandal could help reshape the state's fleet, on the water, on the road, and in the air.
New findings of higher mercury levels in some Oklahoma lakes are unlikely to affect tourism and fishing in those areas, business leaders said Monday.
It started with road workers damaging a septic system. It ended with sewage pooling in a ditch.
Shannon Grimes, the Dover High School principal and district superintendent, got rid of dozens of expired chemicals Monday, thanks to a new grant the Oklahoma Department of Environmental Quality offers.
The Oklahoma Department of Environmental Quality's Land Reclamation Program helps small towns remove dilapidated buildings and repurpose the material on farmland or around town.
A measure that would have protected dedicated cleanup money in the Oklahoma Department of Environmental Quality's revolving fund didn't make it out of committee.
Oklahoma may be the first state in the nation to give the oil and gas industry permission to take advantage of reclaimed water from wastewater treatment plants. The move would let drillers tap a resource that otherwise flows downstream.
As a severe drought persists across the western U.S., more cities are looking for water in unexpected places. What used to be discharged into rivers and streams has become vitally important to meet drinking water needs. Municipalities are considering water reuse, a decision driven both by treatment costs and dwindling surface water supply.
In a landfill outside Pauls Valley, something smelled bad, but it wasn't the garbage. Waste Corp. was operating an oil-field waste recycling facility close to its landfill. The venture is unique, and it was operating without the proper permits.
Tagged with: Department of Environmental Quality DEQ Fenton ROod Sarah Terry-Cobo Tim Baker Waste Corp.


More showers expected this evening across PEI.
Saturday, October 13th 9:20am.. The system that has plagued the island over the past few days has finally shifted east with some clearing expected this morning. The clearing won't last long as another weak system is expected to move across the Maritimes later this evening and overnight with some cloud and chance of showers. A large area of high pressure will give lots of sunshine to the island tomorrow as it passes south of NS. Clouds will once again be o the increase on Monday as a strong area of low pressure approaches from Hudson's Bay. This system is expected to move into the northern Gulf of St Lawrence Tuesday morning as a strong fall storm accompanied by wind and a cold rain. Clearing will begin on Tuesday afternoon as this system pulls away but cold NW winds will prevail. A weak ridge of high pressure may offer up some sunshine on Wednesday morning/afternoon. More cloud and showers Wednesday into Thursday as a cold front sweeps though. Could see the showers change over to flurries by early Thursday morning as the front moves east and the colder air moves in. Weak high pressure looks to give some sunshine on Friday.
Precipitation.. Chance of a few showers this evening as that weak system goes through. Dry for tomorrow into early Monday but can't rule out an afternoon hit/miss shower in the cool unstable air. Rain begins Monday late afternoon/early evening ending near dawn on Tuesday morning giving about 10 mms. Brief dry spell Tuesday afternoon-Wednesday afternoon. Rain begins Wednesday afternoon tapering to showers near midnight. These showers may then change over to flurries by Thursday morning then continue as showers or flurries/snow/ice pellets through the remainder of the day. Dry on Friday.
Temperatures.. Basically below normal for this period except for a brief warm-up back to normal Monday afternoon-evening then Friday-Saturday of next week. Normals for this time of year are highs 12, lows 4.
Wind.. Light west today increasing to light-brisk NW tomorrow then shifting to SW Monday afternoon. Winds then shift back to brisk-strong westerly on Tuesday. Light-brisk SW winds on Wednesday becoming NW on Thursday.
Hazards.. Wet driving conditions in showers this evening and Monday night. Could be quite windy Tuesday afternoon which may cause some bridge restrictions.


Future Energy: a Technologist, a Climate Scientist and an Artist Walk Into a Bar… was a moderated panel and live broadcast hosted by CORE, the Community Office for Resource Efficiency, at the Aspen Center for Physics. CORE executive director Mona Newton asked the questions, assisted by suggestions from the live audience. Panelists included Bryan Hannegan of Holy Cross Energy, Roger Pulwarty of NOAA-Boulder, and environmental artist Sarah Uhl. Due to Internet dropouts, about ten minutes of the middle of the event were not broadcast. That section has been removed from this archive.


Real Racing 3 MOD Apk + Data [MEGA Hacks + Unlimited money] 6.0.0 Android Raching game Download by ELECTRONIC ARTS.
Real Racing 3 MOD APK RR3 MOD APK is a Racer simulation from EA Games.Since its launched game has been downloaded Billions of times from play store and other download sources.and New updates are coming on regular basis it does mean that game is constantly getting more daily players.
Real racing 3 MOD APK . this new update comes with new tracks,Chat system,new cars and super-cars. One of the serious racing game by EA (Electronic Arts) is amazingly well made Racing Simulator. High resolution graphics and smooth gameplay is the key to success and pretty much its been success for this game since long. More updates more excitements. and this game is getting updates every 2 weeks. Big updates are the remarks of smash hit games. Its a freemium game so of course you have to keep yourself ready to grind yourself playing same levels again and again unless you pay for the cars. Premium Cars and freeium cars. Super Bowl device and the big game is loading one thing which is sese fairly have to download so you'd have to wait for maybe half an hour for the game to download and every time started up have. very nice interesting cars used to them chewed them tweet damn it's a fun experience were really am for two hours we spent with this game already and we just a few minutes it will be time coming out Sol dog race complete some once you complete this Quick Race, whenever you crash into someone or anywhere you have to repair your car and takes time for example if you want to revered to the brakes it will take probably five minutes and 10 minutes in this case C zone. goldmine level on beautifully detailed models from the cars reflections and everything.
How to Install Real Racing 3: folder from the archive to unpack in / sdcard / All Android / data / – should get so /sdcard/Android/data/com.ea.games.r3_row/ – decompressed cache size 781 MB – install apk, run the game !


text:
The Man of Steel: Reinventing Jesus?
By Stratford Caldecott|2016-02-14T16:01:05-06:00June 21st, 2013|Categories: Communio, Film, Stratford Caldecott, Superheroes, Superman|
Striking poses in a church is not Superman's usual schtick, but here he is in his own comic (4 June 2004) startling a priest by turning up for…a sort of confession. He is still wearing the classic costume, which was later redesigned for the "New 52" and the spectacular MAN OF STEEL, recently released. But why is it that Hollywood–and DC itself–keeps going back to the origins of Superman and reinventing him every few years? There is something archetypal here. Superman was the invention of two New York Jews. An answer to Nietzsche, some say; or an answer to the refugee's experience of being an outsider in American society. The new movie makes much of Superman as a "saviour" for mankind, sent by his father to "save them all."
Superman is the most consistently "moral" hero in the DC universe. The contrast with Batman is often made. The Man of Steel never lies, never kills the innocent–nor even the guilty, except super-villains in the defence of Earth. He is not a vigilante, or a soldier; more a policeman. He is always willing to sacrifice himself for others. He is just as heroic when stripped of his superpowers, as happens from time to time. In the comic series he has died and been reborn (it's complicated). In the frame below the words in the little yellow boxes read "Superman–save me." Superman is rushing across the universe to answer a plea for help that turns out to come from another DC hero, Green Lantern. The director of the new film, Zack Snyder, was reluctant to modify this "saviour" aspect of the Man of Steel. "I think as soon as you start to work on him it's going to be muddy and weird. There's a pure thing inside of the Superman character."
In the 2013 Man of Steel movie, Henry Cavill does a wonderful job of representing this purity and goodness in the person of Clark Kent/ Kal-El. He even stops by a church seeking the advice of a priest. He hands himself over to General Zod in hope of saving mankind. But there is more. His father has imprinted the genetic "codex" of his entire people into the cells of his body, so in a sense Kal is an Adam figure–a "universal man". By serving as a hero on earth, he is redeeming Krypton. And we learn that Krypton was destroyed through some kind of sin against natural law: its "core was destabilized" after it had turned to artificial reproduction. Kal was the first natural birth for centuries, a symbol of the ancient and natural way of doing things. Instead of being programmed, his father believed that he should be free to make his own destiny.
The salvation Superman offers is, of course, nothing like that offered by Jesus. Superman can only rescue us from physical danger, or from some evil dictator. We are all going to die eventually: the question is what happens then. Jesus died on the Cross so that by joining ourselves to him we could journey through our own deaths to resurrection in him. And that resurrection is not simply a spiritual state but a new body, a body similar to the one he showed the Apostles, capable of appearing anywhere, impervious to harm, no longer subject even to the law of gravity, a body akin, in some ways, to that of Superman himself. Superman's job is to remind us of what we can become.
Books related to the topic of this article may be found in The Imaginative Conservative Bookstore. Published here by the gracious permission of the author, this post originally appeared in (Beauty in Education or The Economy Project, etc depending on the source).
About the Author: Stratford Caldecott
Stratford Caldecott (1953-2014) was a Senior Contributor to The Imaginative Conservative. He was the editor of the Humanum Review, and co-editor of Second Spring. He authored Beauty for Truth's Sake, Beauty in the Word, All Things Made New, The Power of the Ring, The Seven Sacraments, Not as the World Gives: The Way of Creative Justice and The Radiance of Being. Dr. Caldecott was also a Research Fellow at St. Benet's Hall, Oxford.
Moral Realism in Christmas Fantasy: "The Family Man"
Netflix's "The Crown": Diana, the Poor Little Princess
The Prophets of Risky Business
It's a Wonderful Sports Entertainment Life: "Fighting With My Family"
"Raphael Revealed": His Life and Influence
Peter Strzelecki Rieth Jun 21, 2013 at 8:31 am - Reply
A delightful topic (comics), though I must say I was never much of a Superman fan. In fact, I was never a DC fan. I love detective stories, so DC let me down as they weren't exactly producing Raymond Chandler level stories. Truth be told, I always found Marvel Comics superior. Superman was too super, not enough man. The premise promised boredom and predictability as far as I was concerned.
My favorite superheroes (beyond Bob Budyansky and Simon Furman's renditions of the Transformers) were always the dual personalities of David Bruce Banner and the Incredible Hulk as portrayee by the late great Bill Bixby and the still laudable Lou Ferigno.
Everything about that show was perfect, including the solemn soundtrack.
Finally, I still believe that Doug Murray's the 'Nam is one of the finest comic portrayals of the Vietnam war to date.
I guess my tastes are decidely "Human, all to human"
Mark Cole Jun 22, 2013 at 11:43 am - Reply
"Superman was too super, not enough man."
Man of Steel actually deals with this. It seems to me that the makers of this movie pull out much of the drama that is inherent in the premises, but never explored in the comics or previous movies.
Mark Cole Jun 22, 2013 at 8:28 am - Reply
Man of Steel is a great movie. The parallels to Christ are more than the author notes. Basically, they can't help themselves. They know man needs a Saviour….and funny enough, when man comes up with one, he looks more and more like Jesus.
base Jun 29, 2013 at 3:30 am - Reply
Exactly! Not all heroes are like Jesus (ex. Batman, still my favorite) but yes, many "saviour's" are Christ like for a reason. And i don't think all heroes should be interpreted as Jesus. But in this case, in this movie, Man of Steel is totally a Jesus parallel.
Matthew Anger Jun 26, 2013 at 7:40 pm - Reply
Thank you for an interesting commentary. Though I was of the generation "raised" on the 1978 Superman, I'll give the new movie a try. Actually I was raised on the 1950s George Reeves version, in TV re-runs in the early 70s. I think it spoiled me. Antiheroes and ambivalent heroes never appealed to me as a youngster. In middle age I can appreciate some of the nuances more, but I think Prof. Caldecott is right to point out the importance of Superman's "purity."
Brendan F Kelly Aug 17, 2013 at 5:45 pm - Reply
I think you are reading to much into this. Superman is the most moral of the D.C. heros because the story line demands he be. Even though Batman is known to carry a small amount of Kryptonite in his utility belt "just in case', Superman is, for all intents and purposes, unstopable. Should he develop a Dark Side (as Batman did in "The Dark Knight") he will rapidly become an all powerful dictator. (This story line has been delt with on occasion in the D.C. Universe).
The powers given to Superman over the years make him invulnerable, unrestrainable, and unprosecutable. No court, military force, or law on Earth could stop him. He has absolute power. Should he start to use that power for himself, you will have Lord Acton writing the script, and nobody wants to see THAT movie.
So, in order to keep Superman a hero, he HAS to be a straight arrow Boy Scout type. Logic demands it. The storyline demands it.


"A beachfront boutique resort on the Mediterranean with the character of a classic whitewashed Andalusian village. Personal service and elegance is assured amid our bloom and bird-filled subtropical gardens, which flourish here year round in Southern Spain's generous climate. Finca Santa Margarita was bought in the 1940s by Prince Alfonso de Hohenlohe-Langenburg and it became so popular with visitors that he turned it into the Marbella Club in the 1950s. Today it feels as much of a retreat as when Prince Max (Prince Alfonso's father) fell for the sea-facing farmhouse here, just under a century ago. All guestrooms and elegant suites for luxury accommodation in Marbella are set in the jasmine-scented subtropical gardens so lovingly enhanced by the Prince himself. Spaces include a furnished outdoor terrace overlooking the glorious gardens or views out to sea. The restaurants in Marbella Club are refined yet relaxed. World-class food and drink. The freshest flavours and highest-quality ingredients from the talented chef Juan Gálvez who carefully creates all of the fine restaurants' menus. You can also enjoy the Thalasso Spa, the magnificent golf-course, only 20 minutes from the hotel in an area of natural beauty, the Tennis court, the gym, the Marbella Club Equestrian Centre, the Beach Club and the Botanical Gardens."
An old farmhouse that charmed a prince and became one of the most exclusive resorts where you can stay and relax.


The Hugo transitional wall sconce by Hudson Valley features a mesh cylinder shade on an angled arm, in aged brass finish.
Transitional-inspired, the Hugo wall sconce by Hudson Valley is sleek and meticulously composed for effortless sophistication. A square backplate and slim angled arm in an aged brass finish establish a chic vertical profile, balanced with a cylinder mesh shade in a geometric pattern. A white glass shade beneath diffuses interior lamping, for elegantly ambient light play. The Hugo is high style that blends seamlessly with design traditions from mid-century to modern.
White glass and metal shade.
Part of the Hugo collection by Hudson Valley.
Maximum 40 watt or equivalent candelabra base bulb (not included).
Backplate is 5" high, 2 1/2" wide.
Hudson Valley Lighting's Downing contemporary two-light glass wall sconce has opal glass shadesaged brass detailsand a heart silhouette.
An exposed filament bulbaged brass detailsand soft rectangle shape come together to create Hudson Valley Lighting's Gibbs contemporary one-light wall sconce.
Hudson Valley's Glover wall sconce includes thoughtful design details like a pull chaina lithe necka down-cast opal glass shadeand an aged brass finish.


text:
package com.kotcrab.vis.editor.entity;

import com.artemis.Component;
import com.kotcrab.vis.runtime.util.annotation.VisTag;

/** @author Kotcrab */
public class PixelsPerUnitComponent extends Component {
	@VisTag(0) public final float pixelsPerUnits;
	@VisTag(1) public final float scale;

	public PixelsPerUnitComponent (float pixelsPerUnit) {
		this.pixelsPerUnits = pixelsPerUnit;
		this.scale = 1f / pixelsPerUnit;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: Why msync() doesn't change the st_mtime of file I have a question when I use msync. Thank you very much for your help!
In brief, I mmap file A, and modify it, and the msync, but the st_mtime doesn't change. even munmap file A and exit the process, the st_mtime is also unchanged.
The following is the code.
int main() {
    const char *file_name = "txt";
    int ret = -1;
    int fd = open(file_name, O_RDWR, 0666);
    if (fd < 0) {
        printf("FATAL, Fail to open file[%s]\n", file_name);
        return -1;
    }
    struct stat st;
    fstat(fd, &st);
    void * buffer = mmap(NULL, st.st_size,
                    PROT_READ | PROT_WRITE,
                    MAP_SHARED, fd, 0);
    if (MAP_FAILED == buffer) {
        printf("FATAL, Fail to mmap, file[%s], size[%d]\n",
            file_name, st.st_size);
        return -1;
    }
    printf("m_time[%d]\n", st.st_mtime);
    for (int i=0; i<10;i++) {
        int *ptr = (int *)buffer;
        printf("%d\n", *ptr);
        *ptr += 1;
        sleep(1);
        ret = msync(buffer, st.st_size, MS_ASYNC);
        if (0 != ret) {
            printf("FATAL, Fail to msync, file[%s], size[%d]\n",
                file_name, st.st_size);
            return -1;
        }
        fstat(fd, &st);
        printf("m_time[%d]\n", st.st_mtime);
    }
    ret = munmap(buffer, st.st_size);
    if (0 != ret) {
        printf("FATAL, Fail to munmap, file[%s], size[%d]\n",
            file_name, st.st_size);
        return -1;
    }
    fstat(fd, &st);
    printf("m_time[%d]\n", st.st_mtime);
    fsync(fd);
    fstat(fd, &st);
    printf("m_time[%d]\n", st.st_mtime);
    return 0;
}

A: The relevant excerpt of the mmap manpage is:

The st_ctime and st_mtime field for a file mapped with PROT_WRITE and MAP_SHARED will be updated after a write to the mapped region, and before a subsequent msync(2) with the MS_SYNC or MS_ASYNC flag, if one occurs.

That means that, in your program, st_mtime might be updated anytime between the line which reads
*ptr += 1`

and and the line which reads
ret = msync(buffer, st.st_size, MS_ASYNC);

Your sleep(1) is in between those lines, which means that by the time the sleep occurs, the st_mtime might have already been modified. So when you fstat the file a second time, you might be getting the same value as when you statted it the first time, just because not enough time has elapsed.
Try putting your sleep(1) before the *ptr += 1. This should guarantee that at least one second elapses between the original fstat and the update to the st_mtime.

A: Looks like a fix is on the way.
http://thread.gmane.org/gmane.linux.kernel/1549524/focus=55700

redpajama_set_name: RedPajamaStackExchange


text:
Local Status: Abundant and fairly widespread resident.
Flight time: One generation, Aug-Sep.
Foodplant: Grasses.
Number of records 8200 1480 1622 2163 691
Number of individuals 72991 3538 4625 6991 2193
Unique positions 144 122 161 160 46
Unique locations 149 112 155 165 42
Adult records 8159 1455 1562 2092 682
For the county, we have a total of 14156 records from 623 sites. First recorded in 1883.
© Terry Box
© Paul Holmes, Aug 2009
© Alan Draper
Sutton & Beaumont, 1989: Widely distributed and common on grassy areas in all five vice-counties, including upland areas where it can be one of the commonest moths.
2012 (CHF): Common and widespread in grassy places all over the county. Numbers are stable in most areas. It was extremely common at Spurn in the 1990s when large numbers were trapped eg 550 on 15.8.1991 though it has declined significantly in this area since 2000.


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Lady is a very pretty 3 year old dog who lives in my neighbourhood. She is a Kokoni - a small domestic breed known in Greece since antiquity (images of this breed of dog can be found on ancient pottery, friezes etc).
Lady was given to my neighbour a year or so ago and they have become inseparable.
Despite her small size, she is a tough, fearless little dog. She shares her home with 2 large dogs, and still seems to call the shots! She also plays chasing my (much bigger) dog around the field in our neighbourhood.
Most days, Lady goes for walks around the neighbourhood in central Larnaca. There are several patches of grassy wasteland where she has a run around off leash. Other, longer walks in Larnaca include the promenade at Palm Beach (Finikoudes) and the picnic area by the Salt Lake (Aliki) near the mosque of Hala Sultan Teke.
They also go to another area around the Salt Lake - Patticheio - which is closer to the town centre (see map). Here you can follow pathways through the woods and park land, down to the lake. Quite a few dog walkers can be found in this area at evenings and weekends. In the winter months look out for migratory flamingos on the lake.
For days out further afield, Lady and my neighbours sometimes visit the villages surrounding Larnaca, such as Mazotos. They collect the wild greens (χόρτα) that grow in the fields there, while Lady gets to run around and explore new areas. So, everyone gets to spend their day out doing things they like!


text:
Greenstein & Milbauer, LLP Files Lawsuit Against MercyFirst Under New York's Child Victims Act
Greenstein & Milbauer, LLP
NEW YORK, Jan. 22, 2020 /PRNewswire/ -- Greenstein & Milbauer, LLP, a law firm based in New York City, has filed a lawsuit in Nassau County Supreme Court (900067/2019), alleging that from approximately 2003-2015, Sayad Madar, repeatedly sexually abused a child resident at MercyFirst located at 525 Convent Road, Syosset, NY.
The suit alleges that throughout the period in which the abuse occurred, Defendant MercyFirst negligently employed, supervised and retained employees who were predisposed to child sexual abuse, including Sayad Madar, and gave them regular access to vulnerable children. MercyFirst's negligence provided Sayad Madar multiple opportunities to sexually abuse the child resident mentioned in the case.
This lawsuit was filed under New York's Child Victims Act which allows innocent victims of child sexual abuse, like this adult survivor, the opportunity to seek compensation and hold their perpetrators accountable. Prior to the enactment of the Child Victims Act last year, the statute of limitations had already expired for this and other child sex abuse victims.
GREENSTEIN & MILBAUER, LLP IS OFFERING FREE CONSULATIONS
If you have information about child sexual abuse at Mercy First, or you were sexually abused at MercyFirst, contact Greenstein & Milbauer LLP by calling 1-800-VICTIM2 (1-800-842-8462). The call is free.
The compassionate New York Child Sexual Abuse Lawyers at Greenstein & Milbauer, LLP are there to listen. They understand that coming forward is very difficult. They can help. They will walk you through the process. They are committed to holding abusers and institutions like MercyFirst. The call is free. The consultation is free. You don't pay them unless they are successful.
http://www.nycLawFirm.com
Rob Greenstein
1-800-VICTIM2 (1-800-842-8462)
SOURCE Greenstein & Milbauer, LLP


Choose two Mains: Guava-smoked Lamb Ribs (gf), Kiawe-smoked Cauliflower (vg), Guava-smoked Pork Shoulder(gf), Karaage Fried Chicken (gf), Crispy Tempeh (vg) or Crispy Tofu (vg)(gf). Comes with Hawaiian Sweet Bread roll. Choose two Sides: Mac Salad (v), Togarashi Tots (vg)(gf), Mini Gem Salad (v)(gf), Coleslaw (v)(gf), White Rice (vg)(gf), or Seasonal Pickles (vg)(gf).


Let me begin with full disclosure - I didn't see everything on Rachael Ray's Seattle list (from $40 a day and Tasty Travels) but I did see a few things. Not on Rachael's list is the photo at left of the original Starbucks logo. A bare breasted mermaid! How scandalous!
We were only in town for a couple days, so we tried to make the most of it. When we arrived in town, it was raining (surprise) and we decided to venture out anyways and find a good cup of coffee. So, our first stop was on Rachael's list, Cafe Ladro, which my Frommer's Guide recommended too as a local's favorite for coffee. The latte was like a work of art, with a little fern design in the milk on top and it tasted darn good. Rachael gets credit for this pick.
The next day, we headed out early and went to Pike's Place Market, where we got coffee at the first Starbucks, pictured above. We then walked to Pioneer square where we made our second stop from Rachael's list: the Elliott Bay Book Company. If you are a book lover, this is a must see. It is in the historic Pioneer neighborhood and is like a rabbit warren with several levels and creaky wooden floors. It is a book lover's paradise. Again, good pick Rachael!
We walked all over the place and went home exhausted. But we rallied and headed to Elysian Brewing Company after dinner. I tried the Avatar Jasmine IPA, one of their seasonal brews, and it was outstanding, with just a hint of jasmine. The bar itself was also cool, with a diverse group of people, excellent music and a laid back atmosphere. It seemed like a neighborhood hang out, so I felt like we got a real taste of what Seattle is like.
Back on to the Rachael Ray picks, the next day we drove around the University of Washington to check out the amazing architecture and we headed to the Agua Verde Cafe, recommended by both Rachael and my Frommer's guide. The place was packed for lunch, but we were lucky enough to get a table with a view of Lake Washington. I had the Carnitas tacos, which have "all-natural shredded pork, cabbage with onions and cilantro." As Rachael would say, they were yum-o. My husband had the Carne tacos, which have "all-natural flank steak sautéed with chiles & onions, cotija cheese." For $6.50 you get three tacos and chips. What a deal. Again, good job Rachael.
So, through this trip I learned that Rachael really does know what she is talking about with her travel picks and, as a result, I would rely on them again on future trips. Go enjoy Seattle!
Other photos taken by me!


Our project will focus on conserving data relevant to the experience of migration and being a Pole in the UK.
Following the 2004 EU enlargement the UK saw a new wave of Polish migrants. Estimates suggest that their numbers reach ca 1 million. This big influx of Polish migration is new sociological and cultural process in the UK. It drew attention from media, but unfortunately predominantly in negative way, presenting new migrants as cheap, unskilled labour force which may be an threat to the British economy; the everyday experiences or identities of individuals were hardly considered or documented. Our project will focus on presenting polish heritage and culture; how the new communities are being formed.
Another aspect of our heritage is the long history of polish migration to the UK; we would like to present this aspect, showing long tradition and contribution Poles made to the British society. Especially, the history and role of this group was up till now intentionally concealed – in Poland by the communist regime, in the UK – due to the policies of Cold War. Our aim is to retrieve the knowledge about this heritage and to present it to the general public, as well as to put it into a wider context of Polish migrations to the UK.
Thus, the project's overall purpose is to retrieve this diverse and hidden heritage and to promote knowledge of the Polish contribution to the British society and history. We also hope to emphasize the common experience of being a Polish migrant in the UK, as well as to bring the old and the new migrants together by creating a space to share their personal histories both with each other and with the British society. We want to present this diverse heritage to a wider public, strengthening integration by offering a learning opportunity for whole communities.


text:
Yubico report reveals troubling password behaviour
Yubico, the provider of hardware authentication security keys, has released th results of the company's 2019 State of Password and Authentication Security Behaviours Report, conducted by the Ponemon Institute.
The Ponemon Institute surveyed 1,761 IT and IT security practitioners in the United States, United Kingdom, Germany and France, although the results have global implications.
Yubico states that the purpose of this study is to understand the beliefs and behaviours surrounding password management and authentication practices for individuals both in the workplace and at home.
It adds that the goal was to understand if these beliefs and behaviours align, and why or why not.
The conclusion is that despite the increasing concern regarding privacy and protection online and a greater understanding of the best security practices, individuals and businesses are still falling short.
Both parties are in dire need of solutions that will offer both added security and convenience.
"For decades, passwords have been the primary method of authentication used to protect data and accounts from unauthorised access. However, this multi-country research illustrates the difficulties associated with proper password hygiene," says Yubico founder and CEO Stina Ehrensvard.
"With every new password breach that we see, it's become increasingly clear that new security approaches are needed to help individuals manage and protect their accounts both personally and professionally."
Key findings from this research include:
63% of respondents say they have become more concerned about the privacy and security of their personal data over the past two years. Respondents reported being most concerned with Social Security number or citizen ID, payment account details and health information.
The reason respondents reported being more concerned about their privacy was due to government surveillance (59%), and the growing use of mobile devices (51%) and connected devices (40%).
Almost half of the respondents (47%) say their companies are most concerned about protecting customer information and 45% of respondents say they are most concerned about protecting employee information.
As cyber attacks become more prevalent, vulnerabilities created by poor password and authentication practices lead to attacks such as phishing. More than half of respondents (51%) say they have experienced a phishing attack in their personal life, while 44% of respondents have experienced a phishing attack at work.
However, while phishing attacks are occurring on a frequent basis, 57% of respondents who have experienced a phishing attack have not changed their password behaviours.
Approximately two out of three respondents (69%) admit to sharing passwords with their colleagues in the workplace to access accounts and more than half of respondents (51%) reuse an average of five passwords across their business and/or personal accounts.
Furthermore, added protection beyond a username and password, in the form of two-factor authentication, is not widely used. 67% of respondents do not use any form of two-factor authentication in their personal life and 55% of respondents do not use it at work.
It is increasingly clear that new security approaches are needed to help individuals manage and protect their passwords both personally and professionally. On average, respondents report having to spend an average of 12.6 minutes each week or 10.9 hours per year entering and/or resetting passwords.
Based on the average headcount in this research of almost 15,000, we estimate the annual cost of productivity and labour loss per company averages $5.2 million annually.
Because managing passwords is inconvenient and cumbersome, 57% of respondents expressed a preference for passwordless logins that protect their identity. 56% of respondents believe that a physical hardware token offers better security.
Beyond the above-listed highlights, the full 2019 State of Password and Authentication Security Behaviours Report delivers further statistics based on the following themes.
How privacy and security concerns affect personal password practices
Risky password practices in the workplace
Authentication and account security in organisations
Differences in password practices and authentication security behaviours by age
Differences in password practices and authentication security behaviours by country
Data for this survey was collected by Ponemon Institute on behalf of Yubico.
Ponemon Institute was responsible for data collection, data analysis and reporting.
Ponemon Institute and Yubico collaborated on the survey questionnaire.
All survey responses were captured from August 20 to September 4, 2018.
NordVPN dives into password management
Only one in four Kiwis trust organisations to protect personal data
Google 'will do better' after G Suite passwords exposed since 2005
Microsoft achieves FIDO2 certification for authentication solution
Ponemon Institute
Yubico
Check Point releases report on public cloud security challenges
Unauthorised access, insecure interfaces, misconfigurations and account hijacking named as the biggest vulnerabilities in the public cloud.More


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Very warm. We got it and a few days later it started snowing so the girls took it out in the snow to test out how it felt. It was able to keep her warm outside for the hour we were outside so it definitely have some quality in it.
Darling jacket and ever so warm. Deliver was quick. We love it!
It fits perfect and is very warm and comfortable.
Generally satisfied with the order and leave a little warmer weather,very comfortable! I loved it! But it arrived to me later so I can't wear it recently. Wish I have ordered it earlier.


Discussion in 'Earlier Versions of Windows' started by IrisheyesB, Feb 5, 2005.
Hi all well my problem is when i start my windows 98 its telling me there a device file missing, from registry System.INI....WOL588.vxd.
It tells me to hit any key to continue,i do this windows 98 starts up but my computer is very slow can anyone help me with this problem .
hmmm, if my memory serves me correctly that happens when you uninstall hardware or software improperly, or add hardware improperly.
Did you significantly modify anything lately on your machine?
WOL588 is this correct? If it is WOL558 you can read info here http://www.computing.net/windows95/wwwboard/forum/19314.html reply no4 seems to be the most popular.


In the pitch dark, I saw a black outlet type strip, laying flat on the ground. Almost of gigantic proportions and the 'ground' was actually the earth. Screwed into this strip were old fashioned lightbulbs. At first they, or many of them were dark and unlit. Eventually they all turned on and began shining their light, one by one.
What I 'saw' was extremely simple, but the message was very deep for me. The lightbulbs are people, here, on earth. We just need to remember that we are like lightbulbs....We Are Meant and Created to Shine. Sometimes we forget.
As more and more around us begin to remember who we are, so will the rest of us.