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Putting a Face on the Illuminati
Some attendees of the 2019 WJC gala: Michael Mirilashvili ($3 billion), Moshe Kantor ($4 billion), Henry Kissinger ($180 million), Ron Lauder ($4 billion), Leonard Lauder ($21 billion), Boris Lozhkin ($500 mill), Baron David de Rothschild & Lord Jacob Rothschild (family net worth estimates range from billions up to $700 trillion.) (Collage by If Americans Knew)
THE WORLD JEWISH CONGRESS GALA BROUGHT OUT THE ZIONIST WING OF THE ILLUMINATI. GEORGE SOROS WAS NOT THERE. HE IS PART OF THE COMMUNIST WING. BUT HE WORKS FOR JACOB ROTHSCHILD WHO WAS THERE, SUGGESTING ROTHSCHILD CONTROLS BOTH COMMUNIST AND ZIONIST WINGS, WHICH CONSIST OF GANGSTERS AND BILLIONAIRES.
MOST ATTENDEES WERE JEWISH EXCEPT FOR A FEW GENTILE GO-FERS.
Billionaires, Russian oligarchs, Ukrainian ambassadors, international financiers, the Rothschilds, and glitterati of all sorts gathered at the 2019 gala for the World Jewish Congress.
The gathering represented unparalleled power & wealth (and not a little corruption)… martialled on behalf of Israel…
World Jewish Congress: Billionaires, Oligarchs, Global Influencers for Israel
by Allison Weir
(henrymakow.com)
The World Jewish Congress (WJC), which calls itself "The Representative Body of over 100 Jewish Communities Worldwide," held its annual gala at the Pierre hotel in New York City on Nov. 6.
It bestowed its annual Theodor Herzl Award (named after Israel's founding father) on former U.S. Ambassador to the UN Nikki Haley for her work on behalf of Israel. Some previous awardees have been Joe Biden and Henry Kissinger.
One of the WJC's main issues is support for Israel. Among its many activities in this realm, it collaborates with the Israeli government to defend Israel from criticisms of its human rights abuses and discriminatory system.
The WJC defines many factual statements about Israel to be "antisemitic," and labels legitimate opposition to Israeli violence and oppression against Palestinians "antisemitism." As a result, its top issue, combating "antisemitism," often consists of efforts to suppress information about Israel's oppression of Palestinians and to combat efforts on behalf of Palestinian human rights.
At one of its recent international conferences to oppose this newly defined "antisemitism," US Special Envoy Elan Carr proclaimed that every law enforcement office and every prosecutorial agency throughout the world must "force everybody who has even a hint of antisemitism to undergo a tolerance program."
GLITTERING GUEST LIST
The Jewish Voice described the recent World Jewish Congress gala in New York:
"It's 6 PM on Wednesday November 6th in New York City and dozens of Secret Service are gathered at the Pierre to protect billionaires, politicians and global influencers at one of the premier evenings of the year."
JV reports that "the illustrious guest list was unparalleled," and provides a lineup that represents extraordinary wealth and power (and, in a number of cases, diverse types of malfeasance).
Baron David de Rothschild, Lord Jacob Rothschild, Ronald Lauder, Robert Kraft at WJC Gala Nov 6, 2019.
JV provided the names of some of the guests, to which are appended their net worths when available (these fluctuate over time) and additional information:
Henry Kissinger (net worth $180 million, former Secretary of State and National Security Advisor under two presidents)
The Rothschilds (estimates of net worth range from $400 billion up to $700 trillion, from the famous Rothschild banking family, more information below)
Robert Kraft ($7 billion net worth, NFL Patriots owner, received Israel's Genesis Prize at a lavish ceremony in Israel, where he pledged $20 million to combating anti-Semitism and the Palestinian-led boycott movement against Israel, charged with two counts of soliciting prostitution in Florida -Boston's WBUR radio reports: "The diamond-studded legal guns representing the 78-year-old New England Patriots owner (one of them a former Epstein lawyer) may save him… " meanwhile, the women are facing up to 15 years in prison.)
Thomas J. Tisch (net worth $121 million, former chancellor of Brown University, son of billionaire Laurence Tisch, former CEO of CBS)
Leonard Lauder ($21 billion net worth, elder son of Estee Lauder)
Judy Glickman Lauder (wife of Leonard Lauder, widow of Louis J. Glickman)
The Safras (of the 'sometimes clandestine' banking dynasty that started over a century ago, Chella Safra is WJC Treasurer)
Ira Rennert (net worth $3 billion, previously, $6 billion, investor, known as a "junk bond billionaire," found guilty of corruption in 2015, placed a mill in Baltimore's outer harbor into bankruptcy, causing more than 2,000 workers to lose their jobs, owes Baltimore $8 million in unpaid city water bills, allegedly used money he looted from his business to build a 29-room mansion & compound – a garage holds 100 cars)
Dick Parsons (former Time Warner CEO, CBS chair, & Citibank chair; in 2012 shareholders filed a lawsuit against Parsons and some other executives for "stuffing their pockets while running the bank into the ground")
Ben Ashkenazy (net worth $4 billion, Israeli American real estate tycoon, a benefactor of the 2015 AIPAC Real Estate Luncheon at New York's Grand Hyatt Hotel)
Jack Chehebar (real estate mogul, sued for alleged breach of contract, accused of beating his son)
Ray Kelly (longest serving commissioner in the history of the New York City Police Department, for a period was an Interpol vice president, charged by Muslim groups of discrimination: "The commissioner oversaw a spying program that targeted Muslims based solely on their religion, showed poor judgment by participating in a virulently anti-Islamic film, and approved a report on terrorism that equated innocuous behavior such as quitting smoking with signs of radicalization.")
OLIGARCHS FROM RUSSIA AND UKRAINE
Also among "the superpower players who descended on the foyer of the Pierre," JV reports, "were numerous oligarchs from Russia, Ambassadors from Ukraine, and dozens of inner circle investors who rarely venture out to weekday galas."
Among the oligarchs at the event was Kazakh Israeli billionaire Alexander Mashkevitch, net worth $3.6 billion. Israel's Ha'aretz newspaper calls him "one of the biggest oligarchs to have emerged from the former Soviet Union." Mashkevitch is alleged to have ties to organized crime in the U.S. and has been accused of a $55 million money-laundering scheme in Belgium. He has also been investigated for organizing a sex party on a luxury yacht in Turkey. (His daughter was also recently charged with fraud.)
COUNTERING PRO PALESTINIAN MOVEMENT
Mashkevitch is president of the Euro-Asian Jewish Congress (a Regional Affiliate of the WJC) and said to be its "most generous philanthropist."
The Times of Israel reports that the EAJC regularly collaborates with Israel's Ministries of Foreign Affairs and of Strategic Affairs and works "to counteract the Boycott, Divest and Sanctions (BDS) movement" (BDS is founded on the principle that "Palestinians are entitled to the same rights as the rest of humanity). …
JV does not name the other oligarchs who attended the gala, but a few of the Russian and Ukrainian oligarchs connected to the WJC are:
* Boris Lozhkin – a WJC vice president (net worth appears to be about $450-500 million, President of the Jewish Confederation of Ukraine, on the board of the EAJC, Lozhkin has been accused of corruption in Ukraine, fired as chief economic advisor to the president of Ukraine last year after allegations of fraudulent financial transactions involving millions of dollars came to light)
* Andrey Adamovsky – WJC vice president (Ukrainian businessman, vice-president of the Jewish Confederation of Ukraine, in 2015 was found guilty of defrauding his former business partners of $34.7 million, and in 2016 he was again found guilty of fraud)
* Michael Mirilashvili – on the WJC Steering Committee (Mirilashvili, net worth $3 billion, has been embroiled in various charges of corruption)
Rep. Peter King (Republican Congressman from New York, member of the Homeland Security Committee and Financial Services Committee, Ranking Member of the Sub-Committee on Emergency Preparedness, served as Chairman of the House Homeland Security Committee in 2005-2006 and again in 2011-2012, notorious for anti-Muslim extremism, over $100,000 in pro-Israel contributions were given to King between 1998 and 2010)
Jason Greenblatt (known as the designer of the Trump peace plan on Israel-Palestine)
Joel Grey (net worth $10 million, actor, presented with the WJC's Teddy Kollek Award, named after the former Israeli mayor of Jerusalem, interview here, Deputy Israeli Consul General in NY)
Israel Nitzan (Deputy Consul General of the Israeli Consulate in New York, largest Israeli mission in the world, coordinates interfaith dialogue and outreach nationally.)
Princess Firyal (married into Jordanian royal family, after the divorce was a longtime companion of New York venture megafund capitalist Lionel Pincus, partner of Eric Warburg of the banking family that began a few centuries ago)
Stanley Chera (real estate developer, a close friend of Donald Trump, raised tens of millions of dollars for his presidential campaign, involved in questionable real estate deal)
Izzy Tapoohi (president and CEO of Birthright Israel Foundation)
Linda Mirels (daughter of South African businessman Nathan Kirsh, who is a major shareholder of an Israeli company that provided technology for Israel's apartheid wall)
Malcolm Hoenlein (executive vice chairman of the Conference of Presidents of Major American Jewish Organizations, which advocates for Israel)
Ze'ev Rubenstein (Israel Bonds vice president, accused of being implicated in Netanyahu corruption case, some analysts have called Israel Bonds "junk bonds" and compared theme to a Ponzi scheme)
Dore Gold (a top Israeli official under Netanyahu & Sharon, born in Connecticut, funded by Sheldon Adelson)
Rabbi Benjamin Goldschmidt (son of the Chief Rabbi of Moscow and the President of the Conference of European Rabbis)
Dr. Ruth Westheimer (sex therapist)
George Klein (a founder of the Congressional Republican Jewish Committee)
Brooke Goldstein (founder of the Lawfare Project, says "there's no such thing as a Palestinian person")
Siggy Flicker (TV personality, Israeli)
Danny Danon (Israeli Ambassador to the U.N.)
Ezra Friedlander (founder of U.S.-Israel Security Alliance, which takes delegations to Israel, CEO of the Friedlander Group, political connector e.g. "NYC's Top Elected Officials Grace Sukkoth Celebration" – video here)
Mark Botnick (assistant to Ron Lauder, former press secretary for New York Mayor Michael Bloomberg)
Michal Grayevsky (senior advisor to Ron Lauder, president of JCS International (JCSI), Lauder's global media company, headquartered in New York)
Justin Hayet (Senior Project Manager, Israel Diaspora Initiatives at the Genesis Philanthropy Group)
Betty Grinstein (wife of founder of Israel's Reut Institute)
Eve Stieglitz (WJC Jewish Diplomatic Corps)
Peter Thoren (works for Leonard Blavatnik – the richest man in the UK in 2015; Blavatnik has numerous connections in Hollywood, is friends with Israeli Prime Minister Benjamin Netanyahu, has been donating to both Republican and Democratic U.S. politicians, including Trump, in June Blavatnik and his wife gave as much money as any other individual donation the Democratic Congressional Campaign Committee has ever received in its entire history; in 2009 he hosted an event for The Atlantic, organized by Editor Jeffrey Goldberg)
Left- Lauder, Haley, Kissinger (Epstein worked for Lauder)
The longtime president of the WJC is multi-billionaire Ronald Lauder, an heir of the Estée Lauder cosmetics company. At the age of 37 Lauder, a Republican fundraiser sought and succeeded in obtaining a position in the Defense Department (Deputy Assistant Secretary for European and NATO affairs), and then an ambassadorship.
Lauder kicked off the gala's speeches by decrying "the rise in antisemitism," giving as an example Bernie Sanders' recent statements calling the situation in Gaza "inhumane" and declaring that some of the $3.8 billion annual U.S. aid to Israel should go to Gaza instead.
Sanders' speech was a reference to the fact that Israel has made Gaza into "the world's largest open air prison." A Norwegian NGO reports: "More than 50 years of occupation and 10 years of the blockade have made the lives of 1.9 million Palestinians living inside the Gaza Strip unbearable. That is why they now are protesting and risking their lives." (Despite these and previous strong criticisms of Israeli actions, Sanders continues to say he is a supporter of Israel.)
In contrast to Lauder's condemnation of Sanders, he lavished praise on this year's WJC Herzl awardee, former U.S. Ambassador to the UN Nikki Haley.
https://www.henrymakow.com/2019/11/putting-a-face-on-the-illumkinati.html
2 comments on "Putting a Face on the Illuminati"
Robert Campbell sr. (@zeitgeist2o12)
You left out the Rockefellers who account for more than 100 trillion in assets and are a driving force behind the anti-white Christian Fruedian/Jesuit Tavistock insitutite of mental warfare using the work of the Jewish Frankfurt school of cultural marxism aimed at the the destruction of white christian western civilization as well.
http://www.conspiracyschool.com/blog/holiness-sin-freud-frankfurt-school-and-kabbalah
http://themillenniumreport.com/2018/12/tavistock-institute-an-ongoing-social-engineering-project-to-mind-control-humanity/
Good observation. It is Henry Makow's article.
This entry was posted on November 29, 2019 by HKW in Uncategorized and tagged Henry Makow PhD, Illuminati, Putting a Face on the Illuminati.
https://wp.me/p4Esvw-7zU
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KUALA TERENGGANU: Previously deserted, Pulau Wan Man, which has thick undergrowth and palm forest and is home to various reptiles, is set to be developed into a "knowledge park".
Those going to Kota Baru, Kelantan, via the Sultan Mahmud Bridge cannot avoid looking at the various structures of Islamic architecture being built on the island.
Being built on the 33ha island, to be known as Islamic Civilisation Park (TTI), are replicas of 21 world renowned Islamic monuments.
They include buildings like the Al Aqsa Mosque (Palestine), Taj Mahal (India), Al Hambra (Spain), Kaylan Tower (Uzbekistan), Kudus Minar (Indonesia), Samarra Mosque (Iraq), Sulayman Complex (Turkey), Shaikh Lotfullah (Iran), Xian Mosque (China), Qol Sharif (Russia) and Qairawan (Tunisia).
Terengganu State Economic Development Corporation general manager Datuk Zakaria Awang said the RM224mil project was scheduled for completion at the end of the year and would be opened to the public next year.
He said the corporation had been entrusted to monitor the project, a brainchild of Prime Minister Datuk Seri Abdullah Ahmad Badawi, which was being undertaken by 34 local contractors.
A joint-venture company, Sanderson Design Group (M) Sdn Bhd, which specialises in construction of theme parks, is the consultant in the design work, he added.
He said the construction of a crystal mosque, to be the landmark of the park, and calligraphy on the monuments would be done by local contractors.
The strategic location of Pulau Wan Man would make the park an attraction to visitors to Terengganu, he added.
Zakaria said the park would also have a convention centre capable of accommodating 2,000 people, a children's playground and a market.
"TTI will also be accessible by land and there will be a train service to the park," he added.


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Trans. Mycol. Soc. Japan 5: 4 (1957)

#### Original name
Pucciniastrum gaultheriae Syd. & P. Syd.

### Remarks
null

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text:
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Carin Tunaker is a PhD student in social anthropology at the University of Kent. Her research examines the conditions and circumstances that contribute toward LGBTQ youth homelessness in East Kent. Carin and the co-director for this project, Prem Konieczny from Porchlight, used participatory film-making as a research tool for this project. Below she explains the process and the outcomes both for the young people and for her own research.
The film was a project by and for young homeless people living in Porchlight's young persons' services in Canterbury and Tonbridge. It follows three young people, Josh, Shaunagh and Michael, through their journeys as homeless youth living in hostels in Kent. In making this film, they wanted to show people that being young and homeless isn't always what you think it might be; they wanted to challenge negative stereotypes of homeless people and show what the 'reality' of homelessness is, for them.
There were never any grandiose intentions for this film project, it simply started out with me, as a Support and Resettlement worker in Porchlight, asking the residents in the project where I worked, to sit down and brainstorm with me about perhaps making a film on homelessness. I had little hope of engagement and excitement about the project, because engaging young people who are going through a traumatic time in their lives in something as time consuming as making a film, seemed a distant and optimistic idea. But after a few false starts, one young person, Shaunagh, who had done a course at college in film, decided she felt confident enough to take the lead and motivate others to join in too. All in all, around 15 young people from Porchlight took part in the process of making this film. There was one simple guideline: the film had to be about homelessness. The rest was up to them.
Young people from Porchlight interviewing passers-by on the streets of Canterbury
After careful consideration, the girls decided that they wanted to make a film about youth homelessness, to show people what it's REALLY like. They often hear homeless people described as rough sleepers, dirty beggars, drug or alcohol misusers and generally a drain of society's resources – descriptions that they felt do not fit them in any shape or form and they wanted to challenge this. So then they had to figure out HOW to make their point. Initially, they thought that just filming different activities and doing a general tour of the hostel would be enough, but it wasn't long before they realised that they needed some hard evidence of people's ignorance and misconceptions. Reluctantly, all agreed that they would need to go into town and ask the general public for their opinions – on film!
We borrowed equipment from the Visual Anthropology programme at the University of Kent, but at first, nobody wanted to touch the camera and nobody wanted to be ON camera, which gave a bleak outlook for the entire project. To take the pressure off, I decided to keep the camera in the hostel's office and told the service users that they could wait until something 'interesting' happened and come and get it when they felt inspired and wanted to use it. Eventually they did take the camera away and returned to me with it full of footage of interviews that they had done with each other on their ideas of youth homelessness. Most was not useable because of issues with sound and/or image, but because they had now broken down the barrier of fear of the camera, the film project could now mature into something that they felt capable of taking ownership of.
Amy performing the music for the opening scenes of 'Homeless Youth'
Week by week, they got more and more confident with the camera and eventually we could have a session talking about HOW to use the camera, what to think about in terms of positioning of the subject, background noise and other technicalities. Keeping the camera on site for 'interesting' moments turned out to be a much better idea than trying to produce interesting moments on demand, so this is how we proceeded. All the service users taking part were dealing with issues of their own during this time period, such as difficult family relationship problems, depression, self-harm, problems in college, trying (and mostly failing) to find work, relationship problems and so on. These, of course, took precedence, so finding 'good' days to film was always a challenge.
Eventually, despite personal fears and inhibitions, a group of our young service users took to the streets of Canterbury and bravely approached strangers to ask them what they thought a homeless person looks like. The replies were shocking and showed exactly the kind of negative stereotypes that they were expecting to hear – and worse! There were comments such as homeless people are dirty, disgusting, smelly, have a lack of personal hygiene, and (a personal favourite), they always have long hair (!). While filming in Canterbury town centre, I started out as the cameraman, since nobody else dared to do it, but after a few of our interviews, confidence grew in the group and eventually everyone had a go at either asking questions or holding the camera.
Film as Method
Screenshot from the film at the first official screening. Josh is talking about what he thought a hostel would be like before he had to live in one himself
Most of the filming was done by the young people, but my colleague Prem Konieczny (who edited the film) and I also did some. I took the camera with me to any activity I did with the service users and rigged it up for some group discussions as well, for which I asked the questions. I had my own agenda for this film project: I wanted to get the service users to engage in meaningful conversations about their ideas of what 'home' is to them, and what 'homelessness' actually means, which in turn would inform my own research into youth homelessness. A lot of the conversations ended up far less serious than intended, with more banter and jokes than thoughtful ideas; breaking through this hurdle of protective chitchat was quite challenging. One of the more successful ideas was to put the questions up on the wall behind the camera and allow the service users to speak freely about them, rather than me probing and asking questions directly to them. This somehow seemed to give them more power over the conversation and removed the teacher/student aspect that can sometimes feel more like an interrogation.
By allowing the service users to be in charge of this project, not only did they get a huge confidence boost themselves and learned a great deal in the process, but it was also a method for me to open different channels of thought and reflection from them, as opposed to normal casual conversations or interviews. As an anthropologist in the hostels, I had spent significant time trying to get them to talk about these concepts in general conversation and interviews, with mixed results. Suddenly, with them in charge of the camera and their own voice, they felt the need to put words to their thoughts in a way that was never necessary in my previous inquisitions as ethnographer and fieldworker. Rouch, in his 1973 essay 'The Camera and Man', couldn't be more right when he said that "The situation is clearly this: the anthropologist has at his disposal the only tool (the participating camera) that offers him the extraordinary possibility of direct communication with the group he studies-the film he has made about them."
Two of the girls that took part in the project 'staging' a game of badminton for the camera in the hostel's garden
I never had any intention for 'true objectivity' or a search for the 'truth' for this film, if ever such a thing existed (Pink outlines this debate well in the introduction to her book Doing Visual Ethnography). As Vertov's concept of the 'cine-eye' dictates, my own intent and actions inevitably shaped this film. However, as Rouch advocated, I did engage in 'audiovisual reciprocity' where the participants were a part of the process, from start to finish: the service users that took part in this project had a say in what the film should show; the participants "staged" the reality that they wanted to portray publicly. In a way, it feels like fulfilling the dream of Jean Rouch, when he said that this type of ethnographic filmmaking will help us make a 'shared anthropology'; "Which is to say, the time of the joint dream of Vertov and Flaherty, of a mechanical cine-eye-ear and of a camera that can so totally participate that it will automatically pass into the hands of those who, until now, have always been in front of the lens. At that point, anthropologists will no longer control the monopoly on observation; their culture and they themselves will be observed and recorded. And it is in that way that ethnographic film will help us to "share" anthropology."
Chelsea and Zach interviewing Shaunagh for the additional footage they felt was missing from the film at editing stage
Once the filming was done, Prem and I started the painstaking process of sieving through hours of footage, much of it unusable, to find the hidden gems – footage of the service users interviewing each other and thinking seriously about their own situations, about homelessness, about being young and living in a hostel, about their potential futures, hopes and dreams. We constructed a rough draft of the clips and invited the service users to the Visual Anthropology lab at the university to watch the draft film and comment. They deemed the film inconclusive, and a bout of new shooting ensued. They had a clear idea of the direction they wanted the film to take, so they constructed interviews with each other targeting the information they felt was missing. This part of the project was truly inspiring, since at this point the service users had really taken charge of their own film and displayed a proud ownership of it.
The young people that joined us in the Visual Anthropology lab had mostly never visited a university and never thought they would ever do so either, and after the end of this some had grown aspirations for taking up study and possibly even continue onto university to pursue a career in filmmaking, grades permitting. Seeds of hope and possibilities were sown and self-esteem grew and blossomed in a way that you could almost see and feel. It all culminated in a cold but sunny afternoon at the UKC campus, where some final shots were done in the UKC campus' labyrinth.
"The the maze totally symbolises everything about this film, about us and what it is we want to say!"
I was a mere bystander while Shaunagh walked through the labyrinth, making her way to the centre, through the maze of paths, filmed by her friends from the hostel. The shot captured the apogee of the film project, where the service users thoughts and realisations met in the middle of the maze, expressed by Chelsea who exclaimed in realisation: "Hey, the maze totally symbolises everything about this film, about us and what it is we want to say!"
Finally we added the music. Porchlight had for some time collaborated with an agency called Rhythmix, who visited our hostels to teach our young people to make their own music. Michael (a.k.a. 'Ike Boi'), who appears in the film as one of the main characters, provided most of the music that he had created together with Rhythmix, and another service user Amy provided the songs for the start and end credits with her own wonderful talent.
The Screening
Carin Tunaker at the screening of 'Homeless Youth' at the University of Kent, November 2014
It took over a year for the film to make its way from the end of filming to the finished product. In that year, our service users moved on, moved out, and quite possibly forgot temporarily about their experiences as filmmakers. Unfortunately some made themselves un-contactable as well (purposefully or un-purposefully), so they missed the opportunity to see the film in its finished form, screened at the Lupino Screening Room at UKC in November 2014. Those who came told us they felt very proud to have taken part in something like this. They spoke of their hopes for futures in the film industry – they want to send the film to the BBC and E4, and some hope to start careers in singing and/or film. In the least they want to pass the buck to other young homeless people now living in Porchlight's hostels, for them to continue with 'Episode Two' of Homeless Youth!
Using art and audiovisual methods with migrants in Spain: an interview with Francesco Bondanini
Siroccosky
Francesco Bondanini, a University of Kent alumnus, uses participatory visual methods to explore and empower the lives of migrants and detainees in Spain and Germany. In the interview about his work below, he describes how the use of visual methods not only enables a greater depth of experience and knowledge, but more importantly, allows people to become involved and benefit from his work in a much more meaningful way.
Tell us about the project you are involved in right now?
I have just finished the first part of a project called "Marcaré" in Melilla. Together with a team we worked in the periphery of the city with vulnerable groups, mostly from Amazigh origin (Berbers). We used art and audiovisuals as a tool to empower people and as a means for them to recover their surroundings. It was a participatory project, in the sense that we worked together with young people and women with the aim to transform the area where they lived.
How and why did you get involved?
Knowing about my PhD, in which I used many art and audiovisual methods, Dr. José Luis Villena, a professor at the University of Granada, believed I could coordinate the project, and the Instituto de las Culturas, a public institution that works on cultural projects in the city, funded it. Together we started collaborating with local NGO Melilla Acoge with whom I had worked during my PhD, with the Red Ciudadana por la Paz, and with neighbourhood associations that made it possible for us to get into these areas.
Filming at the beach during a participatory video workshop
'Marcaré' uses visual methods developed during your PhD: can you tell us about your PhD and how you started to use these techniques?
I studied Communication at the Lumsa University in Rome and I have always been very interested in Social Sciences; once I started my PhD I believed I could use what I learnt at University about photo and video in my anthropological research.
Throughout my PhD I broadly studied the situation of migrants dwelling in a particular place – the so-called European border zone. Specifically, my research focuses on the everyday-lives of migrants living in the CETI (Temporary Permanence Camp, as per its Spanish acronym) in the autonomous city of Melilla, a Spanish enclave in Northern Africa. Through qualitative criteria and analysis, I researched into the way a wide variety of migrants, such as Subsaharan Africans, Algerians, and Asians, rebuild their lives in this border zone. I paid particular attention to migrants' strategies of integration and their structural and social exclusion.
In this research I used a participatory methodology that employs audiovisuals and art. I ran workshops on photo, video, radio and theatre to migrants and then debated the results with them. I also used audiovisual techniques during interviews.
Working in henna during a painting workshop for women
What methods do you use in your current work and how have these developed from those used in your PhD?
During my fieldwork I used a sort of participatory approach with the migrants that were living in the CETI of Melilla. I ran audiovisual workshops; that was also a way to get in touch with migrants. Following these we organized exhibitions of their works, a Seminar and a theatre piece too. The visual work provided a way to create an open climate of opinion about their problems in the city, and a way to make their stories visible to the rest of the citizens. In the new project (Marcaré) I used the experience gained from the projects in my PhD and applied them within a different group and context. I worked with an amazing team, and with a higher level of organization (and a higher budget) we were able to reach more people.
What difference do you think visual methods make?
I believe the use of visuals is a way to make the work accessible to a larger audience. This kind of work sometimes risks not being so "academic" but I believe it helps to make some kind of advocacy. On the other hand, I believe in the approach that is based on the fact that the groups with whom we are working make the visual and artistic products; we often limit our role to coordination of activities only.
What happens to the work produced in this project?
I believe in the importance of showing the works, to prove what has been done and to share peoples' stories and reach a wider audience. I spend a lot of energy preparing exhibitions within the districts of the people in order to show to the other inhabitants their work. These exhibitions are also a way to make visible ideas of transforming the surroundings. We also worked through performances, murals and artistic installations in the districts, and each of these enabled many other people to share and understand.
Any examples?
Young People's Performance: Faces on hanging shirts
We worked a lot in a district called Monte María Cristina. We held three exhibitions of photos made by the young pupils that participated in our workshops. We usually held these in the Neighborhood associations that we had worked in for the original workshops. On one occasion some of the pictures were pasted on the walls of the district. At the opening of another, the pupils performed an "action painting" in front of an improvised audience.
Prisoners painting a mural on their prison walls, 2012
We also painted two of the patios of the prison of the same barrio. The two murals were created and painted by the prisoners. This was the process: we presented our idea (to paint the patio) and told them to think about what they wanted to see in their patio, something they didn't have or couldn't see inside the prison. Karima Soliman, an artist who is part of the team, put together their ideas and sketches and then we moved onto the wall. We spent almost two weeks working with them on the mural, debating ideas and the painting process. This was one of the best experiences of the project; and this is how I conceive the participation approach.
Good stories? Bad stories? Things you would change?
Good stories: Fortunately many. Last week Trini Soler, a technician of the RNE (National Spanish Radio) that also collaborates in "Marcaré", told me that she met a young pupil who had taken part in our radio workshop. The pupil discovered that Estitxu González, another member of the team, was performing a theatre piece and she decided to go. When the young pupil met Trini, she asked her when we would be going back to the Monte to follow up with the workshops, because she had lots of things prepared. We are possibly the first team that is using artistic and audiovisual tools to involve people, especially the younger people in cultural activities in these areas. The fact that the girl went to the performance of my colleague made me think that we are going in the right direction, trying to make culture delve into these barrios.
First night of painting the mural in Pinares
On another occasion, we painted a mural in a park in the Pinares, a zone in another marginal part of the city. When we arrived the park was in a bad condition. We followed the same process as we did in the prison; in this case working with young pupils. They created and painted the mural with the help of Manolo López, a professor at the Schools of Art in Melilla and part of our team as well. We were afraid that the mural would only last a few days before being destroyed, because as they told us, this is what normally happens. Instead, after almost six months the mural persists intact on the wall. The mural was our way to improve the park and give it back to the youth that are living there; to transform it into a space to play.
Bad stories: There are a few anecdotes related to bureaucracy and our relations with the Centre in Granada that was our partner in the project; unfortunately the relation was not so fluid.
I would like to continue with this project. We would like to transform it into a sort of Programme, i.e. something that could be permanent. The team is now working on parallel projects but we would like to start again with "Marcaré" in a few months, so yes, we would like to change into something bigger.
Have you noticed any changes in people through being involved in these visual projects?
Artistic installation in Monte MC: Kids on the wall
Yes. I believe audiovisuals are a way to let people express their feelings. We gave them training and then they were able to express better their need to transform the reality where they are living or improve their quality of life. Audiovisuals and art give people the power to express themselves. We also tried to give them useful feedbacks and suggestions. Once a young student from a public school where we held a photo workshop confessed: "maybe I will not be a professional photographer, but I hope that in the future I will travel all over the world to immortalize every place and moment with my camera".
How has your work changed through the process (academic and none)?
I started using Visual methods because I find it fascinating. Then I started to use participatory methodologies because I felt that the result of the interviews was better if I moved from behind the camera to beside the camera; making the subject feel more comfortable while he could manage the situation better. I believe that in this way I could reach different and better data, more in agreement with the kind of research I do. On the other hand, l believe in the methodology I use, because it gives me the chance to know the world I am studying from the inside; the workshops are a way to get in contact with people and establish relations that eludes from the duality of interviewer-interviewee.
When I started "Marcaré" I felt that I should be surrounded by a team of professionals of audiovisuals and art, for this reason I looked for people with this profile to join the team. As a result, the quality of the workshops and the works produced definitely improved.
What advice would you give to people trying to work in visual methods?
Professor behind the glass: photo of Francesco Bondanini from young people's photography workshop
I would suggest they get in touch and talk with the people with whom they are filming, establishing the way to use visual methods. Sometimes these people feel uncomfortable but we don't understand it. I also suggest trying to collaborate with the interviewee, in this way the work will surely gain something from the experience as well.
And what's next for you?
I have just landed in Cologne (Germany). I will be here until June developing a research project funded by the DAAD (German Academic Exchange Service) at the University of Cologne that involves Spanish migrants living in the city. I will use visual methods and a participatory approach in the research. And as I mentioned before, we hope to take "Marcaré" to the next level in the not too distant future.
Francesco B. Bondanini (interview by Caroline Bennett)
For more info about the project MARCARÉ, visit:
Web (in English): http://marcaremelilla.wordpress.com/in-english/
On Facebook: Marcare Melilla: arte y transformación social
On Twitter: @marcaremelilla
What is visual anthropology? Video compilation of some of our projects
Ever wondered what visual anthropology is all about? What does it include, and what sort of research is conducted by visual anthropologists? We thought you might, so we've put together a short video compiling some of the work from the MA programme at the University of Kent, UK.
The programme teaches students a range of visual techniques to allow students to explore the world of anthropology – techniques ranging from still photography, to digital video making, to social media. With a number of external experts teaching on the course (for example the photographer James Kriszyk, the editor Alan Miller, campaign filmmaker Zoe Broughton to name but three examples), as students on this course we learnt a huge amount, not just about the academic applications of visual anthropology, but also how it can feed into the wider world at large, and ultimately therefore a more publically engaged anthropology. As a result our final projects have ranged from exploring life within a community of people with and without learning disabilities in Kent, to documenting threatened traditional medical systems in Ladakh, to looking at the impacts of their work on human rights workers, and much more besides. But enough from me: watch the video and explore what visual anthropology is all about yourself.
Rehearsing Reality: Land Rights and Culture amongst the Landless in Brazil – Nina Simoes
In her film Rehearsing Reality, Nina Simoes explores the lives and faces of Brazil's Landless Movement and their struggle for land at the point of interaction with Boal's Theatre of the Oppressed, a technique that breaks with the conventions of traditional theatre by transforming passive beings into active participants of a theatrical scene. As part of the Film & Advocacy Series, Nina Simoes participated in a Q&A on the 2nd of February 2011 concerning the above issues.
Arctic Advocacy: A Hugh Brody Retrospective
A retrospective examination of Hugh Brody's life in Film and advocacy. Presented as part of the Film and Advocacy series, hosted by Visual Anthropology at the University of Kent, 26 January 2011.
Film and Advocacy – Hugh Brody – Jan 26 2011
Kicking off the Film and Advocacy series for 2011 was Hugh Brody, with a retrospective look at his career and his work in filmmaking and visual anthropology. Below are some photos from the evening. At some later point, there will be a podcast to download and a film of the event, but this has yet to be edited!
Advocacy & Film Screening – Hugh Brody, posted with vodpod
Techologically Ill wins Hugh Brody Visual Anthropology Prize 2019
Noemie Degiorgis' transformative short documentary, Technologically Ill, won the Hugh Brody Visual Anthropology Prize at this year's visual anthropology screening,…
Resolutionaries 2019
Welcome and thank you for coming. Before the films get up and running I'd like to invite us all…
Invitation to Resolutionaries 2019-Rebel-Recreate-Reclaim
Dear students, friends, alumni and supporters of visual anthropology at Kent, In the year when Extinction Rebellion protests caught…

redpajama_set_name: RedPajamaCommonCrawl


Hundreds of great items on sale up to 70% off retail prices. Choose from folding knives, hunting knives, camping gear, custom knives, combat and tactical gear and much more. Use the left rail to find what you need.


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Dave Cornthwaite Wants You To Say Yes To Adventure
May 01. 2019
We catch up with the adventurer while he's water-biking the Norwegian coastline.
After quitting his job as a graphic designer and heading out for a trip across Australia on a longboard back in 2005, Dave Cornthwaite came up with the Expedition1000: a plan to take on 25 journeys around the world, each using a different form of non-motorised transport – and with a minimum distance of 1,000 miles. So far he's completed 12, including a traverse of the Mississippi River on a stand-up paddleboard, a 1,001-mile swim down the Missouri River and more than 3,000 miles of sailing across the Pacific Ocean. Along the way, he's written three best-selling books, delivered hundreds of lectures, and created life-enhancing brand SayYesMore. And he's still got 13,000 miles to go…
What's the adventure you're most proud of?
I've never been asked this! I guess I never really considered pride as a factor, but I look back fondly at skateboarding across Australia – that was five months of solid work which totally changed my life. Paddleboarding the Mississippi was a lot of fun. I'm currently water-biking the Norwegian coastline and maybe this one, when finished, will be my proudest moment. It's lovely combination of tough and magical.
The biggest physical challenge you've faced?
Swimming the Missouri, hands down. I didn't swim so well when I started…
What was the most dangerous situation you've found yourself in?
There are two. The first, I was hit by a car south of Memphis and ended up 30 metres off the road. Luck got me out of that one. And on this trip around Norway, I've had moments where not coming home is a distinct possibility. It's really important when you're out at sea by yourself that you don't panic, and in two-metre swells with an offshore wind, waiting is not an option. You just have to keep moving and do everything you can to get back to land.
What would you say is the biggest thing you've learned about yourself during your adventures?
Everything! I was clueless when I started. I guess with each adventure I'm still surprised what new challenges and situations there are. Slowly, I'm realising that I'm never really going to be an expert in anything, so maybe that's it. I've been powered by ambition for so long, but now I realise that if that's your drive you can never really be truly happy. So now I'm chilling out.
. Coach
What's the biggest thing you've learned about the world during your adventures?
That people are good. I forget this when I'm in a big town and nobody talks to anyone or knows their neighbour. Then on every adventure, strangers take me into their homes in minutes. People are good and kind, and that's global.
What's the next big challenge you have your eye on?
Well, I'd like to survive this one before looking forward. But kitesurfing the east African coast has been on my mind, and I love the idea of putting on a monofin and swimming 1,000 miles underwater…
What's your advice to an average guy who wants to inject some adventure into their lives?
What the heck are you waiting for? It's not a competition. Just make a decision and do something challenging that means you'll bring home a good story.
Written by Joel Snape for Coach.


Since its founding in 1983 and with the backing of the ASAC Pharåmaceutical Group, Laboratories Atache has always had a clear definition of its mission: ongoing research and the most stringent requirements.
Bernard Cassiere's brand is positioned since 2000 as a real alternative in beauty salons. Launching a hemp hydrating care line (which became its best selling products), the brand has differentiated itself from the more traditional beauty salon's world.
In order to give everyone a sufficient satisfaction in facial treatments performed in the salon, you may also have your own home care skincare line.


Last weekend a friend and I drove up to Adirondacks to get some peak fall colors. We got a bit late for Vermont and New England area .. well mainly because we did not plan. I have never been to Adirondacks and thought this was the perfect time. We started early and drove 5 hrs to Flip Inn ( Feels like I am in Paradise) in Northville. Though there was nothing "Paradise" about the Inn but location wise it was very well placed. It was right at the North tip of Great Sacandaga Lake.
We reached early and after some rest and little planning drove towards Lake Placid and Whiteface Mt. The drive needless to say was awesome, but we could only see the colors in patches. The drive also was a good scouting exercise. We found Lake Pleasant en-route and decided to go there next morning to catch the sunrise. Unfortunately we did not do our research properly, by the time we reached Whiteface Mt entrance it was 5pm and it turns out all these parks operate 9-5. Considering this to be one of the sought after vacation destination we thought they will have the parks open at least till sunset.
We got lucky tho, there was a lake right at the foothill of the Peak, sun was setting and it lit up the colors..
You can see the rest of the images from Adirondacks here ..


saying effay instead of "fa"
i think that means its effay right?
As effay as the day is long.
It has a girl saying sissy on the front.
don't they wear sweater vests and dress pants?
Crewneck? Do you wear it when you're necking the entire crew?


After studying art colleges, Senkichiro Nasaka enters the Kyoto City Painting University: encounters Kazuo Shiraga who is in the same class. Nasaka makes a career switch from Japanese painting to Oil painting in 1960s. It is until in 1965 that Nasaka presents his work to the 15th Gutai Art Echibition and becomes member of Gutai Art Association subsequently. During his Gutai period, there is a great change in the style from tableaux works influenced by Art Informel to hardedge imagery such as light art and kinetic art, which becomes representative style of the later Gutai. At Guggenheim Museum's retrospective exhibition Gutai: Splendid Playground in 2013, Nasaka reproduces his past work made of aluminum tubes, which are running across the whole exhibition space like a scaffold. Nevertheless, the works from his early period of Gutai, characterized by nuanced marriage of various colors are particularly in high demand among collectors.
Ashiya City Museum of Art and History (Hyogo, Japan), The Miyagi Museum of Art (Miyagi, Japan), Karuizawa New Art Museum (Nagano, Japan), etc.


Recently, fellow opensource.com writer Chris Grams remarked that our collection of articles and tips on community-building was getting rather large. Perhaps we had the material to write a set of best practices for building communities. So here's my stab at it.
Rick Warren books are a dime a dozen in used bookstores these days, but beneath all the drivel, the guy had it right. Humans often need a strong sense of purpose and direction in their endeavors.
In "Are you building a community or a club?" Chris Grams explains how communities that lose purpose often turn into exclusive clubs—and why that's a bad thing. "Maslow's hierarchy of (community) needs" offers a community-oriented twist on the human need for self-actualization.
2. Keep your focus on your purpose and your members.
This should be rule #1 for communities developed by businesses. In "Do you aspire to build a brand community or a community brand?" and "Tom Sawyer, whitewashing fences, and building communities online" we learn why businesses often struggle to develop a community—and that people recognize when your "community" is really all about you.
3. Be deliberate in your decisions about a community and its culture.
Ruth Suehle offers concrete examples of deliberate decision-making in "Designing culture: The other community plumbing," and in "Build an authentic, valuable online community," I highlighted some real-life stories that illustrate this need.
4. Find tools and strategies that support communities.
"Open World Forum keynote panel: Challenges of open communities" brought together leaders from OW2, Apache, Eclipse, Open Office, and ForgeRock to share their methods for uniting global communities and overcoming cultural and language barriers.
In "Ben Brown on open source journalism, PeoplePods, and parties" we learn how building a community is like throwing a big party—for better or for worse. He also explains some of the fascinating community-building software he has worked on.
And in "Where design thinking and open source community collaboration meet," Jonathan Opp suggests that design thinkers and open source contributors can learn from each other.
Polly LaBarre's excellent article "We work in public" covers her conversation with Enterprise 2.0 author Andrew McAfee about the changing requirements for business and community leaders. Leadership is no longer about being the smartest guy in the room, Polly tells us, but instead about finding and empowering other smart people.
And with my favorite article title ever, "How to find a community's cheeseheads when they aren't wearing foam hats" explains why you need to find and empower your most passionate fans.
There's no guarantee that anyone can build and sustain a community. But there are certainly elements that most successful communities share, and that's what we've tried to present here. Think we missed something? Disagree? Add your thoughts to the comments below.
... is because it ties together thematically a lot of related content and, sets the context of "community" in very neat terms.
John Poelstra blogged about this some (well, actually, quite a while) back, at http://johnpoelstra.com/2008/02/23/miserable/ by drawing from the 'miserable job' factors. Every community with a purpose also needs to have ways to ensure that the 3 factors of : anonymity, irrelevance and immeasurability are avoided.


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Breck Dumas
DNI declassifies Brennan notes, CIA memo on allegation that Hillary Clinton approved plot to tie Trump to Russia
Brennan's notes were reportedly taken after he briefed Obama on the intel
John Brennan (William B. Plowman/NBC/NBC Newswire/NBCUniversal via Getty Images)
Director of National Intelligence John Ratcliffe has declassified notes taken by former CIA Director John Brennan along with a CIA memo from 2016, citing intelligence claiming Hillary Clinton approved of an alleged plot by her campaign to accuse then-candidate Donald Trump of collusion with Russia in order to distract from her email scandal ahead of the election.
What are the details?
Last week, Ratcliffe wrote a letter informing Senate Judiciary Committee Chairman Lindsey Graham (R-S.C.), "In late July 2016, U.S. intelligence agencies obtained insight into Russian intelligence analysis alleging that U.S. Presidential candidate Hillary Clinton had approved a campaign plan to stir up a scandal against U.S. Presidential candidate Donald Trump by tying him to [Russian President Vladimir] Putin and the Russians' hacking of the Democratic National Committee."
Ratcliffe noted, "The IC does not know the accuracy of this allegation or the extent to which the Russian intelligence analysis may reflect exaggeration or fabrication."
As TheBlaze previously reported:
Ratcliffe went on to say that former Central Intelligence Agency Director John Brennan briefed former President Barack Obama on the claims garnered from Russian intelligence. Those claims were also forwarded to then-FBI Director James Comey and then-Deputy Assistant Director of Counterintelligence Peter Strzok.
On Tuesday, Ratcliffe provided documentation to back up his letter, releasing a heavily redacted CIA memo from September 2016 addressed to Strzok, which describes "an exchange ... discussing U.S. presidential candidate Hillary Clinton's approval of a plan concerning U.S. presidential candidate Donald Trump and Russian hackers hampering U.S. elections as a means of distracting the public from her use of a private email server."
Formal CIA Referral To FBI ... by The Federalist
The DNI also released notes taken by then-CIA Director Brennan showing he jotted, "Cite alleged approval by Hillary Clinton (on 28 July) on proposal from one of her foreign policy advisors to villify (sic) Donald Trump by stirring up a scandal claiming interference by the Russian security service."
Brennan also wrote "any evidence of collaboration between Trump campaign & Russia," in a bullet point next to where he had written "POTUS" in the margin.
According to an exclusive report from Fox News, "A source familiar with the documents explained that Brennan's handwritten notes were taken after briefing [then-President Barack] Obama on the matter."
NEW: declassified @JohnBrennan notes from briefing @BarackObama per @DNI_Ratcliffe "Alleged approved by… https://t.co/QRpFD0dmjK
— Brooke Singman (@Brooke Singman)1602011451.0
The outlet pointed out that much of "the notes are redacted, except in the margins, which reads: 'JC,' 'Denis,' and 'Susan,'" adding, "The notes don't spell out the full names but 'JC' could be referring to then-FBI Director James Comey, 'Susan' could refer to National Security Adviser Susan Rice, and 'Denis' could refer to Obama chief of staff Denis McDonough."
Following Ratcliffe's letter to Graham last week, a Clinton spokesperson called the Russian intelligence claims "baseless bulls**t."
But Ratcliffe told Fox News on Tuesday, "To be clear, this is not Russian disinformation and has not been assessed as such by the Intelligence Community. I'll be briefing Congress on the sensitive sources and methods by which it was obtained in the coming days."


I am a stay-at-home mom. Even though my older girls go to school everyday, I am with them at breakfast and after school. It's not often that I go out, though I do drive them to their after-school and weekend activities, because the littlest one is with me. I have to plan my moves. I'm blessed that my mom stays with us and I can now leave Gianna with her sometimes. We have a Manang and the two older girls can pretty much fend for themselves. Many times, I bring a kid or the kids along when I have a meeting in church on a weekday and King can be bothered. There is strength in numbers, so I feel safer when all 3 or 2 are together at home as opposed to leaving only 1 at home alone with Manang (on the times that my mom is not around). As much as I can help it, I don't stay out long either. In other words, we're together a whole lot.
But, on the rare occasion that I leave without them, they're always chatty when I come back! So chatty, that they fight for my attention. "Mom! Mom! Look at this." "You know what, mom?" "Mom, look what I made." "Mom, look what I can do." "Mom, can I show you something?" "Heeeey, I was talking to mom first." The littlest one now knows to say "Mom! Talk to me." Hahaha. Sometimes they overwhelm me. King jokes that they miss me. We're always together!
But I realize that my children love to talk to me. They want to spend time with me. They enjoy my company. They're not tired of me (yet). Even when I embarrass them (deliberately or accidentally), I know they secretly like it. They laugh at and with me. They want my attention, my affection, and my opinion. The older ones complain when they notice that I leave home like 3 days in a row. It's tiring at times, and the pressure is incredible. But you know what, it's a good thing! My kids not only love me. THEY LIKE ME! They really really like me! Hahahaha.
When Gianna knows I've parked, she already goes to the window and screams for me. "Mommy? Weeeeee mommy's here!" Sometimes she'll say "You're back, mommy? Yay!" She makes my heart smile each time. I think (I hope) she is past her recent phase of wanting me by her side at all times, like she would call me IN A PANIC, once she realizes that I'm not near her. She would cry for me not to go to the bathroom! Anyway, the older girls don't get as excited, but they're always happy to see me too.
Posted by Phoebe Torres-Lucero on July 10, 2017 in Motherhood, My Kids and tagged attention, blessing, children, like, love, motherhood, Phoebe Lucero, phoebesarisaristories.


The Cullinane College Music department focuses on modern Music with particular studies of Jazz, Rock, Artistic Music creation and New Zealand Music History.
Music lessons are available with experienced tutors in guitar and bass guitar, percussion and drums, brass and other instruments when available. The College is also associated with out of school tutors for private practice and exams.
During the College's history our students have been most successful both academically and within the community, winning multiple first placings in local and national competitions such as Rock Quest, Pacifica Beats and Secondary School Jazz Concerts. The Cullinane College Music Department is a proven pathway to tertiary music study with Alumni completing Degrees at Victoria University and other Tertiary Institutions.
The Cullinane College Art Department offers comprehensive courses in Painting, Printmaking, Photography, Audio Visual and Design. Students taking part in these areas have access to a wide range of modern facilities, including a fully operational recording suite.
Alongside these visual media, the College also supports a Drama and Dance Department allowing students to learn the finer points of dance and drama.
Within the Arts, the three departments host Café Concerts and support each other in performance events.
Cullinane College has a very successful Kapa Haka team – Te Ngakau O Te Awa (the heart of the river) which has been the regional Kapa Haka champions for consecutive years since 2006. They are proactive within the wider community and regularly perform to support local organizations and events.
The Maori Performing Arts programme is one of the important aspects of Cullinane College, as it encompasses our special culture, our 'taha Maori'. In this way our students experience our Maori culture in a whanau, family, orientated environment.


Is the heat of summer getting your down? Do you know how some foods might help you cope better?
This is a basic level class appropriate for anyone wanting to learn about a more holistic approach to health and how to use traditional and seasonal foods to improve their health and well-being. This class is offered each season to help nourish your body through that season and prepare for the upcoming season.


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Odessa was attacked by 7 Russian missiles: shopping center burned down in Fontanka, all houses near without windows (video of the moment and photos of the consequences)
Russian troops fired seven missiles at Odessa using aircraft. As a result of the attack, one person died and five others were hospitalized.
This was reported in the operational command "South".
"The racists struck Odessa again with the use of aircraft. Seven missiles were fired into the city. However, the enemy's missile reserves are apparently in the balance, as rare Soviet-style rarities have been launched, which are already disappointing in terms of age," .
Therefore, Russian missiles hit the "extremely dangerous" shopping center and the warehouse of finished consumer goods.
The explosion was so powerful that the windows in the houses flew nearby. Whose windows survived - completely shattered glass.
Photo of the consequences of the night rocket attack on Odessa
Video of explosions in Odessa also appeared on the Internet.
We will remind that on the morning of May 9 the military of the Russian Federation struck on the Odessa region four missiles like "Onyx" from the Bastion complex located in the annexed Crimea. As a result of the shelling in the suburbs of Odessa, private houses were damaged. At a time when rockets were bombing Odessa, Russian President Vladimir Putin laid flowers at the pedestals of heroic cities in Moscow, including Kyiv and Odesa.
On May 8, Russia fired from planes off the coast of Odessa . One missile was shot down by Ukrainian air defense forces, two others hit a residential area and destroyed a recreation area.
Read also: Happy Victory Day: Ukrainian soldiers destroy enemy armored vehicles (Video)
Javelin blew up the occupiers' tank
The aggressor has already lost 26,000 personnel and a total of more than 7,500 weapons in Ukraine


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REVIEW: ALIVE AT THE END OF THE WORLD – SAEED JONES (COFFEE HOUSE PRESS)
…With time, the white boys
with guns will become wounds we won't
quite remember enduring. "How did you
get that scar on your shoulder?" "Oh.
a boy I barely knew was sad once."
From "Alive at the End of the World"
Award-winning poet and memoirist Saeed Jones returns with his second full-length collection, Alive at the End of the World. Jones reaffirms his place as one of the most talented living poets writing in English with this collection, demonstrating an ever-evolving mastery of language and a distinct eye for structural balance. He separates this manuscript into four sections, each one carefully framed by a poem carrying "Alive at the End of the World" and a section of Jones' short fiction piece, "Saeed, or The Other One." Building out the collection in this way continually grounds the poems in each section, reasserting two threads that echo throughout: the pervasive threat of death in a white supremacist state, and the relationship Jones has with his pain.
"Saeed, or The Other One" is visually out of place in the collection, yet the prose is imbued with Jones' poetic voice and the narrative provides vital context for the collection as a whole. In the first entry, an audience member asks Jones why there is so much pain in his work, raising the question of whether or not Jones needs his pain in order to write. Jones responds, "'you've got it all wrong. My pain needs me." Though he is sure the comment is initially a joke, the incident lingers. Over the course of the next three sections of the story, Jones considers and then directly confronts his pain, which eventually manifests as a second Saeed.
What makes this story both powerful and necessary to the collection is that we see Jones candidly and earnestly grappling with something he voices in his memoir, How We Fight for Our Lives, namely the fear that he has, or will, commodify his pain through his writing. Jones resists the pressure to neatly end the narrative, admitting instead, "I didn't know why he needed me, just that he did. And the feeling was mutual. A white man in the audience with a white balloon of a blank stare had asked me about my pain and there it was, an urgent tug in the ether. A call and response inside the church of us."
The repetition of the title "Alive at the End of the World" urges readers to consider what Jones characterizes as the end of the world in each section. The first poem, which precedes the collection proper, centers mass shooting at the prevalence of White male shooters who participate in massacre. The next entry offers Jones preparing a dress to house versions of himself, ending with a stark image of "a man in pain/naked in the middle of the street." The final entry presents the end of the world as a nightclub guarded by "Drag queens with machetes and rhinestoned/machine guns." Together, this series of poems offers a window into self-preservation, each entry bringing the speaker closer to a version of himself that persists in spite of the myriad threats to his existence.
Alive at the End of the World is filled with poems that will stop readers in their tracks. Jones puts his signature wit and humor on full display, as well as his brilliant economy of language. In "That's Not Snow, It's Ash," the speaker dreams that he witnesses his lover being burned alive. Jones ends the poem with a subtle yet searingly ominous admission, "You drink your coffee, pat his thigh/and watch the snow fall outside,/pretending you don't smell smoke./He's fine, you think. We are fine." Another poem, "If You Had an Off Button, I'd Name You 'Off'," offers a spin on the Pinnochio tale, culminating in the realization that "The end of the world/is a boy who doesn't need to be a real boy to grieve like one."
Jones also includes a number of poems which center his mother and her lingering influence on his writing. As with Prelude to a Bruise and How We Fight for Our Lives, Jones is achingly vulnerable in these poems, offering a window into the grief he continues to carry and the unparalleled loss caused by his mother's death. "I've made a home out of how much I miss you/and there's no one here to tell me I should leave," he laments in "Saeed, How Dare You Make Your Mother Into a Prelude." Even the act of moving on becomes painful, evidenced in the closing lines to "Okay, One More Story," as Jones directly addresses his mother: "forgive me—but I'm no longer the son I was/when I lost you, and I'd rather have you dead/than have you in that bed, dying forever."
Alive at the End of the World is, pardon the cliche, a tour de force. Jones includes poems that invoke Black performers, indict white supremacist America and the so-called justice system, invoke and resurrect his mother, and unpack the challenges of self-actualization. Readers will encounter endless turns of phrase and entire poems that echo for days, sometimes for weeks. This is precisely the type of work we have come to expect from Jones, and yet his unique skill with language continues to surprise. It's a book that will undoubtedly garner massive critical attention, but also one that the individual reader will feel compelled to carry with them, to share with friends and loved ones, to sit with alone at the end of the world.
#powerofpoetry america author beauty book review books Button Poetry chapbook death emotion family father fiction God high school lgbtq life literature loss love mother music poem poet poetry Poetry Question poetryquestion portland power power of poetry reading review Saeed Jones sex small press the poetry question thepoetryquestion Top 5 TPQ5 university of hell words write bloody writing


The PyroMini Series is a range of miniature non-contact infrared temperature sensors with separate electronics modules. Options are available for a backlit touchscreen display, high ambient sensing head and expansion slot for a MicroSD card for data logging. The optional touch screen interface provides temperature indication, graphing, sensor configuration and will change colour under alarm conditions. A 2GB MicroSD memory card will store up to 28.4 million readings, which equates to almost 1 year s worth of data at 1 second logging. 4-20mA, RS485 Modbus and alarm relay outputs are available, with temperature ranges from -20 to 1000°C.
When the data logging option is selected the electronics module is fitted with a MicroSD memory card slot. The maximum capacity card is 2GB, which will provide logging for up to 28.4 million readings. The unit will log the following variables: target temperature, sensing head temperature, electronic module temperature, max, min, average, emissivity setting, reflected energy compensation temperature and alarm events. Data is saved in a CSV format. A new folder is created on the memory card for each day that data is logged and a new log file is created every time logging is started. Units are not supplied with a MicroSD Card but cards are available separately.
Note: Smoke, fumes, dust or steam can contaminate the lens and cause errors in temperature measurement. In these types of environment the air purge collar should be used to help keep the lens clean.
PyroMini miniature non-contact infrared temperature sensors with separate electronics modules. Options are available for a backlit touchscreen display, high ambient sensing head, RS485 Modbus output and expansion slot for a MicroSD card for data logging.
6-channel touch screen hub with data logging, for PyroMini -BB, -BRT, and all PyroBus models. With isolated RS485 Modbus master and slave interfaces.
2GB MicroSD Card, for PyroMini -BRT and -CRT, and PM180 models, for storage and transfer of logged data. Includes SD Card adapter.
Extended sensing head cable (-MA models). Standard units are supplied with 1m of cable, max cable length 30m.
Extended sensing head cable, high temperature (-HA and -JA models). Standard units are supplied with 1m of cable, max cable length 30m.
Laser Sighting Tool. This tool screws onto the front of the PyroCouple or PyroMini sensor and is used only during installation to aim the sensor at the required point. Activated by push button.
Air purge collar for PyroMini -151, -201, -301 and CF models. The air purge collar is used to keep dust, fumes, moisture, and other contaminants away from the lens. It must be screwed fully onto the sensing head. Air flows into the 1/8 BSP fitting and out of the front aperture. Air flow should be 5 to 15 l/min. Clean or instrument air is recommended.
Air purge collar for PyroMini -21 models. The air purge collar is used to keep dust, fumes, moisture, and other contaminants away from the lens. It must be screwed fully onto the sensing head. Air flows into the 1/8 BSP fitting and out of the front aperture. Air flow should be 5 to 15 l/min. Clean or instrument air is recommended.
Fixed 'L' Shaped Mounting Bracket for PyroCouple or PyroMini Temperature Sensors. Provides a rigid support for the sensor and fine adjustment in a single plane.
Adjustable mounting bracket for PyroCouple & PyroMini temperature sensors. Provides a rigid support for the sensor and fine adjustment in two planes.
Initial Calibration Certificate for Infrared Sensors, PyroMini, PyroCouple and PyroPen. UKAS traceable certificate showing the measured temperature at three points across the sensors temperature range. Only available when ordered along with a brand new sensor.
Recalibration Certificate for Infrared Sensors, PyroMini, PyroCouple and PyroPen. UKAS traceable certificate showing the measured temperature at three points across the sensors temperature range.


2.5-Zimmerwohnung im "Haus zur Post"
2.5-х комнатная квартира в центре.
2.5bdr APARTMENT in Nizza street Netania !!!
2.6) Βeautiful room for two, next to the beach!!
2.7) Βeautiful room for two, on the beach!
2.8 Acre 15BR Compound: LOCATED @ Coachella Fest!!
2.9 Miles from Superbowl 53!
2.9m to Super Bowl. Private. Toddler friendly.
2.APTroom-A very warm, cozy house.


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Jestice () is a village and municipality in the Rimavská Sobota District of the Banská Bystrica Region of Slovakia. According to 2021 census, more than 95% of inhabitants belong to the Hungarian ethnic group.

History
The village dates back to the 11th century. The first reference to the settlement comes from 1333 (Jezthe). It belonged to  Felician Zach and later on passed to the Méhy family. In 1427, the village was mentioned under the name Lesthe as a property of the Lórántffys. Later, it belonged to the Eger Abbey and to zeman family Vécsey. From 1938 to 1945, it belonged to Hungary under the First Vienna Award.

Genealogical resources

The records for genealogical research are available at the state archive "Statny Archiv in Banska Bystrica, Slovakia"

 Roman Catholic church records (births/marriages/deaths): 1761-1896 (parish B)
 Reformated church records (births/marriages/deaths): 1769-1858 (parish B)

See also
 List of municipalities and towns in Slovakia

References

External links

https://web.archive.org/web/20071217080336/http://www.statistics.sk/mosmis/eng/run.html
http://www.jestice.gemer.org
Surnames of living people in Jestice

Villages and municipalities in Rimavská Sobota District
Hungarian communities in Slovakia

redpajama_set_name: RedPajamaWikipedia


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