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Went to Target in Newport, New Jersey. It's a rarity (actually nonexistent)in NYC, so you have to go to either Queens or New Jersey.
Living far away has its advantages. It prevents you from a buying overload at Target since it would be heavy to lug back. Still had fun browsing though.
Meanwhile Scarlett and Duke have crept through the jungle and are closing in on their destination
Duke: We’re close now… That Cobra base must be dug into this hill; the entrance is on the other side.
Scarlett: That means we’re going to have to find a hidden door, tunnel or a ventilation shaft. Might be tricky…
Duke quickly realizes that the back entrance, which appears nonexistent, must be hidden, and if that is the case, they are likely in view of a security camera. He hurries Scarlett into a nearby crevasse on the hillside and the scrunch inside together. Scarlett wonders what they will do next
Duke: We wait until something happens. I’m sorry about the close confines, but we’ve got no other choice.
Scarlett: It’s ok, Duke. It kind of reminds me of old times.
Duke: Uh…
Scarlett: You know, you and me, out on a mission solo together, out in the field… It’s been a while… ever since I was assigned to Squad 1 I think.
Duke: Yeah, you’re probably right about that. Hard to believe so much time has passed.
Scarlett: I know… It is hard to believe, but here we are… you and me…
Duke: Yup…
They wait and the tension continues to grow
"Teddy and Abebual explained to us that one of the things Ethiopians do to celebrate new years, is to chew khat [chat] leaves. Me being the most clueless of the group, felt a responsibility to ask what the chewing khat leaves involved. As it turns out, chaat is a plant stimulant and people chew it's leaves in several countries around the world in a social tradition that predates coffee drinking. As a result, the trip to Kameese town was solely to pick up a bunch of khat branches and wild grasses (used for coffee ceremonies) for that evening's New Year's celebration.
Teddy and Abebual knew the exact place where they wanted to buy their khat. The van turned down a road that was practically nonexistent what with all the pot-holes and piles of dirt, and the three guys piled out. Yodit and I waited in the car, being gawked at by all the local children.
We were a bit relieved from this mayhem when the guys returned [with what looked like bushels of khat], and we took the van back to Abebual's and Teddy's house."
Read more about this day here.
Kameese, Ethiopia.
This is what happens when I put an entire cream puff in my mouth. Thanks to Ashton for capturing this glorious moment.
I took photos of The GNU Deal for about 5 hours. They bought me this lovely bowl of Vietnamese soup, and my dislike of Pho went from moderate to nonexistent! Just add cock sauce and you're good to go. Amiright?
Song of the day: It's an album. Go listen to The GNU Deal.
Follow me and my shenanigans:
Photo by Oscar Leiva/Silverlight
Comasagua is located in southwestern El Salvador in the Balsamo coastal range between San Salvador and La Libertad departments. The Balsamo Range is a coffee producing area with 3,452 coffee farmers with 33,502 ha of coffee. These coffee-dominated watersheds on the south slopes of the Balsamo mountain range are the water sources and recharge areas for water sources for the towns and villages in the upper watershed plus numerous fast-growing tourist cities and towns in the coastal zone directly south of Comasagua, including the city of La Libertad. The high elevation coffee farms in Comasagua produce high quality coffee. Nevertheless, most farms have yields far below potential and investment continues to be limited. Coffee rust hit many of these farmers severely in 2012.
There has never been a significant water resource management program in this area; the water issues are serious and highly conflictive within these watersheds. Collaboration between municipalities, communities and coffee producers is considered weak to nonexistent.
Now the upload schedule for Feb was nonexistent until now. This is because I'm running out of pics to upload. (I'm hoping to change this now the lighting is getting better.)
Stagecoach 15436 seems to be the Scania that no one wants. That is because it has been operating in 4 different depots between 2025 and 2026! It started at Ashford before heading to Eastbourne. It then passed to Herne bay before going back to Ashford. Ashford then sent it to Dover.
So here is Dover foreigner 15436, seen operating the 81, although my camera didn't pick up the blind.
Taken by Agent Feline
There are certain things I really don't like about this. It could use some editing, but I do not have it in me. I am so ready for the weekend to be over.
That is not typical. I was going to say normal, but what the hell is that anyway? This photo is not normal, just as I am not normal. And thank God for that.
I have so many words and thoughts and feelings in my soul that I want to put here but feel self-conscious about who reads it. For those of you that continually look at my photos, whether you comment or not. That is who I think about when I write these stupid descriptions that don't mean anything to anyone except me. My sentences feel repetitive and I think about you reading it. And criticizing, which is ridiculous, because none of you have. I suppose I have to remind myself that if you are not interested in my utter sameness, you may simply skip over these monotonous ramblings.
Rarely do I speak like this. My empty utterances include things like y'all and notta gonna and ought not and lame. I am a disappointment. Continually I warn people. You. Them. What's the difference? And continually, there are good, honest, genuine people that see me and think, "She seems nice. I will try and get to know her." I am so thankful for them, truly. I cannot express what it means to me that these righteous people see something in me worth pursuing. Unfortunately, though, whatever they think they see in me is just a spark or in all actuality, nonexistent. Eventually, they come to terms with the fact that I will never be able to live up to their expectations, and I become a disappointment. Sadly though, they do not refer back to the beginning of our relationship, where I attempted to get it through to them that I am not worth pursuing. Instead, they become bored by me. Instead, they try to blame me. Instead, they think I lost whatever it was they saw.
When in reality, it was never there.
024
Fortune Global Forum 2018
October 16th, 2018
Toronto, Canada
3:30 PM
THE NEW GLOBAL CONSUMER: DOING BUSINESS IN A DIGITAL ECONOMY
The digital economy is no longer part of the economy. It is the economy. How can traditional brick-and-mortar firms reinvent themselves, their supply chains, and their marketplaces to avoid the fate of brands once thought of as everlasting but which are now nonexistent? And how are new platforms – from e-commerce to shared services – rewriting the rules of the game? A conversation on how businesses can manage expectations for digitally empowered customers, and how technology is being used to enhance the customer experience.
Alain Bejjani, Chief Executive Officer, Majid al Futtaim
Andrea Stairs, General Manager, Canada and Latin America, eBay
Ning Tang, Founder and CEO, CreditEase
Moderator: Phil Wahba, Senior Writer, Fortune
Photograph by Stuart Isett/Fortune
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
The structure is similar in texture to the United States pavilion from Expo 67 in Montreal, but unlike that structure, Spaceship Earth is a complete sphere, supported on legs.
Geometrically, Spaceship Earth is a derivative of a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller equilateral triangles (with a bit of fudging to make it rounder). Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 silvered facets, with 954 partial or full flat triangular panels.
The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth's is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms.[6] The upper structural dome sits on this ring. A grid of trusses inside the ring supports the two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off of the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.
The cladding was designed so that when it rains, no water pours off the sides onto the ground. (All water is "absorbed" through one inch gaps in the facets and is collected in a gutter system - and finally channeled into the World Showcase Lagoon.)
Spaceship Earth
Future World
Walt Disney World EPCOT Orlando Fl.
A slightly early Independence Day (Fourth of July) fireworks show over Lake Monona in the heart of the Wisconsin capital.
* Fireworks pictures in a sense are double exposures, at least multiple exposures.
* My ISO was set at 100. Nothing higher is needed or even desirable.
* White balance set to auto because in raw capture it does not matter.
* The technique used (and it's an old one) was to hold the shutter open for 10, 20, or 30 seconds at a time.
* The aperture is adjusted in the opposite direction to keep the exposure uniform. In this case I found that 10 seconds at f/8 worked well. 30 seconds at f/16 captured more bursts, but if the action was very heavy then too many bursts made for a busy, messy picture. I had to keep changing the settings.
* The camera was in full manual mode (otherwise it would change the exposure and focus).
* Because the display was 2 miles away the camera only needed to be focused at infinity.
* Solidly mounted on a sturdy tripod and tripped with an electronic cable release to insure there is no camera movement.
* Vibration reduction turned off (otherwise the VR would "hunt" for nonexistent movement and smear the shot). I nearly forgot this but I made a couple of test exposures early on and realized immediately that they were smeared due to the VR.
* I also turned off the Long Exposure Noise Reduction when I realized that it was doubling the time for the picture to load, and I knew I could minimize any noise in Lightroom. As it turned out little noise reduction was necessary beyond the standard.
* I worked in live view and kept the auto review on for two seconds for each shot to insure that I was getting what I thought I was getting. It’s enormously reassuring!
* With the shutter open for longer periods, more individual bursts are recorded on each frame. You have to shoot a lot of frames and hope to luck out. There is no way to plan it. You open the shutter, the stuff goes up, at the end of the time the shutter closes and you've got what you've got. I think I made about 75 exposures to get 19 that were good. The rest were trashed.
* Despite some 75 extended exposures, live view, and constant instant reviews, the battery at the end of 45 minutes of fireworks still had 60% charge. Turning off the noise reduction undoubtedly helped, plus made the shoot more efficient; no waiting.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Photo taken with a Leica IIIc, made in the year 1950
Lens: Leitz Elmar 833946 50mm. 3.5
colinhuggins.bandcamp.com/track/eric-satie-improvisation-...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Unlike most of Trippy's meretricious* tales, for which evidence is at best tenuous and more often nonexistent, rare production stills recently discovered in the archives of late fantasy film historian Forrest J. (Forry) Ackerman appear to substantiate Trippy's claim to have worked with director Fritz Lang on Lang's epic silent era production of Die Nibelungen.
Vikos Gorge, Greece
To get to this beautiful view over the Vikos Gorge we had to trek over a bascically nonexistent path through a strange and remote landscape. To top it off as we neared the lookout a storm hit so we only had time to snap a few pictures and then had to run back. Given that it had been a 15min walk you can imagine how drenched we were we got to the car. And then the drive back on the wet road which had 7 hairpin turns in a row, with no barriers or lights. Yay.
This shot is a HDR merged from 5 exposures in Photomatix.
1/80s,1/400s,1/200s,1/50s, 1/25s @ f/11, ISO 200.
Shot:
NIKON D300
18-200 mm f/3.5-5.6
A closer look at these wonderfully iridescent ants. This species is green and purple in colour (with a black gaster), but some are even blue! Like other Calomyrmex, this one is densely covered in setae.
Two undescribed species (JDM 190 and JDM 751) are known to occur in the Pilbara region along with C. glauerti, but I am unsure which one this is. Pubescence on the gaster is seemingly nonexistent.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Barn is located in Mendon Ponds Park, at the intersection of Clover St and Pond Rd, Mendon, NY... next to the Nature Center. Monroe County Sheriff Mounted Division was started in 1938.
Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.
Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.
Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov
[image: image.png]
[image: image.png]
[image: image.png]
[image: image.png]
Stewart
On Jan 29, 2013, at 11:20 AM, Jeffrey Warren
wrote:
iOS screenshot pls!!
On Tue, Jan 29, 2013 at 2:17 PM, Stewart Long
wrote:
> Very exciting updates. The archive page looks great in iOS. It is
> excellent to see the global map of maps as well!
>
>
> On Mon, Jan 28, 2013 at 8:38 PM, Jeffrey Warren > wrote:
>
>> Also, a revision to the archive front page:
>> alpha.publiclaboratory.org/archive
>>
>>
>> On Mon, Jan 28, 2013 at 10:16 PM, Jeffrey Warren > jeff@publiclaboratory.org> wrote:
>>
>>> I made the search look through note/wiki body, not just titles, and the
>>> search seems much more robust. I'd start using it instead of the regular
>>> site now!
>>>
>>> Also unlike before if you search for a term, or look for a tag, where
>>> that term or tag does not exist, it now tells you so nicely and suggests
>>> how you should search for it.
>>>
>>> Thirdly, it now prompts you to create a wiki page if you go to a page
>>> which doesn't exist yet. Although of course for now you cannot actually
>>> create one, it's a dummy page.
>>>
>>> I've been working a little on getting the actual login system working so
>>> we could start creating real content on the new site... ! But its going to
>>> be a busy month so it may go slowly. We'd probably start with tagging and
>>> commenting.
>>>
>>> Jeff
>>>
>>>
>> --
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>>
>>
>
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024
Fortune Global Forum 2018
October 16th, 2018
Toronto, Canada
3:30 PM
THE NEW GLOBAL CONSUMER: DOING BUSINESS IN A DIGITAL ECONOMY
The digital economy is no longer part of the economy. It is the economy. How can traditional brick-and-mortar firms reinvent themselves, their supply chains, and their marketplaces to avoid the fate of brands once thought of as everlasting but which are now nonexistent? And how are new platforms – from e-commerce to shared services – rewriting the rules of the game? A conversation on how businesses can manage expectations for digitally empowered customers, and how technology is being used to enhance the customer experience.
Alain Bejjani, Chief Executive Officer, Majid al Futtaim
Andrea Stairs, General Manager, Canada and Latin America, eBay
Ning Tang, Founder and CEO, CreditEase
Moderator: Phil Wahba, Senior Writer, Fortune
Photograph by Stuart Isett/Fortune
The prophet Ezekiel described in great detail a future temple yet to be built in Jerusalem (Ezekiel 40). One thing that puzzles people is how that temple could possibly be built on the Temple Mount as long as the Dome of the Rock and the al Aqsa mosque exists. That, however, is a story for another time – and, by the way, with God nothing is impossible.
For nearly 2,000 years an even greater obstacle to the existence of a third temple has puzzled men. Where are you going to get the priests who are to minister in the temple? A temple with no priests is like a Corvette with no gas. Nice to look at, but not functional. Ezekiel specifically states that that high priest must come from “the sons of Zadok.” Try looking them up in the phone book. And who in the world is Zadok?
In case your Bible memorization has not included genealogies, you’ll probably need some help with that. Zadok was the first direct descendent of Aaron to minister as the high priest in the First Temple that was completed by Solomon. Aaron’s family name was HaKohan (or HaCohen); hence Aaron’s descendents are Kohanim, the plural for Kohan. When God established the priesthood, it was declared in Exodus 29 & 40 that the priesthood would be a “statute forever” and that it would be “an everlasting priesthood throughout their (the Kohanim) generations.” That takes us back to the problem – where are the Kohanim? Do they even exist?
Yes, in fact, they do exist. But up until the last few decades, there was no way to find them and prove that they are truly Kohanim. There was no way our progenitors could do what can be done now and, therefore, the task appeared impossible. But we know about DNA.
Here is the truly amazing thing. “It now has been demonstrated that the priestly order of Cohanim has a common genetic marker that it characteristic of only 10% of the general Jewish population and nonexistent in Gentiles.” Dr. Patrick Young said that “While this is not direct confirmation that the Cohanim specifically descended from Aaron, it does demonstrate a separation and preservation of this priestly group that has persisted over 3,000 years! It is fascinating that the Bible predicted the existence of this priestly line . . . today because of God’s everlasting covenant with His people.”
Quoting Dr. Young, “The DNA data . . . demonstrates that the Cohen genetic line thrives today and is equipped to fulfill the priestly needs of any future temple.” Which should remind us that “faith is the evidence of things not seen” (Hebrews 11:1). Before the beginning of creation, God knew exactly, not only how to create the Kohanim genetically, but He has been tracking them for 3,000 years! He has allowed scientists now to come to the knowledge of how to identify them only far enough in advance of the time they would be needed for preparation for temple worship in Jerusalem. Now ask yourself this question: “If God had already figured out how to do this, is the Dome of the Rock and the al Aqsa mosque a problem for Him?” I think not!
We have the honor and privilege of coming into the very presence of God to pray. We can pray believing, even when we don’t see the answer. That is what faith is all about. Think about Jerusalem, surrounded by enemies and terror; wanting to possess the Temple Mount, but unable to; waiting to rebuild the temple, but prevented from doing so. But, if we believe God, then we know that He keeps His promises. He will do it. The Kohanim are ready. Pray for the peace of Jerusalem (Psalm 122:6)
For more on this story, visit: Jerusalem Prayer Team Articles Page.
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Day 110
*Day 109 does not exist
11/11
I got in trouble last night blahblahblah and I had no computer for the night, therefore day 109 is nonexistent.
Hey, don't write yourself off yet. It's only in your head you feel left out or looked down on. Just try your best, try everything you can and don't worry what they tell themselves when you're away. It just takes some time, little girl, you're in the middle of the ride. Everything, everything will be just fine, everything, everything will be alright. Hey, you know they're all the same. You know you're doing better on your own, so don't buy in. Live right now, yeah just be yourself. It doesn't matter if it's good enough for someone else. The Middle-Jimmy Eat World
We had a really interesting discussion today during Current Events about discrimination and everything just because we're from West Orange and that's "the ghetto" and there are black people and gay people here. Honestly, I've learned so much from living here. I've learned to accept someone for who they are, black, white, yellow, or whatever. It doesn't matter, we're all equal.
So I just thought a song about someone feeling left out/looked down on really fit.
Anyway, sup Kell?!
I had a pretty good day, minus the fact that my doggie is in the Animal Hospital :(
Hopefully he'll be okay.
Anyway, this week has been eventful.
Friday- My Arcadia and Socratic show at Caldwell College, if my mom lets me go. I don't see why not.
Saturday- Theodore Grimm, Those Mockingbirds, Tourmaline, and Ultra Violent Lights show at the Meatlocker in Montclair, definitely.
WOOOOOO.
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Iso Isetta Turismo
Iso Isetta Turismo
The Isetta was one of the most successful microcars produced in the post-WWII years—a time when cheap, short-distance transportation was most needed. Although the design originated in Italy, it was built in a number of different countries, including Spain, Belgium, France, Brazil, Germany and Britain. Because of its egg shape and bubble-like windows, it became known as a bubble car—a name later given to other similar vehicles. Other countries had other nicknames: In Germany it was das rollende Ei (the rolling egg) or the Sargwagen (meaning something like "coffin car"; the name apparently came from the small (or rather nonexistent) distance between the passengers and oncoming traffic). In France it was the yogurt pot. In Brazil it was the bola de futebol de fenemê (soccer ball of FNM [a truck]), and in Chile it is still called the "huevito" (little egg).
www.science.org/toc/science/193/4250
Science
•Volume 193|
•Issue 4250|
•23 Jul 1976
Female opossum (Didelphis virginiana) and young. At birth (after a 12-13-day gestation), the opossum is partially equivalent in development to a 4- to 6-week-old human embryo. Once nursing begins, voluntary detachment from the teat is not possible for about 70-90 days. The young pictured are in characteristic association with the mother just prior to weaning at 3 months of age. The opossum is the only marsupial indigenous to North America. See page 328. [Robert L. Blake, Duke University Medical Center]
Embryonal Neoplasms in the Opossum: A New Model for Solid Tumors of Infancy and Childhood
William Jurgelski, Jr., Pearlie M. Hudson, Hans L. Falk, and Paul KotinAuthors Info & Affiliations
Science
23 Jul 1976
Vol 193, Issue 4250
pp. 328-332
DOI: 10.1126/science.180602
Abstract
Opossums fed the chemical carcinogen ethyl nitrosourea early in postnatal life developed a variety of epithelial and mesenchymal embryonal neoplasms that were closely analogous, in morphology and biological behavior, to tumors of human infancy and childhood for which experimental models in laboratory animals are either imprecise or nonexistent. The embryonal tumors were found in association with, and occasionally at the same sites as, a limited number of malformations.
The More You Know 😊
The Snowden Bridge near Nohly, Montana was built in the early 1900’s and spans the Missouri River. The bridge not only served the railroad, but planking was added so cars could also cross the river. Huge concrete counterweights allowed the lift system to raise the bridge in around 30 minutes. The bridge was almost obsolete when it was completed as river traffic was almost nonexistent at that time. A new bridge was built nearby toward Fairview, Montana halting traffic on this bridge.
Art collection
At first sight I was charmed and embraced this as sculpture, acquiring it with no knowledge but suspecting a good story lay in wait. Western interest in these mid-20th century Japanese incense burners (koro) is nonexistent, so I was up against both a backstory and language challenge…and the sorting out of two involved artists.
Saegusa Sōtarō (right) is one of the most famous Japanese metal artists of the 20th century and is credited with the original design of this koro. He is now collected by many museums, and many of his large-scale monumental works are installed in public spaces in many cities throughout Japan. (left)
Manyo Keisuke (sometimes translates to “Keikusaku”) is a Japanese metalwork artist credited with bringing this Sotaro design to life. He is celebrated for his refined bronze casting and distinctive surface treatments such as the “aokin-fun” finish, present here and highly regarded among art enthusiasts and collectors.
At some point in the 1950s/60s Manyo Keisuke brings to life the Saegusa Sotaro design of a Green Pheasant incense burner and names it “Zuiho”. (The Green Pheasant is Japan’s national bird and symbolic of good fortune, courage, and resilience)
The number of these Zuiho koros produced is unknown.
Length: 5.25” Width: 2.5” Height: 9”
My phone was too cold to take any pics on the ride in. This was 1/5 shots today, the other 4 are just gray squares or nonexistent.
Many of the tropical butterflies have distinctive seasonal forms. This phenomenon is termed seasonal polyphenism and the seasonal forms of the butterflies are called the dry-season and wet-season forms. How the season affects the genetic expression of patterns is still a subject of research. The dry-season forms are usually more cryptic and it has been suggested that the protection offered may be an adaptation. Some also show greater dark colours in the wet-season form which may have thermoregulatory advantages by increasing ability to absorb solar radiation.
The wet-season form has large, very apparent multiple eyespots whereas the dry-season forms have very reduced, oftentimes nonexistent, eyespots. Larvae that develop in hot, wet conditions develop into wet-season adults whereas those growing in the transition from the wet to the dry season, when the temperature is declining, develop into dry-season adults. This polyphenism probably has an adaptive role. In the dry-season it is disadvantageous to have conspicuous eyespots because they blend in with the brown vegetation better without eyespots. By not developing eyespots in the dry-season they can more easily camouflage themselves in the brown brush. This minimizes the risk of visually mediated predation. In the wet-season, these brown butterflies cannot as easily rely on cryptic coloration for protection because the background vegetation is green. Thus, eyespots, which may function to decrease predation, are beneficial for Satyrine butterflies like the Bushbrown to express.
Pu'er, Yunnan, China
see comments for wet season form......
024
Fortune Global Forum 2018
October 16th, 2018
Toronto, Canada
3:30 PM
THE NEW GLOBAL CONSUMER: DOING BUSINESS IN A DIGITAL ECONOMY
The digital economy is no longer part of the economy. It is the economy. How can traditional brick-and-mortar firms reinvent themselves, their supply chains, and their marketplaces to avoid the fate of brands once thought of as everlasting but which are now nonexistent? And how are new platforms – from e-commerce to shared services – rewriting the rules of the game? A conversation on how businesses can manage expectations for digitally empowered customers, and how technology is being used to enhance the customer experience.
Alain Bejjani, Chief Executive Officer, Majid al Futtaim
Andrea Stairs, General Manager, Canada and Latin America, eBay
Ning Tang, Founder and CEO, CreditEase
Moderator: Phil Wahba, Senior Writer, Fortune
Photograph by Stuart Isett/Fortune
I am very particular about the crumb of my French bread. Too often do bakeries sell "French bread" with crumb as dense as standard white bread. That is simply not right.
This, however, is excellent. A good mix of smaller and bigger pockets, for delicious chomping.
Also notice the crust: crunch on top, but almost nonexistent on the bottom. And the bottom is flat.
This is French bread designed for sandwiching. The bread uses a very high hydration dough (which can basically only be handled right after taking it out of the fridge... it's not so high that the dough runs, but it's pretty close to it - 63%!) which results in a loaf with a flat bottom, with just enough crust to resist a knife spreading hard butter or goat cheese on it.
Ever tried spreading a firm paste on French bread only to tear up the crumb instead of getting the delicious topping evenly spread?
This is International Sandwich Science in progress.
I was sitting in a restaurant next to my hotel when my roommate (we were both traveling alone and had been paired up), ran in, panicked.
"You have doula training, right?" (We'd discussed it the day before.) "We need you badly next door."
I felt my whole torso and neck go numb. I'd met another hotel guest that day who confided she was four months pregnant. Oh, man, I thought. Not now -- it's too, too early. And I have absolutely no idea what I'd do for her. I threw off my flip-flops and sprinted next door, following my roommate along the water and past the guest cabins. Weird. We ran farther, to the edge of the hotel property, right up to the security shack. I admit now that as I entered the shack -- we're talking dirt floors, plank siding, empty bottles -- I had terrible visions right then of seeing something pretty horrific.
But I felt composed and focused: I pysched myself into believing I could handle whatever it was I was about to see.
I entered and found two Mexican men huddled around a black Labrador retriever, clearly in the throes of labor. Two tiny, mewing puppies were suckling at her, but mama dog -- Frieda, they told me -- was whining and moaning, heaving and straining against the dirt floor.
She was laying in a puddle of bloody tissue, and it was clear there were more puppies to be had. My roommate explained (her Spanish is Ok; mine is nonexistent) that they guards told her the first two puppies had come out fine, but that Frieda had taken a turn and was now really struggling.
Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.
Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.
Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
A herd of four African elephants at the Cleveland Zoo, one of the Cleveland Metroparks in Cleveland, Ohio, in the United States.
It's not easy telling the four girls apart, but here goes:
Kallie was born in 1982 in Zimbabwe. She has long even tusks, a long straight tail, and keeps her head low.
Martika was born in 1985 in Zimbabwe. She has an almost nonexistent right tusk and a short left tusk, a smooth forehead, and a kink in the end of her tail.
Shenga was born in 1982 in Zimbabwe. She has two short tusks, a wrinkly forehead, and a tail like a question-mark.
Moshi is the matriarch. She was born in 1976 in South Africa. She has two long tusks (the end of one is filed down), a fat tummy, a smooth forehead, and a cropped tail (she had an accident).
Photo by Oscar Leiva/ Silverlight
Comasagua is located in southwestern El Salvador in the Balsamo coastal range between San Salvador and La Libertad departments. The Balsamo Range is a coffee producing area with 3,452 coffee farmers with 33,502 ha of coffee. These coffee-dominated watersheds on the south slopes of the Balsamo mountain range are the water sources and recharge areas for water sources for the towns and villages in the upper watershed plus numerous fast-growing tourist cities and towns in the coastal zone directly south of Comasagua, including the city of La Libertad. The high elevation coffee farms in Comasagua produce high quality coffee. Nevertheless, most farms have yields far below potential and investment continues to be limited. Coffee rust hit many of these farmers severely in 2012.
There has never been a significant water resource management program in this area; the water issues are serious and highly conflictive within these watersheds. Collaboration between municipalities, communities and coffee producers is considered weak to nonexistent. There is visible contamination and sedimentation of rivers and streams that reach the coast. Catholic Relief Services works here to teach ways of preserving water resources with coffee producers and processers in this area through its project Blue Harvest. It´s goal: sustainable management of water resources for people in coffee growing areas of Central America by promoting sustainable coffee production in ways that restore and protect water resource and promoting social and political processes for effective, sustainable, and local management of water resources.
All day it rained every 30 minutes and each time the sun shone brightly in between. This was taken while on my run. The creek was too wide to jump, unlike in summer when it is nonexistent. That shower of rain in the distance beat me home.
Taken with a Samsung Maxima Zoom 105XL point & shoot in the summer of 2007. I was finishing off the roll of Fuji Superia that had been sitting in it for over five years. Most of the scans from this roll were awful. This shot was okay, but the colors were nonexistent. I cleaned it up in Topaz DeNoise AI, then worked the image over in Photoshop.
July 27 2007, 4:35PM
This photosphere, taken May 4, 2016 north of Flagstaff, AZ, shows dense, overgrown forest BEFORE mechanical thinning restoration treatments.
What you're seeing:
NONEXISTENT UNDERSTORY -- Very little sunlight reaches the forest floor, so grasses and forbs don't grow well.
PAINT MARKS -- Foresters orange slash marks in thinning projects to identify trees that that will not be cut ("leave trees").
SNAG -- We try to keep the large, dead trees - called "snags" - whenever possible. They're ideal habitat for a variety of wildlife.
LOG DECK -- a large stack of logs can be seen in the background. These logs have been stripped of the leaves and small branches and are ready to be hauled away.
See this same area 2 months later: www.flickr.com/photos/4fri/28205635962/in/album-721576703...
The C-212x is loaded with double 12" LF/MF and a single high energy 3" HF driver. Each enclosure is constructed of high grade birch ply-wood and is custom fitted with steel fly hardware that has been test rated for a 7:1 static load, hanging 12 enclosures in a single array. Our user friendly hardware allows for hanging and ground stacking applications, permitting the user to stack up to six enclosures.
All C-212x enclosures are hand wired using premium 14 gauge wire and Neutrik brand NL8 connectors. All drivers are built with cast fame baskets for strength and longevity. Our compression drivers have replaceable titanium diaphragms for superb sound quality, performance and durability. We use a standard phase plug design to control the isophasic wave form as well as a wave guide system for smooth coverage and coupling. Our components are designed and built to a commercial standard and have a proven track record on tours ranging from stadiums to festivals of up to 30 shows per month with practically a nonexistent failure rate.
All C-212x enclosures are equipped with a removable back panel that can be disconnected and replaced by an internal TVi multi channel "Class D" power amplifier module. Each power amplifier has a built in multi-channel processor that has been chamber tuned for the C-212x to achieve a flat response curve with pre set limiters, DSP and crossover points. One amplified C-212x enclosure will also power one additional non-powered C-212x enclosure in tri amp mode by daisy chaining an NL8 cable.
A karesansui (枯山水), Japanese rock garden, or Zen garden is an enclosed shallow sandbox containing sand, gravel, rocks, and occasionally grass or other natural elements. The main elements of karesansui are rocks and sand, with the sea symbolized not by water but by sand raked in patterns that suggest rippling water. Plants are much less important (and sometimes nonexistent) in many karesansui gardens. Karesansui gardens are often, but not always, meant to be viewed from a single, seated perspective, and the rocks are often associated with and named after various Chinese mountains. (http://en.wikipedia.org/wiki/Zen_garden)
Ginkakuji, Kyoto, Japan
Canon EOS-33,
Fuji RVP-100,
Tamrom 28-75 F2.8