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On the 1st of April, 2009, as the leaders of the 20 most powerful nations met in London, a man walking through the City was beaten by police; he subsequently died. Not only have police repeatedly lied about the events - initially stating they had had no contact with Ian Tomlinson prior to a passer-by finding him collapsed and dying - but they had their own pathologist do the postmortem, whose findings have been subsequently overruled by a second postmortem. A third postmortem is in the offing. Ian's family want answers.
Read the story here, watch a collection of footage taken by journalists and members of the public, each and every one of whom was breaking the law under anti-terror legislation by filming the police. Also in photos here.
Read about the "incident" which could have destroyed some of the essential evidence here.
Tracklist de The Repentless Killogy :
01. Delusions Of Saviour
02. Repentless
03. The Antichrist
04. Disciple
05. Postmortem
06. Hate Worldwide
07. War Ensemble
08. When The Stilness Comes
09. You Against You
10. Mandatory Suicide
11. Hallowed Point
12. Dead Skin Mask
13. Born Of Fire
14. Cast The First Stone
15. Bloodline
16. Seasons In The Abyss
17. Hell Awaits
18. South Of Heaven
19. Raining Blood
20. Chemical Warfare
21. Angel Of Death
Ayé, clap de fin : Slayer rend les armes. Tournée d'adieu, dernier live publié cette année, terminus, tout le monde descend. Tristesse, forcément. Et un peu de compréhension aussi. Alors, quand Slayer annonce la sortie de ce live, c'est un Bane tout excité qui décide de l'acheter le jour de sa sortie, quel con il peut être parfois...
Evidemment, l'objet fait envie. Un live de Slayer, ça n'était pas arrivé depuis le Decade Of Aggression, le meilleur live de thrash de la Terre, sorti il y a quand-même vingt-cinq balais ! Et puis Nuclear Blast a encore bien bossé et nous livre le tout dans un joli digi, avec une belle illustration en pochette. Vraiment du bel ouvrage, je reconnais bien Nuclear Blast dans cette douce initiative.
La première chose qui saute aux oreilles, par contre, c'est le son. Pas top top. La batterie de Bostaph sonne bizarrement et les guitares sont un poil trop en retrait à mon goût. Je ne parlerai pas de la basse, de toute façon on ne l'a jamais vraiment entendue. Bon, c'est pas le son du Live Undead non plus, hein, 'faut pas abuser. Mais venant d'un live enregistré en 2017, on aurait pu s'attendre à mieux.
Et le groupe alors, ils ont toujours la patate ? Eh bien... Plutôt, ouais ! Kerry King est toujours aussi bruyant, Gary Holt a parfaitement trouvé sa place dans l'équation et fait du bon boulot, Bostaph (qui a passé quinze ans chez Slayer et dont c'est la première apparition sur un album live) tabasse ses fûts bien comme il faut et Araya gratouille bien sa basse, enfin je crois parce qu'on ne l'entend pas. Concernant ses capacités vocales, j'avoue que j'avais un peu peur. Mais ça va. Si sur le premier morceau, Repentless, il semble en peine, il se ressaisit dès le second et nous offre une performance tout à fait correcte. S'il s'économise sur certains titres comme Disciple - m'enfin celle-là, 'faut y aller pour la faire correctement à son âge - il ne perd pas en efficacité et en agressivité. Y'a qu'à l'entendre gueuler sur Mandatory Suicide ou sur Angel Of Death. Oui, il crie moins qu'avant, il s'arrange pour chanter plus grave. Mais il vieillit, le Tom, et sa performance est tout à fait convenable.
Un mot sur la setlist, pas trop mal : elle tape un peu dans toute la discographie du groupe (en évitant Divine Intervention, ce qui est dommage ou Diabolus In Musica, ce qui n'est pas dommage du tout). Comme l'enregistrement date de la tournée Repentless, on a quatre titres de ce dernier. Si Repentless ne me dérange pas du tout et ouvre bien les hostilités, j'avoue que je me serais bien passé d'un titre comme Cast The First Stone, que je n'aime pas des masses. Pour le reste, comme je l'ai dit, c'est assez varié. Si le final enchaîne les tubes (les six derniers titres en sont la preuve évidente), on retrouve quelques surprises tout du long. Entre Hate Worldwide ou Bloodline, il y a de quoi être étonné. La grande force de cette setlist, c'est de proposer une répartition assez variée des morceaux : les grands classiques (War Ensemble) sont suivis de titres récents (When The Stilness Comes, peut-être mon titre préféré du dernier album, avec son morceau-titre).
Evidemment, quand vous êtes fan du groupe, la comparaison avec le parfait Decade Of Aggression finit par se faire. Bien sûr que ce Repentless Killogy sent moins la sueur et le sang que son prédécesseur, bien sûr que les titres ne sont pas balancés à la vitesse de l'éclair et sans temps mort, bien sûr qu'Araya a perdu en voix, bien sûr qu'il est maintenant tout gentil et qu'il parle avec le public (le mec prononce même le mot "love" à plusieurs reprises, truc impensable chez Slayer !). Et alors ? Slayer est encore là, a encore la patate et putain, qu'est-ce qu'il va nous manquer...
Bon évidemment, pour ça, 'faudrait pas qu'ils nous fassent le coup de "on avait dit que c'était fini mais en fait on revient", hein ! Mais personne ne fait ça, voyons...
"John Bainbridge, Photographer, Corner of Broad and Market Streets, Trenton, N.J."
I'm going to speculate that this woman is pregnant.
TITLE
Baby in Casket in Keene New Hampshire
CREATOR
Whitehouse, Bion, Keene NH
SUBJECT
Infants - NH - Keene
Coffins
Dead persons - NH - Keene
DESCRIPTION
Photograph of a baby in its casket, in Keene NH.
PUBLISHER
Keene Public Library and the Historical Society of Cheshire County
DATE DIGITAL
20101117
DATE ORIGINAL
1900-1920?
RESOURCE TYPE
photographs
FORMAT
image/jpg
RESOURCE IDENTIFIER
hsykwh030
RIGHTS MANAGMENT
No known copyright restrictions.
(pic taken with my cellphone and cropped hence the less clarity.Just thought the clarity dint matter here.)
--India killed 10 million girls in the past 2 decades--
I saw a 'promo' on TV against female infanticide. It was simple, subtle, and no gory details were sounded. There was just music, a baby girl, a toy she was playing with and a sheet of cloth that was thrown over her and removed promptly. But even this 30-second promo shook me up completely.
I imagined what a real girl child would have gone through, having her life snuffed-out either by choking, or by having been fed with poisoned milk - her first meal as she came to life. And then I thought of the uncivilized humans who did this to a newborn baby, which had just come into this world. I thought of their lack of emotions, their cruelty and just how inhuman and animal-like they would have been.
Female infanticide occurs all over India, but there are a couple of districts in India, which are infamous for intolerance for female infants - Madurai and Dharampuri districts in South India.
The yearly statistics in these two districts have been closely monitored for a few years now. The reasons are not so obvious - the administration keeps a check on the infants that are mercilessly murdered for purpose of reporting the ill, but I wonder why they do nothing to stop this crime.
For the last five years, nearly 1500 female infants are murdered in Madurai district soon after their birth. In the year gone by, the crime witnessed a considerable reduction. The count of murders went down to 800. I am not sure if this is because the murders were not reported or has there really been a factor that has reduced the crime. But newspaper reports said that only "800 female infanticide cases were reported" - so I take it that only these cases were talked-of and the others were stealthily done away with.
The government is always conservative in reporting the ills it cannot control. The real case however, is that Non-Governmental Organizations working in the area report a much higher number of murders. They point their fingers at the local midwives - the 'Dais' who are instructed to ensure that if the newborn is a female, she shouldn't live. Many a times, mothers don't even find out if their newborn breathed at all - because as soon as the 'dai' discovers the gender of the infant, and if it is a girl, she is choked even before she learns to breathe. And these are women who murder female infants for a little more money. The district also has the highest infant mortality rate in the country, and it averages around 90 per cent.
It is a joke that the district administration is trying to come up with welfare measures to safeguard the girl child. What they are trying to do is strike fear amongst those who participate in the infanticides - by regularly booking cases against reported crimes. Until April 2000 they had booked all of 3 cases! The exhumed the bodies were sent for postmortem and the reports were being awaited until June. After that I stopped keeping track of the happenings in this district, out of complete and utter disgust at the government and administration.
The ridiculousness of the Government's efforts is apparent. There are those shell schemes that exist on paper that the administration waves like the holy grail under the press's noses - the Indira Vikas Patra (a Rs. 1500 help for starting rural enterprise), some miniscule loans, a non-existent Girl Child Protection Scheme, women ration shops etc. and some meaningless programs that teach people the importance of the girl child. These schemes are absurd - as neither the administration nor the inhabitants of the district understand what could be done with these and no one has been able to comprehend the relationships between loans and female infanticide.
Female infanticide is about poverty but more than that - it is about the ingrained attitude of a civilization that believes in the worthlessness of a girl, a people who feel that a girl is a curse on the family, a nation which treats the women as inhuman and yet, these are the ones who respect their mothers to the point of worshipping and their belief in divinity begins not with the male God but the Goddesses. This is a nation where a priest will begin his prayer by invoking the mother Goddess, will sermonize on how to respect the mother, the wife, the daughter and the sister, and will in the same breath advise an illiterate follower on the ills of the girl child.
It was not always like this - women had a position of great respect and admiration in ancient India. Much later with the distortion of the holy texts, this position of importance was eroded. And gradually this lack of respect gave way to utter detestation of women. Poverty is also a factor in this. The other social evils like dowry, which is like a mammoth problem that stares parents of a new born girl in the face is another cause for the murder of the girl child.
The Non-Governmental Organizations, in addition to reporting specific cases of female infanticide to the police in an attempt to discouraging the practice, also counsel expectant mother and her family starting from the time of detection of pregnancy, help parents to get the monetary incentives offered under the Girl Child Protection Scheme and keep introducing projects for improving women's access to education, health and economic independence. But the crux of the issue is not to bring about the much-required awareness not only among women but also among men in safeguarding the girl child.
The real problem is with the mental conditioning of a nation - which treats its women as second-class citizens. And this happens in all strata of society - from rich to poor, from educated to illiterate. One can make all-out educational efforts and national schemes to save the girl child, but how does one change the course of thinking of a people who have been gradually over thousands of years been trained to be disrespectful of women?
Deepika Singh
Photo: Roberto Ruiz. Courtesy of the artist.
–
Contents of the vitrine dedicated to the project "POSTMORTEM. Projet en sept tableaux" [POSTMORTEM: Project in Seven Tableaux] 2006–2007.
Seven performance panels, lasting around 90 minutes each, taking place inside a closed wooden structure in the shape of a coffin installed in the cloister of the former Centre d’Art Santa Mònica building (Barcelona). Limited audience, by invitation or reservation only and in accordance with strict rules and a dress code. POSTMORTEM took place at the cloister of Centre d’Art Santa Mònica, Barcelona, in what was once a convent of the Order of Discalced Augustinians dating back to 1636. A large coffin-shaped structure with white walls and a white floor enclosed actors, the artist, and a series of audiences who had participated in a preliminary selection process, complied with a restrictive dress code, and had been ushered into the arena-like space with an austere ceremony. Seven separate performance panels took place on different days for distinct groups of spectators, thus preventing any judgement of the work in its entirety. Video documentation of each performance was made by the artist and progressively displayed on seven monitors distributed throughout the space of the cloister.
As indicated by the title, this project comprised a series of actions seemingly meant to determine the causes of a condition of failure, a state of destruction, or a terminal process. Drawing on masochistic and confrontational scenarios from previous performances including “subordination exercises” from NEW WAVE (2004) and DOMINION (2005), as well as earlier work stemming from fashion and branding—POSTMORTEM was a form of necrology, symbolic dissection and burial. “Subordination Exercise No. 7” was reinterpreted as part of Panel 5, “Worstward Ho”. In this assignment, an actress-slave totally naked with a bodypainting in black, stilettos and “elisabettian” collar for dogs was chained by her wrists to the wall and stood on two loudspeakers playing extracts of a reading of False Silence (2000), a text by artist Bruce Nauman: “An observer, a consumer, a user only / My body absorbs all communications, emotions...”.
© Text by Latitudes.
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
From a small collection of real photo postcards depicting life in Amsterdam, Ohio. I believe this group dates to around the time of the famous April 1910 coal mine explosion at the Youghlogeheny & Ohio Company Mine. Here is a link to a story about the disaster in case you are interested: www3.gendisasters.com/ohio/2964/amsterdam,-oh-coal-mine-e...
In my mind, this is what the RPPC is all about-- capturing the history of America from the small town perspective. I obtained this group of 18 cards as one lot and I am fairly certain they were salesman samples as there were a few non-RPPC cards with the lot that had the typical ordering information on the back. All of these cards are unused with no postmarks or writing on the verso. At the time, I paid quite a bit to get the lot. I’ve never regretted buying this group as they tell such a powerful story as a whole. As a reminder, please do not copy or distribute my images with authorization.
Memorial drawing measuring 5 x 7 1/8 inches. No information regarding the origin. Postmortem sketches are very uncommon and with the advent of popular photography in the later 19th century, the practice dropped off sharply. Found in MN.
SINGULAR DEATH AT THE HOSPITAL.
THE USE OF MORPHIA.
AN UNSATISFIED JURY ADJOURNS.
At the Auckland Hospital, on Saturday afternoon, an inquest was held before Dr. Philson, coroner, on the body of George Oxley, an old man who was found dead in bed at the Hospital the same morning.
Dr. John Somerville, resident medical officer at the Hospital, said deceased was a pensioner who had long been at the Hospital as a kind of assistant. He got about 1s a week for tobacco and pocket money. Deceased's duties were to assist with the linen. He had been a patient at the Hospital, and suffered from chronic rheumatism, which caused great distortion of his limbs. Originally deceased had been a bank clerk. He had been first admitted on December 10, 1869. Since witness had known him he had had several fainting fits. For rheumatic pains deceased took immense doses of morphia. Deceased had told witness that he sometimes took as much as six grains five or six times a day.
Dr. Philson : Thirty grains a day.-Witness : Yes.
Where did he get the morphia?—l don't know. He did not get it at the Hospital. He has had two grains at the Hospital, but he said it did him no good.
Continuing, Dr. Somerville said deceased had told him a friend brought him the morphia. It did not seem to have much effect, but deceased was sometimes stupid. Deceased slept at the porter's lodge. At half-past six that morning, Henry Maitland, another occupant of the porter's lodge, told witness deceased had been found dead in bed. On going down, witness found the body quite cold. In a locker near the bed a bottle and a packet containing morphia were found. There were about ten grains in the bottle, which would originally contain about half an ounce. There was no label on the bottle. The packet had about two drachms of morphia. There was no label on this packet. This morphia was not obtained from the hospital. Witness had made a post-mortem examination. Deceased was immensely stout, weighing about 16 stone. At the postmortem, witness found the heart greatly enlarged ; it weighed 22¾ oz, and was about twice the natural size. Witness found no smell of morphia or any other poison on the body. He attributed death to failure of the heart, caused by fatty degeneration. He was not able to say whether morphia had assisted death or not, but he did not think it. Had no reason to suppose witness had taken more than he usually did. Witness did not think deceased could have poisoned himself with morphia, unless he took a fearful amount.
The Coroner said anyone who had read De Quincy's confessions of an opium eater, would know what quantities could be consumed.
Witness (to a juror) : The average dose is about ¼ to ½ a grain.
A Juror: Did it ever strike you the quantity he took was too much?— Witness; I knew it was.
Did you ever warn him?—l told him it was no good. He got the morphia without my knowledge. I often told him to stop it, but he could not. He could not have got the morphia without the knowledge of myself or the dispenser from the hospital dispensary.
Another Juror: He was only getting 1s a week, and yet he got these large quantities of morphia. How could he do it ?
Witness: He said a friend gave it him. You do not think it was your province to prevent him taking so much ?— I could not. He was not a patient. Deceased sometimes fits of despondency.
You say you had no direct control over him ?— No, he was under the house steward. He had nothing to do with the medical men of the Hospital.
The Coroner: You do not think he committed suicide ?—I do not think so. He may have done so, but there is nothing to warrant the assumption. I always found deceased a sober, steady man.
A Juror: Morphia would not cause failure of the heart ? —No; he had no signs of being poisoned by morphia. He may have taken an overdose, but not with the intention of committing suicide.
The Coroner: I suppose a spoonful would have killed him ?—l cannot say. I believe he could take almost any quantity. He could evidently get the morphia from a chemist without signing a book.
The Coroner: The chemists in the town knowing he was an old hand would give him any amount.
A Juror: Did you ever ask him where he got the morphia?— No. I never asked him, but he said a friend brought it to him. After death the pupils of the eyes were dilated; that raised a strong presumption that deceased did not die from morphia.
Henry Maitland, an inmate of the porters' lodge, said he had heard nothing from the deceased during the night. A man named Crimmings slept in the same room as Oxley. Crimmings had gone to Onehunga for the day. He had not gone because he thought an inquest was to be held.
A Juror: He ought not to have been allowed to go. Witness: He had arranged to go yesterday; the house steward had given him a holiday.
The Coroner: How did the deceased get the morphia?—I don't know.
How often did he go to town ?—Not very often I don't think he has been to town for over 12 months.
What! Then how did he get the morphia? I do not know, but he did not fetch it himself.
A Juror: Did any friends come to see him ever?— Witness: I do not know anybody; old patients might ask him how he was.
The Coroner : Did you ever see him in a state of coma?l remember he was lying once for several hours in a very peculiar state. That was five or six years ago.
Did he use hyperdermic injections?—I have known him do it, but very seldom. A patient had a syringe here once, and I have seen him give it to deceased.
Witness continuing, said it was a mistake to say deceased only got 1s a week; he got 2s.
A Juror: It's a strange thing how he got this morphia?— Witness : I could not say, but I may have my impression.
Witness said there were bottles like the one found in deceased's room in the dispensary, but there was nothing unusual in their appearance.
The Coroner, in answer to a juror, said there was about ½oz of morphia in the packet found in deceased's room. Thirty grains would cost about 6d, perhaps 3d.
A Juror : Would you not have thought the man Crimmings would have been detained here?
The Coroner : One would have thought so.
A Juror said they could not complete their work until this man was forthcoming. Perhaps he had been sent away; his evidence was of as much importance as any they had heard. He (the juror) would not sign his name to any of the evidence until he had greater satisfaction. He wanted to know how deceased got the morphia. It was said a friend had brought it. Other people at the Hospital had friends, and it seemed they might be able to poison themselves if they chose.
Another Juror reminded his colleague that deceased was not a patient.
The Juror replied that that might be, but if friends could bring morphia to the Hospital they might bring any other poison. Could it be told whether & person had died from morphia? The Coroner replied not unless morphia had been, found in the stomach; it left no marks.
Another Juror: I wonder, then, more do not use it in preference to prussic acid and that sort of thing if it is not traceable.
Mr. Edwin Howe, temporary dispenser at the Hospital, said deceased had obtained medicines from him. Witness had given him liquid morphia on the order of Dr. Somerville. Deceased had not had any the day before his death, unless he had gone to the dispensary in witness's absence. The poison cupboard was kept locked. The last time deceased was at the dispensary was on Wednesday, when he had 2oz of liquid morphia.
A Juror : Would he have to get an order from the doctor ?— Witness: Yes, he had an order. The Coroner: How much pure morphia I would be in the solution? —Witness : Nine grains. Witness, continuing, said he had never given deceased any morphia in powder like that produced. Dr. Somerville had given witness a verbal order to give deceased the morphia. Had written no directions on the bottle, as the doctor said deceased knew how to take it. Witness had only been in the Hospital a fortnight. On Monday last witness had supplied the deceased with 1oz. That, too, was by Dr. Somerville a orders. Deceased had used that up, and the doctor told witness to give him the 2oz. The 1oz bottle would contain 4½ grains of morphia.
A Juror: That is 13½ grains in two days? —Witness : Yes.
Another Juror asked that the house steward should be called, seeing that the man sleeping in deceased's room was away.
P. C. Hinton (in charge of the case): He has gone to Otahuhu. (Laughter.) A Juror asked Mr. Howe if deceased would have had any chance of getting morphia before he (Mr. Howe) went to the Hospital.
Mr. Howe replied that some time had certainly elapsed between his going to the Hospital and his predecessor leaving.
A juror said he would like the previous dispenser called. Dr. Somerville had mentioned two grains as the dose he had given deceased. Mr. Howe said he had given 13½ grains in two days.
The Coroner said he did not think deceased could have died from morphia. Dr. Somerville had told them the pupils of deceased's eyes were dilated. He (the coroner) had never seen a death from morphia where the pupils were not contracted almost to a point. There being dilation, he could not understand deceased dying from morphia.
The Juror: There are lots of things I do not understand, but I mean to before I have done with this inquiry. If deceased had been in the habit of taking 30 grains, he might have taken a bottle full. If people can get bottles of poison without anyone knowing where it comes from, then it is time the information is obtained.
Another Juror said there certainly seemed something radically wrong somewhere.
The inquest was then adjourned until this afternoon.
paperspast.natlib.govt.nz/newspapers/NZH18930515.2.34
STRANGE DEATH AT THE HOSPITAL.
INQUEST CONTINUED.
"ENOUGH TO KILL A HORSE."
LAX POISON REGULATIONS.
The inquest on the body of George Oxley, a pensioner, of the Hospital, who was found dead in his bed on Saturday morning, was concluded yesterday, before Dr. Philson, when the following additional evidence was adduced :—
Samuel Schofield, House Steward of the Hospital, deposed that he had known deceased for some eight years. He was employed some time ago as a helper to the matron, but of late he had been too unwell to perform these duties. Deceased occupied a room with fire and other attaches. Witness had never seen deceased under the influence of liquor. He was aware, by rumour only, that deceased was in the habit of taking morphia. He had often observed that deceased seemed drowsy at times. Witness last saw Oxley alive on Friday afternoon. Some years ago deceased was in the habit of going to the dispensary, but the practice had been stopped, as the nurse in charge objected to it. He could not state definitely what Oxley went for, but he heard that morphia had been missed. Upon being informed of the death of deceased, witness visited the room and searched the same, finding three bottles, one labelled, "Oxide of Zinc " (produced), another bottle (produced) containing a small quantity of white powder.
Dr. Philson : You have spoken of three bottles. There are only two here. Where is the other?
Witness: I gave it to Dr. Somerville.
Dr. Philson: We must have it.
Constable Hinton was then despatched for the bottle. Upon his return it was seen that the bottle in question was a small, dark blue one, labelled "Liq. Morp. Mur. —Poison."
Witness identified it as the one he discovered in the locker. Deceased was not at all melancholy in disposition, in fact, rather a cheerful man. Witness did not believe that deceased came by his death by suicide.
By the foreman: The bottles were wrapped up carefully in a cupboard by deceased's bedside.
By Mr Gadge: The labels the bottles now bore were the same as those upon them when discovered by witness. He was sure the blue bottle was the same, A man employed at the Hospital could not leave for a day without obtaining leave. It was painful to see deceased. Witness at this stage produced a purse and contents found in deceased's trousers pockets. There was 6s 6d in silver, and three memorandum sheets. One bore the words on one side,"Mr Gilbert, 92, Queen-street, Auckland," and on the other side the words, "This lot will make 15s worth you owe me." Another bore the words, "You owe me at present 15a 6d." The thick piece of paper was headed "Memo. Mr Oxley, I have instructed my assistant to send only the value of the money sent, so that when you send small sums he will only send you the quantity it will purchase." This was initialled "S. G."
By the foreman: He did not think deceased had any personal visiting friends. Deceased had opportunities of getting drugs from town. He had heard that drugs had been procured for him by Brighton the porter, and a housemaid at the Hospital.
By Sergeant Clarke: The locker at decaased's bed could be got at by anyone, as it was common to all in the room.
George Trimming, next called, deposed that he was an upholsterer and saddler, and maker of splints for the Hospital; He had known deceased for twelve years. He last saw deceased alive about 8.30 on Friday night. Deceased was then in bed in the same room as witness, and seemed more
HAPPY AND CHEERFUL
than witness had known him to be for years. He was very talkative. Deceased was quite sensible. Witness had not the least suspicion that deceased committed suicide. He had frequently seen deceased take what he (deceased) termed his "nobblers." The "nobbler " consisted of a mixture of white powder with water. All the occupants of the lodge were under the impression that the stuff he took was morphia. Upon rising next morning witness discovered that Oxley was dead. Witness thought that deceased met his death by fainting away.
By the foreman: He had not noticed any friends bringing drugs to deceased.
By the coroner: He had never brought morphia to deceased.
By Mr Gadge: The fainting fits experienced by deceased used to come on at all times of the day. They had been very frequent lately. Witness had visited Onehunga on Saturday after obtaining the necessary permission. If the police had wanted to see him they could have found him easily and brought him back, and it was well known where he was.
Sergt. Clarke stated, upon the conclusion of witness's examination, that the police had no knowledge of the inquest until 12 o'clock on Saturday, so that they had really no time to bring witness in in time to give evidence by 2.30 at the inquest.
M. Fitzpatrick, former dispenser at the Hospital, deposed that he had known deceased for nearly twelve months. He was aware that deceased was in the habit of taking morphia. Deceased had applied personally to witness once for morphia, when he told witness that he had been
A MORPHIA EATER
for 15 years, and that as morphia was very expensive outside, he
WANTED TO MAKE FRIEND
with him. Witness refused the request upon that occasion, but subsequently, at the order of Dr. Forbes, he served him out a little less than 30 grains. Witness was annoyed at having to give deceased the drug saying to him upon that occasion that he would be found dead in his store some day. About four months after this, Dr Forbes told witness to repeat the dose. Deceased used to suffer greatly from rheumatic pains; he had sent for witness on several such occasions, but he had refused to attend.
By the foreman: There is no telling how much would constitute an overdose in the case of a man taking morphia for a number of years. He did not believe that a quantity sufficient to fill the bottle labelled "morphia," would kill a man like Oxley. Witness and the coroner then proceeded to test the contents of the bottle labelled "morphia." and the contents of that one labelled "zinc," with the result that they both declared the contents to be what they professed.
Stephen Gilbert, who was next called, deposed that he was a chemist and druggist He had known deceased for 15 or 20 years. He last saw deceased at the Hospital Lodge some time ago. Deceased told him then that it was contemplated to shift him to Costley's Home. Witness was a friend of deceased, and used to visit him every Sunday. He constantly supplied him with morphia. He did not charge deceased anything for the drug in many cases. The quantity on each occasion was perhaps half-a-drachrn. Witness used to warn deceased to be careful in the use of the drug. The bottle produced was like one deceased used to have. Witness had not entered in his register of poisons the quantity he had supplied deceased with. He was not aware that he was compelled by law to enter the poison applied in such a way. If he sold the poisons he was required so to do. Witness Identified the initials on the papers found in deceased's purse as his own. He had tried
by means of these notes to put the break on his morphiaeating.
By the foreman: He did not think that the doses given deceased would cause death.
By Mr Gadge: Deceased had told witness that he had obtained morphia from another source. Deceased was not depressed at the idea of going to the Costley Home.
By Mr Donnor: Witness had last supplied deceased with morphia on Thursday or Friday last, when he gave him ½ drachm.
By Sergeant Clarke: He had never made a direct sale of morphia to deceased. Witness would not supply anyone he did not know with the amount of morphia he did deceased without a doctor's order and without entering the sale in the Poisons book.
By the coroner: He would not have supplied deceased with an ounce, ½ ounce or a ¼ ounce at the most he might have given him 2 drachms.
Coroner: Why, that is enough to
KILL A HORSE.
Witness: I have known men to take 8 ounces of laudanum.
Dr. Philson : Laudanum is a very different thing to morphia.
This concluded the evidence.
Dr. Philson said he had not the least suspicion that the deceased died from morphia, but the jury must find their own verdict.
After a retirement of about 15 minutes the foreman of the jury announced that they had arrived at the following verdict:— "That deceased had died of fatty degeneration of the heart."
paperspast.natlib.govt.nz/newspapers/AS18930516.2.3
Plot 30: George H. Oxley (63) 13/5/1893 – Clerk – Heart (Ang.)
William Evans (89) 14/5/1893 – at Costley Home – Senile decay (Ang.)
Anglican divisions M and N are what is known as ‘Potters Fields’, they were used to bury some of the people whose families were unable to afford funeral costs, were institutionalised or unidentified at the time of burial. These plots were common graves with many having several individuals interred in each. They were narrower and closer together and, because they were not paid for, permanent grave markers were not permitted to be erected.
It is now no longer known where either Anglican Division M or N starts let alone the rows or individual plots which have now been protected by ghost gums, native trees & flax.
However it is believed that Division M starts closest to Waitakere View Rd & that single rows were used for both areas.
Costley Home for the Aged Poor
nzetc.victoria.ac.nz/tm/scholarly/tei-Cyc02Cycl-t1-body1-...
Image of Costley Home
manawatuheritage.pncc.govt.nz/item/88c78623-cd79-4dcd-a22...
This one is a mystery. It is really overexposed and has a stain so I can't make out what it is.Any ideas?!
Reactive Game Development: The Talos Principle Postmortem Alen Ladavac | CTO, Croteam Davor Hunski | CCO, Croteam Location: Room 2005, West Hall Date: Monday, March 2 Time: 10:00am - 11:00am
Part of transitio. Dementia. Entropy still life with parts of the scattered remains of the dove.
DMC-G2 - P1320327 27.3.2012
How lucky was I to find this hand tinted post mortem? Probably due to the fact that the subject matter is quite disturbing, my paternal grandmother had thrown this into a bin of garbage when we were preparing to move. Why did she not care about the historical significance? Because this was a deceased relative on my maternal side. Had this poor babe lived, he would have been a brother of my mother, and hence, my uncle.
Contents of the vitrine dedicated to the project "POSTMORTEM. Projet en sept tableaux" [POSTMORTEM: Project in Seven Tableaux] 2006–2007.
Seven performance panels, lasting around 90 minutes each, taking place inside a closed wooden structure in the shape of a coffin installed in the cloister of the former Centre d’Art Santa Mònica building (Barcelona). Limited audience, by invitation or reservation only and in accordance with strict rules and a dress code. POSTMORTEM took place at the cloister of Centre d’Art Santa Mònica, Barcelona, in what was once a convent of the Order of Discalced Augustinians dating back to 1636. A large coffin-shaped structure with white walls and a white floor enclosed actors, the artist, and a series of audiences who had participated in a preliminary selection process, complied with a restrictive dress code, and had been ushered into the arena-like space with an austere ceremony. Seven separate performance panels took place on different days for distinct groups of spectators, thus preventing any judgement of the work in its entirety. Video documentation of each performance was made by the artist and progressively displayed on seven monitors distributed throughout the space of the cloister.
As indicated by the title, this project comprised a series of actions seemingly meant to determine the causes of a condition of failure, a state of destruction, or a terminal process. Drawing on masochistic and confrontational scenarios from previous performances including “subordination exercises” from NEW WAVE (2004) and DOMINION (2005), as well as earlier work stemming from fashion and branding—POSTMORTEM was a form of necrology, symbolic dissection and burial. “Subordination Exercise No. 7” was reinterpreted as part of Panel 5, “Worstward Ho”. In this assignment, an actress-slave totally naked with a bodypainting in black, stilettos and “elisabettian” collar for dogs was chained by her wrists to the wall and stood on two loudspeakers playing extracts of a reading of False Silence (2000), a text by artist Bruce Nauman: “An observer, a consumer, a user only / My body absorbs all communications, emotions...”.
© Text by Latitudes.
—
Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
Postmortem: Developing Systemic Crowd Events on Assassin's Creed Unity
Christine Blondeau | Game Designer, Ubisoft Montreal
Location: Room 3016, West Hall
Date: Friday, March 6
Time: 10:00am - 11:00am
Leonard Trask, the Wonderful Invalid.Leonard Trask (June 30, 1805 – ?)[1] was an American who suffered from a "contortion of neck and spine" during his late 20s after an accident while horse riding, which led to Trask becoming a medical curiosity. After numerous attempts at a cure, several further accidents resulting from his condition, and a loss of employment and mobility, Trask (by then earning small amounts of money as a curiosity) published an account of his condition which further increased his renown. His condition remained unsolved upon his death, but he was subsequently diagnosed post mortem with ankylosing spondylitis (AS).[1]