text:
G is for Geography
Geography and the-world-as-a-digital-exhibition at the Google Cultural Institute.
"Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imagings." —Edward Said
"Explore stories from around the world" —Google Arts & Culture
Soon after the United States invaded Iraq in March 2003, the Iraqi National Museum found itself in the middle of the battleground in Baghdad. The exact dates, sequence and unfolding of events and even the actual number of pieces looted from the National Museum of Iraq between April 8th and 11th of 2003, were subject to much controversy and media frenzy. On April 13th, reports emerged claiming as many as 170,000 objects missing from the galleries, restoration and storage rooms of the museum. The number was eventually brought down to 15,000 artefacts, after some were found in secret vaults where objects had been moved in the weeks preceding the invasion and others were returned through an amnesty program.[1]
Different accounts of the event point fingers at the U.S troops' negligence, the Iraqi militias, other times to the own museum's staff and also, to the institutional failure of the U.S. to protect the museum and other sites before the attack. War under the moniker of liberation is misleading in many ways. As Dario Gamboni describes, cultural heritage acts an ambulance that follows an army and tries to precede it. [2]
The idea of heritage is one decidedly oriented to the formation and preservation of national identity, the concept emerged partly from the destruction encouraged by "colonialism, ethnology, and the development of museums" and the "selective preservation, and the appropriation and concentration in the West of relics from the material culture of the whole world."[3] However, the modern idea of cultural heritage also tries to include the concept that certain traces of human culture are universal and therefore, belong to all of mankind. As a result of this, the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict of 1954 was the first official document setting the rules for protection of the world's cultural heritage such as sites, monuments and repositories, including museums, libraries and archives. Since then, policy, studies and related institutions have continued to emerge and expand, often supported by public-private partnerships.[4]
Soon after the international outrage generated by the looting of the National Museum of Iraq, the British Museum and the Penn Museum mobilised to update and match their records in order to catalogue the existing cultural heritage, as some of the inventories located in Iraq were also damaged, destroyed or lost. In 1922, both museums had funded archaeologist Charles Leonard Woolley to conduct excavations in the city of Ur in Iraq. The agreement regulating the destiny of the collected objects stated that "half of the artefacts recovered would go to the future Iraq National Museum, and the other half would be divided between London and Philadelphia."[5] The resulting online catalogue is available at ur-online.org.
The Getty Cultural Institute was also involved in the recovery efforts by developing a geographic information system (GIS) intended for the management of archaeological sites.[6] Other projects include the less corporate (and less successful) Virtual Museum of Iraq, a "multimedia exhibition" created by the National Research Council of Italy with the once hip Flash technology.
On November 24th, 2009, Google CEO Eric Schmidt visited the National Museum of Iraq. He announced: 'There is not better use for our time and resources than make the images and ideas of your civilisation [...] available to a billion people worldwide'.
He also took the time to pledge for the return of the objects that remained missing, in the same frenzy fashion that news media has used six years before him. Jared Cohen, a former U.S diplomat now working for Google Ideas, defended the move calling it a great example of "what we are calling 21st century statecraft".[7]
Much like the empty promises of democratisation that aided and accelerated the concentration of power and capital in Silicon Valley, the only thing close to what Schmidt promised is the Google Street View mapping of the National Museum of Iraq, which is only accessible through Google Maps.
Today, as the Google Cultural Institute expands at inscrutable speed, there is simply no partnership with the National Museum of Iraq listed in their Google Arts & Culture aggregator, nor thousands of images related to their collection available to a billion people worldwide. The only reproductions included are related to Woolley's excavations and they are presented as assets of The British Museum collection.[8]
The National Museum of Iraq re-opened in 2015 in response to the spectacular video of ISIS smashing sculptures; although versions of the events differ, there is some agreement on the fact that the objects destroyed were mostly copies[9]. The website of the National Museum of Iraq provided by Google Search redirects to a Facebook page. Their own domain, theiraquimuseum.com, contains minimal information and, instead of thousands of images digitised by Google, there are seventeen images in a single low-resolution .jpg file[10] without any information or context.
Google was only 10 years old when Schmidt visited Iraq in 2009. The Financial Crisis meltdown had started just a year before. The enthusiasm of the imagination[11] produced by such an infrastructure as the internet, might not have been as lively as when it kicked off on a global scale in 2001, but the imaginary of all digital things and solutions was at its peak. Hope at a solution to the crisis and a reburgeoning, of the economy was placed in the revamping of the service economy, thanks to the explosion of mobile devices and a more ruthless networked economy that was about to take off. Why not use art, history and cultural heritage to mobilise the imaginary of digitisation and its urgency?
The political effect created by the imaginary of digital preservation of cultural heritage following the looting from the National Museum of Iraq proved to be powerful regardless of the different degrees of success. In the same way that today the efforts for the protection of Palmyra and the cultural heritage endangered by the war in Syria are focused on 3D printing and drones, it should not be surprising that the focus was placed on digitisation and web access to collections and catalogs in the case of Iraq. It was simply where the new economic horizon, which included the cultural sector, was being traced.
Museums, especially the super brands among them, are not new at trying, using and discarding web technologies as marketing and exhibition tools to attract audiences to their buildings, exhibitions and ticket offices. Just for perspective, the first Tate website was launched in 1998, soon after the museum received a grant to digitise their entire collection under a program called Insight, creating "virtual" access to the entire collection. Tate Online was developed as a product of the first British Petroleum sponsorship in 2001. Two years later, BP donated two million pounds to further support digitisation.[12]
In April 2000, MoMa and The Tate announced Muse[13]: "New Company Will Draw on Museums' Unrivaled Collections and Intellectual Capital to Expand Global Audience for Modern Art, Design, and Culture. Dot.com is the First Project in Wider Collaboration." The joint business venture – which sounds strikingly similar to Artsy.com – was never in fact realised. As Hito Steyerl argues, one thing that internet access actually democratised is the neoliberal view of the cultural institution as primarily an economic one.[14]
Reacting to the momatate.com announcement, Douglas Davis –author of "The World's First Collaborative Sentence", regarded as one of the first pieces of net art accessioned by a major museum – wrote for The New York Times a survey about the state of the "virtual" versions of museums populating the web.[15] His account – very hopeful about the imagined radical potential of the web — used research conducted with "Yahoo, the popular search engine". He found 5000 museums online and visited hundreds of websites already collecting net art, like "The Whitney, the Modern, the Walker". The Hermitage was using a "nifty 3-D camera, courtesy of IBM, that lets us zoom in on a fine microscopic level to an exceptional art-historical smorgasbord, a tool lately matched by the Met, whose zoom feature, a digital camera in combination with FlashPix software, is quick and razor-sharp". In the Fogg Museum, you were able to "X-ray a masterful 16th-century 'Portrait of a Man', wielding your browser to peel away the surface coating and find the anonymous 1540 master daubing, marking, erasing, perfecting his man."
Around the same time, Andrea Fraser wrote 'A museum is not a business. It is run in a businesslike fashion'[16], an essay about how institutional critique and reflexivity aided the legitimisation of the new, bigger and better corporate museum: one that over-emphasises educational activities, useful forms of art, audience outreach, social forms of engagement beyond the exhibition, and other activities that assume that social plus change equals political emancipation. Invoking these strategies while embracing extreme forms of administrative curating and organisational management results not only in leaving institutional structures intact, but actually serves to reinforce them.
Two years after Schmidt's visit to Iraq, Google published a press release announcing a new project: "Explore museums and great works of art with the Google Art Project".[17]
The Google Art Project was presented as the result of a project by some "googlers" – meaning employees in Silicon Valley lingo –, who use 20% of their paid working time in a side project, in this case the digitisation of art collections. Since then, hundreds of museums, cultural and memory institutions with a focus on art, archaeology, natural history and material culture including fashion, as well as performing arts venues have partnered with the Google Cultural Institute to make use of its free services and technical possibilities, such as: the Art Camera to capture works in ultra high-resolution; a Street View cart to create 360 degrees virtual tours of the architecture of museums or custom exhibitions; a Collection Management System with unlimited storage of assets, publication of exhibits and access to statistics; Storytelling Tools and Platforms to add different types of media and to curate exhibitions, meaning adding content to the pages on which the collections are presented.
As the economic and political power of Alphabet Inc. keeps growing, Google's cultural agenda does too, hence the tone and mission needed to be carefully calibrated. First, the name of the website changed from Google Art Project to the Google Cultural Institute. After opening their offices in Paris in 2013, a distinction was established between their offices and "The Lab". Recently, the website was rebranded as Google Arts & Culture, an umbrella project under the Google Cultural Institute at large.
Their slogan began by inviting users to "Explore Art, Historic Moments and World Wonders" and quietly shifted to "Explore stories and collections from around the world". By now it is just: "Explore stories from around the world". Since the recent aggregation of fashion collections, the Google Cultural Institute has signalled a new stage focused on storytelling.[18] Their new editorial features, such as 'The Real Meaning Behind Taylor Swift's 🐍 From ancient Mesopotamian fertility myths to feminist art'[19] and 'The Surprising History of Dragons. Before Game of Thrones, there were these South Asian and the Middle Eastern monsters'[20], simply frame U.S. American culture in relation to cultural heritage narratives and use the visual material collected from their partner institutions as illustrations and source material for edutainment videos.
The emphasis on publishing tools means that the distribution of a museum's content increases the traffic to their sites via the custom apps offered as part of the services bankrolled by the Google Cultural Institute, but also feeds the content offered in Google products like the Chrome browser, which display "masterpieces from Google Cultural Institute as your wallpaper"[21]
Where does Google end and the Google Cultural Institute begin? As a Google project manager affirms, the material they collect stays "ring-fenced" in their site: "as a non-profit, we have to keep it quite separate from the rest of Google. We are also applying some of the things we're working on with machine learning to this rich new set of content. But it has to stay within the safe space of Google Arts & Culture." [22]
However, as their VR business takes off (recently Google was referred to as the Adobe of VR[23]), the offering to museums relies more and more on 360° experiences using their Google Cardboard. While their machine learning and artificial intelligence divisions are also expanding, promotion is given to the experiments conducted in "The Lab", where computational power and programmers' skills (their "creative coders") are used to generate visualisations and find different ways of classifying massive amounts of images and metadata. The cultural department of Alphabet Inc. also finds ways to spit out images generated by neural networks reproducing the abstract expressionist style of a decadent male western canon[24]. As 20 million users know now, their cultural mission also includes a feature to match selfies with the data accrued from museums so their users can find their "art twin"[25].
The decision to locate Google's offices in France seems very calculated given the Sarkozy's nationalistic reaction to Google Books in 2009[26]. Google's legal problems in Europe became more serious than copyright infringement lawsuits when Germany found illegal data collection in the Street View's mapping process. By 2013, the European Commission was already investigating their anti-trust practices in relation to their dominance in the search market, as well as the manipulation of the results offered in their shopping recommendation service.
Recently, Google was hit with a symbolic €2.4 billion fine, as the commission concluded the illegality of their activities. Alphabet Inc., of course, claims innocence, Amit Sood asks us to close our eyes and imagine that the Google Cultural Institute has nothing to do with Google and just think of it as "culture and art". We must understand this is not a top-down strategy of Google to digitise the cultural world.
However, organising information is never innocent, and fortunately, a spokesperson from the company clearly explained the genesis of the project for the Financial Times on 2012:
"It is clear that the internet is disruptive to many traditional content industries, and that culture is a particularly sensitive topic in many areas of Europe. We had publishers who were suing us in France and we needed to reach out and invest in Europe, and invest in European culture, in order to change that perception and establish constructive working relations"[27]
The choice of Paris as the headquarters of the Google Cultural Institute, and the corporate over-identification with French waltz and camembert cheese clichés, was not accidental.
Alphabet Inc. projects its ambition into an exhausted European modernity to find a narrative beyond Silicon Valley, a story able to give a specific kind of cultural relevance to their endless data gobbling. Their search for narrative is manifested in their association with the Mundaneum and the legacy of Paul Otlet, credited as the father of the field of information science. Otlet was an entrepreneur of information, much like Bryn and Page were once before turning into moguls, but the re-presentation and re-framing of 'The Origins of the Internet in Europe 1895-2013'[28] in Google Arts & Culture conveniently omits important political and economic context within that timeline. As Femke Snelting remarks: "There might be a superficial visual resemblance between rows of wooden index drawers and the blinking lights of servers lined up in a data centre, but to conflate the Utopian knowledge project with the capitalist mission of Alphabet Inc., the umbrella company that Google belongs to, is an altogether different matter"[29].
In 2009, months after Schmidt visited Iraq, Le Monde Magazine published a feature titled 'Le Mundaneum, Google de Papier'[30]. Later in 2012, Elio di Rupo, former prime minister of Belgium, announced a collaboration between the Mundaneum and Google, citing Le Monde's article as context. Saint-Ghislain, the town near Mons where the Mundaneum was relocated, is also the location of a large Google data-centre, negotiated by the same Di Rupo[31].
In her research related to the 'Fathers of the Internet'[32]which later expanded into a collective research project under the moniker of Mondothèque, Femke Snelting traces the geopolitical context behind the re-branding of Paul Otlet as a 'founding father of the Internet', which attracted international attention to Otlet's legacy, and at the same time made possible the association of Vint Cerf with a historical timeline of patriarchs of the internet and the permission to digitise and publish documents from the Mudaneum's archive in their cultural aggregator. All of this occurred at a time when the city of Mons was getting ready for its stint as European City of Culture in 2015, an event that captures the neoliberal instrumentalisation of culture for tourism while offering a showcase for national cultures.
Again, geography is not about soldiers and cannons, it is also about narratives merging data-centres and national heritage, "where geographically situated histories are turned into advertising slogans, and cultural infrastructures pushed into the hands of global corporations."[33]
Cultural institutions have experimented with many transformations regarding their own understanding of their roles and missions, which originated in Colonialism, but they have never, ever, overcome their alliance with the rich and powerful. Elites, in fact, created the museum institution during Colonialism and did so not by mere chance, deciding to open the doors to the public as part of the imperial strategy to conform the European identity. Colonisation without archives, knowledge systems, cultural heritage and museums would be regarded as a purely military affair, a barbaric enterprise.
Derek Gregory's work on the concept of the world-as-an-exhibition – following the Timothy Mitchell's account of the European World Exhibitions in the 19th century and the construction of 'the Other' as way of affirming own superior identity[34]–, offers a geographical framework to understand how the Google Cultural Institute produces a specific version of the world by seeking detail, organization and exploration.
As Davis' survey shows, museums and cultural institution had for a while been toying with web technologies and gadgetry for exhibition making. As much as Google is seeking to portray itself as innovative, their gaze into the past reveals how the technologies offered to museums are nothing but a more advanced version of techniques used in the World Exhibitions, such as the panorama and the narrative and spatial techniques associated with it, as in the case of 3D Street View for museums: an example of what Gregory identified as the evolution from gazing at the world-as-exhibition to travelling through the world-as-an-exhibition.
Alphabet's political and economical power is based on the accumulation and organisation of data. Imaging the world as-a-digital-exhibition is their way to frame, organise and spatialize it as mere data-set. For the Google Cultural Institute, the world itself is something other that needs to be synthesized in data form, and just like during the 19th century, it is presented as an endless exhibition.[35]
The services of the Google Cultural Institute are nostalgic impulses replaying what Ravi Sundaram calls the "monumental dream-like wonder of industrial reality"[36] of the 19th century world's exhibitions. The same is true for the Google Cardboard 360° views, dioramas created for a passive observer, who in the words of Crary is simultaneously the magician and the deceived[37]. The form of the dream-like wonder aspect is different – computational –, but the established relation remains intact.
The implications and effects of the activities of the Google Cultural Institute have been addressed in different ways. Positive views are promoted by the beneficiaries of their services, their chief evangelist Vint Cerf and their director, Amit Sood (described in Swedish news media as the curator of the world).[38] TED talks, press releases, promotional videos and interviews repeating the byliners of the Google Cultural Institute's PR are abundant.
In contrast, positions countering tailored narratives around digital heritage and democratisation of high-culture used for promoting the cultural agenda of Alphabet are more scarce. Notable scholarly work such as 'Evangelizing the 'Gallery of the Future': a Critical Analysis of the Google Art Project Narrative and its Political, Cultural and Technological Stakes', by Alana Bayer and 'Googling Art: museum collections in the Google Art Project' by Alexandra Lussier-Craig, offer a perspective from the angle of museum studies and valuable contributions regarding the examination of the representation of historic canons through data and the way in which museums internalise the corporate language of the press releases of the Google and its cultural institute.
Some institutions have featured projects about Google's cultural agenda, but a critical position has never been addressed institutionally. In 2013, the Intellectual Property Manager of the Art Institute of Chicago recognised that in their partnership with the Google Cultural Institute, "Google's strictly enforced confidentiality agreement. […] They are a large company and they are aware of their bargaining power."[39] The fact that Google uses non-disclosure agreements to broker partnerships with museums is widely acknowledged by curators and administrators who just can't tell you. Institutional criticality does have limits. As Marina Vishmidt explains in 'The Cultural Logic of Criticality', it is just a very effective strategy to make sure things stay the same while remaining open to multiple opportunities for business.[40]
Being the promotion of attendance to museums to see the real thing one of the most repeated byliners of the Google Cultural Institution to prove their point, it is interesting to find statistics about the on-going decline of attendance at the same time that Google is hailed as a power house of cultural content. The alliance with the British Museum and Google, is not only the most telling regarding the historical continuum in the imperialist organization of cultural material, but one of the most publicised as a successful case. Google even has its own branded space under the domain of the British Museum.[41]
Statistics are a game that museums decided to join a while ago, a game that Google knows, exploits and profit from. Within the rules of this game, for instance, the British government indicates a decrease of 5.1 percent in the attendance to public funded museums from 2016 to 2017.[42] Last year, Louvre reported 15 percent less attendance than in 2015 and the German governement reported a 2.5 million drop in attendance to their museums.
Public memory institutions by mandate need to account for the funding received to perform institutional duties regarding the accumulation of artefacts and other types of records, including their own history. In contrast, the Google Cultural Institute does not have this requirement nor do the archives record their institutionality: instead, they have an "About" section on their website. The interface of Google Arts & Culture is central to conveying the merely performative institutionality of the Google Cultural Institute and an interface will always fail at communicating the context of the information it displays, in other words: its history.
So how does one enact a critique addressing the convergence of the ambiguous legacy of institutional critique and new institutionalism with the different iterations of web-museality and related networked marketing anxieties provoked by cultural policies conflating tourism and entertainment industries that normalised public-private partnerships – that which set the conditions for Google to apply their data extractivism disguised as the Google Cultural Institute?
Critics and artists have responded to the Google Cultural Institute in different ways. Jon Rafman fed back a remediation of giga-pixel reproductions provided by a partner museum of the Google Cultural Institute on the Google Arts & Culture website[43]. Erica Love and João Enxuto[44] capture the current anxieties of web-museality and speculates on the aftermath of the public-private partnerships, when Google finally takes over with all the assets accumulated through the Google Art Project to perform a function reserved to institutions formerly known as public. Rasmus Fleischer's review of Google's 'Digital Revolution' exhibition[45] and his writing on the production of hegemonic culture under the search logic identifies the cultural heritage activities of Alphabet Inc. as a central part of their corporate image that is both evaded and promoted as it fits[46]. Building on 'Powered By Google. Widening Access and Tightening Corporate Control' by Dan Schiller and Shinjoung Yeo, the first account of the political economy behind the cultural agenda of Google, I myself have worked on assembling a pre-emptive history of the Google Cultural Institute and the way their colonial impulses manifest in techno-scientific capitalism.[47]
Museums and collections are the result of the convergence of scientific and economic desires configuring the colonial impulse. In the text 'On a Possible Passing from the Digital to the Symbolic', Yuk Hui reminds us that the melancholic impulses of modernity together with the need to preserve collective memories gave us both museums and collections, but also the digital tools to preserve the symbolic through the digital, as in the case of "digital heritage".[48]
The result of a lack of plurality in mediation techniques is that technological systems end up acting as a "whole set-up always evoking somehow some larger truth."[49] Hui addresses the contradiction found in technology as the support for symbolic reproduction. Yet at the same time the speed with which de-symbolization and new specific efficiencies are produced increases in line with the ever greater efficiency of the technical systems of recollection. He asks, first, if all symbols can and should be reduced to a digital state; and second, which kind of sensibilities are needed to create a condition to pass from digital to the symbolic?
The technical possibilities of the Google Culture Institute define the way in which they perform their institutionality, how order, meaning and re-presentation is produced within their interface, as well as its relations with memory institutions convinced that they can "digitise the rest of the forms of yesterday and tomorrow, and tsunamis, and what else."[50]
"Do you believe the world of culture is organised?" And he said, "No, I don't." I said, "Do you think it's accessible, then?" And he said, "Well, no, not really."[51] In words of Amit Sood, these questions were asked to Eric Schmidt to get him behind the idea of the Google Cultural Institute. However, organising the world's information and making it accessible, searchable, immersive and in high-resolution, is a task that will never be completed. As Kittler also said: everything which is beautiful can be encoded but it does not make sense to encode for eternity.
Imaging the world as something else than overflows of data digitally re-presenting the world-as-an-exhibition might be something that memory institutions have already given up to imagine. As the Google Cultural Institute shows, their museality and institutionality has been colonised by the culture-as-data sensibility and now is just up for grabs.
Breaking with the totalising form of the world-as-a-digital-exhibition will require an insistence on the demand for more plurality in the production of geographical sensibilities. Ideas, forms and imagings, and its preservation, will always involve technological interventions but the ones provided by the Google Culture Institute through its performative institutionality and technological gadgetry, should not be the dominant form. Rejecting their technical and financial favours is not impossible.
Editing by Nadezda Kinsky Müngersdorff and Bernhard Garnicnig.
[1] J. Burns, 'A Nation at War: Looting; Pillagers Strip Iraqi Museum Of Its Treasure', The New York Times, April 13, 2003, http://www.nytimes.com/2003/04/13/world/a-nation-at-war-looting-pillagers-strip-iraqi-museum-of-its-treasure.html (acessed 10 September 2017)
[2] D. Gamboni, 'World Heritage: Shield or Target?', The Getty Conservation Institute, Newsletter 16.2, Summer 2001, http://www.getty.edu/conservation/publications_resources/newsletters/16_2/feature.html (accessed 10 September 2017)
[3] Ibid.
[4] For example, UNESCO's World Heritage Center is supported by different types of public and private organisations and stakeholders, including the Google Cultural Institute. See: http://whc.unesco.org/en/partners/ (accessed 20 August 2017)
[5] About Ur On-line, http://www.ur-online.org/about/ur-online-project (accessed 18 August 2017)
[6] Press Release September 9, 2008. http://www.getty.edu/news/press/center/gci_megaj_release.html (Accessed 18 August 2017)
[7] R.. Nordland, 'Google Chief Announces Plan in Baghdad to Put Iraqi Artifacts Online', The New York Times, November 24, 2009. http://www.nytimes.com/2009/11/25/world/middleeast/25iraq.html (accessed 4 September 2017)
[8] See: https://www.google.com/culturalinstitute/beta/search/?q=Charles%20Leonard%20Woolley (Accessed 4 September 2017)
[9] 'Mosul Governor: Most destroyed artifacts were copies', Rudaw, February 28, 2015. http://www.rudaw.net/english/kurdistan/28022015 (accessed 4 September 2017)
[10] See: https://www.theiraqmuseum.com/artifacts/ (accessed 8 September 2017)
[11] R. Mrázek, Engineers of Happy Land: Technology and Nationalism in a Colony (Princeton: Princeton Univ. Press, 2002), 165.
[12] J. Rellie, 'Tate Online: Towards A Third Generation Museum', International Cultural Heritage Informatics Meeting, École du Louvre, Paris, France, 2003.
[13] 13.0548 MoMA & Tate announcement, Humanist Discussion Group, Vol. 13, No. 548, Apr 19 2000, http://dhhumanist.org/Archives/Virginia/v13/0542.html (accessed 8 August 2017)
[14] H. Steyerl, 'The Institution of Critique'. eipcp, January 2006. http://eipcp.net/transversal/0106/steyerl/en/base_edit (accessed 24 August 2017)
[15] D. Davis, 'The Virtual Museum Imperfect but promising', The New York Times, September 24, 2017. http://www.nytimes.com/2000/09/24/arts/art-architecture-the-virtual-museum-imperfect-but-promising.html (accessed 8 September 2017)
[16] N. Möntmann (ed), Art and Its Institutions. Current Conflicts, Critique and Collaborations. (London: Black Dog Publishing, 2006), 86-98.
[17] Google, 'Explore Museums and great works of art', February 1, 2011 https://googleblog.blogspot.se/2011/02/explore-museums-and-great-works-of-art.html (accessed 4 September 2017)
[18] S. Kurutz, 'A Google Engineer learns the fashion code.' The New York Times, July 10, 2017. https://www.nytimes.com/2017/07/10/fashion/mens-style/google-we-wear-culture-amit-sood-anna-wintour.html (accessed 10 August 2017)
[19] See: https://www.google.com/culturalinstitute/beta/theme/iQKCYg5bNcZ3Kw (accessed 15 September 2017)
[20] See: https://www.google.com/culturalinstitute/beta/theme/CgJyM6TaZ5rRJg (accessed 15 September 2017)
[21] See: https://chrome.google.com/webstore/detail/google-wallpaper-art/mojbfofholnnfgdkcgabcfkjelblkgmh?hl=en (accessed 15 September 2017)
[22] 'Why is Google digitising the world's fashion archives?' Business of Fashion, June 8, 2017. https://www.businessoffashion.com/articles/digital-scorecard/why-is-google-digitising-the-worlds-fashion-archives (accessed 13 September 2017)
[23] 'Google is becoming the Adobe of VR, Fast Company July 6, 2017. https://www.fastcodesign.com/90132131/google-is-becoming-the-adobe-of-vr (accessed 11 August 2017)
[24] AI-Generated Art Now Looks More Convincingly Human Than Work at Art Basel, Study Says, Artnet, July 11, 2017.https://news.artnet.com/art-world/rutgers-artificial-intelligence-art-1019066 (accessed 11 August 2017)
[25] Meet your Art Twin: A 400-Year-Old With an Oily Complexion, The New York Times, January 17, 2018. https://www.nytimes.com/2018/01/17/arts/google-art-selfies-doppelgangers.html
[26] E. Jarry, 'France's Sarkozy takes on Google in books dispute', Reuters, December 8, 2009. http://www.reuters.com/article/us-france-google-sarkozy-idUSTRE5B73E320091208 (accessed 13 August 2017)
[27] S. Mee, 'Mons puts itself on the map with Google deal', Financial Times, November 12, 2012. https://www.ft.com/content/ce54ad56-1c47-11e2-a63b-00144feabdc0 (accessed 4 September 2017)
[28] See: https://www.google.com/culturalinstitute/beta/exhibit/QQ-RRh0A (accessed 4 September 2017)
[29] F.Snelting, 'Not Dissimilar' In. A.Dekker (ed) Lost and Living (in) Archives. Collectively Shaping New Memories. (Amsterdam: Valiz, 2017), 45.
[30] Le Mundaneum, Google de Papier", L Monde Magazine, December 19, 2009, 42-51
[31] Constant (eds), Mondothéque: a radiated book, (Brussels: Constant, 2016),12
[32] F. Snelting, 'Fathers of the Internet', Lecture, May 24, 2014. Brussels: Constant Variable.
[33] Constant (eds), Mondothéque: a radiated book, (Brussels: Constant, 2016),12.
[34] D. Gregory, Geographical Imaginations, (Massachusetts & Oxford: Blackwell, 1994),46.
[35] T.Mitchell, Colonising Egypt, (Berkeley: University of California Press, 1988), 14.
[36] R.Sundaram, Pirate Modernity: Delhi's Media Urbanism, (London/New York: Routledge, 2010),1.
[37] J. Crary, 'Techniques of the Observer', October, Vol. 45, Summer, 1988, 35.
[38] Sam Sundberg, 'Världsarvet enligt Google', Svenska Dagbladet. March 27, 2016 https://www.svd.se/varldsarvet-enligt-google (accessed 30 June 2017)
[39] L. Gordon, 'It's Google, but is it art? Museums wonder whether they should open their galleries to digitizing', ABA Journal, February 2013. http://www.abajournal.com/magazine/article/its_google_but_is_it_art/ (accessed 15 August 2017)
[40] M. Vishmidt, 'The Cultural Logic of Criticality', Journal of Visual Arts Practice, Volume 7 Number 3, 2008, 255.
[41] See: http://www.britishmuseum.org/with_google.aspx
[42]See: https://www.gov.uk/government/statistical-data-sets/museums-and-galleries-monthly-visits#summary
[43] Brand New Paint Job (Cézanne Train Car), Jon Rafman, 2013.
[44] Art Project 2023, Erica Love and João Enxuto, 2013. http://theoriginalcopy.net/art-project-2023/
[45] R. Fleischer, 'En ytlig revolution' Expressen, October 30, 2014 (accessed 4 September 2017)
[46] R.Fleischer, 'Brave new interface, or, never put all your eggs in the same cloud!' In: K.Dalborg & M. Löfgren, The Fika Project, Perspectives on Cultural Leadership,(Göterborg: Nätverkstan, 2016), 210-221.
[47] G.Juárez, 'Intercolonial Technogalactic', in: S.Springer & E.Turpin, Reverse Hallucinations in the Archipelago, (Berlin: K.Verlag and Haus der Kulturen der Welt, 2017),152-167.
[48] Y.Hui 'On a Possible Passing from the Digital to the Symbolic' in: A.Franke & H. Kim (eds), 2 or 3 Tigers, (Berlin: Haus der Kulturen der Welt, 2017). http://hkw.de/en/tigers_publication/
[49] Mitchell, Colonising Egypt, 6.
[50] F. Kittler, The Relation of Art and Techne. 2005 6/6 Retrieved from https://youtu.be/D4rJRX53nQ8
[51] How Google became a major producer of cultural content, The Art Newspaper, January 19, 2018. https://www.theartnewspaper.com/feature/how-google-became-a-major-producer-of-cultural-content (Accessed 25 January 2018)


text:
If I were to ask you to name some philanthropists, who would you think of?
Raise your hands for Bill and Melinda Gates? Warren Buffet maybe? Oprah??? She gave $40 million in 2010. Did you know that Taylor Swift was actually the most generous celebrity donor in 2013?
Would you call out your name? Probably not, and yet you are I know you are.
Philanthropy simply means the love of humanity/of people.
In America, we have a tendency to express our philanthropy through our gifts of time talent and treasure. And those are great gifts. The world needs those gifts from us.
And yet philanthropy is so much more because it is about our hearts – about LOVE; that is really what we are celebrating today – those who give just a little bit more of themselves than they thought they could. We're celebrating small business owners who work hard and give back to their community; we're celebrating the incredible nominees for the 2014 Athena Award for leadership. And we are celebrating the vision that Vanessa Mintz had to acknowledge and honor those who give just a little bit more of their hearts.
In all the places I have visited and lived, I have discovered two universal truths that make the world one boundary-less community; underneath the images we like to project, beyond our socioeconomic status, our
genders, our races, our religions or faiths, our work or education levels – under all those layers of differences and distinctions, every human yearns to be loved just as they are.
Not thinner, not richer, not smarter….just as we are. We yearn to be loved.
And the other truth is that each of us wants our life to matter. We want to connect with a power greater than ourselves– to be part of a force for good greater than ourselves. I know I do.
I'm going to talk a little about my story ….and it does include sex drugs and rock and roll. And I am going to talk about god and money and politics and all sorts of things our mothers have told us polite people don't talk about in polite company.
Elizabeth Taylor is quoted as saying "I don't entirely approve of some of the things I have done, or am, or have been. But I'm me. God knows, I'm me." So take what you like and leave the rest
Volunteering saved my life.
I barely made it through grade school and middle school and high school. I wasn't stupid, but my home life was so violent, I couldn't seem to do anything right. I made it through school because I volunteered.
Trick or Treat for UNICEF, cleaning up the neighborhood for ECO day, prepping food at soup kitchens, being a candy striper any and every opportunity I was given, I took. Gratefully. Because when I volunteered, I felt valuable– just for being me.
It was the encouragement I received as a volunteer that kept me going when I wanted to die. Because I did want to die. My mother was an alcoholic – and it was my job, by age 5, to take her from the dinner table – she'd be sloppy drunk – and put her to bed, kiss her goodnight and tell her I loved her. My father was such an angry man – his response to what he couldn't control and make better was violence – grabbing me, shoving me into walls, throwing a hatchett at me, slamming books on my head…but by God we needed to look good on the outside and on the Christmas card.
Every night after saying my prayers for each member of my family, I would add the ps prayer, asking God to kill me or kill my parents. I didn't care which. I just couldn't stand living in such hopeless desperation, knowing that each day would start with my recommitment to being better and doing better, and ending in failure to meet my parents' unachievable expectations,.
By age 6 I dealt with my desperation pause by overeating –to numb the pain I felt. When I was 13 I started stealing from my parents' well-stocked liquor cabinet. At 14, the summer of love and Woodstock, I started smoking cigarettes and got addicted to nicotine, and I 'discovered' boys when I went to college. I know what it is like to look for love in all the wrong places –to feel lonely and not good enough and lost and drunk and messy and ugly and disgusting to myself, much less to others.
I am not afraid to be with other women who feel desperate and desperately lonely and messy and unwanted. But because people outside my home were generous and kind to me, I learned about the power of love and forgiveness.
Today I am sober and no longer addicted to nicotine. I sat at my mother's bedside when she was dying and held her hand so she wouldn't die alone which was a huge fear of hers.
My sister died alone of alcohol before the cigarettes three year later. And I was with my dad in the nursing home when he died.
It was the unconditional love from others that gave me the hope and the strength to love my parents more than they ever could love themselves.
So God sends me places to love on people who are told they aren't wanted or aren't good enough or who don't feel worthy of love. And I bring hope in the form of bubbles and nail polish and hugging and hand holding…. That's what I do best.
This is Soweto, the southwest area township of Johannesburg in South Africa. How would you like to raise your children in a tin roofed shack with an earthen floor, not water, no electricity, no money, no food, no transportation, no medical care……nothing. But other people just as desperately poor as you are?
It was in South Africa I met a woman named Caroline. She was HIV positive and she and her two babies had AIDS. South Africa still denied that AIDS was and is a pandemic in that country, so treatments weren't available for Caroline, who was 19. Her two adorable, roly poly babies were living in an orphanage that in reality was a children's hospice.
The organization didn't have enough money, enough regular power to maintain medications, enough staff, and enough people who cared about these babies to fund treatment.
Caroline made bead pins with the red AIDS ribbon on them and sold them to visitors to the orphanage. I bought all she had and as I was leaving, she grabbed my hand and said, "Miss Annie, Miss annie, you must tell my story. I am not a bad woman. I did what I did to put food in my babies. Sometimes a man would give us a roof over our heads. Please tell everyone I am not a bad woman."
Caroline sold her body for money, for food for her children, for a few nights in a safer place. She was not a bad woman. She was a woman who loved her children and had no other source of income for her family.
In Haiti, I met women who had never been to school. They were uneducated but not stupid.
These Haitian moms came to the medical clinic with their children so that they could get vitamins, anti-worming medicine and a semi-annual check up from the white doctors. I was so surprised and really touched that these moms dressed their children up in their Sunday best clothes. Frilly pull up pants over the diapers, a golf shirt on their son. It was so sweet to see how important these visits were for these mums just trying to do their best for their sick, malnourished, worm infested children with bloated bellies.
So I decided to take a break and put my head out the window of the yurt … I saw the mothers taking the fancy outfits off of one child, and putting them on the next child who would get in line to see the doctor. This is what women do for their children, for their community, to make the world a better place – a healthier place for their children. Those women have not given up hope for a better life for their children; they may not see how it is going to happen, but they haven't given up hope Yet.
In India, the caste system was outlawed in 1949, just like Jim Crow laws were outlawed in the south in 1965.
But that doesn't mean that life has actually changed.
There were/are over 4 million permutations and layers of castes which keep people in their place; these beautiful women are untouchables. Which means their shadow is not supposed to fall on someone of a higher caste.
So here I am, breaking about a million laws, sitting on the floor with these women learning sewing. You can see they are trying to sit lower than I am. And when I gave a few hundred dollars to these women so they could start a micro-enterprise making disposable plates out of leaves that they could sell in the market, I broke another million laws – and so did they. Because economic freedom means these women can pay to send their daughters to school – not just their sons.
And, as we've learned from the fantastic book and documentary Half the Sky and the documentary It's a Girl, women who send their daughters to school require the girls to come home and teach their younger siblings what they are learning so everyone in the family gets educated.
And when everyone in the family gets educated, the girls marry later in life – maybe 17 instead of 13, but still later, which means they have fewer children which means they can distribute more food to their fewer children which means better nourished children who can learn better and retain more knowledge and perform better at school and get better grades and then get better jobs rather than just marry.
Schools cost money as "public" schools do throughout most of the world. And most families in the world cannot afford to send their children to school because school means, uniforms, shoes, a certain level of personal cleanliness, books, paper, pencils—all of which cost something. And yet educating women and girls is the way out of poverty.
I've been working in India since 2006 to get children out of poverty and into schools. It started with a 10 year old girl whose father had just died and her neighbor from down the road came to her mother's house and asked to buy her for about $4. And the mother was about to say yes – because that $4 would feed her family for a month. That is the economic reality of today's slave trade;
The United Nations estimates that roughly 30 million individuals are currently caught in the slave trade industry, approximately 70 percent of whom are women and girls.
Modern-day slavery is one of the fastest growing industries in the world. After drug dealing, –the trafficking of humans is tied with arms dealing as the second-largest criminal industry in the world.
Women are being sold in marriage – to men who already have many "wives" and who sell them onto traffickers who turn them into prostitutes, who grind them down to the point where they would much rather die than live….. Who take away all their hope.
Sometimes we are given A CHOICE – an opportunity –to save another person. And we can no longer close our eyes, or the eyes of our heart or the eyes of our soul to what is happening to others whom we have the power to help.
We know we want to help because our soul yearns to matter.
Even if we are scared. Even if we feel we won't be good enough.
Well I have been given this opportunity; I didn't go through the hell I went through to be stuck in fear helplessness and hopelessness.
And I am ending human trafficking.
One life at a time.
I have partnered with the Church of North India through the Episcopal Church in Western North Carolina, and my friends in India are building a shelter for women and girls – who are being trafficked.
For $400 we can ensure the safety for one woman for an entire year so she will receive rest, food, medical treatment, more food and solace.
But that is just the first step out of trafficking. The second step is helping them create their own economic freedom.
I couldn't figure out how to find them employment so they can earn a living for themselves and find a place to live without being dependent on a male for financial support.
And on December 20th last year, a cherished friend of mine, Lisa Clark, a local small business owner, called out of the blue and told me about her new business making these fabulous hearth scarves; usable art for our homes.
Well, that was the economic answer I was looking for: Lisa and her team are going to India with me in September and we are going to start a sewing center where vulnerable women can learn to make the India line of Hearth Scarves in order to earn money and to be financially independent. The Artful Team's reason for being: Our mission is to embody the philosophy of combining art & beauty with the purpose of helping women overcome extraordinary circumstances of sex trafficking, abuse and socioeconomic hardships. We believe through finding your own beauty, love and light, you are empowered to transform the world.
By choosing a Hearth Scarf (www.theartfulpear.com) you are creating a job, building a home and a life for a woman who would have no other avenue of resources. You are recognizing and implementing beauty in your own home and engaging the beautiful act of loving assistance to another—in other words – you get to be a philanthropist!
And India is just the beginning – we think Thailand might be next and Mexico, Guatemala and who knows where – wherever there are vulnerable women being abused, trafficked and sold. 100% of the profits go to protecting and supporting women and children.
Today sponsor a trafficked woman so she can have a safe place to heal and live; buy two hearth scarves; one for yourself and one for a friend – I'll even pay the postage today so you just address the envelope and put a note on the card and I'll mail it. Buy 10!
Sign up on a clip board for updates and join the e-revolution of Amazing women working in the World and share your stories of hope; if you are a person who prays, please pray for the vulnerable people in the world.
My sweet sisters and brothers, the time has come for us to stand together for good and against the silent acceptance of what is wrong.
While I spoke, 270 children in the world died of completely preventable diseases like hunger, malnutrition, worms, polio, and tuberculosis…….Tonight, 1 out of 5 children in Henderson County will go to bed worried about where their next meal is coming from.
Fear of food scarcity gets even worse in the summer when school isn't open to serve two dependable meals a day. 300 teenagers will not be able to sleep at home because home is not safe or because their behavior is such that they are not welcome at home. 1 out of 7 county residents will be forced to choose whether to buy food or gas for transportation or medication because they can't afford to buy all three.
Suffering knows no boundaries – and thank God neither does love.
Let your life speak volumes for what you believe in.
Be courageous. Be courageous and take action.
Take my hand if you are scared- it will diminish my fear.
Together we will work for great – not just good. You and I have the power to change the world, one life at a time, one day at a time, one prayer at a time, one dollar at a time.
Don't think it to death or worry it to death —-but commit yourself to stand for something or someone. That's what philanthropy is.
Be brave. Be bold. Be hope for someone today.

subset: commoncrawl


text:
Consider this: Until the early Nineteen Nineties, most cell phones have been too large for pockets. The definition of an assistive technology machine may be very broad and offers IEP teams the flexibility that they should make selections about appropriate assistive technology gadgets for individual college students. For instance, a classroom pc with a word processing program might be thought-about assistive technology for a scholar who demonstrates difficulty in writing and spelling if the IEP group has determined that it is educationally vital. The expertise entrepreneurship literature has centered more on small expertise companies than mid-sized and enormous firms.
A trendy example is the rise of communication know-how, which has lessened limitations to human interaction and, because of this, has helped spawn new subcultures; the rise of cyberculture has, at its basis, the event of the Internet and the computer sixteen Not all technology enhances culture in a artistic approach; know-how can also assist facilitate political oppression and conflict via instruments such as weapons.
Previous definitions from the literature don't discover and establish: the ultimate outcome of expertise entrepreneurship; the goal of the last word outcomes; the mechanism used to ship the ultimate outcomes; or the character of the interdependence between know-how entrepreneurship and scientific and technological advances. Quite right, and for a extra detailed and demanding discussion of how earlier scholars, historians, and intellectuals have outlined or thought in regards to the time period expertise," you may want to take a look at Michael's other latest essay, What Are We Talking About When We Talk About Technology ?" which preceded the one cited above.
This part examines the fast progress in the volume and breadth of research into know-how entrepreneurship since that first symposium in 1970. We also use appropriate know-how to help us within the design and supply of the instruction. The number of scholars publishing articles about technology entrepreneurship in top journals remains quite small. Only two of the sixty two journals that published know-how entrepreneurship articles met the standards for a great" journal: Entrepreneurship Theory and Practice and Journal of Business Venturing. Not that one had anything to do with the other, however the technology of surrogacy would have been inconceivable back then.
Nanoscience and nanotechnology are the examine and software of extremely small things and can be utilized throughout all the other science fields, equivalent to chemistry, biology, physics, materials science, and engineering. Technology entrepreneurship appeals mainly to leaders and high administration groups of small and enormous companies who use technology to create, ship, and capture value for their stakeholders.


text:
William Bendelow (26 Sep 1946 - 29 Mar 2017)Share obituary on Facebook
Donate in memory of
WilliamBritish Heart Foundation
£0.00 + Gift Aid of £0.00Donate Now In partnership with
Funeral Service
- Location
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- Date
- 29th Nov 2017
- Time
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- Funeral Director
- Thomasons Funeral Services, Cross Gates
William (Billy)
On Thursday 16th November 2017, passed away suddenly at home, aged 71 years.
The much loved husband of Lesley, much loved dad of Mark and Richard. Grandad to Kierra, Tom and Jenson
The Funeral Service and Committal will take place at Cottingley Hall Crematorium Chapel on Wednesday 29th November at 11.40am prior to cremation.
Family flowers only please but donations may be made in memory of Billy to The British Heart Foundation for which a collection plate will be available at the service.
All enquiries to Thomasons Funeral Service, 120a-122 Crossgates Road, Leeds LS15 7nl. Tel: 0113 2641405.


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Each sentence below has one or two blanks. Each blank indicates that something is missing. Select the word or set of words that best fits the meaning of the sentence as a whole.
1. Due to the strong odor of onions ____________ through the kitchen, Jason suddenly found himself with tears in his eyes.
(A) submitting
(B) surpassing
(C) wafting
(D) impeding
2. An _____________ test taker, Theo studied hard and seemed to have a knack for always selecting the correct answer.
(A) ambivalent
(B) egregious
(C) impulsive
(D) astute
3. Unwilling to compromise his ____________, Howard quit the disreputable corporation and started his own consulting firm.
(A) representation
(B) integrity
(C) volition
(D) motivation
4. Praised as an ______________ biographer, Ana's faithful ________________ left her readers feeling as though they knew the historic figures she wrote of.
(A) awkward ... descriptions
(B) esteemed ... countenances
(C) errant ... portrayals
(D) eloquent ... characterizations
1. C is correct.
The clue to this sentence is the phrase "the kitchen." Try thinking of a word on your own. The correct answer is wafting, meaning "to send floating through the air or over water."
2. D is correct.
Astute (meaning "having or showing shrewdness or discernment") is the best word of the choices to describe someone who studies hard and seems to have a knack for doing well on tests.
3. B is correct.
"Disreputable" is a key word in this sentence, and you should look for a word that does not fit well with it. Integrity means "a strict adherence to a moral or ethical code," And because Howard felt his integrity was being compromised by working for a disreputable corporation, he decided to quit.
4. D is correct.
Since it is unlikely that an awkward or errant biographer would be praised, you can eliminate choices A and C. Countenance means "appearance, especially the expression of the face," and does not fit the context of the sentence. Choice D is correct.
Leave a Reply.
Write something about yourself. No need to be fancy, just an overview.
November 2018


text:
A 31-Year-Old High School Sophomore?
From the "What in the World?" File:
Dateline: Longview, TX. Students and faculty at the New Life Christian School in Longview apparently aren't good judges of a person's age. Nor was the woman who took in the "sophomore" that claimed she had been abused, and her biological parents were both dead.
You see, the "sophomore" is a 31-year-old woman named Charity Anne Johnson.
As reported by KLTV.com:
KLTV.com-Tyler, Longview, Jacksonville, Texas | ETX News
I'm still scratching my head over this one. Wow.


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All our staff have CRB (Enhanced Disclosure) certificates according to current legal requirements and will carry identification with them at all times.


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From: "janice ordal" <firstname.lastname@example.com>
It looks like the reviews of the Elliott shows in SF have been
Unfortunately, my friend Asher and I didn't get to the first night's
I thought the show might start late, because of the many times I'd seen
Elliott came on very soon after No. 2, and played almost exactly the
The first night's set consisted of (in order): Ballad of Big Nothing;
Although Elliott didn't look too into the show, he sounded really good.
I did get one of the Filmore posters, as well as a promo sticky card
The Amoeba show was really good. We got there an hour and a half early,
Got to meet Charlie and Cheez after the show, as I mentioned before. It
The set list there was: Tomorrow, Tomorrow; Last Call; Pitzelah; XO;
It only took 37 minutes of a mini-disc, so it was a very short set.
The show that night at the Filmore was very good also. No. 2 played
Elliott's set was really similar to the night before, except he played
So, that's it. The end of my Elliott tour for this time. Only saw him
It was great meeting you Charlie and Cheez.
From: Leata Wren Holloway email@example.com


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- The light spots here represented refer to tests carried out with 1 COB LED with 13mm LES, ~4270lm@LED
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text:
logic board replacement carrier help
I want to buy a new iPhone 5s logic board here at iFixit, but I don't know if I will be able to use it with any carrier here in Brazil. Pls help.
Esta é uma boa pergunta?
What carrier do you use?
My carrier is 'Oi'
You could try eBay, but I don't know if they will have them.


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text:
The 14th of April, 1865, was a tragic day in the history of the United States. For on the evening of that day, President Abraham Lincoln went to Ford's Theatre in Washington to see a play which was popular at the time – and never returned. The day had started for the President with the usual round of office duties. The city of Washington was still in a happy mood. The weather was fine, the sky was cloudless, a fresh spring wind was blowing about flags hoisted from many private and government buildings. The war had only ended a few days before, and the whole country continued to celebrate. The theatre party for that evening had been planned by Mrs Lincoln. The President usually enjoyed going to the theatre and went very often – but this evening he had no wish to go. He had felt very tired all day and looked upset. He finally decided to go, however, because it had been announced in the newspapers that the President would be present at Ford's Theatre. The President
and his party arrived at the theatre when the play had already begun. When he appeared in the box, the audience greeted him with a storm of applause and the performance was interrupted for a moment. Then the play went on, and the President enjoyed it. He didn't know that his life was in danger… At about ten o'clock an actor named John Booth came into the theatre and walked directly towards Lincoln's box. He noiselessly opened the door, and approaching the President so that his gun was only a short distance from his head, calmly took aim and fired. The President fell forward in his chair. Booth immediately jumped from the box to the stage. He landed heavily and shouted something. He was about to rise to his feet when he gave a cry of pain and had to lie still for a moment. Then he got up with difficulty and slowly walked to the back of the stage. His leg was broken, but he was able to get outside where a horse was waiting for him. The audience saw him do all this, but they thought that it was all part of the play, when suddenly they heard a woman's voice cry out: "The President has been killed." It was Mrs Lincoln. Immediately a young doctor from the audience hurried to the President's box. After he had examined Lincoln, he said that the President had only a few hours to live. Lincoln was lifted from his chair and carried to a house opposite the theatre, where he remained until his death the next morning. When he died, one of the people in the room at the time said: "Now he belongs to the ages." These words have since become famous.


text:
一 Performance & Technical standard:
1. Chemical Composition:
Carbon: 0.8 - 1.2%
Manganese :0.35-1.2%
Silicon: ﹥0.4%
Sulphur : ≤0.05%
Phosphorus: ≤0.05%
2 Hardness:
The rate is more than 90% as follows:
3 Min Density:
Shot ≥7.2×103kg/m3 Grit≥7.4×103kg/m3
4 Metallurgical Structure: Tempered martensite and small amount of residual austenite and carbide dispersion
5 Ervin time:
In the same hardness condition: high carbon steel shot fatigue life is about 2800 times
二 The use and application:
1 Blasting cleaning: casting ,die casting, forging , heat treatment, steels ,steel plate , Structural steel
2 Derusting: casting ,die casting, forging , heat treatment, steels ,steel plate , Structural steel
3 Strenghening: heat treatment ,gears ,shafts, structure steel, ship plate, steels
4 Steel pretreatment :steels ,steel plate ,structure steel ,ship plate ,H style steel.
Application Devices:
Steel shot mainly used for the following equipment including rotary barrel shot blasting machine, chain type shot blasting
machine,pedrail type shot blasting machine,pass through shot blasting machine,table type shot blasting machine, Pendent
chain & Pile type Shot Blasting Machine, trolley type shot blasting machine,abrator, abrator equipment,shot peening machine,
shot peening equipment,sandblasting machine,sandblasting equipments,steel material pretreatment production line,steel
plate pretreatment production line, steel structure pretreatment production line
三 Size: ISO standard (SAEJ-444 Standard)
1 steel Shot size : S400(S1320)、S300(S1110)、S280(S930)、S240(S780)、S200(S660)、S170(S550)、S140(S460)、S120(S390)、S100(S330)、S080(S280)、S070(S230)、S060(S170)、S040(S110)、S030(S70)
Bearing shot peening
Bearing shot peening is a cold working process in which small spherical media called shot bombard the surface of a part. During the bearing shot peening process, each piece of shot that strikes the material acts as a tiny peening hammer, imparting to the surface a small indentation or dimple. To create the dimple, the surface of the material must yield in tension. Below the surface, the material tries to restore its original shape, thereby producing below the dimple, a hemisphere of cold-worked material highly stressed in compression.


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Fill the offers in with your valid information, or download the 2 Apps and RUN THEM FOR 30 SECONDS.
After successfull completetion of the offer, pay nothing and the resources will be addded to your account in just few minutes.
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On the Tenth Day of "Crownsmas…"
Karlie Blaz, Crown Staff
December 16, 2016
Filed under Clubs/Organizations, Newspaper/Yearbook, Op-Ed, Showcase
Every year we take a break off from school to celebrate the holidays with our loved ones. We sip some hot chocolate, get into a few snowball fights, and open presents on Christmas morning. However, America is not the only country with Christmas traditions. Greece- A vital and traditional piece to a Gr...
On the Ninth Day of "Crownsmas"…
Jenna Walker, Crown Staff
December 15, 2016
Filed under Clubs/Organizations, Newspaper/Yearbook, Op-Ed, Showcase
Christmas is the most wonderful time of the year and the decorations help show the joy of the season. They don't have to be anything fancy. Decorations on the outside of the house could be as simple as putting five candles in the windows like they did before electricity or as big as decorating your...


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After death, Jian Chen's soul was reincarnated into a foreign world. He grew up with flying speed, but at the end, because of overflowing enemies and from heavily injuries by them, his soul abnormally changed at the border of life and death. From then on, he stepped onto a completely different path of sword cultivation and became the Sword God of the generation.
Manihas Reddy, u can find the rest of the chapters at translator's website u can find it at this adress http://gravitytales.com/novel/chaotic-sword-god/ atm the novel is at 589 chapters'!!!
Want the rest of the novel


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Ahoy there, sisters and brothers! How was your February? If it was awesome then congratulations, you have something in common with Power Metal. I've been absolutely giddy listening to all of the great power metal that has graced my ears. The final two weeks of the month have been especially satisfying, throwing us 10 albums. Holy Diver! Not only in quantity, but in terms of quality power metal probably had its best month in quite a long time. The only downside (not really) is I have to pick one as my personal favorite. It wasn't easy because there are three or four that stand out from the others. I waited until the last possible moment which was a good thing because it assured me my pick was the right one. So, without further delay, I present to you my favorite Power Metal album of February 2018!
Thaurorod – Coast of Gold (Drakkar Entertainment GmbH)
Not only is Coast of Gold my top power metal pick of the month but it's also an early frontrunner for album of the year. I'm the kind of fan who loves soaring vocals, speedy riffs, keyboards and melody up the wazoo. Thauroroad gives you all that and more. The sextet from Finland delivers a gem five years after their terrific record Anteinferno and, in my opinion, solidify themselves as one of the best symphonic power metal acts today. It starts off right away with the opening track, "Power," a perfect name for this song, it hits you hard with speed and melody and leaves you wanting more. It also contains my favorite chorus of the album and gives you that uplifting feeling that makes Power Metal so special. "The Commonwealth Lives" starts off with a catchy keyboard riff before proceeding into an earworm that had me singing it for days after. The fun continues with the title track and "24601." Both of these are keyboard heavy but aren't overbearing and gives both a very epic feel. "24601" is a very passionate song. I can really feel the emotion and passion in singer Andi Kravljaca's voice. The guitar work is superb and it's one of those songs that will be played for years to come.
You want more anthemic tuneage? You got it! "Feed the Flame" is next, and in my opinion, it's the song that will raise your fist to the sky. You'll be holding a sword in that hand as well. "Cannibal Island" follows, and for me it's the only weak part of Coast of Gold. It's not bad, but it feels out of place to me. Things quickly steer back on track when "Into the Flood" starts playing. A powerful mid to fast-paced song, it has my favorite guitar solo on the album.
The final three tracks showcase the vast creativity of the band. "My Sun Will Rise" is a melodic, yet speedy track that's a real headbanger. "Illuminati" is the longest song on the album, clocking in at 7:06, and gives you a progressive feel with different paces and feels. The final song, "Halla," is the ballad. It's incredibly passionate and strong. Normally I don't like ballads to end an album but this was a perfect fit. There is a closure feel to it that gives you the satisfaction that is needed for an album's end.
Like I said earlier, Power Metal had an incredible February. Visions of Atlantis, Sebastien, Frozen Crown, Mad Hatter, Armored Dawn, Angra and others released tremendous offerings. For me, Thaurorod were the leaders. Coast of Gold has all you want in a power metal album, from speed and riffs to melody and passion. When I purchased the album, I listened to it five times in a row because it sounded so massive, and still does. It took five years to release this album, but you can hear and feel all of the hard work they put into it. I know it's early, but this is my power metal album of the year right now. It's fast, it's fun and it's great! Thanks for reading everyone.
HAIL to you all!!!
– Frank
Coast of Gold is available now on Drakkar Entertainment GmbH. For more information on Thaurorod, check out their official website.


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Shree Shyam Financial ServicesA step to nextgen credit solutions...
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SSFS has created an exclusive group working on climate change and more specifically on carbon credits advisory services to the clients to deal with Clean Development Mechanism (CDM) / Carbon Credits of Kyoto Protocol and Voluntary Emission Reductions (VERs) authorities.
SSFS has undertaken the pioneering role in the Indian Financial Services Sector in the area of environmental services and has been active in this field for over 10 years. SSFS has created an exclusive group working on climate change and more specifically on carbon credits advisory services to the clients to deal with Clean Development Mechanism (CDM) / Carbon Credits of Kyoto Protocol and Voluntary Emission Reductions (VERs) authorities. This group has devised a structured product for arranging upfront finance against the carbon credit receivables. The product is well accepted by the Indian project developers. Below mentioned for the details of services offered in CDM and renewable energy sector.
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Norwegian Cruise Line
Norwegian Cruise Line - Sky
From the moment you step aboard, you'll see that Norwegian Sky offers something for everyone. On our
Bahamas cruises
your options are nearly limitless with 13 dining options, 12 bars and lounges, an onboard spa and casino that has all of your favorite games and slots. The popular Norwegian Sky offers 3- and 4-day cruises year-round to the
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. And, if you decide to bring the kids, we'll keep them entertained all day, while you lounge by the pool, play in the casino, or enjoy dinner at one of many restaurants.
5 complimentary dining options, from three-course dining to endless buffets with action stations.
Entertainment day & night. Comedian, dance clubs, bars & lounges, piano bars and live music.
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Youth programs for children ages 3-17.
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This post is an excerpted version of our interview with The Florida Alliance At-Large Director Ashley Bacot.
To read the full interview and learn more about Ashley and his views on The Florida Alliance and the future of health care in Florida, click here.
This month, we visited with Mr. Ashley Bacot, Risk Manager for Rosen Hotels & Resorts. Ashley is a new The Florida Alliance At-Large Director but has been involved with our organization for about three years.
You've been working in your field during your entire career. Tell us about your start.I got interested in risk management at the age of 16, when someone introduced me to the field and I've been in it ever since.
What is your role at Rosen Hotels and Resorts?I have an oversight role as it relates to the Rosen Medical Center which is at the very core of our health care program for our associates and their dependents. I work closely with our Human Resources and Finance departments to manage our cutting edge health care program. It turned out to be a great career move and I'm very happy here!
What do you see on the horizon for employer health care purchasing and management?Hospital costs make up a large portion of our health care costs. There needs to be more competition among hospitals, which will drive quality improvement and lower costs. The paradigm shift from fee-for-service to value based payment is taking it in the right direction. It can't come too soon.
As a nation, we're spending nearly $3 trillion annually on health care -- that's 17% of GDP! There needs to be more transparency in pricing and we must bend the cost curve for specialty drugs, which are making up a larger percentage of pharmacy costs. The industry is predicting that specialty pharmacy spend will become 50 to 70% of an employer's overall pharmacy spend.
What makes The Florida Alliance an organization to which all large-employer health care purchasers in Florida should belong?There are an abundance of educational initiatives available at any given time through The Florida Alliance. Whether it's a webinar, workshop or attending The Florida Alliance's annual conference, you get valuable information to infuse into your health care program.
There is a synergy between all the members and by banding together we have a very strong voice. I honestly can't imagine not having The Florida Alliance and all its resources and expertise at my fingertips.
Click here to read the full interview.
Items in bold indicate required information.


text: Event descriptionTuesday 30 June | 19.30 | £12/£6 under 16 Enjoy traditional folk music, dance tunes, songs, stories and even dance steps from Hungary. Having played in Greece, Serbia, Austria and London, this is a rare chance to experience the culture of Hungary in the intimate setting of Stapleford Granary. This folk music is founded on the seed of original instruments, singing and traditional instrumental techniques, but extracted and organized according to the Mentés Másként Trió's own experience. The Mentés Másként Trió will be working with the Hills Road Sixth Form College Folk Roots group during the afternoon and will present some of this work during the evening. Artist biog Dániel Lipták violin & vocals Géza Fábri koboz (Hungarian folk lute) & vocals Tünde Fábri-Ivánovics vocals, bells, hand-drums Further information: www.mentesmaskent.hu


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The Spider-Man lineup continues with Carnage! This Artfx+ statue features the famed Kotobukiya craftsmanship fans have come to expect from the ARTFX+ sereis, as shown in the highly detailed sculpting, dynamic pose, and amazing paint work.
Pro Price


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I absolutely love it when I can take an outfit from day to night, and this a-line skirt and cold shoulder top combo easily fit that bill. And, not to mention, the neutral color palette of these closet staples makes accessorizing so. much. fun. This look can be quickly changed into so many different outfits, just by switching out the scarf, necklace or shoes; this is exactly how I made my outfit do the work for me just by removing my scarf for a dressier, nighttime look. No sitting in my closet pondering what to wear for a second time in one day when I have plans after work! By simply taking off my scarf and switching the focal point of my outfit to this gorgeous Kate Spade pearl statement necklace, I completely changed the aesthetic of my look and essentially created a second outfit - perfect for dinner with friends or date night with your significant other!
What pieces in your closet do you consider staples of your wardrobe? How do you make your favorite outfits work for both day and night? Leave a comment below!
Happy shopping loves! xoxo
Top: H&M - no longer available (similar here, here and here)
Skirt: H&M - no longer available (similar here and here)
Scarf: Collection Eighteen (similar here, here and here)
Necklace: Kate Spade
Tights: Simply Vera Vera Wang
Bag: MICHAEL Michael Kors (similar here)
Booties: Jessica Simpson (similar here, here and here)
Bracelets: Erica Lyons
Ring (Green): Glamour Rings
Sunnies: Ray-Ban


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The Blue Crew Sports Grill has closed again—but owners say it's only a temporary setback.
In a message posted on Facebook, the business said it's "had a few issues come and we've had to close down temporarily." The post goes on to say that "this isn't like the last time" and that the business is expected to "be back open in a just a few days."
In May, owner Randy Collins posted that he'd have to shut down the Blue Crew Sports Grill at 7035 E. 96th Street because he'd fallen behind on rent. Colts owner Jim Irsay stepped in and helped the business reopen.
Here's the Facebook post in its entirety:
"Oooops. We had a few issues come up and we've had to close down temporarily. Don't worry, this isn't like last time. We expect to be back open in just a few days or less. Obviously no trivia tonight or poker tomorrow night.
We'll keep you informed with any news of the reopening as we get it. And yes, we fully expect to be open Sunday for the first preseason game at 1:00 Go Colts!!"


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symbols thread for bbm
Quite possibly sent from my Verizon Wireless BlackBerry. Feel free to ask if you have any questions or issues with the forums.
Hi, Other than the Christmas Tree and present that is floating around, has anyone seen or got a Santa hat symbol for BBM? Or any other Christmas Symbols they want to share. .all
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My BB Collection BlackBerry Corner . Assalamu'alaikum. Allo. My BlackBerry Collection ini koleksi aku dari BB Javelin dan Gemini..
Just wondering. does anybody know where i can find the NYY symbols to put in tweets/ BBM status'/ and maybe even FB status'? Ive found music notes/ Hearts/ Copyright symbols and
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The mountains of the rugged Big Sur coastline rise to 5,000 foot
summits within two miles of the ocean, the most abrupt elevation
change of the entire Pacific shore.
Several hundred million years ago, river-borne sediments from
a mountain range in what is now Mexico were deposited along the
western coast. These layers of sandstone, siltstone and limestone
were compressed and folded by the underriding of tectonic plates
at the continent's edge. The sediments metamorphosed with pressure
into schist, gneiss, granofels and marbles--now the oldest rocks
in the Santa Lucia range.
By sixty five
million years ago, this plate -- called the Salinan block -- began
to drift northward. In response to the clockwise rotation of the
Pacific Ocean's crust, the block was temporarily halted in its
smooth progress and became jostled with faulting and uplifting,
a process that still continues today. Seismic activity along the
many faults is common as the mountains continue to be uplifed.
Stream canyons frequently follow fault lines. Lateral faults are
in the majority here, hence, most canyons parallel the coast rather
than descend directly to it.
highest peaks visible are granitic rock, which tends to be more
resistant to erosion. In places where stream erosion was minor,
the taller peaks may also be marble (metamorphosed limestone)--Pico
Blanco is one such marble summit. The original sediments of sandstone
and siltstone have been tilted up into cliffs in some areas. The
sculpted shapes at Point Lobos are rare local examples of conglomerate
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