text:
In the wing mirror on the passenger side of a vehicle, objects are closer than they appear.
Rearview republishes fundamental texts of art criticism that are crucial for the present moment. They deserve a renewed attention because they reveal “blind spots” in contemporary discourses. These “found” documents (indeed, quasi-artifacts) are prefaced by one of our writers.
View of “Les Immatériaux,” Centre Pompidou, Paris, 1985. All images courtesy of Centre Pompidou - MnamCci - Bibliothèque Kandinsky, Paris.
From our contemporary vantage point, is there anything—whether philosophical inquiry or historical phenomenon—more anachronistic than postmodernism? Jean-François Lyotard published The Postmodern Condition in French in 1979, but the intervening three-and-a-half decades cover a period we now call “the contemporary,” even as the label struggles with each passing year to contain all that falls within its temporal and now global bounds. In March 1985, the Centre Georges Pompidou in Paris opened "Les Immatériaux," an exhibition organized by Lyotard—then at the height of his influence—and Thierry Chaput, director of the Centre de Création Industrielle in Paris.
While Lyotard’s attempt to convey the profoundly destabilizing experience of contemporary life via an exhibition may now seem as outmoded as the clunky IBMs he included, our current interest in new materialisms and attendant critiques of the relations between objects and humans, exhibition histories and their dramaturgies, and a spate of publications theorizing the contemporary all converge at the Beaubourg in 1985. In "Les Immatériaux" Lyotard attempted to use all the tools in his arsenal, from the latest technology to the full human sensorium, to query if and how our relationship to the world had fundamentally changed. For the tangle of conviction and ambivalence found in its gaze into the future, Lyotard’s vision for an exhibition is worth looking back on.
Philippe Parreno and Hans Ulrich Obrist, The Conversation Series 14 (Cologne: Walter König, 2008), 17.
Jean-François Lyotard, “Les Immatériaux,” Art & Text 17 (1985), 48. For Lyotard, the Cartesian program so endemic in modernity was manifest in exhibitions through several conditions: first, the visitor is an eye, and sight is the dominant sense. Here, space becomes understood, ordered, and rational. Lyotard sought to undo each of these conditions. Instead of an eye perceiving space organized in linearly unfolding enfilade, he threw up all manner of barriers to vision: darkness, the grey screens, and the twists and turns of the labyrinth. Instead of privileging sight, he activated the entire sensorium. Instead of enlightenment, he aimed at “intensifying the interrogation” and “aggravating the sense of uncertainty” posed by his principal question. The immaterials had triggered a loss of our identity as human beings and led us to this state of uncertainty. In this state, and in this exhibition, Lyotard intended that we feel the dissolution of the boundaries between our bodies and the things we encounter.
Just before the show opened, Bernard Blistène, who was named director of the Centre Pompidou’s Musée national d’art moderne in late 2013, sat down with Lyotard to discuss his exhibition. An excerpt of their conversation, which appeared in Flash Art in March 1985, follows.
Bernard Blistène: Tell us about the exhibition you’re organizing.
Jean-François Lyotard: The idea of “immaterials” or “non-materials” was a little bit different at first, since I’d been asked to do the exhibition under a different title. It was supposed to be called “Nouveaux Matériaux et Creation”—New Materials and Creativity. But then I slightly shifted the subject by trying to give it a somewhat different range; I said to myself, “Creativity? What is that supposed to mean?” And again, “What is ‘new’ supposed to mean?” Thinking about “materials” today, I thought, “But what does that imply for an architect, or for an industrialist?” I came to the conclusion that all of these words have undergone considerable shifts in meaning, and I thought that the question had to be approached from a different point of view.
BB: But what can we say about the philosopher who decides that his job is to give us something to look at?
JFL: Everybody knows that books are going through a period of crisis as instruments for the diffusion of ideas, and that this is a part of the general crisis of intellectual life today, here in what we could call a kind of democratic despotism that makes for the world we live in. And of course, there’s no question of maintaining the superiority of any kind of aristocratic power, but the both of us know very well that the philosopher experiences a very grave problem with respect to the writing or recording of what he has to say, and there is a problem of the shortcomings of the philosopher with respect to the available modes of writing and recording, or of what I would call “inscription.” As far as I myself am concerned, my acceptance of the idea—to use the words with which you’ve stated it—of becoming “the philosopher who decides that his job is to give us something to look at” is something very simple and not even particularly original. I accept myself as a philosopher, and it seems to me to be important for the philosopher to be able to record what he thinks through the use of instruments that don’t have to be restricted to the instrument of the book. It’s just that simple. New and different things are at stake today, even though they’re not totally new, and we have to try to understand the things that are being offered to us.
BB: And that is the point where we find a lack of differentiation between technological experimentation and the questions posed by art?
JFL: Even the most modest tinkler with software has an attitude that’s somehow “artistic”—an attitude of a kind of astonishment. And what that means is that metaphysics, as Adorno puts it, goes into crisis at much the same time as the rest of classical philosophy and that there’s a way in which it is going under as a result of a decline in the capacity it can have for the creation of wide-ranging global systems that include the great and final issues for which we feel a need. If there’s a decline of metaphysics, there’s also a decline of everything that people in general call philosophy. And this decline—which is something that Adorno grasped quite clearly—shows us the history of the diaspora of philosophy as it wanders through domains that can’t be properly defined as philosophical, even though the domain that can be properly defined as philosophical continues to exist. What this means is that metaphysics, as Adorno puts it, goes under, along with classical philosophy, even though certain people continue to practice it as though it weren’t in crisis at all.
BB: Your texts on “painting” go from Adams to Buren, and from Monory to Arakawa. They seem to contain what I’d call the logic of discontinuity. Can you say something about the reasons that have prompted you to write about certain painters rather than others? And do you think of your essays on painting as fragments of a whole within your work as a writer?
JFL: I’d answer quite simply that it has been something of a question of chance. I’m usually acquainted with the painters whom I decide to write. I’ve worked along with them, and I’ve seen them at work, but then again, there are obviously painters with whom I’m personally acquainted but whom I’d never want to write about. It’s not that I can give you an answer simply by saying it’s a matter of people I’ve happened to meet. And if you ask me if these essays are part of some single thing, and if this single thing is part of my reflections as a philosopher, I’d have to answer in much the same summary way and that for the moment I think of all these various short texts as the beginning of a kind of dossier that could lead to some substantial study not so much of art, but specifically of painting. Contemporary painting. And my goal would be to attempt to define the nature of a possible philosophy of art today.
BB: You mean that you don’t at all exclude the idea of writing a theory of aesthetics?
JFL: I don’t think it would be a question of a theory, and I don’t think it would be a question of aesthetics. I don’t think it could be a theory since I think of the idea or theory as belonging to the area of metaphysics, which we were saying is now in decline, and I don’t think of it as a question of aesthetics, since I don’t think that aesthetics corresponds to the time we live in. Aesthetics primarily appertains to a very precise moment in the commentary on art, which is to refer to the Age of Enlightenment and to what follows after it, so it’s a question of something in the order of two centuries ago. Basically, I’d be ready to maintain that there wasn’t any such thing as aesthetics up until the eighteenth century, and that up until that time there was only a series of poetics. Aesthetics actually corresponds to the philosophy of the sublime and to a theory of genius.
BB: In the light of what you’re saying, do you think that Adorno could give an explanation of the title of his book?
JFL: No, I don’t think he could. I think that his title… how can I put it? I think his title is bad but that his book is very good. And that’s precisely because it isn’t at all a theory and has nothing to do with aesthetics. This is the line of thought into which I’d like to situate this work, and I’d want it to be a kind of prolongation of what’s indicated in Adorno’s work. But, you know, whenever I reread Adorno, I always see that his approach is negative, and almost always cynical, which is the measure of the breadth of his despair. It’s the measure of the strength of the attachment still to be felt for modern aesthetics, the measure of the strength of the attachment still to be felt for modern aesthetics, the measure of a refusal to go into mourning for the final death of it. With Adorno we’re within the sphere of melancholy. You can’t forget the context in which that book was written. The most admirable parts of German art were being burned in public, and the most intelligent parts of literature and the arts were being persecuted. We no longer live under that kind of despotism, but today we can see we live under a kind of democratic despotism of the media, which is of course, something very different. And so, even though there’s nothing that has been forgotten, we have to attempt to work our way into the philosophy of contemporary art by completely disengaging ourselves from romantic aesthetics. And so this reflection on art begins for me with “Discourse-Figures” as a way of starting to palliate—or rather to supplant—the political thinking of the present day.
Basically, the most essential question of all for me, is the question we’ve just been talking about: “What do we do if we no longer have the prospect of emancipation? What sort of line of resistance can we have?” When Zola took part in public affairs, he knew exactly what he was talking about, he was aware of his “prospects of emancipation.” The same thing was true for Voltaire, and for Fourier, who was also a political thinker, and it was still true for Sartre, even though Sartre was wrong. We intellectuals are no longer capable of any kind of real intervention. And so what is our line of resistance if it’s no longer a question of a prospect of emancipation? I think that it’s something that’s very closely connected to artistic activity, or philosophico-artistic activity. It’s something that has to be thoroughly explored by asking ourselves what’s happening at the level of time, space, and the social community in contemporary art. That’s what I’ve been trying to explore by means of these various small texts that I write on art, and sometimes of music, when I feel sufficiently audacious. I’d like to write a commentary on Paris, Texas  and say that it’s an Alice in the Cities , which is not poor art anymore.
BB: Let’s go back to your exhibition “Les Immatériaux” and to the concept behind it.
JFL: We arbitrarily and quite purposely created a kind of filter, since there were so many things to exhibit that our very first worry was about how to go about dealing with it all. There was never any pretense of doing some sort of universal exhibition. Universal exhibitions are no longer possible, and that’s more than just a question of budgeting. And so what were our criteria of selection? They were on three different levels. First of all, we wanted to exhibit things that inspire a feeling of incertitude: incertitude about the finalities of these developments and incertitude about the identity of the human individual in his condition of such improbable immateriality. That’s a criterion of selection that’s concerned with the philosophical stakes of the exhibition. Then we obviously had to give attention to the arrangement of the show in terms of time and space. And here we appealed to two principles: no fancy mouldings and no pedestals. We didn’t want still another re-evocation of a gallery or a salon, by which I mean an arrangement of rooms in a royal palace as designed by the king. We wanted to avoid this way of squarely defining things and we had to discover a more fluid and immaterial system for the organization of space.
BB: Is there a postmodern formalism?
BB: How do you feel then about the attempt to rehabilitate “technique” and “métier” as primary values for the judgment of an artist?
JFL: It would be a little paradoxical to reduce the history of a painting to a single problem of technique or supports. In any case, that’s far too little. Do you remember those extremely incisive texts by Diderot, like the one he called “La petite technique” not without a certain air of disdain. And if Chardin, for example, was far beyond his contemporaries even though they were technically his peers, one surely has to explain that in different terms from a phenomenological point of view. And look at Cezanne: he wasn’t exceptional from any technical point of view, and yet, at the same… But even though I’m not at all tempted to take these problems of technical mastery any too seriously, I’m in any case quite concerned with the aspect of technique when it comes to trying to understand the way it can affect a viewer and modify the course of his attempt to make use of his sensibility as the instrument of some kind of exploration. I imagine that someone from Flanders who made a trip to Venice in the sixteenth or seventeenth century must have been terribly shocked. But apart from that kind of consideration, we still have to realize that we’ve been witnessing a permanent process of reformation in the individual’s ability to see and then to love what he sees. But that’s not at all the situation to be seen in the majority of the works that are being produced today. They don’t teach me anything. I say to myself, “I’ve already seen that, and I’ve already seen it done better.” The overemphasis of the hand, the agitated drawing, and all the rest of it, we already know that, and we’ve already seen it. I’m not saying that it’s entirely without interest. I’m just saying that it’s without any interest to me.
BB: What, finally, is postmodernism?
JFL: My work, in fact, is directed to finding out what that is, but I still don’t know. This is a discussion really that’s only just beginning. It’s the way it was for the Age of Enlightenment: the discussion will be abandoned before it ever reaches a conclusion.
The full text of this conversation originally appeared in Flash Art, no. 121 (March 1985), pp. 32–39. This excerpt is reprinted with the kind permission of Flash Art.
Tara McDowell is Associate Professor and Director of Curatorial Practice at Monash University in Melbourne, Australia.

lowercased:
in the wing mirror on the passenger side of a vehicle, objects are closer than they appear.
rearview republishes fundamental texts of art criticism that are crucial for the present moment. they deserve a renewed attention because they reveal “blind spots” in contemporary discourses. these “found” documents (indeed, quasi-artifacts) are prefaced by one of our writers.
view of “les immatériaux,” centre pompidou, paris, 1985. all images courtesy of centre pompidou - mnamcci - bibliothèque kandinsky, paris.
from our contemporary vantage point, is there anything—whether philosophical inquiry or historical phenomenon—more anachronistic than postmodernism? jean-françois lyotard published the postmodern condition in french in 1979, but the intervening three-and-a-half decades cover a period we now call “the contemporary,” even as the label struggles with each passing year to contain all that falls within its temporal and now global bounds. in march 1985, the centre georges pompidou in paris opened "les immatériaux," an exhibition organized by lyotard—then at the height of his influence—and thierry chaput, director of the centre de création industrielle in paris.
while lyotard’s attempt to convey the profoundly destabilizing experience of contemporary life via an exhibition may now seem as outmoded as the clunky ibms he included, our current interest in new materialisms and attendant critiques of the relations between objects and humans, exhibition histories and their dramaturgies, and a spate of publications theorizing the contemporary all converge at the beaubourg in 1985. in "les immatériaux" lyotard attempted to use all the tools in his arsenal, from the latest technology to the full human sensorium, to query if and how our relationship to the world had fundamentally changed. for the tangle of conviction and ambivalence found in its gaze into the future, lyotard’s vision for an exhibition is worth looking back on.
philippe parreno and hans ulrich obrist, the conversation series 14 (cologne: walter könig, 2008), 17.
jean-françois lyotard, “les immatériaux,” art & text 17 (1985), 48. for lyotard, the cartesian program so endemic in modernity was manifest in exhibitions through several conditions: first, the visitor is an eye, and sight is the dominant sense. here, space becomes understood, ordered, and rational. lyotard sought to undo each of these conditions. instead of an eye perceiving space organized in linearly unfolding enfilade, he threw up all manner of barriers to vision: darkness, the grey screens, and the twists and turns of the labyrinth. instead of privileging sight, he activated the entire sensorium. instead of enlightenment, he aimed at “intensifying the interrogation” and “aggravating the sense of uncertainty” posed by his principal question. the immaterials had triggered a loss of our identity as human beings and led us to this state of uncertainty. in this state, and in this exhibition, lyotard intended that we feel the dissolution of the boundaries between our bodies and the things we encounter.
just before the show opened, bernard blistène, who was named director of the centre pompidou’s musée national d’art moderne in late 2013, sat down with lyotard to discuss his exhibition. an excerpt of their conversation, which appeared in flash art in march 1985, follows.
bernard blistène: tell us about the exhibition you’re organizing.
jean-françois lyotard: the idea of “immaterials” or “non-materials” was a little bit different at first, since i’d been asked to do the exhibition under a different title. it was supposed to be called “nouveaux matériaux et creation”—new materials and creativity. but then i slightly shifted the subject by trying to give it a somewhat different range; i said to myself, “creativity? what is that supposed to mean?” and again, “what is ‘new’ supposed to mean?” thinking about “materials” today, i thought, “but what does that imply for an architect, or for an industrialist?” i came to the conclusion that all of these words have undergone considerable shifts in meaning, and i thought that the question had to be approached from a different point of view.
bb: but what can we say about the philosopher who decides that his job is to give us something to look at?
jfl: everybody knows that books are going through a period of crisis as instruments for the diffusion of ideas, and that this is a part of the general crisis of intellectual life today, here in what we could call a kind of democratic despotism that makes for the world we live in. and of course, there’s no question of maintaining the superiority of any kind of aristocratic power, but the both of us know very well that the philosopher experiences a very grave problem with respect to the writing or recording of what he has to say, and there is a problem of the shortcomings of the philosopher with respect to the available modes of writing and recording, or of what i would call “inscription.” as far as i myself am concerned, my acceptance of the idea—to use the words with which you’ve stated it—of becoming “the philosopher who decides that his job is to give us something to look at” is something very simple and not even particularly original. i accept myself as a philosopher, and it seems to me to be important for the philosopher to be able to record what he thinks through the use of instruments that don’t have to be restricted to the instrument of the book. it’s just that simple. new and different things are at stake today, even though they’re not totally new, and we have to try to understand the things that are being offered to us.
bb: and that is the point where we find a lack of differentiation between technological experimentation and the questions posed by art?
jfl: even the most modest tinkler with software has an attitude that’s somehow “artistic”—an attitude of a kind of astonishment. and what that means is that metaphysics, as adorno puts it, goes into crisis at much the same time as the rest of classical philosophy and that there’s a way in which it is going under as a result of a decline in the capacity it can have for the creation of wide-ranging global systems that include the great and final issues for which we feel a need. if there’s a decline of metaphysics, there’s also a decline of everything that people in general call philosophy. and this decline—which is something that adorno grasped quite clearly—shows us the history of the diaspora of philosophy as it wanders through domains that can’t be properly defined as philosophical, even though the domain that can be properly defined as philosophical continues to exist. what this means is that metaphysics, as adorno puts it, goes under, along with classical philosophy, even though certain people continue to practice it as though it weren’t in crisis at all.
bb: your texts on “painting” go from adams to buren, and from monory to arakawa. they seem to contain what i’d call the logic of discontinuity. can you say something about the reasons that have prompted you to write about certain painters rather than others? and do you think of your essays on painting as fragments of a whole within your work as a writer?
jfl: i’d answer quite simply that it has been something of a question of chance. i’m usually acquainted with the painters whom i decide to write. i’ve worked along with them, and i’ve seen them at work, but then again, there are obviously painters with whom i’m personally acquainted but whom i’d never want to write about. it’s not that i can give you an answer simply by saying it’s a matter of people i’ve happened to meet. and if you ask me if these essays are part of some single thing, and if this single thing is part of my reflections as a philosopher, i’d have to answer in much the same summary way and that for the moment i think of all these various short texts as the beginning of a kind of dossier that could lead to some substantial study not so much of art, but specifically of painting. contemporary painting. and my goal would be to attempt to define the nature of a possible philosophy of art today.
bb: you mean that you don’t at all exclude the idea of writing a theory of aesthetics?
jfl: i don’t think it would be a question of a theory, and i don’t think it would be a question of aesthetics. i don’t think it could be a theory since i think of the idea or theory as belonging to the area of metaphysics, which we were saying is now in decline, and i don’t think of it as a question of aesthetics, since i don’t think that aesthetics corresponds to the time we live in. aesthetics primarily appertains to a very precise moment in the commentary on art, which is to refer to the age of enlightenment and to what follows after it, so it’s a question of something in the order of two centuries ago. basically, i’d be ready to maintain that there wasn’t any such thing as aesthetics up until the eighteenth century, and that up until that time there was only a series of poetics. aesthetics actually corresponds to the philosophy of the sublime and to a theory of genius.
bb: in the light of what you’re saying, do you think that adorno could give an explanation of the title of his book?
jfl: no, i don’t think he could. i think that his title… how can i put it? i think his title is bad but that his book is very good. and that’s precisely because it isn’t at all a theory and has nothing to do with aesthetics. this is the line of thought into which i’d like to situate this work, and i’d want it to be a kind of prolongation of what’s indicated in adorno’s work. but, you know, whenever i reread adorno, i always see that his approach is negative, and almost always cynical, which is the measure of the breadth of his despair. it’s the measure of the strength of the attachment still to be felt for modern aesthetics, the measure of the strength of the attachment still to be felt for modern aesthetics, the measure of a refusal to go into mourning for the final death of it. with adorno we’re within the sphere of melancholy. you can’t forget the context in which that book was written. the most admirable parts of german art were being burned in public, and the most intelligent parts of literature and the arts were being persecuted. we no longer live under that kind of despotism, but today we can see we live under a kind of democratic despotism of the media, which is of course, something very different. and so, even though there’s nothing that has been forgotten, we have to attempt to work our way into the philosophy of contemporary art by completely disengaging ourselves from romantic aesthetics. and so this reflection on art begins for me with “discourse-figures” as a way of starting to palliate—or rather to supplant—the political thinking of the present day.
basically, the most essential question of all for me, is the question we’ve just been talking about: “what do we do if we no longer have the prospect of emancipation? what sort of line of resistance can we have?” when zola took part in public affairs, he knew exactly what he was talking about, he was aware of his “prospects of emancipation.” the same thing was true for voltaire, and for fourier, who was also a political thinker, and it was still true for sartre, even though sartre was wrong. we intellectuals are no longer capable of any kind of real intervention. and so what is our line of resistance if it’s no longer a question of a prospect of emancipation? i think that it’s something that’s very closely connected to artistic activity, or philosophico-artistic activity. it’s something that has to be thoroughly explored by asking ourselves what’s happening at the level of time, space, and the social community in contemporary art. that’s what i’ve been trying to explore by means of these various small texts that i write on art, and sometimes of music, when i feel sufficiently audacious. i’d like to write a commentary on paris, texas  and say that it’s an alice in the cities , which is not poor art anymore.
bb: let’s go back to your exhibition “les immatériaux” and to the concept behind it.
jfl: we arbitrarily and quite purposely created a kind of filter, since there were so many things to exhibit that our very first worry was about how to go about dealing with it all. there was never any pretense of doing some sort of universal exhibition. universal exhibitions are no longer possible, and that’s more than just a question of budgeting. and so what were our criteria of selection? they were on three different levels. first of all, we wanted to exhibit things that inspire a feeling of incertitude: incertitude about the finalities of these developments and incertitude about the identity of the human individual in his condition of such improbable immateriality. that’s a criterion of selection that’s concerned with the philosophical stakes of the exhibition. then we obviously had to give attention to the arrangement of the show in terms of time and space. and here we appealed to two principles: no fancy mouldings and no pedestals. we didn’t want still another re-evocation of a gallery or a salon, by which i mean an arrangement of rooms in a royal palace as designed by the king. we wanted to avoid this way of squarely defining things and we had to discover a more fluid and immaterial system for the organization of space.
bb: is there a postmodern formalism?
bb: how do you feel then about the attempt to rehabilitate “technique” and “métier” as primary values for the judgment of an artist?
jfl: it would be a little paradoxical to reduce the history of a painting to a single problem of technique or supports. in any case, that’s far too little. do you remember those extremely incisive texts by diderot, like the one he called “la petite technique” not without a certain air of disdain. and if chardin, for example, was far beyond his contemporaries even though they were technically his peers, one surely has to explain that in different terms from a phenomenological point of view. and look at cezanne: he wasn’t exceptional from any technical point of view, and yet, at the same… but even though i’m not at all tempted to take these problems of technical mastery any too seriously, i’m in any case quite concerned with the aspect of technique when it comes to trying to understand the way it can affect a viewer and modify the course of his attempt to make use of his sensibility as the instrument of some kind of exploration. i imagine that someone from flanders who made a trip to venice in the sixteenth or seventeenth century must have been terribly shocked. but apart from that kind of consideration, we still have to realize that we’ve been witnessing a permanent process of reformation in the individual’s ability to see and then to love what he sees. but that’s not at all the situation to be seen in the majority of the works that are being produced today. they don’t teach me anything. i say to myself, “i’ve already seen that, and i’ve already seen it done better.” the overemphasis of the hand, the agitated drawing, and all the rest of it, we already know that, and we’ve already seen it. i’m not saying that it’s entirely without interest. i’m just saying that it’s without any interest to me.
bb: what, finally, is postmodernism?
jfl: my work, in fact, is directed to finding out what that is, but i still don’t know. this is a discussion really that’s only just beginning. it’s the way it was for the age of enlightenment: the discussion will be abandoned before it ever reaches a conclusion.
the full text of this conversation originally appeared in flash art, no. 121 (march 1985), pp. 32–39. this excerpt is reprinted with the kind permission of flash art.
tara mcdowell is associate professor and director of curatorial practice at monash university in melbourne, australia.


text:
Former President Chandrika Bandaranaike Kumaratunga participated as the keynote speaker at the World Sustainable Development Summit 2019, New Delhi from 11th – 13th February 2019.Former President Kumaratunga made the keynote address on “A Vision for a Secure and Sustainable World For All”, at a Leadership Panel at the Summit. The Summit 2019 was inaugurated by the Vice President of India Shri Venkaiah Naidu and the High Commissioner for Sri Lanka in India, Austin Fernando was also present at the inauguration of the Summit.
The World Sustainable Development Summit (WSDS) is the annual flagship event of The Energy and Resources Institute (TERI). TERI in its journey of seventeen years has become a focal point for global leaders and practitioners to congregate at a single platform to discuss and deliberate over climatic issues of universal importance. The Summit series has emerged as the premier international event on sustainability which focusses on the global future, but with an eye on the actions in the developing world which could bend our common future.

lowercased:
former president chandrika bandaranaike kumaratunga participated as the keynote speaker at the world sustainable development summit 2019, new delhi from 11th – 13th february 2019.former president kumaratunga made the keynote address on “a vision for a secure and sustainable world for all”, at a leadership panel at the summit. the summit 2019 was inaugurated by the vice president of india shri venkaiah naidu and the high commissioner for sri lanka in india, austin fernando was also present at the inauguration of the summit.
the world sustainable development summit (wsds) is the annual flagship event of the energy and resources institute (teri). teri in its journey of seventeen years has become a focal point for global leaders and practitioners to congregate at a single platform to discuss and deliberate over climatic issues of universal importance. the summit series has emerged as the premier international event on sustainability which focusses on the global future, but with an eye on the actions in the developing world which could bend our common future.


text:
A stunning combination of elegance and edginess, the collection features 25 glasses and five prescription sunglasses launched stores nationwide.
To help celebrate the frames, the team in Specsavers Holborn dressed the store with glitz and sparkle to really showcase the range.
She says: ‘Designing the glasses has been a fabulous experience. I’ve taken a lot of inspiration from the idea of modern classics, popular shapes and styles that suit most people, but with my own personal twist on them. Expressing yourself with your glasses is really important and I know that personally I love to continually change my look, so having a real mixture of styles is definitely something that works for me.

lowercased:
a stunning combination of elegance and edginess, the collection features 25 glasses and five prescription sunglasses launched stores nationwide.
to help celebrate the frames, the team in specsavers holborn dressed the store with glitz and sparkle to really showcase the range.
she says: ‘designing the glasses has been a fabulous experience. i’ve taken a lot of inspiration from the idea of modern classics, popular shapes and styles that suit most people, but with my own personal twist on them. expressing yourself with your glasses is really important and i know that personally i love to continually change my look, so having a real mixture of styles is definitely something that works for me.


text:
Our team of designers and production managers can create any advertising material that makes sense to you or you just have seen it somewhere. Just share your idea or request an idea from them.
Corporate identity is the starting point in creating your brand. It is your face to the audience and it is essential to be made so that it meets your brand character. We will give you a range of different proposals elaborated with meticulous care, while the client recognizes the image as their own.
If you still have no idea for the name of your future brand, we can offer a combination of creating a name, logo, slogan and USP.

lowercased:
our team of designers and production managers can create any advertising material that makes sense to you or you just have seen it somewhere. just share your idea or request an idea from them.
corporate identity is the starting point in creating your brand. it is your face to the audience and it is essential to be made so that it meets your brand character. we will give you a range of different proposals elaborated with meticulous care, while the client recognizes the image as their own.
if you still have no idea for the name of your future brand, we can offer a combination of creating a name, logo, slogan and usp.


text:
Your network contains an Active Directory forest named contoso.com. The forest contains a Network Policy Server (NPS) server named NPS1 and a VPN server named VPN1. VPN1 forwards all authentication requests to NPS1.
A partner company has an Active Directory forest named adatum.com. The adatum.com forest contains an NPS server named NPS2.
User1, User2, and User3 plan to connect to the network by using a VPN. You need to identify which network policy will apply to each user.

lowercased:
your network contains an active directory forest named contoso.com. the forest contains a network policy server (nps) server named nps1 and a vpn server named vpn1. vpn1 forwards all authentication requests to nps1.
a partner company has an active directory forest named adatum.com. the adatum.com forest contains an nps server named nps2.
user1, user2, and user3 plan to connect to the network by using a vpn. you need to identify which network policy will apply to each user.


text:
Despite recent increases in investment and the very gradual return of optimism in the industry, oil and gas prices continue to remain low and, thus, companies are still feeling the pinch. Gone are the days when an oil company could increase their profits by simply producing more oil. Now the focus must be on slicker and more efficient operations to drive down costs and new technology is playing a vital role in achieving this. Companies are offering innovative technological solutions in automation, exploration to discover new fields like the ones recently found off the coast of Scotland, and collecting and processing data.
Across Europe Liquefied natural gas (LNG) plays a huge role in energy security as the number of terminals across the continent increases. Importing LNG from all around the world lessens a country’s dependence on one or a few other countries for their gas supply. Ireland is a country heavily dependent on another country for its gas supply but the recent production of gas from the Corrib field, just off its coast, and the proposed Shannon LNG terminal would significantly diversify its gas suppliers and create greater energy security. This follows on from a number of other countries doing the same thing.
Signs suggest that the oil and gas industry in the UK is starting to show signs of optimism after two years of gloom. There was certainly a high demand for fuel over the winter and new exploration licences and significant oil field discoveries hint at the possibility of better times ahead, so much so that the Scottish Energy Minister believes the industry needs to be “future proofed” to ensure the success of this expansion.

lowercased:
despite recent increases in investment and the very gradual return of optimism in the industry, oil and gas prices continue to remain low and, thus, companies are still feeling the pinch. gone are the days when an oil company could increase their profits by simply producing more oil. now the focus must be on slicker and more efficient operations to drive down costs and new technology is playing a vital role in achieving this. companies are offering innovative technological solutions in automation, exploration to discover new fields like the ones recently found off the coast of scotland, and collecting and processing data.
across europe liquefied natural gas (lng) plays a huge role in energy security as the number of terminals across the continent increases. importing lng from all around the world lessens a country’s dependence on one or a few other countries for their gas supply. ireland is a country heavily dependent on another country for its gas supply but the recent production of gas from the corrib field, just off its coast, and the proposed shannon lng terminal would significantly diversify its gas suppliers and create greater energy security. this follows on from a number of other countries doing the same thing.
signs suggest that the oil and gas industry in the uk is starting to show signs of optimism after two years of gloom. there was certainly a high demand for fuel over the winter and new exploration licences and significant oil field discoveries hint at the possibility of better times ahead, so much so that the scottish energy minister believes the industry needs to be “future proofed” to ensure the success of this expansion.


text:
I have a newish light coloured carpet which suffered a couple of accidents recently. Although I cleaned it at the time it seems to have left me with something like a water mark around the edge of the spill. I think this could be residue from the carpet cleaner that I used (Vanish and 1001).
A friend is loaning me a Vax Wet and Dry Cleaner and I thought I would try to rinse the carpet with it. He doesn't have the instructions. What do you think about a plain water rinse?
What were the accidents John? Do you know what the carpet is made of? Wool/acrylic etc?
Best bet is a plain water rinse, especialy if the accidents were pet urine, which can 'flare' when hit with an alkali shampoo.
A spilt drink and a vomiting child. I believe the carpet is a mix of manmade/ wool.
Drink of? Cola, wine, orange, coffee?
If its an 80/20 wool/nylon it could stain badly due to the highly absorbant nature of wool. Try the plain water rinse first.
On Sun, 29 Jan 2006 23:39:47 GMT, "david lang"
I didn't look through all the detail, but did you include things which involve specialised knowledge like this in your handyman portfolio?
Not yet. I will probably add a Cleaning page to my site offering carpet cleaning, patio cleaning etc. It depends on how cheaply I can 'liberate' a machine when I return the demonstration kit from the day job!
I think you would need to clean the whole carpet.
Taper or Parallel BSP Threads ?
Sky digital, two boxes one dish?

lowercased:
i have a newish light coloured carpet which suffered a couple of accidents recently. although i cleaned it at the time it seems to have left me with something like a water mark around the edge of the spill. i think this could be residue from the carpet cleaner that i used (vanish and 1001).
a friend is loaning me a vax wet and dry cleaner and i thought i would try to rinse the carpet with it. he doesn't have the instructions. what do you think about a plain water rinse?
what were the accidents john? do you know what the carpet is made of? wool/acrylic etc?
best bet is a plain water rinse, especialy if the accidents were pet urine, which can 'flare' when hit with an alkali shampoo.
a spilt drink and a vomiting child. i believe the carpet is a mix of manmade/ wool.
drink of? cola, wine, orange, coffee?
if its an 80/20 wool/nylon it could stain badly due to the highly absorbant nature of wool. try the plain water rinse first.
on sun, 29 jan 2006 23:39:47 gmt, "david lang"
i didn't look through all the detail, but did you include things which involve specialised knowledge like this in your handyman portfolio?
not yet. i will probably add a cleaning page to my site offering carpet cleaning, patio cleaning etc. it depends on how cheaply i can 'liberate' a machine when i return the demonstration kit from the day job!
i think you would need to clean the whole carpet.
taper or parallel bsp threads ?
sky digital, two boxes one dish?


text: Comments: CLEAN CARFAX/NO ACCIDENTS REPORTED, ONE OWNER, REMAINDER OF FACTORY WARRANTY, BLUETOOTH/HANDS FREE CELL PHONE, ACURA FACTORY CERTIFICATION, LOCAL TRADE, MOONROOF/SUNROOF, FULL MAINTENANCE SERVICE, MULTI-POINT INSPECTION COMPLETED, COMPLETE RECONDITIONING, NON SMOKER, 5 YEAR/ 100,000 MILE WARRANTY, BACK UP CAMERA, TLX 3.5L V6, 4D Sedan, 3.5L V6 SOHC VTEC 24V, 9-Speed Automatic, FWD, Basque Red Pearl II. 2015 Acura TLX 3.5L V6 Basque Red Pearl II Recent Arrival! Odometer is 19539 miles below market average!

lowercased: comments: clean carfax/no accidents reported, one owner, remainder of factory warranty, bluetooth/hands free cell phone, acura factory certification, local trade, moonroof/sunroof, full maintenance service, multi-point inspection completed, complete reconditioning, non smoker, 5 year/ 100,000 mile warranty, back up camera, tlx 3.5l v6, 4d sedan, 3.5l v6 sohc vtec 24v, 9-speed automatic, fwd, basque red pearl ii. 2015 acura tlx 3.5l v6 basque red pearl ii recent arrival! odometer is 19539 miles below market average!


text:
With its attention to horror, human drama and, most importantly, craft, Robert Kirkman's comic book The Walking Dead harkens to the brilliance of George Romero's locally produced 1968 classic, Night of the Living Dead. Like people who presumed that story to be just another monster movie, those who presume this book to be just another spinning of the zombie yarn will be shocked. Yes, it has the required corpses walking the earth looking for human flesh, while the living, free of law and order, find themselves trapped by the age-old survival dilemma: helping myself or helping the group. Death is shockingly portrayed. But unlike so many zombie stories since Romero's classic, The Walking Dead, whose fourth installment will be released Nov. 18, achieves something greater than its genre.
Kirkman's tale is a story with characters -- not zombie fodder. Tony Moore and Charlie Adlard (both nominated for 2005 Will Eisner Awards for their work on this series) tell the tale expertly. Working in black-and-white, Moore and Adlard, create intimate emotional detail and sweeping illustrations of the scope of the zombie problem.
The Walking Dead succeeds because Kirkman does what Romero has perhaps been restricted from doing in the medium of cinema -- he can weave the complexity of his characters across what cinematically would be an almost impossible time scale. Romero tells separate stories across sequels; Kirkman is crafting one. Basically, The Walking Dead has what the Living Dead films cannot -- character-driven momentum. In other hands it would descend into soap opera, but with Kirkman (acclaimed writer of Invincible) the book will continue to enthrall both the seasoned, and those of us just now rediscovering the zombie genre.
I know some of you believe I'm missing the whole point of zombie stories, and I can hear you saying, "It's not about character. It's about ZOMBIES! Flesh-eating corpses wandering the world, trying to feast on humanity's last survivors! Gross-out shock and spectacle!" Don't fret. Try zombies that freeze to the ground in winter, zombies led like familiars by a sword-wielding mystery girl, and panel-busting showdowns. It's just that Kirkman's character-driven story welcomes a larger audience.
Yet, accomplished as it is, The Walking Dead lacks the sardonic social commentary that George Romero is so skilled at crafting into zombie stories. Romero's latest, Land of the Dead (released on DVD Oct. 18), contains compelling social commentary equaling that of his 1968 classic.
Finally realizing a minor theme in all of his zombie films, Romero makes the zombies deserving of our sympathy. He creates compassion to the degree that we feel sorry for these reflections of ourselves. They wander deserted streets in small towns, get strung up in bags for target practice, and chained up for photo sessions with tourist tormentors. Continuing his commentary on American society, from the nuclear family to racism, consumerism and militarization, Romero now damns imperialism from the view of the subjugated, the walking dead.
Yes, the plot is driven by the social commentary, and the characters become little more than gears moving things forward. But the machine works. It works because of a story which pulls the audience's sympathies between the zombies and the human race struggling to hold onto Pittsburgh, because of casting that includes John Leguizamo and Dennis Hopper, because of fast pacing, solid effects and of course, because of references to many things Pittsburgh (including a Land of Make Believe-like Punch and Judy show performed in the shell of a TV set). It works so well that Land of the Dead becomes Romero's best sequel, perhaps once again altering the genre.
So -- unless you're dying to see local filmmaker Tony Buba as a marauding biker wearing a sombrero in the Monroeville Mall -- skip Dawn or the Dead (and definitely Day of the Dead) and go right from Night of the Living Dead to Land of the Dead. The closing shots of Night of the Living Dead and the opening title sequences of Land of the Dead are eerily similar.

lowercased:
with its attention to horror, human drama and, most importantly, craft, robert kirkman's comic book the walking dead harkens to the brilliance of george romero's locally produced 1968 classic, night of the living dead. like people who presumed that story to be just another monster movie, those who presume this book to be just another spinning of the zombie yarn will be shocked. yes, it has the required corpses walking the earth looking for human flesh, while the living, free of law and order, find themselves trapped by the age-old survival dilemma: helping myself or helping the group. death is shockingly portrayed. but unlike so many zombie stories since romero's classic, the walking dead, whose fourth installment will be released nov. 18, achieves something greater than its genre.
kirkman's tale is a story with characters -- not zombie fodder. tony moore and charlie adlard (both nominated for 2005 will eisner awards for their work on this series) tell the tale expertly. working in black-and-white, moore and adlard, create intimate emotional detail and sweeping illustrations of the scope of the zombie problem.
the walking dead succeeds because kirkman does what romero has perhaps been restricted from doing in the medium of cinema -- he can weave the complexity of his characters across what cinematically would be an almost impossible time scale. romero tells separate stories across sequels; kirkman is crafting one. basically, the walking dead has what the living dead films cannot -- character-driven momentum. in other hands it would descend into soap opera, but with kirkman (acclaimed writer of invincible) the book will continue to enthrall both the seasoned, and those of us just now rediscovering the zombie genre.
i know some of you believe i'm missing the whole point of zombie stories, and i can hear you saying, "it's not about character. it's about zombies! flesh-eating corpses wandering the world, trying to feast on humanity's last survivors! gross-out shock and spectacle!" don't fret. try zombies that freeze to the ground in winter, zombies led like familiars by a sword-wielding mystery girl, and panel-busting showdowns. it's just that kirkman's character-driven story welcomes a larger audience.
yet, accomplished as it is, the walking dead lacks the sardonic social commentary that george romero is so skilled at crafting into zombie stories. romero's latest, land of the dead (released on dvd oct. 18), contains compelling social commentary equaling that of his 1968 classic.
finally realizing a minor theme in all of his zombie films, romero makes the zombies deserving of our sympathy. he creates compassion to the degree that we feel sorry for these reflections of ourselves. they wander deserted streets in small towns, get strung up in bags for target practice, and chained up for photo sessions with tourist tormentors. continuing his commentary on american society, from the nuclear family to racism, consumerism and militarization, romero now damns imperialism from the view of the subjugated, the walking dead.
yes, the plot is driven by the social commentary, and the characters become little more than gears moving things forward. but the machine works. it works because of a story which pulls the audience's sympathies between the zombies and the human race struggling to hold onto pittsburgh, because of casting that includes john leguizamo and dennis hopper, because of fast pacing, solid effects and of course, because of references to many things pittsburgh (including a land of make believe-like punch and judy show performed in the shell of a tv set). it works so well that land of the dead becomes romero's best sequel, perhaps once again altering the genre.
so -- unless you're dying to see local filmmaker tony buba as a marauding biker wearing a sombrero in the monroeville mall -- skip dawn or the dead (and definitely day of the dead) and go right from night of the living dead to land of the dead. the closing shots of night of the living dead and the opening title sequences of land of the dead are eerily similar.


text:
The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 60 degrees and Sunny . There is 24 percentage chance of rain and 11 mph winds from the West-Southwest.
18pm:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 41 degrees and Partly cloudy. There is 56 percentage chance of rain and 4 mph winds from the West-Northwest.
3am:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 36 degrees and Partly cloudy. There is 62 percentage chance of rain and 3 mph winds from the Northwest.
6am:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 45 degrees and Partly cloudy. There is 54 percentage chance of rain and 3 mph winds from the West.
9am:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 54 degrees and Partly cloudy. There is 36 percentage chance of rain and 6 mph winds from the West-Southwest.
12am:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 60 degrees and Sunny. There is 24 percentage chance of rain and 11 mph winds from the West-Southwest.
3pm:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 61 degrees and Partly cloudy. There is 21 percentage chance of rain and 14 mph winds from the West-Southwest.
6pm:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 58 degrees and Partly cloudy. There is 32 percentage chance of rain and 10 mph winds from the West-Southwest.
9pm:The Balḏaṟghūqowl, Velayat-e Ghazni forecast for Apr 21 is 52 degrees and Partly cloudy. There is 44 percentage chance of rain and 5 mph winds from the West-Southwest.
Sunday:The Balḏaṟghūqowl forecast for Apr 21 is 60 degrees and Sunny. There is 24 percentage chance of rain and 11 mph winds from the West-Southwest.
Monday:The Balḏaṟghūqowl forecast for Apr 22 is 61 degrees and Sunny. There is 18 percentage chance of rain and 13 mph winds from the West.
Tuesday:The Balḏaṟghūqowl forecast for Apr 23 is 58 degrees and Patchy rain possible. There is 42 percentage chance of rain and 12 mph winds from the Southwest.
Wednesday:The Balḏaṟghūqowl forecast for Apr 24 is 51 degrees and Moderate or heavy rain with thunder. There is 66 percentage chance of rain and 12 mph winds from the South-Southwest.
Thursday:The Balḏaṟghūqowl forecast for Apr 25 is 51 degrees and Sunny. There is 27 percentage chance of rain and 12 mph winds from the Southwest.
Friday:The Balḏaṟghūqowl forecast for Apr 26 is 54 degrees and Partly cloudy. There is 27 percentage chance of rain and 13 mph winds from the South-Southwest.
Saturday:The Balḏaṟghūqowl forecast for Apr 27 is 54 degrees and Sunny. There is 26 percentage chance of rain and 14 mph winds from the Southwest.

lowercased:
the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 60 degrees and sunny . there is 24 percentage chance of rain and 11 mph winds from the west-southwest.
18pm:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 41 degrees and partly cloudy. there is 56 percentage chance of rain and 4 mph winds from the west-northwest.
3am:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 36 degrees and partly cloudy. there is 62 percentage chance of rain and 3 mph winds from the northwest.
6am:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 45 degrees and partly cloudy. there is 54 percentage chance of rain and 3 mph winds from the west.
9am:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 54 degrees and partly cloudy. there is 36 percentage chance of rain and 6 mph winds from the west-southwest.
12am:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 60 degrees and sunny. there is 24 percentage chance of rain and 11 mph winds from the west-southwest.
3pm:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 61 degrees and partly cloudy. there is 21 percentage chance of rain and 14 mph winds from the west-southwest.
6pm:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 58 degrees and partly cloudy. there is 32 percentage chance of rain and 10 mph winds from the west-southwest.
9pm:the balḏaṟghūqowl, velayat-e ghazni forecast for apr 21 is 52 degrees and partly cloudy. there is 44 percentage chance of rain and 5 mph winds from the west-southwest.
sunday:the balḏaṟghūqowl forecast for apr 21 is 60 degrees and sunny. there is 24 percentage chance of rain and 11 mph winds from the west-southwest.
monday:the balḏaṟghūqowl forecast for apr 22 is 61 degrees and sunny. there is 18 percentage chance of rain and 13 mph winds from the west.
tuesday:the balḏaṟghūqowl forecast for apr 23 is 58 degrees and patchy rain possible. there is 42 percentage chance of rain and 12 mph winds from the southwest.
wednesday:the balḏaṟghūqowl forecast for apr 24 is 51 degrees and moderate or heavy rain with thunder. there is 66 percentage chance of rain and 12 mph winds from the south-southwest.
thursday:the balḏaṟghūqowl forecast for apr 25 is 51 degrees and sunny. there is 27 percentage chance of rain and 12 mph winds from the southwest.
friday:the balḏaṟghūqowl forecast for apr 26 is 54 degrees and partly cloudy. there is 27 percentage chance of rain and 13 mph winds from the south-southwest.
saturday:the balḏaṟghūqowl forecast for apr 27 is 54 degrees and sunny. there is 26 percentage chance of rain and 14 mph winds from the southwest.


text:
They say that a person without a Social Media existence doesn’t exist in today’s age. In 1995, merely 13% of the U.S. population owned a cell phone. While today, this percentage has flown to over 80%.
In today’s fast paced life, what about those who disappeared but have never been forgotten. Are they going to be the victims of our busy schedules? Would they be forgotten by the generations to come? Will our great grand kids know who we hail from?
TechLeads Limited is a UK based leading IT and HR services company, with offices in Pakistan and Nigeria. We offer wide range of Technology, Business Process Outsourcing, Human Resource and Project Management services.
© 2018 TechLeads Limited. All Rights Reserved.

lowercased:
they say that a person without a social media existence doesn’t exist in today’s age. in 1995, merely 13% of the u.s. population owned a cell phone. while today, this percentage has flown to over 80%.
in today’s fast paced life, what about those who disappeared but have never been forgotten. are they going to be the victims of our busy schedules? would they be forgotten by the generations to come? will our great grand kids know who we hail from?
techleads limited is a uk based leading it and hr services company, with offices in pakistan and nigeria. we offer wide range of technology, business process outsourcing, human resource and project management services.
© 2018 techleads limited. all rights reserved.


text:
Oscar Micheaux was an African American novelist and filmmaker. Over the course of his life, his travels took him from Southern Illinois to the West, South America, and Europe. His work and art also brought him to live in Sioux City in the West 7th Street neighborhood. Today he is recognized as a pioneering filmmaker, but also as a man ahead of his time.
Micheaux was born in Metropolis, Illinois on 2 January 1884 to a family of farmers. At a young age he helped his family as a farm hand. While he was still a teenager he left his family to work in car manufacturing plant in Carbondale, Illinois. After many jobs that did not satisfy his desire to create art, Micheaux decided to homestead in South Dakota. Part of his decision to move west was his belief that the only independent future for the Black man laid on the Western Frontier.
By 1905 Micheaux had purchased a 160-acre tract of land near Gregory, South Dakota where he built a house and farm. It was during the move from Illinois to South Dakota that Micheaux began to think about writing. Farming conditions were poor for him and his neighbors as drought struck much of the Midwest. He was forced by these poor conditions to sell his homestead in 1911. Fortunately, Micheaux had already begun work on his first novel.
The theme of the westward movement of the nation fascinated him and that idea became the subject of his 1912 novel, The Conquest. His search for publishers led him through Sioux City and Lincoln, Nebraska. After more than a year of looking, Woodruff Press in Lincoln agreed to publish the book.
In autumn of 1913 he began his second book, The Forged Note, which was published in 1915 by the Western Book Supply Company in Sioux City. From 1914 to 1918 Micheaux spent much of his time traveling between Sioux City, Gregory, and Lincoln trying to sell his books.
During those years much of his time was spent in Sioux City. He lived in several different apartments in the West 7th Street neighborhood. The area had long been the center of Sioux City’s African-American Community. While living in Sioux City, Micheaux wrote his third novel – The Homesteader. Micheaux was undoubtedly influenced by the diverse cultures that lived in Sioux City, especially by fellow African-Americans. He also decided to begin putting his novels up on the big screen.
The Homesteader was published in 1917 in Sioux City. Shortly after publication the Lincoln Motion Picture Company attempted to buy the rights to the novel. Micheaux, however, had other plans and decided to film the book himself. From 1917 to 1919 he shot the story near Winner, South Dakota. The Homesteader was the first feature length film by and African American. During the making of the movie, the young filmmaker also formed the Micheaux Book and Film Company based in Chicago and New York City.
Aside from his early work that dealt with westward migration, the majority of his novels and films focus on race relations. His second film, Within our Gates, was a reaction to D.W. Griffith’s Birth of a Nation. More than just a reaction, the film was a depiction of racism in the 1910s. After the film was released, Micheaux traveled to Europe and South America, where the film did well, to gain worldwide rights.
In 1920 Micheaux’s success led him to Harlem in New York City where he made many more films. Many prominent African-American stars acted in these later films including Paul Robeson and Robert Earl Jones. His film company went bankrupt in 1928, but with the help of two white theatre owners he went on to make almost 20 more movies.
By the end of his filmmaking career, Micheaux had written and directed 43 movies, 27 silent films, and 16 sound features. Not all were successes; some were so controversial that they were banned from theaters. A complete list of Micheaux’s films would cover varieties from comedies and Westerns to musicals and gangster sagas.
Micheaux’s films were important to many people, though his name has not always been well recognized. He helped dismiss stereotypes of Black people as childlike or the White man’s burden. Micheaux, in his films, emphasized the everyday lives of African-Americans and the racial prejudices they faced.
Not only did Micheaux’s work empower African-Americans and help break stereotypes, but it also influenced other filmmakers. Spike Lee, John Singleton, and Melvin VanPeebles often credit Micheaux as one of their greatest influences and as a true film pioneer.
In the recent past, several documentaries have been made to celebrate Micheaux’s daring and creative works. The Black Filmmakers Hall of Fame named their award for achievement in Micheaux’s honor. Micheaux, his career, and his films are celebrated every year at the Oscar Micheaux Festival in Gregory South Dakota.
Oscar Micheaux, an African American who wrote novels, made films, and fought racism and stereotypes was indeed a man ahead of his time.
Chester J. Fontenot. “Oscar Micheaux,Black Novelist and Film Maker” Vision and Refuge: Essays on the Literature of the Great Plains. University of Nebraska Press, 1982, pp. 109-25.
Oscar Micheaux biography file, Sioux City Public Museum Research Center.

lowercased:
oscar micheaux was an african american novelist and filmmaker. over the course of his life, his travels took him from southern illinois to the west, south america, and europe. his work and art also brought him to live in sioux city in the west 7th street neighborhood. today he is recognized as a pioneering filmmaker, but also as a man ahead of his time.
micheaux was born in metropolis, illinois on 2 january 1884 to a family of farmers. at a young age he helped his family as a farm hand. while he was still a teenager he left his family to work in car manufacturing plant in carbondale, illinois. after many jobs that did not satisfy his desire to create art, micheaux decided to homestead in south dakota. part of his decision to move west was his belief that the only independent future for the black man laid on the western frontier.
by 1905 micheaux had purchased a 160-acre tract of land near gregory, south dakota where he built a house and farm. it was during the move from illinois to south dakota that micheaux began to think about writing. farming conditions were poor for him and his neighbors as drought struck much of the midwest. he was forced by these poor conditions to sell his homestead in 1911. fortunately, micheaux had already begun work on his first novel.
the theme of the westward movement of the nation fascinated him and that idea became the subject of his 1912 novel, the conquest. his search for publishers led him through sioux city and lincoln, nebraska. after more than a year of looking, woodruff press in lincoln agreed to publish the book.
in autumn of 1913 he began his second book, the forged note, which was published in 1915 by the western book supply company in sioux city. from 1914 to 1918 micheaux spent much of his time traveling between sioux city, gregory, and lincoln trying to sell his books.
during those years much of his time was spent in sioux city. he lived in several different apartments in the west 7th street neighborhood. the area had long been the center of sioux city’s african-american community. while living in sioux city, micheaux wrote his third novel – the homesteader. micheaux was undoubtedly influenced by the diverse cultures that lived in sioux city, especially by fellow african-americans. he also decided to begin putting his novels up on the big screen.
the homesteader was published in 1917 in sioux city. shortly after publication the lincoln motion picture company attempted to buy the rights to the novel. micheaux, however, had other plans and decided to film the book himself. from 1917 to 1919 he shot the story near winner, south dakota. the homesteader was the first feature length film by and african american. during the making of the movie, the young filmmaker also formed the micheaux book and film company based in chicago and new york city.
aside from his early work that dealt with westward migration, the majority of his novels and films focus on race relations. his second film, within our gates, was a reaction to d.w. griffith’s birth of a nation. more than just a reaction, the film was a depiction of racism in the 1910s. after the film was released, micheaux traveled to europe and south america, where the film did well, to gain worldwide rights.
in 1920 micheaux’s success led him to harlem in new york city where he made many more films. many prominent african-american stars acted in these later films including paul robeson and robert earl jones. his film company went bankrupt in 1928, but with the help of two white theatre owners he went on to make almost 20 more movies.
by the end of his filmmaking career, micheaux had written and directed 43 movies, 27 silent films, and 16 sound features. not all were successes; some were so controversial that they were banned from theaters. a complete list of micheaux’s films would cover varieties from comedies and westerns to musicals and gangster sagas.
micheaux’s films were important to many people, though his name has not always been well recognized. he helped dismiss stereotypes of black people as childlike or the white man’s burden. micheaux, in his films, emphasized the everyday lives of african-americans and the racial prejudices they faced.
not only did micheaux’s work empower african-americans and help break stereotypes, but it also influenced other filmmakers. spike lee, john singleton, and melvin vanpeebles often credit micheaux as one of their greatest influences and as a true film pioneer.
in the recent past, several documentaries have been made to celebrate micheaux’s daring and creative works. the black filmmakers hall of fame named their award for achievement in micheaux’s honor. micheaux, his career, and his films are celebrated every year at the oscar micheaux festival in gregory south dakota.
oscar micheaux, an african american who wrote novels, made films, and fought racism and stereotypes was indeed a man ahead of his time.
chester j. fontenot. “oscar micheaux,black novelist and film maker” vision and refuge: essays on the literature of the great plains. university of nebraska press, 1982, pp. 109-25.
oscar micheaux biography file, sioux city public museum research center.


text:
This PV module grounding clip (6F) is designed for solap panel earthing application .
Solar panel grounding clips is a must electric grounded component for solar lightning protection .
But in many cases, this small clip is ignored and overlooked which cause of catatrophic poorly earthing .
Prevent striking of lightning in thunder storm weather with our grounding washers 6F .
These 6F grounding clips is fixed between photovoltaic modules , mid / end clamps , aluminum rails, carbon steels .
It can conduct lightning directly to ground, protecting inveter , battery and other instruments .
How to using this PV Module Grounding Solar Mounting Components ?

lowercased:
this pv module grounding clip (6f) is designed for solap panel earthing application .
solar panel grounding clips is a must electric grounded component for solar lightning protection .
but in many cases, this small clip is ignored and overlooked which cause of catatrophic poorly earthing .
prevent striking of lightning in thunder storm weather with our grounding washers 6f .
these 6f grounding clips is fixed between photovoltaic modules , mid / end clamps , aluminum rails, carbon steels .
it can conduct lightning directly to ground, protecting inveter , battery and other instruments .
how to using this pv module grounding solar mounting components ?


text:
The Maroon Editorial Board endorses Andrew Young for the position of undergraduate liaison to the Board of Trustees. While Anthony Downer is a capable and highly qualified candidate, their platforms differ in one key area: pursuing voting representation for students on the Board of Trustees. Downer will work for permanent representation for students in the form of at least one voting or ex-officio position. Young believes that such representation for students is unachievable, and he does not plan to push for it. Instead, Young hopes to provide monthly opportunities for students to meet with trustees (something Downer also supports) and to connect RSOs with trustees whose professional experience is relevant to their work (something Downer does not see as feasible).
Undergraduate liaisons to the Board have been pushing for some form of increased representation for students for years, with little success. Young hopes that his plan to prioritize increased student interaction with trustees will build relationships that make voting representation easier to achieve in the long run. His plan will only succeed if trustees are willing to volunteer more of their time to interact with students. However, Young’s plan is thoughtful, well-formulated, and worth trying. Years of campaigning for student enfranchisement have yielded no results, and it is time for a different approach to the liaison position. Young’s platform reimagines a role that has long been ineffective and ill-defined.
Editor’s note: Andrew Young was an associate Viewpoints editor of The Maroon in spring quarter of 2014. Eleanor Hyun, who worked with him at the time, recused herself from the endorsement process for this position. Lear Jiang was not affiliated with The Maroon and Alan Hassler was not part of the Viewpoints section or Editorial Board at the time.
The Maroon Editorial Board endorses Katie Perri, a student in the Booth School, for the position of graduate liaison to the Board of Trustees. Perri brings pragmatic solutions that will once again make the graduate liaison position relevant after there were no declared candidates last year. Her new approach involves making more data—including campus climate survey results and University financial information—available to students and using it to pinpoint areas where students and administrators can collaborate.
Being a successful liaison to the Board of Trustees requires not only a firm understanding of how to best leverage the position, but also the communication skills necessary to work proactively with busy trustees. Perri brings acumen from years of experience in the business world, where many of the trustees spend most of their time. In addition, Perri brings keen awareness of the issues that concern her fellow students. More than any other candidate, she recognizes the discussions that students may want to have with the trustees and how they can be conducted in the most productive way.
Editor’s note: The only candidate on the ballot for this position is Nina Katemauswa. She is also an associate Viewpoints editor of The Maroon. Thus, the Editorial Board will not make an endorsement for this position.

lowercased:
the maroon editorial board endorses andrew young for the position of undergraduate liaison to the board of trustees. while anthony downer is a capable and highly qualified candidate, their platforms differ in one key area: pursuing voting representation for students on the board of trustees. downer will work for permanent representation for students in the form of at least one voting or ex-officio position. young believes that such representation for students is unachievable, and he does not plan to push for it. instead, young hopes to provide monthly opportunities for students to meet with trustees (something downer also supports) and to connect rsos with trustees whose professional experience is relevant to their work (something downer does not see as feasible).
undergraduate liaisons to the board have been pushing for some form of increased representation for students for years, with little success. young hopes that his plan to prioritize increased student interaction with trustees will build relationships that make voting representation easier to achieve in the long run. his plan will only succeed if trustees are willing to volunteer more of their time to interact with students. however, young’s plan is thoughtful, well-formulated, and worth trying. years of campaigning for student enfranchisement have yielded no results, and it is time for a different approach to the liaison position. young’s platform reimagines a role that has long been ineffective and ill-defined.
editor’s note: andrew young was an associate viewpoints editor of the maroon in spring quarter of 2014. eleanor hyun, who worked with him at the time, recused herself from the endorsement process for this position. lear jiang was not affiliated with the maroon and alan hassler was not part of the viewpoints section or editorial board at the time.
the maroon editorial board endorses katie perri, a student in the booth school, for the position of graduate liaison to the board of trustees. perri brings pragmatic solutions that will once again make the graduate liaison position relevant after there were no declared candidates last year. her new approach involves making more data—including campus climate survey results and university financial information—available to students and using it to pinpoint areas where students and administrators can collaborate.
being a successful liaison to the board of trustees requires not only a firm understanding of how to best leverage the position, but also the communication skills necessary to work proactively with busy trustees. perri brings acumen from years of experience in the business world, where many of the trustees spend most of their time. in addition, perri brings keen awareness of the issues that concern her fellow students. more than any other candidate, she recognizes the discussions that students may want to have with the trustees and how they can be conducted in the most productive way.
editor’s note: the only candidate on the ballot for this position is nina katemauswa. she is also an associate viewpoints editor of the maroon. thus, the editorial board will not make an endorsement for this position.


text:
We’re Morgan Ramsay. Glowienka Inc.
Our full-service boutique agency creates strategic and integrated advertising and marketing solutions for businesses of all shapes and sizes.
We don’t have clients, we have partners. Your team, your product, and your vision work in collaboration with our experience, our expertise, and our rigorous creative process.
We mesh our core competencies with yours for results that engage your audience, drive your business and take your brand to the next level.
We help businesses convert their objectives into effective, integrated, creative solutions.
Wherever you want to go, we can help you get there. Take your first step by completing the form below.
These are some of the brands we’ve proudly partnered with. You can view some of our work in Portfolio.
Morgan Ramsay. Glowienka Inc. is an independently owned and operated agency, proudly operating in Toronto’s Liberty Village neighbourhood. Founded in 2008 as Soda and Tonic, we have enjoyed years of success working with multinational clients in food service, alcohol beverage, not-for-profit, consumer goods, consumer packaged goods, legal and more. We rebranded in 2012 as Morgan Ramsay Glowienka — Mr. G for short — to demonstrate our commitment to the spirit of partnership. We believe in collaboration with our clients, with our vendors and within our team. We believe that the most direct route from a challenge to a solution is cooperation.
We’re a creative, collaborative team who know how to get things done. We believe in working hard, giving back, and playing nice.

lowercased:
we’re morgan ramsay. glowienka inc.
our full-service boutique agency creates strategic and integrated advertising and marketing solutions for businesses of all shapes and sizes.
we don’t have clients, we have partners. your team, your product, and your vision work in collaboration with our experience, our expertise, and our rigorous creative process.
we mesh our core competencies with yours for results that engage your audience, drive your business and take your brand to the next level.
we help businesses convert their objectives into effective, integrated, creative solutions.
wherever you want to go, we can help you get there. take your first step by completing the form below.
these are some of the brands we’ve proudly partnered with. you can view some of our work in portfolio.
morgan ramsay. glowienka inc. is an independently owned and operated agency, proudly operating in toronto’s liberty village neighbourhood. founded in 2008 as soda and tonic, we have enjoyed years of success working with multinational clients in food service, alcohol beverage, not-for-profit, consumer goods, consumer packaged goods, legal and more. we rebranded in 2012 as morgan ramsay glowienka — mr. g for short — to demonstrate our commitment to the spirit of partnership. we believe in collaboration with our clients, with our vendors and within our team. we believe that the most direct route from a challenge to a solution is cooperation.
we’re a creative, collaborative team who know how to get things done. we believe in working hard, giving back, and playing nice.


text:
The list of the top cable wireless router presented on this page is based on real reviews from the users. Moreover, we thoroughly compared cable wireless router with each other to pick models with the best price/quality ratio. Rest assured that every cable wireless router presented in the list is worth its price!
Let us present you the best cable wireless router available on the modern market. Every cable wireless router from the list below can be ordered directly from the marketplace.
Wireless system works local recording and monitoring on screen even without any internet connection. For remote view, wireless video security camera system is totally compatible for your mobile (andriod and ios system), tablet and pc (client on windows pcs & mac computers) or visit ie browsers. Free app can be download to remote view and playback recordings (please make sure nvr is connected to your router by ethernet cable) please mail us: yeskamservice gmail. Yeskam 1080p home security camera system wireless with advanced chipset and all power adapter certificated with ce, fcc and ul. Yeskam cctv system with 1-year free parts replacement.3-year quality warranty and life-long free technique support service within 24 hours. Bullet metal cameras with adjustable bracket supports wall-mounting or ceiling for better viewing angle without uninstalling. Ip66 metal waterproof housing works well under extreme weather condition -20, /-4, to 60, /140. Full hd 1080p (1920×1080) cctv cameras with stunning detailed image. 4pcs 2mp wireless cameras let you see true sharp video streaming of your home and business. Much clearer and shaper, wide angle than 720p.960p cameras. 6pcs infrared led lights ensure a long night vision distance in low lighting conditions up to 100ft in darkness, for 24-hour home outside monitoring and surveillance. All in one wireless network video surveillance system: 12 1080p monitor built in nvr recorder (not touch screen), save time and cost to select screen. 1080p hdmi port support to connect extra pc/tv monitor. Cameras are auto-paired with nvr’s wifi network after plugging in the power adapter to an outlet.24/7 live cctv camera local working does no disturb to home router speed just power on and all is done. Except the power cable, no extra cable for the cameras is required.
Outdoor security camera set for home supports playback, video backup and video detection. When under internet condition, you can receive email alert or app notification when movement detected. Customizable recording area and mode from 24/7 continuous recording, time-scheduled recording and motion detection recording. Video feed saved to 2tb pre-installed hard drive, camera footage will auto-overwrite when hdd gets full to leave space for newest footage. 2pcs usb ports for video backup and system.
Hd security camera system: 4pcs of 1080p hd security camera are provided in the package. Night vision up to 65ft by 6 ir-leds and ip66 rated weatherproof cameras. You can install it anywhere you want, perfect outdoor/ indoor security& surveillance solution for home, office, shop, warehouse etc. Firstrend cctv system features one device linked one user only. The system kit is only controlled by one authorized account, who can share the device with others in order to prevent attacking or hacking. Remote monitoring and playback: firstrend wireless security camera system is totally compatible for your mobile (andriod and ios system), tablet and pc. Free app can be download to remote view and playback recordings (please make sure nvr is connected to your router by ethernet cable). It also support sync-playback, video backup and motion detection. Email alert or app alert will be sent once motion got triggered (noted: please set it up properly to avoid email blast).
Why firstrendwhy firstrend: system includes 4pcs 1080p hd bullet camera.8ch 1080p nvr recorder without hdd. (4tb hdd max can be supported: internal, sata interface.3.5/2.5inches). Real p2preal p2p: plug and play surveillance kit, camera and nvr are paired before shipping. Simply connect the cameras and nvr to the power by included power adapter, picture shows up. Notice: wireless means video cable is not required for camera s working, but device user still need to connect camera to power outlet for 24/7 surveillance purpose.
How it works: connect the cameras and nvr to the power, connect the mouse to nvr. Connect pc/tv monitor to nvr with a vga/hdmi cable. Connect the router lan port to nvr wan port with network cable provided.
Professional customer support,: 60-day money back guarantee.2-year free warranty, lifetime tech support. Stunning 1080p full hd video,: get a sharp and crystal image day or night with the weatherproof camera’s automatic ir-cut filter. Ip 66 waterproof housing, cameras can be used indoors and outdoors. A real plug and play system,: no more running cables from cameras to nvr, or from cameras to router. Just plug the wireless security cameras into nearby power outlets, download free app, and follow the in-app instructions to setup the wireless security system. Installation can t be simpler for diy enthusiasts.
Two way audio and build-in pir sensor,: an integrated microphone let you hear the sound around the camera, build-in pir sensor will eliminates the number of false alarms you received by up to 90%. Customizable motion detection and 2tb hdd included,: be notified when there are unexpected movements. Smart notifications with image will be pushed to your smartphone via app. You won’t miss any moment with remote and local playback. The 2tb security grade hdd designed to meet the constant.24/7 demands of surveillance recording.
How to get a refund for a cable wireless router?
Shop has a customer-friendly return policy, which means that you will not have any difficulties returning your money. If there is something wrong with your cable wireless router, you only need to contact the customer support and ask for a refund. However, you should carefully read the item’s description before buying a cable wireless router.
What exactly did you take into consideration while making the list of the best cable wireless router?
We considered so many factors that it is nearly impossible to tell you about all of them. Believe us, we did not forget about anything. Price, material, user score, and other characteristics of cable wireless routerwere used to create this TOP list. We tried our best to help you choose the best cable wireless router!
What should be my main choice criteria when buying a cable wireless router?
One of the most important factor of any cable wireless router is its material. It has to be durable and easy to clean. If you want to find a cable wireless router that will serve you for many years, you will have to buy an expensive model made out of the best materials.
What warranty period is considered optimal for cable wireless router?
We think that a two-year warranty is more than enough for a decent cable wireless router. There are many premium options with a lifetime warranty, but we do not think that it is necessary. We recommend you to simply replace cable wireless router with a new one after some time.
What if a receive a wrong item instead of the cable wireless router I ordered?
There is no need to worry since the support team will help you to return your money or replace the wrong item with the chosen cable wireless router. Simply contact a support agent and describe your situation to get all the required help.
How safe is it to purchase a cable wireless router online?
Our site is one of the safest place to buy cable wireless router. It has detailed descriptions for all available cable wireless routerand offers a money back guarantee if you get a wrong or broken item. There are no reasons to worry!

lowercased:
the list of the top cable wireless router presented on this page is based on real reviews from the users. moreover, we thoroughly compared cable wireless router with each other to pick models with the best price/quality ratio. rest assured that every cable wireless router presented in the list is worth its price!
let us present you the best cable wireless router available on the modern market. every cable wireless router from the list below can be ordered directly from the marketplace.
wireless system works local recording and monitoring on screen even without any internet connection. for remote view, wireless video security camera system is totally compatible for your mobile (andriod and ios system), tablet and pc (client on windows pcs & mac computers) or visit ie browsers. free app can be download to remote view and playback recordings (please make sure nvr is connected to your router by ethernet cable) please mail us: yeskamservice gmail. yeskam 1080p home security camera system wireless with advanced chipset and all power adapter certificated with ce, fcc and ul. yeskam cctv system with 1-year free parts replacement.3-year quality warranty and life-long free technique support service within 24 hours. bullet metal cameras with adjustable bracket supports wall-mounting or ceiling for better viewing angle without uninstalling. ip66 metal waterproof housing works well under extreme weather condition -20, /-4, to 60, /140. full hd 1080p (1920×1080) cctv cameras with stunning detailed image. 4pcs 2mp wireless cameras let you see true sharp video streaming of your home and business. much clearer and shaper, wide angle than 720p.960p cameras. 6pcs infrared led lights ensure a long night vision distance in low lighting conditions up to 100ft in darkness, for 24-hour home outside monitoring and surveillance. all in one wireless network video surveillance system: 12 1080p monitor built in nvr recorder (not touch screen), save time and cost to select screen. 1080p hdmi port support to connect extra pc/tv monitor. cameras are auto-paired with nvr’s wifi network after plugging in the power adapter to an outlet.24/7 live cctv camera local working does no disturb to home router speed just power on and all is done. except the power cable, no extra cable for the cameras is required.
outdoor security camera set for home supports playback, video backup and video detection. when under internet condition, you can receive email alert or app notification when movement detected. customizable recording area and mode from 24/7 continuous recording, time-scheduled recording and motion detection recording. video feed saved to 2tb pre-installed hard drive, camera footage will auto-overwrite when hdd gets full to leave space for newest footage. 2pcs usb ports for video backup and system.
hd security camera system: 4pcs of 1080p hd security camera are provided in the package. night vision up to 65ft by 6 ir-leds and ip66 rated weatherproof cameras. you can install it anywhere you want, perfect outdoor/ indoor security& surveillance solution for home, office, shop, warehouse etc. firstrend cctv system features one device linked one user only. the system kit is only controlled by one authorized account, who can share the device with others in order to prevent attacking or hacking. remote monitoring and playback: firstrend wireless security camera system is totally compatible for your mobile (andriod and ios system), tablet and pc. free app can be download to remote view and playback recordings (please make sure nvr is connected to your router by ethernet cable). it also support sync-playback, video backup and motion detection. email alert or app alert will be sent once motion got triggered (noted: please set it up properly to avoid email blast).
why firstrendwhy firstrend: system includes 4pcs 1080p hd bullet camera.8ch 1080p nvr recorder without hdd. (4tb hdd max can be supported: internal, sata interface.3.5/2.5inches). real p2preal p2p: plug and play surveillance kit, camera and nvr are paired before shipping. simply connect the cameras and nvr to the power by included power adapter, picture shows up. notice: wireless means video cable is not required for camera s working, but device user still need to connect camera to power outlet for 24/7 surveillance purpose.
how it works: connect the cameras and nvr to the power, connect the mouse to nvr. connect pc/tv monitor to nvr with a vga/hdmi cable. connect the router lan port to nvr wan port with network cable provided.
professional customer support,: 60-day money back guarantee.2-year free warranty, lifetime tech support. stunning 1080p full hd video,: get a sharp and crystal image day or night with the weatherproof camera’s automatic ir-cut filter. ip 66 waterproof housing, cameras can be used indoors and outdoors. a real plug and play system,: no more running cables from cameras to nvr, or from cameras to router. just plug the wireless security cameras into nearby power outlets, download free app, and follow the in-app instructions to setup the wireless security system. installation can t be simpler for diy enthusiasts.
two way audio and build-in pir sensor,: an integrated microphone let you hear the sound around the camera, build-in pir sensor will eliminates the number of false alarms you received by up to 90%. customizable motion detection and 2tb hdd included,: be notified when there are unexpected movements. smart notifications with image will be pushed to your smartphone via app. you won’t miss any moment with remote and local playback. the 2tb security grade hdd designed to meet the constant.24/7 demands of surveillance recording.
how to get a refund for a cable wireless router?
shop has a customer-friendly return policy, which means that you will not have any difficulties returning your money. if there is something wrong with your cable wireless router, you only need to contact the customer support and ask for a refund. however, you should carefully read the item’s description before buying a cable wireless router.
what exactly did you take into consideration while making the list of the best cable wireless router?
we considered so many factors that it is nearly impossible to tell you about all of them. believe us, we did not forget about anything. price, material, user score, and other characteristics of cable wireless routerwere used to create this top list. we tried our best to help you choose the best cable wireless router!
what should be my main choice criteria when buying a cable wireless router?
one of the most important factor of any cable wireless router is its material. it has to be durable and easy to clean. if you want to find a cable wireless router that will serve you for many years, you will have to buy an expensive model made out of the best materials.
what warranty period is considered optimal for cable wireless router?
we think that a two-year warranty is more than enough for a decent cable wireless router. there are many premium options with a lifetime warranty, but we do not think that it is necessary. we recommend you to simply replace cable wireless router with a new one after some time.
what if a receive a wrong item instead of the cable wireless router i ordered?
there is no need to worry since the support team will help you to return your money or replace the wrong item with the chosen cable wireless router. simply contact a support agent and describe your situation to get all the required help.
how safe is it to purchase a cable wireless router online?
our site is one of the safest place to buy cable wireless router. it has detailed descriptions for all available cable wireless routerand offers a money back guarantee if you get a wrong or broken item. there are no reasons to worry!