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The Zone of Interest, by Martin Amis
The Zone of Interest, by Martin Amis, published by Alfred A. Knopf, New York & Toronto, 2014
It took me about three chapters in to realize what I was reading about – where this novel is set, and in which time. The language – a mixture of German, English, Polish words, an Austrian dialect, and Nazi slang – would make much of this inaccessible to people who do not speak the languages. I do. But even so, referring to "Stucke" – which in proper German is Stücke, meaning pieces, to refer to body parts of chopped up Jewish prisoners – takes some getting used to.
Another example is "Kat Zet I". Kat Zet is the shorthand that the characters in the novel use for "K" in German (pronounced "kay") and "Z"in German (pronounced "tzet"). It is shorthand for Konzentrationslager, which means concentration camp. Later on it becomes clear Amis means Auschwitz. "Uncle Martin" is Martin Bormann, Hitler's private secretary during the Third Reich. "Buna-Werke" refers to Monowitz (also called Monowitz-Buna or Auschwitz III) a subcamp of Nazi Germany's Auschwitz concentration camp, established in October 1942 by the SS at the behest of I.G. Farben executives, to provide slave labor for their Buna Werke (Buna Works) industrial complex for rubber production.
Horror piled upon horror
It got worse page by page from the moment that I realized what was being described – the giant death camp and rubber works at Auschwitz III. But this connected me to the name of the novel: IG Farben, the builders of the Buna Works, was a German chemical industry conglomerate, notorious for its role in the Holocaust. Its name is taken from Interessen-Gemeinschaft Farbenindustrie AG (Syndicate [literally, "community of interests"] – there's the title – of dye-making corporations). Following the Nazi takeover of Germany, IG Farben became involved in numerous war crimes during World War II. Most notoriously, the firm's pro-Nazi leadership openly and knowingly collaborated with the Nazi government to produce the large quantities of Zyklon B necessary to gas to death millions of Jews and other "undesirables" at various extermination camps during the Holocaust. The firm ceased operating following the fall of Nazi Germany in 1945, when the company was seized by the Allies; its assets were entirely liquidated in 1952, and 13 executives were imprisoned for terms ranging from 1 to 8 years at the Nuremberg Trials (specifically, the IG Farben Trial) for their roles in the atrocities.
Love even in war
The enormous Buna Works manufacturing complex at Auschwitz III.
So, into this hellish scenario comes some form of a love story. The protagonist, "Golo Thomsen", is a high-ranking officer trying to sabotage the Buna Works. He falls in love with "Hannah", the wife of the "commandant", commander of Kat Zet I, ("Kommandant" in German), of Kat Zet, "Paul Doll". "Doll" is a nightmare of a human being and his wife hates him and the Nazi regime with venom:
"'Doll was covered in blood. God, what a bullet does…and still trying to smile. I suddenly knew who he'd been all along. There he was, a nightmarish little boy. Caught doing something plainly disgusting. And still trying to smile."(p. 291)
In his novel Lionel ASBO, Amis depicts ASBO as evil, but also human – self-doubting at times, capable of being humiliated, and aware of his own low status. (Read my review of this novel here.) But "Paul Doll" is a far worse specimen of humanity, who does evil on a massive scale. Lionel ASBO has its black humour. This novel doesn't even have the faintest whiff of a hint of a smidgen of humour. It is an amazing feat of language and imaging that Amis has performed to get himself into the heads of these characters, particularly the head of "Paul Doll".
The book is told from the perspectives of "Doll", "Thomsen" and "Szmul", leader of one of the "Sonderkommandos" at the camp who tries to save as many prisoners as he can. Credit has to go to Amis for so convincingly and fluently voicing these characters. (In his afterword Amis writes: "For the tics and rhythms of German speech my principal guide was Alison Owings and her Frauen: German Women Recall the Third Reich.")
"Szmul's" "Sonderkommandos" were work units of German Nazi death camp prisoners, composed almost entirely of Jews, who were forced, on threat of their own deaths, to aid with the disposal of gas chamber victims during the Holocaust. They had to deal with the "Stucke". The term itself in German means "special unit", and was one of the vague and euphemistic terms which the Nazis used to refer to aspects of their "Final Solution" – which is another euphemism.
Gripping, spare depictions
Amis has shown he has a mean turn of phrase and a consummate talent for gripping, spare depictions that hits you in the gut. Here's one:
"The figures that held my attention were not the men in stripes, as they queued or scurried in lines or entangled one another in a kind of centipedal scrum, moving at an unnatural speed, like extras in a silent film, moving faster than their strength or build could bear, as if in obedience to a frantic crank swivelled by a furious hand; the figures that held my attention were not the Kapos who screamed at the prisoners, nor the SS noncoms who screamed at the Kapos, nor the overalled company foremen who screamed at the SS noncoms. No. What held my eye were the figures in city business suits, designers, engineers, administrators from IG Farben plants in Frankfurt, Leverkusen, Ludwigshafen, with leatherbound notebooks and retractable yellow measuring tapes, daintily picking their way past the bodies of the wounded, the unconscious, the dead." (p. 89)
As the war turns against the Nazis and the Allied forces move in, "Paul Doll" decides he wants to kill his wife. He instructs "Szmul" to shoot her, and if Szmul does not, Doll will deal with the wife he left behind in Poland. Szmul knows he is doomed in any case, that he, like the other "Sonders" has lost his soul. But he remembers that one time, Hannah Doll greeted him and looked him in the eyes as if he were a normal human being. He tries to shoot himself instead, but Doll shoots him in the face.
The story unfolds in horror upon horror; large numbers, large-scale atrocities, and small, painful nasty moments and bitter disillusionments (the relationship that "Paul Doll" has with his children, or with his prisoner mistress). The descriptions of torture are referred to obliquely, hinted at just enough to turn one's stomach. Amis describes the burial pits at the camp like this:
"I [Paul Doll] uneasily realized that I could actually hear the Spring Meadow. Said meadow began perhaps 10 metres beyond the mound where Prufer, Stroop, and Erkel stood with their hands pressed to their faces – but you could hear it. You could smell it, of course; and you could hear it. Popping, splatting, hissing."
The reader is nauseated as much by the image that jumps into your head, as by the unexpected corruption of the usually lovely image of a spring meadow. Never will green fields in war novels be quite the same.
The zone of interest
Ultimately, it's a commentary on what people become in times of war. Which side they take – how they rationalize evil. Amis particularly questions the Germans' "world-historical flair for hatred" in that era. Says "Golo Thomsen": "Under National Socialism you looked in the mirror and saw your soul. You found yourself out. This applied par excellence and a fortiori (by many magnitudes), to the victims, or to those who lived for more than an hour and had time to confront their own reflections. And yet it also applies to everyone else, the malefactors, the collaborators, the witnesses, the conspirators, the outright martyrs (Red Orchestra, White Rose, the men and women of July 20), and even the minor obstructors, like me, and like Hannah Doll. We all discovered, or helplessly revealed, who we were. Who someone really was. That zone of interest." (pp. 281, 282)
Remembering those who died
Amis dedicates this book to "those who survived and to those who did not", and his family, and in writing this novel, echoes the action of "Szmul", who, before he dies, buries his record of the event for others to find. In fact, buried and hidden accounts by members of the Sonderkommando were found after the war at some camps. "On my way over there I will inhume everything I've written, in the Thermos flask beneath the gooseberry bush. And, by reason of that, not all of me will die." (p.265).
Amis also dedicates the book to Primo Levi, perhaps sharing with him his reason for writing about the Holocaust: Primo Levi wrote:
"We, the survivors are not the true witnesses. The true witnesses, those in full possession of the terrible truth,  are the drowned, the submerged, the annihilated. We speak in their stead by proxy."
The Drowned and the Saved, by Primo Levi
In The Drowned and the Saved Levi describes "the grey zone"  that of the privileged prisoner – he was himself a prisoner in the Buna Works. On the website of the Museum of Tolerance of the Simon Wiesenthal Centre, Illona Klein analyses the chapter, "The Memory of the Offense", "Levi once again takes upon himself the burden of retelling the unspeakable, of seeking explanations (after all he was a scientist trained to seek possible causes of unaccountable phenomena), of justifying himself and his actions during his captivity. He attempts some interpretations and tries to find some reasons – perhaps at times too rational – for an act of genocide, for which there can be no explanation. Almost invisibly interwoven with the poised, exterior calm of Levi's prose, used to create and define his arguments, is a fine thread of anguish: the fear of not being heard, the fear of not being believed. Other survivors who have chosen to write about their experiences have expressed the same pain. The identical fear has brought many survivors to choose silence, and in silence they still live today.
Perhaps it is this anguish that moved Levi to bear once again the weight of public testimony to mankind: he refuses the point of view that sees survivors as "chosen," as people who made it through the unimaginable so that they could write and talk about their terrible experience. There can be no logical cause-effect relations in the events of the Holocaust."
Levy tells the story of the dead by proxy, and so does Amis.
False but compelling narrators
Yet, painting fully rounded, convincing portraits of even the worst Nazis characters – false narrators all of them but nonetheless compelling to read (Bormann and his "normal" family life, focused on breeding more perfect little Aryans; other Nazi leaders with their "normal" perversions; Doll with his "normal" preoccupation with managing the paperwork of mass murder, Golo with his darling aunt, Mrs. Bormann), Amis makes clear that this is not a straight bad guys-versus-good guys situation. Amis does not depict the Nazis as monsters, he depicts them as just going about their business, charming, wealthy, industrious and self-righteous. The reader realizes they are evil from what they think, believe and do in the midst of all this "normalcy". It creates an almost unbearable tension in the novel. One moment "Paul Doll" is fretting about his children's horse while waiting on the station platform, the next moment he blithely sends a couple of hundred Jews to their death, even while holding one little girl's hand. It also emphasizes that this was a complex, many-faceted situation, and not to be over-simplified – even in a novel.
Primo Levi is also is quite clear about this and admonishes the reader never to come to a superficial or hasty verdict: "One must beware of hindsight and stereotypes. More generally, one must beware of the error that consists in judging distant epochs and places with the yardstick that prevails in the here and now…. When it comes to the future, we are just as blind as our fathers." Again, point taken. As we say on Poppy Day in the Ode of Remembrance, we honour the dead "…lest we forget."
Read more about Martin Amis here.
Read my review of Amis' Lionel ASBO, here.


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Putin says Russian economy recovering, positive trend still unstable
MOSCOW, Sept. 29 (Xinhua) — Russian President Vladimir Putin said Wednesday that the country's economy is gradually recovering from recession, but warned that the positive trend is still unstable, the president's official site reported.
"We must provide such macroeconomic conditions that could encourage the growth of the national economy and preserve the downward trend of inflation," said Putin.
The inflation target for the medium term is 4 percent, the Russian president said. Currently, the inflation rate is about 7 percent.
Putin also said that the government has nearly finished the federal budget for 2017, which will be soon presented to the State Duma for approval.
The Russian economy slid into recession in 2014 amid tumbling oil prices and tightening Western sanctions against Moscow over its role in the Ukraine crisis.

redpajama_set_name: RedPajamaCommonCrawl


The Leiden University Academy of Creative and Performing Arts will be proudly awarding an Honorary Doctorate within the upcoming 440th Dies Natalis.
The Leiden University Academy of Creative and Performing Arts is honoured to have been allowed by the Raad van Decanen to be one of the Leiden University Institutes who will be proudly awarding an Honorary Doctorate within the upcoming 440 th DIES NATALIS, next Monday 9 February at 14.30 p.m. Honorary Supervisor is Frans de Ruiter, director of the Academy of Creative and Performing Arts.
Leiden University will confer this title upon William Christie, renowned harpsichordist, conductor, musicologist and teacher, and the foremost pioneer in the renewed appreciation of Baroque music in France, notably from the 17 th and 18 th century. His work, particularly on the theatrical repertoire of Lully, Rameau, Charpentier, Marais and Campra, has introduced this music to previously unimagined audiences, in regularly sold-out venues.
Born in Buffalo (New York State), William Christie studied at Harvard and Yale Universities. He is a true "American in Paris", where he has lived now for over forty years. In 1979 he founded the now world-famous ensemble Les Arts Florissants, which comprises soloists, choir and orchestra, and has given hundreds of concerts and done more than seventy CD productions.
Major public recognition came in 1987 with the production of Atys by Lully at the Opéra Comique in Paris, which then went on to tour internationally with much success. He went on to become a master of tragédie-lyrique as well as opéra-ballet.
As a passionate interpreter of French Baroque music he integrates the treasures of painting, language, poetry, rhetoric and garden architecture from this period into his performances.
His affection for French music does not prevent him from exploring other European repertoire, giving many acclaimed performances of masterpieces by Monteverdi, Händel, Haydn, Gluck and Mozart. Christie now conducts the major orchestras of the world, including the Berlin Philharmonic.
He spends a lot of time transferring his knowledge to the young talent. Since 2002 he leads an "académie" for young singers, Le Jardin des Voix, and in the eighties and nineties he was the auctor intellectualis and conductor of great music theater productions of works by Lully and Charpentier by the CNSMD's of Paris and Lyon, the Guildhall School in London and the Royal Conservatory in The Hague. He also teaches at the Juilliard School in New York.
William Christie is Officier dans l'Ordre de la Légion d'Honneur.
The celebration of the 440 th Dies Natalis will take place in the Pieterskerk, Pieterskerkhof 1a in Leiden. The Dies lecture, entitled 'The future of the vulnerable child', will be given by Hanna Swaab, Professor of Neuropedagogical Assessment and Developmental Disorders and Dean of the Faculty of Social and Behavioral Sciences.
Honorary Doctorates will be awarded to Professor Peter Katzenstein, Walter S. Carpenter Jr. Professor of International Studies at Cornell University Ithaca; Lilian Gonçalves-Ho Kan You, state councillor within the Netherlands Council of State and William Christie, artistic director of Les Arts Florissants and Le Jardin des Voix.
Other elements of the programme are the presentation of the 2015 Leiden Teaching Prize by Femke Vermeer, Chair of the Leiden University Student Platform and a presentation of award-winning thesis research. Prof.mr. Carel J.J.M. Stolker, Rector Magnificus and Chair of the Executive Board, will give a concluding speech.
The ceremony will be through-composed in a rhapsodic succession of timeless phenomena, inspired by the glissando and performed by the Academy of Creative and Performing Arts and De Veenfabriek.


Thinking about judging at our regional competition?
Maybe your questions can be answered on this page! We appreciate our volunteer judges tremendously. Without judges, our regional competition just wouldn't happen! Thanks to our judges, our Redwood teams have a great tournament experience!
How old must judges be?
All scoring judges must be at least 18 years of age.
How much time will judging take?
Judging at our regional competition is an all-day event. Judges are expected to arrive about one hour before the first team's performance and stay until about one hour after the last team competes. 7:30 am – 4:00 pm is probably the maximum tournament day for our judges. Judges training is conducted on a previous, separate Saturday and requires approximately 5.5 hours (9 am-2:30 pm). Please check our event schedule for exact dates and times.
Do I have to attend judges training?
Yes. Each year the problems change and the judging team needs to be consistent. Even if you've judged before, attendance at judges training is mandatory to ensure all judges are on the same page and fully understand the problem. Spontaneous judges who've gone through training do not need to attend again…unless they'd like to refresh their judging skills. If the scheduled judges training dates do not work into your schedule, we will allow judges to be trained by other regions provided this is arranged in advance and we receive confirmation that you were successfully trained.
As a judge, will I be able to see my child perform?
Unfortunately, it is unlikely that a judge will be able to see their child perform. In order to keep on schedule, judges will need to be at their specific judging site the vast majority of the day. While it is possible that a scheduled judging break may fortuitously align with the performance time for a judge's child, it is quite unlikely, and judges will need to be back on site before the next scheduled performance time.
What happens if a judge leaves early?
We sincerely hope this doesn't happen! In the case of a true emergency requiring a judge to leave, all of the scores that judge has entered for a given problem/division must be cancelled. This is to maintain scoring consistency and fairness for all teams. If you have time constraints that may prevent you from being present at the competition all day, please inform your Problem Captain immediately as well as your Judges Coordinator (Bob Lipman) so alternate arrangements can be made.


Good afternoon everyone. Under the Secretary-General's leadership, the United Nations and the World Bank Group have made significant progress in working together to help the poor and the vulnerable. Over the last three years, we've sought to use the UN's peacekeeping and peace-building expertise and the World Bank Group's development knowledge and financing to try to bring stability and prosperity to fragile regions of Africa and the Middle East.
Before I turn to today's subject, I'd like to thank the world's humanitarian workers who put their lives at risk everyday on the front lines of emergencies. The targeted attacks on hospitals in Yemen, Afghanistan, and Syria are crimes against humanity. This must stop. Humanitarian workers are acting with great courage, and the world's leaders must act with courage as well to do all in their power to stop these attacks.
Today's roundtable brings together the development and humanitarian communities in pursuit of an even more ambitious goal: increasing the impact of humanitarian action in the face of new threats, such as climate change, pandemics and an unprecedented refugee crisis. Although it isn't as widely discussed, I would also put early childhood development, and particularly the high rates of childhood stunting in many countries, as another major global threat.
We at the World Bank Group are new to this field of humanitarian crises – we have worked for 70 years on reconstruction and the longer-term development of low- and middle-income nations. But humanitarian crises often last for years, some a generation or more, and we know that we cannot sit on the sidelines any longer. I speak today on behalf of the multilateral development banks. Let me suggest three ways in which the World Bank Group and all the multilateral development banks can work together, especially in protracted humanitarian responses.
First, we will work with all of you to produce new data and evidence to promote a risk-based approach – as well as apply our global knowledge from the field -- to identify and support what works best in specific environments to prevent crises and respond to the needs of refugees and host countries. We also commit to working with all of you to use this evidence to go upstream to do the kind of risk analysis that might allow us to prevent conflicts and fragility.
Second we must embrace the power of leveraging public funds for greater impact. It's difficult to imagine any other way of achieving a scale of response that is truly equal to the challenge. The World Bank Group has developed the MENA financing facility and is now working on a global crisis response platform, which would provide resources for risk mitigation and crisis response to low- and middle-income countries with an immediate focus on countries hosting refugees across the world. We plan to launch this platform in September at the UN General Assembly. Working with humanitarian actors and with countries hosting refugees, we will develop financing schemes with long-term, extremely low-interest loans that can support relevant development projects at appropriate scale.
And third, we will explore the tying of this funding to specific outcomes in addressing protracted humanitarian crises. We believe there is work to be done in defining the outcomes that we want and we stand ready to help. Once the desired outcomes are clear, a program we call P4R – program for results – would, for example, release financing to countries and to approved humanitarian actors when the results are achieved. This program has transformed development work, and I believe this performance-based financing could do the same for protracted humanitarian emergencies.
Maximizing the impact of our investments means they must target the forcibly displaced and host communities together and at the same time. Today, seven Multilateral Development Banks issued a joint statement to show their full commitment to a collective response to the forced displacement crisis, including joint action on data and evidence, country-level engagements, and innovative financing mechanisms. We're also committed to working with the multilateral development banks to explore how Islamic social finance can be channeled to meet humanitarian needs.
These commitments require us to update existing financing tools and adopt new approaches to raising resources, including stopping illicit financing flows and improving tax collection practices. Even struggling countries can, with help, improve domestic resource mobilization. We're committed to building on current funding platforms and developing new ones, such as one that I mentioned earlier -- a global crisis response platform -- that would mobilize financing for low- and middle-income countries hosting refugees.
As we work with donors to replenish the International Development Association, our fund for the poorest countries, we will be seeking to significantly increase allocations to fragile states and develop specific channels to support efforts to tackle forced displacement.
I'm optimistic at the potential of these possibilities, especially since the steps we've taken to date are already helping the poor and the vulnerable. By working together, we can do better with what we have, and have more to do even better. Our efforts together will make the world more just and more prosperous.


The Lubbock Chamber of Commerce will host a Legislative Appreciation Luncheon sponsored by StarCare Specialty Health System at 11:30 a.m. on Tuesday, August 14, 2018 at the Overton Hotel & Conference Center. The featured guest will be U.S. Representative Jodey Arrington.
Reservations are required and are $50 each. Chamber members get a discounted price of $40. Contact the Lubbock Chamber at (806) 761-7000 to reserve your seat no later than Tuesday, July 31.


This set of Gothic Armor from Epic Armoury furnishes the warrior with the majority of the protective armor he will need. The fluted steel panels are reminiscent of the high medieval Gothic style plate. Crafted from 18 gauge steel the suit of armor included a breastplate, backplate, tassets, gorget, arm armor and leg armor. Straps and buckles hold all the pieces in place when worn. To eliminate painful pinching and chafing, a gambeson will need to be worn beneath the armor. Take the added bulk the gambeson adds onto your body into account when measuring yourself for this suit of Gothic Armor.
Back Plate: 23'' long by 18'' wide.


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Beat the heat and find a cooling center near you.
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Mayor Michael R. Bloomberg, DoITT Commissioner Gino P. Menchini and DoT Commissioner Iris Weinshall Announce the Launch of Morning Drive Live on Crosswalks Television
PR- 298-02
www.nyc.gov
Mayor Michael R. Bloomberg, Department of Information Technology and Telecommunications (DoITT) Commissioner Gino P. Menchini and Department of Transportation (DOT) Commissioner Iris Weinshall announced the launch of Morning Drive Live on Crosswalks Television. Starting Monday, November 18, 2002, Crosswalks NYC Channel 74 will feature real-time traffic cameras every weekday morning from 6:30-9:00 am. Morning Drive Live is an interagency initiative produced by DoITT and DOT. The new show features 22 real-time City and State DOT traffic cameras live from the five boroughs of New York City. Drivers will now be able to tune in during the morning rush hour and see which routes are best for travel before they leave home. Morning Drive Live's camera ordering is route-based, meaning that the camera feeds appear in a pattern that matches typical morning routes into Manhattan and across the boroughs. In addition to the live cameras, Morning Drive Live also includes DOT's weekly and monthly travel advisories.
"In addition to providing an innovative way to get real-time traffic reports live on television, Morning Drive Live was created using existing resources and at no additional cost to taxpayers. It's an excellent example of what can be achieved when City agencies work together," said Mayor Bloomberg.
"Morning Drive Live is just one example of the new types of programming that we're featuring on Crosswalks. The show is part of a new direction in programming on the network that's designed to provide local content that is informative, useful and to make government more accessible to New Yorkers," said DoITT Commissioner Gino Menchini.
"We are delighted to be teaming up with the DoITT to offer this new service to the people of New York City," Commissioner Weinshall said. "City commuters will be able to make choices by looking at our live cameras. For example, a Queens commuter might choose the Queens Midtown Tunnel over the Queensboro Bridge, or vice versa, depending upon driving conditions that they will see on television that particular morning. It is a great use of technology to help the public, and we are pleased that our DOT cameras will be used to provide timely information."
Morning Drive Live can be seen from 6:30am – 9:00am every weekday morning on the following cable systems:
· Time Warner Cable – Channel 74
· Cablevision – Channel 74
· RCN subscribers need to check their local listings.
· These traffic cameras can also be viewed at www.nyc.gov/calldot
The Crosswalks NYC Television Network is the official cable channel group of the City of New York. Crosswalks' channels are available on basic cable in over 1.8 million households, and reach a potential audience of more than 4 million people, across the five boroughs of New York City. Administered by DoITT, Crosswalks NYC consists of five channels designated to bring New Yorkers closer to their government. The network was launched in 1992 to improve the delivery of government services, to serve as a focal point for public participation in city affairs, and to provide education and skills training to New Yorkers through the medium of television. Crosswalks NYC is the largest municipal cable network in the nation.
Contact: Edward Skyler / Jonathan Werbell
(212) 788-2958 Tom Cocola ( DOT )
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These limited edition jeans from Jacob Cohen would make a welcome addition to your denim collection, a timeless classic, this exquisite pair of trousers are a must-have staple for every man's wardrobe. The perfect foundation to both smart and casual looks. Only 322 pairs worldwide.
Jacob Cohen the Italian designer men's jeans label offer true premium tailored jeans for those who want something a little bit different. Jacob Cohen Jeans are all made of the exclusive luxurious Japanese Kurabo denim. Its special washing is carried out at the brand owned laundry, where it undergoes a particular process free of any synthetic products. Jacob Cohen denim jeans are designed and cut-to-perfection with both style and comfort utmost in mind. Offering a variety of washes, the Jacob Cohen jeans are a versatile investment in any well-edited wardrobe.


The invention discloses a method and a device for adaptively adjusting the uplink power parameters. The method includes: statistic the noise interference NI level in the cell bandwidth in the preset period; identify the interference scene changes according to the NI level; adjust the upstream power parameters of the base station according to the interference scene changes. The method can adjust the parameters of uplink power control adaptively when the interference scene of the cell changes, keep the overall uplink performance of the cell from being affected by the interference scene changes, and improve the user experience under the interference scene changes.


Media Wing acquired AirShark in 2016 to proivide higher quality industrial UAV inspection services. As we continue to integrate the AirShark Flight Teams into what we provide at Media Wing, we are making strides to update all of our information both offline and online with relevant information. For an overview of all UAV services we offer, please visit www.airshark.io.
We have an exclusive partnership with Airshark, a UAV services company, to capture cinematic aerial imagery of the highest quality.
We have banded together a diverse team of creative storytellers including world-travellers and digital magicians. With over 40 years of experience we can take your project from concept to completion in a way that is sure to impress.
We believe marketing your videos on the internet is one of the most effective ways to get in front of clients and share the awesomeness that is your business.
In 2016, Media Wing acquired vermont-based UAV services company, AirShark, to increase our offering of safe and innovative UAV services for our clients. For information regarding what services we offer for commercial or industrial customers please visit www.airshark.io.
A collection of our best work!
Learn how Media Wing is changing the way you share stories.
We are the pioneers of the digital world. We are the modern artists who have come to create. Located in the heart of historic Downtown Portsmouth, NH, our company has pulled in talents from across the country and adopted the freshness of the new generation. We provide innovative high quality 4k video and photos from the land we stand on, to the skies above. Our experienced team captures your vision through everything from the lens of handheld cameras to cutting edge UAVs. Let us bring your company to the future, with a story that needs to be heard.
Media Wing was formed on the shoreline of Lake Winnipesaukee. With the mission of creating stories that excite & inspire. Media Wing opened it's first office in downtown Wolfeboro, NH and began training UAV pilots and capturing breathtaking imagery.
In an effort to offer a better experience and serve a larger audience Media Wing moved to downtown Portsmouth.
Media Wing moved out of it's temporary office into our brand-new office on Ladd street right off of Market Square in downtown Portsmouth. New conference rooms, office, and workspaces made it easier for Media Wing to offer the world-class experience their customers were becoming accustomed to.
In an effort to provide our customers with unrivaled quality of service we acquired vermont-based UAV provider Airshark to expand our capabilities in the Commercial and Industry service industry.
We have a great team that is pushing the realm of what's possible in the digital age, and you are a talented individual. Maybe you are ready to step out and join a team that will help you reach new heights.
Our team has years of experience helping businesses market their products and services. We are always growing and getting better at our craft so that we can provide our customers a unique experience that helps them achieve real-world results.


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Carol J. Ammerman
Published 8:48 am Wednesday, November 2, 2016
Carol J. Ammerman, 90, died Monday, Oct. 31, 2016, at the Alfond Center for Health in Augusta, Maine following a long illness. She was born in Lakewood, Ohio on Aug. 21, 1926, a daughter of the late O. Walter and Gertrude H. (Haveman) Schaefer.
Mrs. Ammerman was a graduate of the University of Cincinnati and was a member of South Parish Congregational United Church of Christ.
She had been employed for many years as a nurse at the VA Hospital in Massachusetts and here in Maine at the Togus VA Hospital.
Carol enjoyed line dancing and was an instructor and member of the "Boot Scooters" while living in Kentucky.
Mrs. Ammerman was pre-deceased by her husband, Rev. Harvey F. Ammerman.
She is survived by four daughters, M. Gail Edwards of Hudson, Maine, Nancy C. Grusheck-Robarts of Palomar Mountain, California, Marna E. Grusheck of Rollinsford, New Hampshire and Rebecca A. Pullen of Augusta; three step-children, H. Davida Ammerman of Madison, William Ammerman of Nantucket, Maine and Pamela Eckstein of St. Thomas, Virginia; her sister, Sara Bothe of Pittsburg, Pennsylvania; eight grandchildren; five great-grandchildren; as well as several nieces, nephews and cousins.
At her request, there will be no public visiting hours. A memorial service will be held on Saturday, Nov. 5 at 11 a.m. at Plummer Funeral Home, 16 Pleasant St., Augusta. Burial will be at the convenience of the family.
Those who desire may make donations in Carol's memory to: South Parish Congregational United Church of Christ, 9 Church St., Augusta, ME, 04330.
Condolences, photos and stories may be shared at www.plummerfh.com.
Frank Alexander Kennan, 55
Johnathan David Falconberry, 54
Owens "Junior" Edwards, 51
Kimberly Rae Shephard Cox Wilson, 63


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Alien planet in prometheus
Gumuro 07.05.2019 07.05.2019
In the Fire and Stone series, over a century after the events of Prometheusan Engineer is depicted attempting to exterminate all life on LV, Xenomorphs and the crew of the Geryon alike. In the movie Prometheusit turns out the creature in the chair was actually in a flight suit. Also show there was one Engineer alive in a form of stasis similar to that used by Humans. In Predator: Fire and Stonea physical fight between an experienced Predator and an Engineer shows the latter to be far stronger with it dominating the fight, shrugging off a plasma bolt and heavily wounding the Predator, causing it to rely on its stealth tactics, equipment, and the aid of a human to defeat the Engineer. He explores the ship and locates the bridge, containing the Hypersleep Chambers the Engineers had sealed themselves in. Warning: Major, epic, devastating spoilers throughout. Much later, while trying to escape the planet with his squad, Andrew Harrison discovered a large chamber containing a dead Engineer. As such, they are revered by some as gods by the species they created.
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Prometheus is a science fiction film directed by Ridley Scott, written by Jon Spaihts and As a spacecraft departs a planet, a humanoid alien drinks an iridescent liquid, causing its body to dissolve.
As its remains cascade into a waterfall. – Shaw presumably rebuilds David, and according to David's testimony in Alien: Covenant, he and Shaw arrive at "Paradise", a planet. AFAIK there is word of god that the planet in Prometheus and the one in Alien are not the same (different Numbers, Atmosphere, etc.).
I'm not as.
Before the release of Prometheusthe Engineers were originally dubbed as the "Space Jockeys". If this is the case, why do the humans in Aliens try to terraform and colonize the Alien planet if the nearby Prometheus planet has a breathable atmosphere available?
Concept art of the deleted opening scene showing an Engineer sacrificing himself.
It only takes a minute to sign up. Predator: Requiem. In an early script visualized but never written, the Pilot ship had crashed or landed on LV some 10 million years prior to being discovered by the Nostromo. In the novelisation of Alien by Alan Dean Foster, Ash describes the Space Jockey's race as a noble people and hopes that mankind will encounter them under more pleasant circumstances.
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Engineers stand feet tall and, like humans, breathe oxygen. The survivors take refuge aboard their ship, storing themselves in the vessel's Hypersleep Chambers on the vessel's bridge. Start a Wiki. This moniker came about during the production of Alien.
Video: Alien planet in prometheus Prometheus - Young Peter Weyland TED Talk - ALIEN ANTHOLOGY
However, the creature been referred to by a number of other names, including The Pilot Giger's original nickname for it or Pilots; James Cameron called it the "Big Dental Patient,"; in the novel Aliens: Original Sin they are referred to as Mala'kaks.
And in the many holographic flashbacks that we watch, it appears as if the weapons activated early and killed all the ETs by mistake.
Elizabeth and David were never stranded. The final shot of Prometheus is of them exiting the planet to go to "where THEY came from. Early in the director's commentary, Ridley Scott confirms that the planet from Alien was LV BUT in Prometheus the planet is LV The Engineers from Planet 4 as seen in Alien: Covenant, however, appeared more In Prometheus, it is shown that a lone Engineer was responsible for the.
The crew of the USCSS Prometheus believed that the abandoned planet they explored was an outpost for weapons engineering and development, lending credence to the theory that the Engineers created the Xenomorphs or perhaps more specifically, the Black Liquid that led to the Trilobite for war and genocidal purposes.
If this is the case, why do the humans in Alien II try to terraform and colonize the Alien planet if the nearby Prometheus planet has a breathable atmosphere available?
January 7, to be precise.
The era of the Alien begins. The image of a Xenomorph on the wall of a room inside the structure on LV suggests that the birth of The Deacon at the end of the film is not the very first Xenomorph. The creature quickly matured into an adult and began killing the crew members one by one and led to the destruction of the Nostromo.
Video: Alien planet in prometheus Prometheus - David in the Orrery
Final fighters openbor psp So this creature obviously had experienced, maybe one of the eggs had been disturbed and a creature had got out, had attacked the rest of the crew With Shaw still on the planet, the remaining crew of the Prometheus sacrifice themselves to prevent the Engineer ship's departure from LV, jettisoning the vessel's lifeboat for Shaw to use, before ramming the Engineer ship at full thrust, causing the alien craft to fall back to the planet.
In the movie Prometheusit turns out the creature in the chair was actually in a flight suit. And if it is why did they find only one engineer in Prometheus?
Upon entering the ship, they discovered the remains of a fossilized Engineer wearing a Bio-Suit and over numerous eggs that were stored within the ship's cargo bay. While exploring the structure, the Prometheus crew discovers Engineer bodies, as well as several strange canisters which, unbeknownst to them, contain the Engineers' pathogen.
4 thoughts on "Alien planet in prometheus"
Dugis:
Their eyes are said to be "dead seeming", with pupils shaped like oblong crosses. Original sketch of an Engineer by Tristan Jones.
Kedal:
After the incursion on the planet, where the majority of the crew are killed, David is revealed to have bio-engineered aliens as we know them. Their eyes are said to be "dead seeming", with pupils shaped like oblong crosses.
Dougore:
Maybe we're accidents.
Kajidal:
By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand our Terms of Service. None of the works depicting the Jockey with a "trunk" are considered canon - the only canon appearance of the Space Jockey is in Alien and its novelisation and directly related works.


NDSU history students recently completed a successful field experience at the Emmons County Museum to help people in the Linton, North Dakota, area connect with their past.
The three-credit course, History 491/690, ran from May 22-June 10. It was led by Angela Smith, assistant professor of history and NDSU's public historian.
It was a win-win situation for all involved. NDSU undergraduate and graduate students gained hands-on experience in their field, while the community received more than 1,200 hours of volunteer service from NDSU-educated public historians.
The students focused on best-practices in digitization, museum work and public engagement. They cataloged artifacts, wrote exhibit text, digitized photos and conducted oral histories with residents.
History graduate student John Hest, who is from Perley, Minnesota, said he gained a new appreciation for the passionate dedication of the volunteers who are the driving force behind rural museums.
Alex Lien, a senior majoring in history, said a favorite moment was unveiling the newly updated historical displays to the museum's board of directors.
Dean Brooks, a senior English major of West Fargo and originally from the Philadelphia area, added, "It was profoundly satisfying to improve an important historical site in a way that still met approval with the town of Linton."