text:
Cooper Hewitt Short Stories: A Gift from J.P. Morgan
Posted by Matilda McQuaid on November 2, 2016
Last month in Cooper Hewitt Short Stories, we galloped through Sarah's equestrian passion. In November's short story, written by Matilda McQuaid, Deputy Curatorial Director and Head of Textiles at Cooper Hewitt, the sisters receive an important gift to their museum's collection from family friend, J.P. Morgan.
Margery Masinter, Trustee, Cooper Hewitt, Smithsonian Design Museum
Sue Shutte, Historian at Ringwood Manor
Matthew Kennedy, Publishing Associate, Cooper Hewitt, Smithsonian Design Museum
"Intense Quality"
John Pierpont Morgan. Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA.
In 1902, the prominent New York financier and industrialist John Pierpont Morgan donated more than one thousand textiles, including rare examples of Italian Renaissance velvets and Coptic, Mamluk, early Islamic, and Hispano-Moresque silks, spanning the thirteenth to eighteenth centuries. Morgan was not a textile collector, but purchased three major European collections—the Antonio Vivès y Escudero (1859–1925) collection in Madrid, the Miquel y Badía (1840–1899) collection in Barcelona, and the Stanislas Baron (d. 1910) collection in Paris—as a gift to the daughters of his friend, Abram Hewitt, who were establishing their Museum for the Arts of Decoration of Cooper Union.
(left) Antonio Vivès y Escudero; (right) Miquel y Badía
The Morgan gift meant that the young museum—officially founded five years prior in 1897 by Eleanor and Sarah Hewitt—suddenly possessed one of the top collections of textiles in the world. Eleanor wrote in The Making of a Modern Museum (1919) recalling that "in one instant, the Cooper Union Museum jumped to the rank of the South Kensington Museum [today the Victoria and Albert Museum] as to textiles" [1].
On May 14, 1901, Morgan cabled Abram Hewitt informing him of the purchase of the three collections. On the same day, he wrote a letter to Hewitt explaining his reason for the gift: "I desire to present the collections as a gift to the Trustees of the Cooper Institute, trusting that they may be of service and benefit to the beneficiaries, as well as a pleasure to your daughter [Sarah]. I might confess that I am even more particular about the latter than I am of the former" [2]. Eleanor further recounted that when Morgan initially heard of the sisters' interest in purchasing the textile collection, he impulsively demanded that all correspondence be forwarded to him. She wrote, "It may have been [the textiles'] intense quality that interested him, but this is what happened: A few weeks later a cable arrived, which read: 'Have purchased the Badía Collection of Barcelona, also the Vivès Collection of Madrid, and the Stanislas Baron Collection of Paris. I do this to give your daughters pleasure'" [3].
Fragment (Spain, Byzantium, or Eastern Mediterranean), 11th–12th century; Silk compound twill; 51.4 x 32.7 cm (20 1/4 x 12 7/8 in.); Gift of John Pierpont Morgan, 1902-1-222
Mantle (Peru), 16th–17th century; Silk and metallic tapestry; 92.7 x 127 cm (36 1/2 x 50 in.); Gift of John Pierpont Morgan, 1902-1-782
Coptic roundel (Egypt), 6th–7th century; Wool slit tapestry with supplementary weft wrapping in linen foundation; 23.5 x 21.5 cm (9 1/4 x 8 7/16 in.); Gift of John Pierpont Morgan, 1902-1-71
At the time, the gift was valued at $30,000, equivalent to almost $900,000 today [4]. Stanislas Baron was paid 26,000 francs for his collection, and he also acted as the liaison between Morgan and Miquel y Badía's widow and Antonio Vivès. Baron coordinated the payment to Badía of 100,000 francs for 402 textiles and to Vivès of 28,000 pesetas for 336 textiles. Today, textiles from all three collections have been catalogued and digitized. Through Cooper Hewitt's website, encounter an Italian fragment of fleur-de-lis, a Ming dynasty rank badge, and a disciple helping himself to the last fish during the Last Supper. To see all objects gifted by Morgan, visit the collection site.
There is still much research to be done on Baron, Badía, and Vivès, but we do have a few facts that explain their interest in antiquities. Badía was a writer, art critic, and collector, whose collection of historic textiles was published in 1900—Collection de Tissus Anciens de D. Francisco Miquel Y Badia (Barcelona). The publication mentions that he was a professor of the History and Theory of Industrial Arts at the Beaux Arts Academy in Barcelona. Vivès started off his education studying medicine, but abandoned this training for business and later became an archivist, librarian, and archaeologist. He was known for his expertise in numismatics, specifically Arabic, and in 1893 he wrote Monedas de las Dinastías Arábigo-Españolas, an important study of Spanish-Arabic coins. Baron was a Paris dealer who began his career as a wine merchant and toured through Spain where he also purchased works of art and antiquities. He soon focused solely on valuable antiquities with an emphasis on Merovingian archaeology.
Chasuble back (England), 15th century; Silk cut and voided velvet, appliquéd and embroidered with metallic yarns; 135.3 x 61 cm (53 1/4 x 24 in.); Gift of John Pierpont Morgan, 1902-1-653
Cope hood (France or Italy), late 17th–early 18th century; Silk satin damask with discontinuous metallic supplementary weft patterning; 52.1 x 50.8 cm (20 1/2 x 20 in.); Gift of John Pierpont Morgan, 1902-1-408
Textile (Iran); Silk velvet with metallic supplementary weft patterning; 53 × 26 cm (20 7/8 × 10 1/4 in.); Gift of John Pierpont Morgan, 1902-1-385
The three collections had worldwide importance, and, soon after their donation to the Cooper Union Museum, several of Baron's textiles were lent to the Berlin Kunstgewerbe Museum. In addition, there was an exchange of watercolor reproductions of Coptic and Peruvian textiles by students in the design class at the Woman's Art School for two unnamed photographs from the Chamber of Commerce in Lyons, France. More than anything, this reveals how actively the collection was used for educational purposes. These textiles—along with other objects in the museum's growing collection—were studied, researched, and even copied in order to learn techniques and ultimately give students the necessary skills for employment in decorative arts professions.
Students of the Woman's Art School studying the J.P. Morgan collection, ca. 1925.
In the Cooper Union Annual Report of 1903, "Report of the Museum for the Arts of Decoration," there was an explanation of how the J.P. Morgan gift was going to be displayed in the museum: "These embroideries, brocades and velvets will be displayed, as nearly as possibly, chronologically, subdivided into the various materials and these arranged by country of manufacture, so that the student will have no difficulty in seeing what kind of ornament or quality of material was in use at any period. When the catalogue is finished, these pieces will receive their final arrangement" [5]. One year later, the Annual Report recounts, "the difficulty of procuring dust proof cases, and also reference books from Europe, many of which were out of print and had to be advertised for, [which] has caused considerable delay in exhibiting the J.Pierpont Morgan Collection of Textiles. About half the Collection is shown in the cases which are suitably arranged to be worked from" [6].
These centuries-old textiles are currently conserved and carefully stored in Cooper Hewitt's facilities. Kira Eng-Wilmot, textile conservator at Cooper Hewitt, describes the practice of storing such delicate pieces:
The objects in this gift are some of the most fragile in Cooper Hewitt's collection. Most are small fragments that can be stored flat in window mats. The window mats are made of archival boards with a cutout viewing window, layers of different fabrics and tissue papers, and stored in a transparent mylar envelope. The most fragile are stored permanently in a Plexiglass mount. Both types of storage mount provides support and protection for the object, while still allowing for easy and safe accessibility of the object during study, storage, and exhibition.
The front (left) and reverse (right) of a permanently pressmounted object. Note the small viewing window on the reverse so that the viewer can still have access to both sides of the object.
The idea formulated early on by Eleanor and Sarah Hewitt that Cooper Hewitt's collection be used as a laboratory for learning still resonates today as these textiles are continually studied. As the most important collection of textiles ever given to the Cooper Hewitt, Morgan's gift speaks to his respect for the Hewitt sisters and the museum's mission to serve a very important educational purpose. In announcing Morgan's gift in the 42nd Annual Report of the Cooper Union in 1901, there is praise for its superior quality to any other collection in this country, but also recognizes a shared belief by Morgan and the museum for a "profound interest in the diffusion of artistic knowledge" [7].
[1] Eleanor G. Hewitt, The Making of a Modern Museum (1919), 14.
[2] Letter from J.P. Morgan to Abram Hewitt. Seaver Center for Western History Research, Natural History Museum of Los Angeles. Provided by Abraham Samuel Shiff with the permission of Betty Uyeda, Librarian. June 17, 2016. MSS-178.
[3] Hewitt, The Making of a Modern Museum, 14.
[4] This number from an online historical calculator.
[5] Cooper Union Annual Report of 1903 "Report of the Museum for the Arts of Decoration," p. 108.
[6] Cooper Union Annual Report of 1904 "Report for the Museum for the Arts of Decoration," p. 47.
[7] Cooper Union for the Advancement of Science and Art. 42nd Annual Report (June 5, 1901), p. 16.
← Egypt on the Walls
October Designgrams →
acquisitions J.P. Morgan textiles


Apollo 11 pilot praises the film for its impressive portrayal of the reality of zero gravity.
October 4, 2013, 11:52 a.m.
Director Alfonso Cuaron's new film "Gravity" has already received tremendous praise — with even sci-fi filmmaker James Cameron calling it "the best space film ever" — but the last word can only truly come from someone who has experienced space travel.
Enter former astronaut Buzz Aldrin, who in a review for The Hollywood Reporter offers effusive praise for the painstaking realism Cuaron and his crew put into making the film.
"I was so extravagantly impressed by the portrayal of the reality of zero gravity," he writes. "Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen — maybe not quite that vigorous — but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."
Aldrin, who himself is in the process of creating a new sci-fi drama, has lately become something of a go-to person for critiques on the realism of space-based films. Back in May, the 83-year-old took issue with the M. Night Shyamalan-directed "After Earth" for its use of noise in space, saying, "noise doesn't propagate in a vacuum." Cuaron's "Gravity," while impressive, also did not accurately portray the view of Earth from over 200 miles up.
"This movie gave great clarity to looking down and seeing the features of Earth … but there weren't enough clouds, and maybe there was too precise a delineation from space," he writes.
"I know: If you're looking down at Earth, you're looking through an atmosphere that has a bit of haze in many places and not just occasional clouds. Here, the precision was remarkable, though you might need a pretty good spy telescope to see that well."
Nevertheless, Aldrin — who has been adamant about the need to increase investment in space missions — believes the film is perfectly timed to once again reignite our passion for exploring the heavens.
"We're in a very precarious position of losing all the advancements we've made in space that we did 40 years ago, 50 years ago," he wrote in his review. "From my perspective, this movie couldn't have come at a better time to really stimulate the public."


The lasting image of the supply chain in 2012 is one of a consumer with a smartphone engrossed in making an online purchase. The story that goes with that image is all about the rapid changes that this new "connected consumer" has injected into our industry in 2012. So let's take a deeper look at this evolution and some key things to watch for in 2013.
Historically, transportation has been treated as an ancillary function, but due to its importance in providing value to customers, organizations are increasingly taking a holistic view of the entire chain. They are looking for ways to reduce cost, retain service levels, and create agility and resiliency. In the past, businesses spent more time focusing on up-front challenges such as the customer's web experience, while leaving transportation as an afterthought. Now, organizations need to look at the impact and opportunity that the connected consumer brings to the supply chain.
Up until this past year, the key topics facing the transportation industry have centered around the long standing cyclical areas of fuel costs, network capacity and the health of the economy. I believe that 2012 marked a major turning point or "cementing" of the attitudes and expectations of the connected consumer. Consumers have now grown firmly entrenched in the "fast and free" home delivery offered by Amazon and other online retailers, as well as other flexible options for taking delivery of goods.
To meet the expectations of this emerging demographic, many companies are finding that their traditional transportation solutions are simply not built to serve the demands of the connected consumer. This is driving the rapid adoption of transportation analytics – the integration of external and internal data gathered from the user experience, enabling more effective responses.
By using this data, companies can better provide the low prices and high service that are needed to win in a highly competitive marketplace. This combination of price and service will allow retailers and their manufacturing partners to succeed, both in the short-term sale and in longer-term customer loyalty.
As we leave 2012 behind, we have a world of new data to analyze and a fresh set of challenges to meet.
Alternative Delivery: This year we can expect to see a push from the large providers to consider alternatives to at-home delivery. Before, shippers would deliver something to you and try a few times if they couldn't find you, but this is no longer the case. Locker services and centralized pick-up locations are on the horizon. Traditional brick-and-mortar retailers with e-commerce websites may create temporary local "pop-up" stores where products can be picked up by online shoppers during periods of high seasonal demand.
Cost Awareness and Reduction: Retailers are going to have to look at cost reduction within their transportation chain, without sacrificing service. Businesses are recognizing the cost of delivery to their bottom line and are looking at ways to reduce it.
End-to-End Approach: This year, companies should strive to plan dynamically. In doing so, companies will enter a new era of building and maintaining resiliency. This end-to-end approach will allow companies to make more sophisticated changes on the fly, such as re-planning remaining delivery legs as goods are in transit.
Partner Approach: Moving forward, one of the key strategies for retailers and manufacturers will be increasing their level of collaboration and information sharing. Advanced technology solutions will help analyze demand and identify patterns that retailers and their suppliers can respond to more proactively. In responding to this data, manufacturers have a real opportunity to differentiate themselves and demonstrate their value to their retail partners by helping them manage the challenges presented by the connected consumer.
Speed and Agility: Both manufacturers and retailers will increase their overall supply chain flexibility and responsiveness to meet the increasingly impatient and fickle demands of consumers. In terms of transportation, this means relying on more flexible schemes and multiple modes that might include private fleets, third-party truckload carriers and parcel carriers — and even mixing modes in new and creative ways.
Innovation: Perhaps the most critical imperative for both retailers and manufacturers is to focus on true innovation as they rethink the most basic tenets of how they deliver their products to consumers around the world. With today's delivery addresses spread over a large geographical area, the advent of many small and low-cost packages, and the frequent need to repeat deliveries when consumers are not home, it's clear that direct-to-home delivery will not remain a profitable option if online shopping continues to grow at its current pace. Manufacturers and retailers simply will not be able to absorb the associated parcel shipping costs, even as their leverage with shippers grows.
So what are the lasting images from 2012 for you and your organization? And what is top-of-mind for you in 2013 and beyond?
Fabrizio Brasca is vice president, global logistics, JDA Software. He is responsible for developing innovative transportation and logistics strategies across all industry verticals.
Key struggle will be the rising expectations by consumer based on falsehood of 'Free Delivery. Great as a draw, but ultimately a cost that can no longer be seen as a marketing tool.
Return policies will also reach a crisis as consumers expectations for 'free returns' will also not be a financially viable offer in the long run.
For now, we are all forced to ride this dragon.


Ed. Note - Originally published on Schadenfreude.net. Reprinted with their permission. They're such nice folk.
I should have known that agreeing to write for a site called Schadenfreude.net would result in my misery becoming your entertainment. I barely managed to maintain my sanity during Dancing With the Stars and now I'm moving on to The Bachelorette. You're welcome. I hate me.
The good folks here at the Schadenfreude offices have seen the toll that Dancing With the Stars has taken on me and they have reveled in my pain. As they should. They have now decided to take it one step further. They want to see if they can drive two of us to the edge of insanity with one show. The brave Stephen Schmidt is test subject number two. Stephen and I will take turns reviewing episodes. However, we are not allowed to watch any episodes that we are not reviewing. The theory is that continuity is not a necessity for this television show so it shouldn't matter with the writers. Thank the big brains in Schadenfreude Labs for that theory. If you know a good straightjacket tailor, let Stephen and me know ASAP.
This season's Bachelorette is Ali Fedotowsky. She was a contestant on the previous season of The Bachelor with failed Dancing With the Star contestant Jake Pavelka. On that show she established herself as the worst fake crier in television history. On this show she will establish herself as the least interesting Bachelorette in television history. At least her lips are shiny!
Now she has "a second chance at love." Thank God for The Bachelorette or she would have never had another chance at love.
I'm going to apologize right up front for overusing the word "douchenozzle," as in: They plugged in the biggest fire hose they could find, attached the douchenozzle and sprayed it all over this show.
They introduce the 25 men to Ali by driving them up in a limo to the front door of the mansion where she waits to greet them one by one. I call it the Peacock Parade. Each guy tries to outdo the last with a cheesy bit or ridiculous stunt in the hopes of being remembered. It has the effect of making them all seem exactly alike, which saves me from the chore of describing each of them.
Kirk made a scrapbook about himself to prove that he's handy with a glue stick.
Kasey managed to avoid being asked why he talks like a deaf person. He also decided to lead with the fact that his dad cheated on his mom.
Hunter played the ukulele. Didn't mention cheating.
Derrick decided to reveal that he's called "Shooter" because he prematurely ejaculates.
Chris L. chose to lie to her about his dead mother.
Justin revealed that he is a "professional" wrestler who goes by the name "Rated-R."
Craig R. told Ali that he will be the Here For The Right Reasons Police because he doesn't think women are smart enough to figure out anything on their own.
Jesse made a heart out of wood to prove that he's handy with his wood.
The premiere wouldn't be complete without a few twists. This year they handed out the customary First Impression Rose and had all of the guys cast a secret ballot for who they thought wasn't there "for the right reasons." The appearance of the First Impression Rose caused all the guys to turn it up from douchnozzle to douchewaterfall (doucherfall?) but she gave the rose to Roberto because he made her salsa. Or something. In the least surprising moment ever televised, the dudes overwhelmingly voted for the "professional" wrestler. Ali gave him a rose anyway. I guess his signature move is turning himself into rubber and you into glue because your doucheyness bounces off of him and sticks to you. Don't mess with Rated-R — unless you are 18 or older.
There's nothing quite like the first Rose Ceremony for a complete lack of drama. First, you don't know who the hell these guys are. Second, you don't care. Third, you know there are at least four guys who are definitely getting roses. Jonathan and Craig M. are definitely getting roses because they've set up Craig as the villain and Jonathan as his main adversary. Every show needs a villain. You also know that Frank is getting a rose because he's "the funny guy" and you have to give Hunter a rose because you can't play his ukulele song during the credits if he's been sent home.
Ali - for opening the Rose Ceremony by saying, "If you don't get a rose tonight it's not personal." Yes it is, Ali. It is entirely personal.
Shooter - for thinking that admitting his ejaculatory issues would actually work.
Jay - for saying "I would have sent myself home." Jay, you need to have a long talk with Jay.


Product information "Isabella Sandal Island Green Croslite"
More feminine, more refined, more fun — the Crocs Isabella collection is a fresh take on the huarache. Here's a strappy, stylish sandal that's comfortable enough to wear all day. The soft translucent straps feel good on your feet, and the Croslite™ foam footbed cushions every step. Wear it around town, on the weekends, and wherever you want the perfect mix of style and comfort.
Related links to "Isabella Sandal Island Green Croslite"
Customer evaluation for "Isabella Sandal Island Green Croslite"


Turnover – Austin Getz, Casey Getz, Eric Soucy and Danny Dempsey – have created a mosaic of illusory, intangible, and yet familiar imagery. With the band's latest release, Peripheral Vision, the Virginia Beach natives lend themselves to a rip current of dreamlike compositions. Musically, there are fingerprints of early 90s shoegaze, but Turnover also works on a canvas of modernity and confessional courage. It's a balancing act that unearths buried emotions, frayed memories, and uneasy truths. In advance of the band's show at the Irenic on August 20, we interviewed guitarist Eric Soucy about songwriting, the immediacy of Spotify, and the importance of a good stage presence.
Rob Patrick: Turnover's lyrics are revealing, immediate, and expertly articulated. There's an authenticity and accessibility to the content. When writing a song, what are some things – words, structures, themes – that are important to you?
Eric Soucy: As a band we definitely hope to connect with listeners and to write music that is enjoyable to listen to in all settings. We don't have a certain goal when writing any song except to enjoy it ourselves and to make the best song we can.
In an interview that DIY Magazine conducted with bassist Daniel Dempsey, he was quoted as saying that 'Peripheral Vision' was the band's "first release as adults." To you, how did the album redefine Turnover, both aesthetically and sonically?
Peripheral Vision was the first album any of us made with no boundaries and no expectations. We didn't feel like kids playing in a band anymore when we wrote the album. We felt more mature and more serious about everything that goes into making an album. We just all have grown as people and musicians and we hope to continue to grow and learn more.
When reading about Turnover, there are a lot of genres thrown around – emo, shoegaze, dreampop, et al. – and yet I feel like the band's sound circumvents and reinterprets all of those styles and, in turn, becomes something all its own. Creatively, how has re-imagining your sound helped Turnover as a band?
I think that re-imagining the sound of the band is something that happened organically. It has helped us gather new listeners and things have definitely been better. The new sounds has opened doors for us that never existed before. We never changed the sound on purpose though, it just happened as we wrote together.
What are three songs that changed the way you looked at music?
"Tiny Dancer" by Elton John, "At Your Funeral" by Saves The Day, and "Our House" by Crosby, Stills, Nash and Young.
The music video for "Humming" is great, and has all of these monochrome, ethereal vibes. From the outfits to the disposition of the protagonist in the video, I get all of these images in my head of Saint Etienne, The Sundays, and The Innocence Mission. What was your compass when crafting the look of the visuals?
We knew we wanted a different video that felt natural but yet strange at the same time. My brother Rob did the video as well as our "New Scream" video. I would say the video was mostly his creative vision. He took the audio and made a visual for it that we loved.
Would you ever be interested in providing the score for a film, and if so, what actors or filmmakers would you want to work with?
That is something we are interested in and we hope to be able to do this in the future. Personally I would love to work with Bill Murray, Tom Hanks, Scorsese, Tim Burton, Emma Watson, Jack Nicholson, and Will Smith.
"New Scream" is absolutely fantastic in its use of tone, lyrics, and presentation. There are shades of Sparta's "Wiretap Scars" and Ride's "Vapour Trail", but, once again, the sound lives in its own distinct, inimitable, world. As a snapshot of the recording process, what was it like putting together this particular song?
New Scream was a song that was really fun to write. Everyone loved the idea right from the beginning and all the parts sort of flowed out naturally. We all mutually liked this song the most when the record was finished. This song also was one of the first songs for PV that we all knew was definitely going to make the record.
Spotify has been a constant beacon for discussion among musicians, fans, and journalists. As an artist, what is your take on the platform?
Spotify is great in terms of the fact that you can have your music exposed to so many people. Obviously it hurts sales when people don't buy the album, but I think reaching listeners is cooler then the sale numbers.
Turnover has a great, seamless, and powerfully orchestrated stage presence. In your opinion, what is something that makes a good performance?
I think stage presence really depends on the band and the artists themselves. For instance, we don't really rock crazy on stage because we're not those people and our music doesn't fit the vibe. However when Turnstile plays, the energy of the music is wild so the band acts wild on stage. I think good stage performance should just not feel fake and over done but should fit the songs.
What is something inconsequential, that your band mates don't know about you, that you can reveal here?
The first show I played with the band I filled in on guitar and didn't know the songs as well as I said I did.


Although the first "foul" was "starting a bidding war," that was a slight overstatement. Obviously, a bidding war is any Farmington Hills seller's ideal situation. What was spotlighted was how that situation could be mishandled. One misstep is setting an offer deadline too far in the future because time-pressed buyers might disappear. Another foul ball is passing up an already strong offer that might not reappear.
Another home selling negotiation tactic that Farmington Hills sellers should think twice before adopting is being overly tough when responding to repair requests. That's similar to "being stubborn" about a host of other relatively minor points like setting the closing date, closing cost payment requests, and squabbling over inclusion list items.
Another tactic that might result in an expensive misfire: threatening to put the property back on the market. The problem here isn't only the stigma sometimes attached to the "put back on the market" tag. It's also the fact that interested buyers you'd expect to return might have moved on.
The valuable insight that underlies all of the NAR examples is a guiding principle I believe to be valid for all home selling negotiations. When you are coming down the home stretch (or are in game 7 of the Series), evaluate every aspect of an offer as part of the whole transaction. Individual details that might seem emotionally important lose their clout when viewed in relation to the whole. In other words, as every major (and minor) league batting coach will tell you, if you want to make contact, keep your eye on the ball.
No matter how exciting it might be, any World Series Game 7 is only a game. When it comes to selling your Farmington Hills home, it's a much more meaningful exercise to the families it will affect for years to come. I keep that in mind during every aspect of your Farmington Hills home's sale, from the listing's preparation to the final home selling negotiations. Call me!


text:
(-) Remove (SH) Social Sciences & Humanities (740) filter (SH) Social Sciences & Humanities (740)
(-) Remove SH2 (153) filter SH2 (153)
(-) Remove SH5 (107) filter SH5 (107)
(-) Remove SH6 (129) filter SH6 (129)
Project acronym AAREA
Project The Archaeology of Agricultural Resilience in Eastern Africa
Researcher (PI) Daryl Stump
Host Institution (HI) UNIVERSITY OF YORK
Summary "The twin concepts of sustainability and conservation that are so pivotal within current debates regarding economic development and biodiversity protection both contain an inherent temporal dimension, since both refer to the need to balance short-term gains with long-term resource maintenance. Proponents of resilience theory and of development based on 'indigenous knowledge' have thus argued for the necessity of including archaeological, historical and palaeoenvironmental components within development project design. Indeed, some have argued that archaeology should lead these interdisciplinary projects on the grounds that it provides the necessary time depth and bridges the social and natural sciences. The project proposed here accepts this logic and endorses this renewed contemporary relevance of archaeological research. However, it also needs to be admitted that moving beyond critiques of the misuse of historical data presents significant hurdles. When presenting results outside the discipline, for example, archaeological projects tend to downplay the poor archaeological visibility of certain agricultural practices, and computer models designed to test sustainability struggle to adequately account for local cultural preferences. This field will therefore not progress unless there is a frank appraisal of archaeology's strengths and weaknesses. This project will provide this assessment by employing a range of established and groundbreaking archaeological and modelling techniques to examine the development of two east Africa agricultural systems: one at the abandoned site of Engaruka in Tanzania, commonly seen as an example of resource mismanagement and ecological collapse; and another at the current agricultural landscape in Konso, Ethiopia, described by the UN FAO as one of a select few African "lessons from the past". The project thus aims to assess the sustainability of these systems, but will also assess the role archaeology can play in such debates worldwide."
"The twin concepts of sustainability and conservation that are so pivotal within current debates regarding economic development and biodiversity protection both contain an inherent temporal dimension, since both refer to the need to balance short-term gains with long-term resource maintenance. Proponents of resilience theory and of development based on 'indigenous knowledge' have thus argued for the necessity of including archaeological, historical and palaeoenvironmental components within development project design. Indeed, some have argued that archaeology should lead these interdisciplinary projects on the grounds that it provides the necessary time depth and bridges the social and natural sciences. The project proposed here accepts this logic and endorses this renewed contemporary relevance of archaeological research. However, it also needs to be admitted that moving beyond critiques of the misuse of historical data presents significant hurdles. When presenting results outside the discipline, for example, archaeological projects tend to downplay the poor archaeological visibility of certain agricultural practices, and computer models designed to test sustainability struggle to adequately account for local cultural preferences. This field will therefore not progress unless there is a frank appraisal of archaeology's strengths and weaknesses. This project will provide this assessment by employing a range of established and groundbreaking archaeological and modelling techniques to examine the development of two east Africa agricultural systems: one at the abandoned site of Engaruka in Tanzania, commonly seen as an example of resource mismanagement and ecological collapse; and another at the current agricultural landscape in Konso, Ethiopia, described by the UN FAO as one of a select few African "lessons from the past". The project thus aims to assess the sustainability of these systems, but will also assess the role archaeology can play in such debates worldwide."
Project acronym ABACUS
Project Advancing Behavioral and Cognitive Understanding of Speech
Researcher (PI) Bart De Boer
Host Institution (HI) VRIJE UNIVERSITEIT BRUSSEL
Summary I intend to investigate what cognitive mechanisms give us combinatorial speech. Combinatorial speech is the ability to make new words using pre-existing speech sounds. Humans are the only apes that can do this, yet we do not know how our brains do it, nor how exactly we differ from other apes. Using new experimental techniques to study human behavior and new computational techniques to model human cognition, I will find out how we deal with combinatorial speech. The experimental part will study individual and cultural learning. Experimental cultural learning is a new technique that simulates cultural evolution in the laboratory. Two types of cultural learning will be used: iterated learning, which simulates language transfer across generations, and social coordination, which simulates emergence of norms in a language community. Using the two types of cultural learning together with individual learning experiments will help to zero in, from three angles, on how humans deal with combinatorial speech. In addition it will make a methodological contribution by comparing the strengths and weaknesses of the three methods. The computer modeling part will formalize hypotheses about how our brains deal with combinatorial speech. Two models will be built: a high-level model that will establish the basic algorithms with which combinatorial speech is learned and reproduced, and a neural model that will establish in more detail how the algorithms are implemented in the brain. In addition, the models, through increasing understanding of how humans deal with speech, will help bridge the performance gap between human and computer speech recognition. The project will advance science in four ways: it will provide insight into how our unique ability for using combinatorial speech works, it will tell us how this is implemented in the brain, it will extend the novel methodology of experimental cultural learning and it will create new computer models for dealing with human speech.
I intend to investigate what cognitive mechanisms give us combinatorial speech. Combinatorial speech is the ability to make new words using pre-existing speech sounds. Humans are the only apes that can do this, yet we do not know how our brains do it, nor how exactly we differ from other apes. Using new experimental techniques to study human behavior and new computational techniques to model human cognition, I will find out how we deal with combinatorial speech. The experimental part will study individual and cultural learning. Experimental cultural learning is a new technique that simulates cultural evolution in the laboratory. Two types of cultural learning will be used: iterated learning, which simulates language transfer across generations, and social coordination, which simulates emergence of norms in a language community. Using the two types of cultural learning together with individual learning experiments will help to zero in, from three angles, on how humans deal with combinatorial speech. In addition it will make a methodological contribution by comparing the strengths and weaknesses of the three methods. The computer modeling part will formalize hypotheses about how our brains deal with combinatorial speech. Two models will be built: a high-level model that will establish the basic algorithms with which combinatorial speech is learned and reproduced, and a neural model that will establish in more detail how the algorithms are implemented in the brain. In addition, the models, through increasing understanding of how humans deal with speech, will help bridge the performance gap between human and computer speech recognition. The project will advance science in four ways: it will provide insight into how our unique ability for using combinatorial speech works, it will tell us how this is implemented in the brain, it will extend the novel methodology of experimental cultural learning and it will create new computer models for dealing with human speech.
Project acronym ABRSEIST
Project Antibiotic Resistance: Socio-Economic Determinants and the Role of Information and Salience in Treatment Choice
Researcher (PI) Hannes ULLRICH
Host Institution (HI) DEUTSCHES INSTITUT FUR WIRTSCHAFTSFORSCHUNG DIW (INSTITUT FUR KONJUNKTURFORSCHUNG) EV
Summary Antibiotics have contributed to a tremendous increase in human well-being, saving many millions of lives. However, antibiotics become obsolete the more they are used as selection pressure promotes the development of resistant bacteria. The World Health Organization has proclaimed antibiotic resistance as a major global threat to public health. Today, 700,000 deaths per year are due to untreatable infections. To win the battle against antibiotic resistance, new policies affecting the supply and demand of existing and new drugs must be designed. I propose new research to identify and evaluate feasible and effective demand-side policy interventions targeting the relevant decision makers: physicians and patients. ABRSEIST will make use of a broad econometric toolset to identify mechanisms linking antibiotic resistance and consumption exploiting a unique combination of physician-patient-level antibiotic resistance, treatment, and socio-economic data. Using machine learning methods adapted for causal inference, theory-driven structural econometric analysis, and randomization in the field it will provide rigorous evidence on effective intervention designs. This research will improve our understanding of how prescribing, resistance, and the effect of antibiotic use on resistance, are distributed in the general population which has important implications for the design of targeted interventions. It will then estimate a structural model of general practitioners' acquisition and use of information under uncertainty about resistance in prescription choice, allowing counterfactual analysis of information-improving policies such as mandatory diagnostic testing. The large-scale and structural econometric analyses allow flexible identification of physician heterogeneity, which ABRSEIST will exploit to design and evaluate targeted, randomized information nudges in the field. The result will be improved rational use and a toolset applicable in contexts of antibiotic prescribing.
Antibiotics have contributed to a tremendous increase in human well-being, saving many millions of lives. However, antibiotics become obsolete the more they are used as selection pressure promotes the development of resistant bacteria. The World Health Organization has proclaimed antibiotic resistance as a major global threat to public health. Today, 700,000 deaths per year are due to untreatable infections. To win the battle against antibiotic resistance, new policies affecting the supply and demand of existing and new drugs must be designed. I propose new research to identify and evaluate feasible and effective demand-side policy interventions targeting the relevant decision makers: physicians and patients. ABRSEIST will make use of a broad econometric toolset to identify mechanisms linking antibiotic resistance and consumption exploiting a unique combination of physician-patient-level antibiotic resistance, treatment, and socio-economic data. Using machine learning methods adapted for causal inference, theory-driven structural econometric analysis, and randomization in the field it will provide rigorous evidence on effective intervention designs. This research will improve our understanding of how prescribing, resistance, and the effect of antibiotic use on resistance, are distributed in the general population which has important implications for the design of targeted interventions. It will then estimate a structural model of general practitioners' acquisition and use of information under uncertainty about resistance in prescription choice, allowing counterfactual analysis of information-improving policies such as mandatory diagnostic testing. The large-scale and structural econometric analyses allow flexible identification of physician heterogeneity, which ABRSEIST will exploit to design and evaluate targeted, randomized information nudges in the field. The result will be improved rational use and a toolset applicable in contexts of antibiotic prescribing.
Project acronym ADAM
Project The Adaptive Auditory Mind
Researcher (PI) Shihab Shamma
Host Institution (HI) ECOLE NORMALE SUPERIEURE
Summary Listening in realistic situations is an active process that engages perceptual and cognitive faculties, endowing speech with meaning, music with joy, and environmental sounds with emotion. Through hearing, humans and other animals navigate complex acoustic scenes, separate sound mixtures, and assess their behavioral relevance. These remarkable feats are currently beyond our understanding and exceed the capabilities of the most sophisticated audio engineering systems. The goal of the proposed research is to investigate experimentally a novel view of hearing, where active hearing emerges from a deep interplay between adaptive sensory processes and goal-directed cognition. Specifically, we shall explore the postulate that versatile perception is mediated by rapid-plasticity at the neuronal level. At the conjunction of sensory and cognitive processing, rapid-plasticity pervades all levels of auditory system, from the cochlea up to the auditory and prefrontal cortices. Exploiting fundamental statistical regularities of acoustics, it is what allows humans and other animal to deal so successfully with natural acoustic scenes where artificial systems fail. The project builds on the internationally recognized leadership of the PI in the fields of physiology and computational modeling, combined with the expertise of the Co-Investigator in psychophysics. Building on these highly complementary fields and several technical innovations, we hope to promote a novel view of auditory perception and cognition. We aim also to contribute significantly to translational research in the domain of signal processing for clinical hearing aids, given that many current limitations are not technological but rather conceptual. The project will finally result in the creation of laboratory facilities and an intellectual network unique in France and rare in all of Europe, combining cognitive, neural, and computational approaches to auditory neuroscience.
Listening in realistic situations is an active process that engages perceptual and cognitive faculties, endowing speech with meaning, music with joy, and environmental sounds with emotion. Through hearing, humans and other animals navigate complex acoustic scenes, separate sound mixtures, and assess their behavioral relevance. These remarkable feats are currently beyond our understanding and exceed the capabilities of the most sophisticated audio engineering systems. The goal of the proposed research is to investigate experimentally a novel view of hearing, where active hearing emerges from a deep interplay between adaptive sensory processes and goal-directed cognition. Specifically, we shall explore the postulate that versatile perception is mediated by rapid-plasticity at the neuronal level. At the conjunction of sensory and cognitive processing, rapid-plasticity pervades all levels of auditory system, from the cochlea up to the auditory and prefrontal cortices. Exploiting fundamental statistical regularities of acoustics, it is what allows humans and other animal to deal so successfully with natural acoustic scenes where artificial systems fail. The project builds on the internationally recognized leadership of the PI in the fields of physiology and computational modeling, combined with the expertise of the Co-Investigator in psychophysics. Building on these highly complementary fields and several technical innovations, we hope to promote a novel view of auditory perception and cognition. We aim also to contribute significantly to translational research in the domain of signal processing for clinical hearing aids, given that many current limitations are not technological but rather conceptual. The project will finally result in the creation of laboratory facilities and an intellectual network unique in France and rare in all of Europe, combining cognitive, neural, and computational approaches to auditory neuroscience.
Project Life in a cold climate: the adaptation of cereals to new environments and the establishment of agriculture in Europe
Researcher (PI) Terence Austen Brown
Summary "This project explores the concept of agricultural spread as analogous to enforced climate change and asks how cereals adapted to new environments when agriculture was introduced into Europe. Archaeologists have long recognized that the ecological pressures placed on crops would have had an impact on the spread and subsequent development of agriculture, but previously there has been no means of directly assessing the scale and nature of this impact. Recent work that I have directed has shown how such a study could be carried out, and the purpose of this project is to exploit these breakthroughs with the goal of assessing the influence of environmental adaptation on the spread of agriculture, its adoption as the primary subsistence strategy, and the subsequent establishment of farming in different parts of Europe. This will correct the current imbalance between our understanding of the human and environmental dimensions to the domestication of Europe. I will use methods from population genomics to identify loci within the barley and wheat genomes that have undergone selection since the beginning of cereal cultivation in Europe. I will then use ecological modelling to identify those loci whose patterns of selection are associated with ecogeographical variables and hence represent adaptations to local environmental conditions. I will assign dates to the periods when adaptations occurred by sequencing ancient DNA from archaeobotanical assemblages and by computer methods that enable the temporal order of adaptations to be deduced. I will then synthesise the information on environmental adaptations with dating evidence for the spread of agriculture in Europe, which reveals pauses that might be linked to environmental adaptation, with demographic data that indicate regions where Neolithic populations declined, possibly due to inadequate crop productivity, and with an archaeobotanical database showing changes in the prevalence of individual cereals in different regions."
"This project explores the concept of agricultural spread as analogous to enforced climate change and asks how cereals adapted to new environments when agriculture was introduced into Europe. Archaeologists have long recognized that the ecological pressures placed on crops would have had an impact on the spread and subsequent development of agriculture, but previously there has been no means of directly assessing the scale and nature of this impact. Recent work that I have directed has shown how such a study could be carried out, and the purpose of this project is to exploit these breakthroughs with the goal of assessing the influence of environmental adaptation on the spread of agriculture, its adoption as the primary subsistence strategy, and the subsequent establishment of farming in different parts of Europe. This will correct the current imbalance between our understanding of the human and environmental dimensions to the domestication of Europe. I will use methods from population genomics to identify loci within the barley and wheat genomes that have undergone selection since the beginning of cereal cultivation in Europe. I will then use ecological modelling to identify those loci whose patterns of selection are associated with ecogeographical variables and hence represent adaptations to local environmental conditions. I will assign dates to the periods when adaptations occurred by sequencing ancient DNA from archaeobotanical assemblages and by computer methods that enable the temporal order of adaptations to be deduced. I will then synthesise the information on environmental adaptations with dating evidence for the spread of agriculture in Europe, which reveals pauses that might be linked to environmental adaptation, with demographic data that indicate regions where Neolithic populations declined, possibly due to inadequate crop productivity, and with an archaeobotanical database showing changes in the prevalence of individual cereals in different regions."
Project Adaptation, Dispersals and Phenotype: understanding the roles of climate, natural selection and energetics in shaping global hunter-gatherer adaptability
Researcher (PI) Jay Stock
Summary Relative to other species, humans are characterised by considerable biological diversity despite genetic homogeneity. This diversity is reflected in skeletal variation, but we lack sufficient understanding of the underlying mechanisms to adequately interpret the archaeological record. The proposed research will address problems in our current understanding of the origins of human variation in the past by: 1) documenting and interpreting the pattern of global hunter-gatherer variation relative to genetic phylogenies and climatic variation; 2) testing the relationship between environmental and skeletal variation among genetically related hunter-gatherers from different environments; 3) examining the adaptability of living humans to different environments, through the study of energetic expenditure and life history trade-offs associated with locomotion; and 4) investigating the relationship between muscle and skeletal variation associated with locomotion in diverse environments. This will be achieved by linking: a) detailed study of the global pattern of hunter-gatherer variation in the Late Pleistocene and Holocene with; b) ground-breaking experimental research which tests the relationship between energetic stress, muscle function, and bone variation in living humans. The first component tests the correspondence between skeletal variation and both genetic and climatic history, to infer mechanisms driving variation. The second component integrates this skeletal variation with experimental studies of living humans to, for the first time, directly test adaptive implications of skeletal variation observed in the past. ADaPt will provide the first links between prehistoric hunter-gatherer variation and the evolutionary parameters of life history and energetics that may have shaped our success as a species. It will lead to breakthroughs necessary to interpret variation in the archaeological record, relative to human dispersals and adaptation in the past.
Relative to other species, humans are characterised by considerable biological diversity despite genetic homogeneity. This diversity is reflected in skeletal variation, but we lack sufficient understanding of the underlying mechanisms to adequately interpret the archaeological record. The proposed research will address problems in our current understanding of the origins of human variation in the past by: 1) documenting and interpreting the pattern of global hunter-gatherer variation relative to genetic phylogenies and climatic variation; 2) testing the relationship between environmental and skeletal variation among genetically related hunter-gatherers from different environments; 3) examining the adaptability of living humans to different environments, through the study of energetic expenditure and life history trade-offs associated with locomotion; and 4) investigating the relationship between muscle and skeletal variation associated with locomotion in diverse environments. This will be achieved by linking: a) detailed study of the global pattern of hunter-gatherer variation in the Late Pleistocene and Holocene with; b) ground-breaking experimental research which tests the relationship between energetic stress, muscle function, and bone variation in living humans. The first component tests the correspondence between skeletal variation and both genetic and climatic history, to infer mechanisms driving variation. The second component integrates this skeletal variation with experimental studies of living humans to, for the first time, directly test adaptive implications of skeletal variation observed in the past. ADaPt will provide the first links between prehistoric hunter-gatherer variation and the evolutionary parameters of life history and energetics that may have shaped our success as a species. It will lead to breakthroughs necessary to interpret variation in the archaeological record, relative to human dispersals and adaptation in the past.
Project acronym ADDICTION
Project Beyond the Genetics of Addiction
Researcher (PI) Jacqueline Mignon Vink
Summary My proposal seeks to explain the complex interplay between genetic and environmental causes of individual variation in substance use and the risk for abuse. Substance use is common. Substances like nicotine and cannabis have well-known negative health consequences, while alcohol and caffeine use may be both beneficial and detrimental, depending on quantity and frequency of use. Twin studies (including my own) demonstrated that both heritable and environmental factors play a role. My proposal on substance use (nicotine, alcohol, cannabis and caffeine) is organized around several key objectives: 1. To unravel the complex contribution of genetic and environmental factors to substance use by using extended twin family designs; 2. To identify and confirm genes and gene networks involved in substance use by using DNA-variant data; 3. To explore gene expression patterns with RNA data in substance users versus non-users; 4. To investigate biomarkers in substance users versus non-users using blood or urine; 5. To unravel relation between substance use and health by linking twin-family data to national medical databases. To realize these aims I will use the extensive resources of the Netherlands Twin Register (NTR); including both the longitudinal phenotype database and the biological samples. I have been involved in data collection, coordination of data collection and analyzing NTR data since 1999. With my comprehensive experience in data collection, data analyses and my knowledge in the field of behavior genetics and addiction research I will be able to successfully lead this cutting-edge project. Additional data crucial for the project will be collected by my team. Large samples will be available for this study and state-of-the art methods will be used to analyze the data. All together, my project will offer powerful approaches to unravel the complex interaction between genetic and environmental causes of individual differences in substance use and the risk for abuse.
My proposal seeks to explain the complex interplay between genetic and environmental causes of individual variation in substance use and the risk for abuse. Substance use is common. Substances like nicotine and cannabis have well-known negative health consequences, while alcohol and caffeine use may be both beneficial and detrimental, depending on quantity and frequency of use. Twin studies (including my own) demonstrated that both heritable and environmental factors play a role. My proposal on substance use (nicotine, alcohol, cannabis and caffeine) is organized around several key objectives: 1. To unravel the complex contribution of genetic and environmental factors to substance use by using extended twin family designs; 2. To identify and confirm genes and gene networks involved in substance use by using DNA-variant data; 3. To explore gene expression patterns with RNA data in substance users versus non-users; 4. To investigate biomarkers in substance users versus non-users using blood or urine; 5. To unravel relation between substance use and health by linking twin-family data to national medical databases. To realize these aims I will use the extensive resources of the Netherlands Twin Register (NTR); including both the longitudinal phenotype database and the biological samples. I have been involved in data collection, coordination of data collection and analyzing NTR data since 1999. With my comprehensive experience in data collection, data analyses and my knowledge in the field of behavior genetics and addiction research I will be able to successfully lead this cutting-edge project. Additional data crucial for the project will be collected by my team. Large samples will be available for this study and state-of-the art methods will be used to analyze the data. All together, my project will offer powerful approaches to unravel the complex interaction between genetic and environmental causes of individual differences in substance use and the risk for abuse.

redpajama_set_name: RedPajamaCommonCrawl


Small White Bathroom Cabinet Architecture | Ssmounttemple.com small white bathroom cabinets free standing. small white bathroom cabinets. small white bathroom cabinet.
Small White Bathroom Cabinet Aspiration Blog Post 6 Ideas To Make Your Look Bigger Treeium In Addition 2. Small White Bathroom Cabinet Desire Amazon Com Gifts Decor Wood Finish Home Regarding 3. Small White Bathroom Cabinet Lovely Storage Unit Floor Stand Shelf Drawers Home Intended For 4. Small White Bathroom Cabinet Furniture Ideas IKEA Intended For 5. Small White Bathroom Cabinet Property Amazon Com Elegant Home Fashions Dawson Floor With Single As Well 6. Small White Bathroom Cabinet Inviting New Haven For Spaces Intended 7. Small White Bathroom Cabinet Invigorate Rose Free Standing Cottage For 8. Small White Bathroom Cabinet Attractive Sauder Bath Floor 414032 And Also 9. Small White Bathroom Cabinet Motivate Cabinets Bluemoongolf Info For 10. Small White Bathroom Cabinet Inviting Glamorous With Square Mirror Also 11. Small White Bathroom Cabinet Home Bar Harbor Storage Furniture With 2 Drawers Regarding 12. Small White Bathroom Cabinet Motivate Furniture Ideas IKEA Regarding 13. Small White Bathroom Cabinet Invigorate Wood Harry Corry Limited With Regard To 14. Small White Bathroom Cabinet Fantasy Photos And Products Ideas As Well 15. Small White Bathroom Cabinet Warm Rectangle Wooden Floating With Racks And In Addition To 16. Small White Bathroom Cabinet Elegant New Haven Tall Freestanding For Storage With And Also 17. Small White Bathroom Cabinet Home Storage Logan Files With Regard To 18. Small White Bathroom Cabinet Cozy SMALL BATHROOM VANITY CABINET And SINK WHITE PE1612W NEW PETITE Intended For 19.


The two-story commercial building at 611-15 N. Vandeventer Avenue was typical of the "artistic" two-part commercial blocks that rose along St. Louis' streetcar lines and commercial thoroughfares in the early twentieth century. The building also epitomizes the speculative real estate practice of St. Louis' wealthy families seeking to invest their fortunes in land development. In May 1911, the site (which included a stable) went to public auction where the Marquardt Forster Real Estate Company purchased the site. In June 1911, the firm had obtained a building permit to erect a new building designed by architect Otto J. Wilhemi at a cost of $9,800.00. Wilhelmi's design emphasized the use of terra cotta with Italian Renaissance patterns adorning the entrance, window openings, cornice, and central pediment.
The developer of the building was an association of descendants of Marquardt Forster, a businessman and brewer who had founded the Hyde Park Brewery in 1876. In 1889, Forster sold his brewery to Ellis Wainwright's St. Louis Brewing Association, which retained Forster's brother C. Marquardt Forster as plant manager. The elder brother died in 1901, while C. Marquardt Forster continued to manage the family's businesses, including the real estate investment company, until 1912.
Architect Otto J. Wilhelmi, a native of Missouri's Franklin County, formed a partnership with Ernst Janssen from 1879 through 1881. In 1883, Wilhelmi won the election to become architect to the Board of Education; his tenure produced the original section of the now-demolished Classical Revival Hodgen School (1884). Wilhelmi then turned to a prolific solo practice that included many works for German-American associations and business people. Wilhelmi's career included the design of the extant South St. Louis Turnverein (1881-1905), Strassberger's Conservatory (1904) and the Winkelmeyer Building (1902) as well as residences in Compton Heights. Demolished works include the Winkelmeyer Residence (1890) in the Central West End. An advocate for cremation, Wilhelmi was a founder of the Missouri Crematory Association and served as its secretary from its founding in 1885 until his death in 1925. Wilhelmi designed both the crematory (1887) and columbarium (1895) that the Association built on Sublette Avenue just south of Arsenal Street.
City directories show that the storefronts were home to various business including a butcher, a grocer and a string of saloons (at 615 N. Vandeventer). One interesting tenant was the Tubo Manufacturing Company, which occupied 611 N. Vandeventer from 1919 through 1921. Tubo advertised in a 1921 edition of The Auto Trade Directory its compound for cleaning automotive radiators, while two years earlier the company advertised in the Cycle and Auto Trade Journal that its "Tubo Puncture Sealer" could restore inner tubes of all kinds.


Complementarity principle, in physics, tenet that a complete knowledge of phenomena on atomic dimensions requires a description of both wave and particle properties. The principle was announced in 1928 by the Danish physicist Niels Bohr. Depending on the experimental arrangement, the behaviour of such phenomena as light and electrons is sometimes wavelike and sometimes particle-like; i.e., such things have a wave-particle duality (q.v.). It is impossible to observe both the wave and particle aspects simultaneously. Together, however, they present a fuller description than either of the two taken alone.
In effect, the complementarity principle implies that phenomena on the atomic and subatomic scale are not strictly like large-scale particles or waves (e.g., billiard balls and water waves). Such particle and wave characteristics in the same large-scale phenomenon are incompatible rather than complementary. Knowledge of a small-scale phenomenon, however, is essentially incomplete until both aspects are known.


text:
You are here: Home › New Twins videoboard design unveiled
New Twins videoboard design unveiled
By Kevin Reichard on January 11, 2023 in Major-League Baseball
Target Field is in the midst of offseason improvements, and we have info on what should be the most noticeable upgrade for Minnesota fans regarding a new Twins videoboard system from Daktronics.
The work on the system actually began in the 2021-2022 offseason, when the videodisplay's control room was upgraded. Now, Daktronics is in the midst of a contract to design, manufacture and install 22 new LED displays totaling more than 23,000 square feet–a 63 percent increase from 2022, a 113 percent jump from when the ballpark opened in 2010 and now among the most extensive in all of Major League Baseball.
The new main video display will be HDR-capable and increase in size by 75 percent and the new auxiliary display increase by 60 percent over both previously existing displays. The production of more than 13.1 million LEDs has begun as installation will be completed prior to the Twins' April 8 home opener
"The Minnesota Twins are thrilled to continue our longstanding partnership with Daktronics as we deliver a best-in-class fan experience at Target Field," said Twins President & CEO Dave St. Peter via press release. "Digital displays bring the game-day environment to life, and these LED upgrades will equip our ballpark with the very best of stadium videoboard technology. We are fortunate to have the industry leader right here in Twins Territory and cannot wait for our fans to experience these incredible new LED boards."
The new left-field display will measure approximately 56.5 feet high by 178 feet wide and total more than 10,000 square feet–75 percent larger than the previous display and the sixth largest in Major League Baseball, and one of a select few in MLB to be HDR-capable. The display will also incorporate industry-leading environmental protection to ensure it operates as expected in the outdoor elements of Minnesota.
"The upgrade to Target Field's LED technology will be exceptional and enhance the experience at every event," said Daktronics President and CEO Reece Kurtenbach via press release. "We've been proud to work with the Minnesota Twins for more than 20 years and extending this partnership is something we greatly value here at Daktronics. Our local factory in Redwood Falls, Minnesota, and Brookings, South Dakota, will be assembling product for this in-state partner, something that brings pride to many of our employees, and we're extremely excited to see this project come to life in 2023."
The main video display is one part of this overhaul of LED displays at Target Field, which includes a 1,600-square-foot auxiliary display in right field 60 percent larger than the previous display. There will also be an outfield fence display running 110 feet long and an 800-square-foot bullpen display, all within the seating bowl to add to the game-day experience.
Additionally, 11 new ribbon displays will be affixed to the seating fascia throughout the stadium and total 1,485 feet in length. These allow for game-in-progress information, captioning abilities, additional statistics and graphics, and the opportunity to highlight sponsors throughout events.
A tower feature will total 2,000+ square feet and a box office display will provide an additional 187 square feet of digital space to connect with audiences and communicate information pertinent to those spaces. At Gate 34, a display featuring 725 square feet will welcome audiences and Twins fans to the stadium.
Rendering courtesy Daktronics.
RELATED STORIES: New Twins branding to accompany Target Field upgrades in 2023 MLB season; Massive augmented reality planned for Target Field; Target Field updates due in 2022, 2023; Twins, Mets unveil future display-tech upgrades
2023, daktronics, minnesota twins, target field
Tigers announce new Comerica Park outfield dimensions
Visalia, Rawhide tussle over Valley Strong Ballpark upgrades


text:
Classic Entertainment Autographs
Click Here to Browse Our Catalogue
Click Here to View Items Added to the Store This Week
Click Here to Sign Up to Receive E-Mail Alerts When We Post the Newest Items Each Week
Click Here to Learn How to Consign with Us
Click Here for a List of Autographs WE Want to Buy If you Have Them!
Click Here to Read Customer Testimonials-- Or to Add One!
Click Here for Signatures Priced Below $30.00
Cat. #001752: KAREN MORLEY
Scarce 8x10-inch black and white publicity portrait in her prime, boldly signed with her name alone in black felt-tip pen in the 1980s. In good condition, with negligible handling dings. After a promising performance in the Greta Garbo classic Mata Hari (1931), beautiful Karen Morley was hand-selected by producer Howard Hughes to play the blonde moll Poppy in the 1932 crime epic Scarface. She went on to shine in films like Arsene Lupin with John Barrymore (1932), The Phantom of Crestwood (1932), the horror favorite The Mask of Fu Manchu (1932), Dinner at Eight (1933) with Jean Harlow, Our Daily Bread (1934), The Crime Doctor (1934), Black Fury (1935), The Girl from Scotland Yard (1937), Pride and Prejudice (1940), The Unknown (1946), and The Thirteenth Hour (1947). During an inquisition by the House Committee on Un-American Activities in 1947, she clammed up about her possible involvement in the Communist Party and her career came to a screeching halt. Afterward, she continued promoting left-wing causes and entered politics in 1954, with an unsuccessful run for New York Lieutenant Governor.
Cat. #00009: LEE AAKER
Cat. #00010: WILLIE AAMES
Cat. #0001212: BUD ABBOTT
Cat. #0001222: BUD ABBOTT & LOU COSTELLO
© 2022 Classic Entertainment Autographs. All Rights Reserved.


text:
Showing results for tags 'TvT'.
Announcements & Administration
BZPower Q&A
BZPower.com News Discussion
LEGO Discussion
Bionicle Discussion
Bionicle Storyline & Theories
Ninjago Discussion
Hero Factory Discussion
LEGO-Based Creations
BZPower Discussion
Convention & Event Planning
BioniLUG Discussion
BS01/HS01
Non-LEGO Forums
Completely Off Topic
Off Topic Culture
blogs_blog_1
What You Want Is Now
Akano's Blog
Wind's Weblog
It's a Blog
Star Blogging across the universe
Time Capsule of Teenage Musings
why isn't this blog so wide
J.A.F. Team
Bloghaku
Mount Coronet
BIONICLE Ain't Dead to Me
Blogs Blags Blogs 42
Tales of Arizona Blue
Blog. BLOG! BLOOOOOOG!!!!!!!!!!!!
The Serpent's Den
Disty's old surgery
V1P2's Blog
I'm Me
A Golden-Red Horizon
Blogarithm
The Blog Below
Moon in the Water
SeiclonatorZ (the blog about nothing)
the transgender adventure
city burials
The Phylog 3.0
Apologies for Who I Was
in a hole in the ground, there lived a blog
It's been real
Dr. Gerlicky's Miracle Diet
blogs_blog_1000
You're attacked by a Repair Nektann
The Fikou Web
Ye Olde Blogge
Obligatory Volcano Lair
A Nerd's Corner
Zahaki's Lair
oh god blog titles
Marvin's Marvelous Mechanical Museum
Keratu's Blog
Language Of The Mad
ArtBLOGed
The Blaaahhhg
Koth Blog
The Lair 1421
Mishaps and Bubblewrap
The Blog which may or may not exist.
JMSOG's Strange Blog
A Blog in Oblivion
The Piraka Blog
Garreg Mach
Onaku's Blog Thingie
Between the Bookends
blog ehks
Generic Blog Name
This is my lawn
Adventures in Mushroomlandia
Sybre's Log
Cozy Coven
Diary of A Forgotten Man
Valendale's Reflections
Kranan's Floating Isle
Time to put on a show...
Inverted Moon
Home of Titans
Blognle
it's summer and we're running out of ice
Kathisma Library
Zork Report
Premier Membership
BioniLUG
BrickFair Events
BrickFair Party Campaign (In-Person)
BrickFair Party Campaign (Online)
Parts Drafts
BZPower Giveaways
Archiver of Reference
BioniLUG Members
Blog Assistants
Blog Leaders
Burper Emeritus
BZPower Administrators
Forum Administrators
Forum Leaders
Forum Mentors
Frowned Upon by Hapori Tohu
Outstanding BZPower Citizens
Premier Blog Assistants
Premier Blog Leaders
Premier Forum Assistants
Premier Forum Leaders
Premier Forum Mentors
Premier Global Moderators
Premier Members
Premier Outstanding BZP Citizens
Premier Reporters
Suspended Members
LEGO.com Account
Previous Username
Tahu vs. Tahu: Quick Banners
Edelgard posted a topic in General Art
Greetings. These are quick banners, nothing too fancy. Each one features a major character in my ongoing epic, Tahu vs. Tahu, where reader choices heavily impact the course that the story takes. Some of these are already in use; others will be used in an official capacity once the plotlines featuring that specific character start to come into focus. There are a few other banners waiting in the works, but they would spoil upcoming stuff and as such are not shared here. If you have any critique or comments, feel free to post it! Banner #1: Tahu Okoto Obviously, in an epic titled "Tahu vs. Tahu", characters named "Tahu" are relevant. Tahu Okoto here is the poster boy of the epic; he features in the big huge banner (alongside Tahu Mata - more on that below), and this banner here is the one currently active in my signature. Tahu Okoto (alongside the rest of his team) has mysterious traveled back in time five years from 2015 to 2010; however, they have lost their memories. Tahu Okoto finds himself locked in the middle of a civil war, and must find a way to lead the sets following him to victory while also attempting to regain his memories and uncover the true reason for his trip back in time. Banner #2: Tahu Mata As another "Tahu", Tahu Mata is the (former?) leader on the Bionicle sets living in the House, having led them for ten years from 2001-2010, as well as one of the titular Tahus of the "Tahu vs. Tahu" title. Recent events have seen him possibly deposed by Tahu Stars. Despite this, Tahu Mata does have one advantage: his allies are all both fierce and loyal, and Tahu Okoto has publicly declared his allegiance to Tahu Mata as well. The image used in the banner does have a purpose in the storyline, and in fact is a major plot point that will kickstart Tahu Mata's personal storyline in the epic. To say anything more would be to spoil the surprise, however, so I shall stop there! Banner #3: Tahu Stars The third "Tahu" so far to feature heavily in the epic, and the other titular "Tahu" of the epic's title. Tahu Stars has only just arrived in the House, but his arrival (and subsequent aggressive attempt to seize control) has gained him a large following from sets who are sick of Tahu Mata's rule. He cares little for the time travelling sets, and considers Tahu Okoto to be inferior to himself. Despite this, Tahu Stars is very quick to act, and will resort to battle before almost any other alternative; this will undoubtedly become extremely troublesome in the future, and the consequences of his actions may turn out to be rather dire. Banner #4: Gali Okoto As one of the quieter members of the time-travelling Toa Okoto, Gali Okoto is easily missed among the other louder sets. There is a group within the House known as the "Blue League", which strives to retain a neutral perspective while they observe and document events; Gali Okoto will certainly prove to be a useful member of the team, should she be inducted. Banner #5: Pohatu Okoto Pohatu Okoto was the second of the Toa Okoto to be opened (the first being Tahu Okoto), and is perhaps the loudest of the bunch. He often voices questions or concerns that the others might keep silent, and will freely comment on current events. He has rapidly grown close with Tahu Okoto, and the two are rarely seen separated from each other. While Tahu Okoto has no official "second in command", Pohatu Okoto might be the closest thing. Banner #6: Kopaka Okoto Kopaka Okoto is both a fierce and imposing presence, both stoic and strong. He rarely agrees with either Tahu Okoto or Pohatu Okoto, and considers them to be foolish and obnoxious. With Tahu Okoto's decision to ally with Tahu Mata having caused the team to be locked in the House's prison, Kopaka Okoto's time following the rest of the team might be at an end. Banner #7: Onua Okoto Onua Okoto, to be quite frank, might be the only character featured on these banners to serve more of a supporting role within the story. He is wise and strong, but also silent, rarely choosing to speak; as such, his opinions are often unknown, making him a bit of a wild card. I currently have no active plans for Onua Okoto; for now, I am leaving him open in case inspiration strikes, or in case he is required due to the choices that the readers make. Banner #8: Lewa Okoto Lewa Okoto has one of the most important roles in the story; some of you might remember that on my blog several months ago, I mentioned a project called 4 and a Half Lewas. I deleted the entry when I decided not to pursue the project further, opting to instead devote my time to other things. However! The major plot points of the cancelled 4 and a Half Lewas are being resurrected in Tahu vs. Tahu, and Lewa Okoto will, as planned, be the main star, making them one of the most important characters of the epic. There is also something more unique about Lewa Okoto; although the official character is male, and this character started as such, this Lewa Okoto actually identifies as female. At the moment I am unsure how much of an impact this will have on the epic, although that is because I have no official outline (the reader choices make having a proper outline for the story beyond broad "start here / get here / end here" points impossible), and cannot predict where the story will go. --- So those are the eight (current) banners for Tahu vs. Tahu, as well as some brief words on why each character was selected. Feel free to post any critique or whatever below (or just admire how Kopaka Okoto perfectly matches the colors for the logo)(can you call that a logo?)
Tahu vs Tahu
The Life of Pridak
MetaStriker posted a topic in Comedies
11.29.13. Something old, something new. And here it is: the long-awaited (or maybe not, well, anyway) expansion pack to The Afterwords! Included in this DLC: the adventures of Pridak after DUD (Dark Unto Days), leading up to his appearance in The Afterwords Season 2. For more information, please read the Terms of Use...otherwise known as the comedy. Let us begin! The Life of Pridak Part 1: Not-So-Friends On the Front Lawn of the House… As he left the house that he'd come to know for so long, Pridak couldn't help but wonder what he was leaving behind. Was it his friends? Pridak had no friends, especially after Mantax died - Irnakk was gone already, Takadox barely even counted, and Kazi was always busy with those other Matoran. Was it the house itself? Well, while it was the newest one built, there really wasn't any time to enjoy it, for the sets kept fighting, burning the house down, and rebuilding it. Was it the possible hope of defeating Lewa Mata and ALMIGHTY? Pridak chuckled…as if there could be any hope of that. Pridak hated his life, he decided, turning around to face the street and leaving the property. TWO HOURS LATER Pridak was surrounded by a flurry of pink, purple, lime green and other disgusting girly colors. He didn't remember exactly how it happened, but nonetheless he hated his life now more than he had with the war. He was stuck in a jail cell made of girly DUPLO blocks and locked together with SUPERGLUE. The cell was even bolted to the floor, so that the prisoner couldn't break out. Who would do such a thing? Pridak wondered. Then he saw a face peeking through the trans-pink bars of the cell, and he screamed. The Friends minifigure giggled. "Hehe. You're funny." Pridak reached for his Squid Launcher, but it wasn't on him. His eyes darted around the cell, and then went back to the "friend". "Excuse me…little girl, but where is my little squid friend?" She giggled again, smiling. "My name is Olivia. And your friend? Oh…he's getting a makeover." Olivia pointed to a corner of the room she was in. Pridak gasped, then screamed. The squid was being dunked into a paint can full of pink paint, then it was laid on a purple piece of paper. A blonde "Friend" dumped a box of glitter onto the squid and lifted the squid once more, this time laying some SUPERGLUE on the paper and laying the squid on the SUPERGLUE. Olivia looked back at Pridak, smiling. "You're next." Pridak gulped. This is much worse than ALMIGHTY, right? Right? Pridak looked over at the squid, now being framed in a portrait. …I guess it's comparable. Pridak cleared his throat. "Excuse me…can I have a cell phone?" "What for?" Olivia asked. "I need to call a friend…today's his birthday." Olivia handed him a "Friends" phone that was about the size of Pridak's eye and made entirely of plastic. Pridak sighed. "A real phone would be nice." Olivia hoisted a pink iPhone 5C over her shoulder (complete with a LEGO Friends case) and climbed to the top of the cell, dropping the phone in. At this point, Pridak realized that he could just climb to the top and escape, but he wasn't done just yet. Pridak grabbed the iPhone and activated it, swiping up from the lock screen to reveal the Control Center, then activated the flashlight and pointed it at Olivia, blinding her and causing her to fall into the cell. Pridak did a flip, somersaulting out of the cell and onto the floor. He ran to the pink paint, trampling any of the Friends on the way, grabbing the can of paint and hoisting it into the cell. Pink paint leaked out from underneath as Olivia screamed, drowning in the pink paint. "NOOO! I JUST WANTED TO BE YOUR—" She choked on the paint, and Pridak heard her burst into spare parts as her parts bounced off the cell's walls. "I guess I'll never find out what she was going to say," Pridak muttered. He looked over at the squid, pink and glittery, then looked at the iPhone and picked it up. "Hello? Yes, I'd like to place an order for a replacement part…you want the number? How am I supposed to…appearance? Oh, it's one of those squid things from the Barraki sets." Pridak put the phone on speaker and set it down, pacing back and forth. "Um, we kinda ran out of those," the service man said. "Would you like a flick-fire missile instead?" Pridak facepalmed. "Forget it." He left the house, leaving the phone on and leaving the service man confused. "I have Meteor Spheres too! And even a complementary brain slug! Please, buy something…I have no life here…hello? Hello? Screw it, I really do have no life." To Be Continued... How was it? ~LTW
TN:TS
ibrow
The AfterWords
Edelgard posted a topic in Comedies
Season 1 - ReBirth P-1-2-3-4-5-6-7-8-9-10-E Character Sheet Lewa Mata-Evo-Furno-Surge-Rocka-ALMIGHTY Season 1 Wiki Page CFE Preview Season 2 - Fire Rising P-1-2-3-4-5-6-7-8-9-10-E Breez-Strakk-Pohatu Nuva Season 2 Preview Nex-Strakk-Kiina-Bruizer-Core Hunter-Nex 2.0 Character Sheet PSAs: Holiday Season Piraka Show: Happy Birthday - SLENDER Interviews: Splitface Take 2: The Toa of Ice Dear Tahu Stars, I do not take pleasure in a letter such as this one, but I fear it is necessary, regarding the current situation. Upon your arrival I had hoped that we could become allies, perhaps even friends. Unfortunately, this has turned out not to be the case. Before this civil war escalates beyond our control, I have written this as a request for peace in the hopes that you will see your errors and correct them. I will re-iterate that I have no problems giving you control of the Bionicle sets, but to do through violent means is a big "no" in my books. Send a reply with the confirmation of peace and we'll settle this the old fashioned way with a vote. Or you can continue to be manipulated by your troops, many of whom were in jail for a REASON, Tahu Stars. Reasons I hope that, regardless of any decisions past this point, you will consider and acknowledge before replacing the sets in question back where they belong. If you do not, they could have catastrophic consequences. -Tahu Mata The AfterwordsPrologue: The Numbers Nothing could be finer than to be in Carolina in the morning, No one could be sweeter than my sweetie when I meet her in the morning. Where the morning glories Twine around the door, Whispering pretty stories I long to hear once more. Strolling with my girlie where the dew is pearly early in the morning, Butterflies all flutter up and kiss each little buttercup at dawning, If I had Aladdin's lamp for only a day, I'd make a wish and here's what I'd say: Nothing could be finer than to be in Carolina in the morning. "Turn that thing off already, for the name of Tohu. That song is too sad to be playing on a beautiful day such as this." "Sorry about that. I like Trocadero." "I don't care who you like buddy, it's the first day of spring – doesn't Trocadero have anything more upbeat?" "Um... looks like we have Blood Gulch Blues on the iPod." "Don't you dare put that thing on, it's almost as sad as this one. Wait, do you have the original version of this?" "Heck no, I hate jazz. I deleted every single jazz song they had on here... and that was a lot of songs. It took me almost four hours." "Was the original version of this on there?" "Probably, considering how many songs they had. There were over three hundred." "...I hate you sometimes." "Somehow, I really do not care." "Somehow, that doesn't change the fact that I dislike you immensely." "Somehow, that – you know what, no. I'm not getting into this catfight again." "Suit yourself, Evo. Someday you're gonna find that the iPod has nothing but jazz on it." "Hey Rocka, you know what?" "What is it Evo?" "I hate you." *-*-*-* Takanuva Stars, a primarily white set with both gray and silver armour as a secondary colour within his scheme, pointed his staff up towards the attic as he led a red set by the name of Furno through a tour of the house. "You see that trap door?" the white Toa asked. "Yes, obviously I can see it. Why are there scorch marks?" asked Furno. "That is for me to know and for you to never know or question again." "I can tell that this is going to be an informative tour." "I don't get paid to do this. Excuse me if I take some liberties." Furno rolled his eyes as they walked further down the hall, choosing to remain silent for several minutes until Takanuva Stars halted in front of a room that held a shining gold plaque. "The Bedroom..." Furno said, reading it. "It is arguably the most important room in the house." Takanuva Stars explained. "Lewa Mata lives there, as do a majority of the sets... the good ones, at any rate. Before Lewa Mata was our leader... well, that's not important." "If it's not important, why even mention it?" "Well, you see, sometimes a Toa slips up and says something he's not supposed to. Then, when his leader discovers he said something wrong after the guy begins pestering everybody with questions, he tickles the offending slip-upper to death." Furno opened his mouth to say something, but found that the statement was one he could not really find an appropriate response to. "That said, let's forget this ever happened and move right along!" Takanuva Stars said, moving right along. "Alright then, I guess. The history lesson can wait until another time." Furno said. The two slowly hopped down the stairwell, coming to a stop in front of a rather ominous looking door. In fact, it was so ominous that when Takanuva Stars told him to stay away, Furno slapped him across the face. "Of course I'm not going in there!" Furno cried out. "For goodness' sake, I'm not a moron! Who wants to go on the other side of a door like that?! Where is that, anyway?!" Takanuva Stars glared at him and rubbed his mask. "That door opens up into the stairs that take you to the basement... not much ever happens down there, because most sets stay away from down there. Trust me. Some seriously creepy stuff has walked out of there." "You don't have to tell me twice." Furno shuddered. "Seriously, you need to hire an interior decorator for this place. Scorched trap doors, ominous doors, creepy rooms, a broken time machine outside – HURK!" "What was that about a time machine?!" Takanuva Stars hissed, clutching Furno by the throat and glancing from side to side nervously. "Someone – mentioned that – it was – broken time machine." Furno managed. "Can't – remember who – it was." Takanuva Stars let the Hero go, breathing in deeply and rolling his eyes. "Goodness Furno, don't scare me like that." He said. "Scare you like that?!" Furno yelled. "You throttled me a moment ago! Give me some warning next time!" "The point was sort of that you didn't have any warning – you couldn't fight back." "...I hate you." "Yeah well, so far I'm not too fond of you either. At least the other new sets don't talk all the time." "...yeah, you'd be surprised." *-*-*-* "...so then I told him 'Furno, you need to stop being such a lazy cow and go to Lewa Mata yourself. You aren't going to be given a tour otherwise.' He glared at me for a few seconds, which I suppose was a little scary, but then he just left without doing anything and I got to put on Season 6 instead of Season 3." Evo said. "Hey Evo, you care to guess something?" "What is it Rocka?" "How much, on a scale of 1-100, do you think I care about your story that I was present in the room for?" "...hmm... that's difficult to answer. Is it 68?" "It's lower, you dolt. It's far lower than that." "Alright then, just give me a second. I'm gonna try and guess... 12?" "Try about -9, Evo." "Ouch. That was harsh, Rocka. That was harsh. I think you may have hurt my feelings." "Good, I was aiming to do that you fatty." "That's always assuming I actually consider your opinion to hold any value whatsoever." "Ooh, getting aggressive are we? I'd take that as a threat if you were actually, you know, physically capable of lumbering more than four steps at a time." "I'm not fat, stupid! Do you have any idea how heavy this stupid tank arm is?! I have nothing on the other side to even balance it with! So excuse me!" "Suddenly taking offense? I think you do consider my opinion after all!" Evo sighed and shook his head, plopping back down on the couch to continue watching the last few scenes of Season 6. Rocka chuckled and hopped over, poking Evo in the back with his crossbow and then jumping down to the floor with a very clear air of victory about him. Evo mumbled something unintelligible under his breath, and Rocka paused. "Would you care to repeat that for my ancient, withering ears?" "I said that someday I'll find a way to beat you in one of those arguments." "That is extremely unlikely, considering I've beaten you in all 16 of them so far." "...I'm just gonna finish my show." "You do that. Let me know how it works out for you once you've hit Season 9." "What's that supposed to mean?!" "Well, everyone who's seen every season agrees that Season 9 sucks." "Nothing could be worse than Season 3." "At least Season 3 had a plot." "...oh dear lord, you have to be kidding me." "You know Evo, for once, I wish I was kidding. You'll have to suffer through it on your own this time I'm afraid." "I think I'll finish this later. I need a bagel right now." "See what I mean, fatso? Your solution to every problem – go to the fridge." "No it isn't, stupid!" "Give me one time it wasn't." "Rocka, how often do you find peanut butter and bagels in the fridge?" "...I'm just gonna let that one go." *-*-*-* "Please remind me now why we have been staring at a melting pond for fifteen minutes." Furno requested. "This is almost as bad as watching grass growing." "Trust me, this isn't anywhere near there. I would know." Takanuva Stars replied. "I'm just seeing if I can spot anything." "Like what?" "That is none of your business, newbie." "If it's none of my business, why did you drag me out to look for it with you?" "...shut up with your logic. We're going back inside." "That's more like it! It's disgusting out here... yuck. So much mud everywhere." *-*-*-* Far above in the Bedroom, a green Toa watched the two sets leave the pool to return inside. He nodded slowly, lowering his axe down. "Be careful where you step with him, Takanuva." Lewa Mata whispered. "I'm watching you." "Who is that you're watching, boss?" asked Berix, a blue Agori. "Can I watch them with you? It sounds creepy and fun." Lewa Mata sighed, the moment and tone he'd been going for ruined. "No, Berix, you can't. They're already gone now, and you're too weird to boot." To Be Continued! Next time in Chapter 1, 10% More Insults: Evo and Rocka have an important chat with Black Phantom, while Furno and Takanuva Stars partake in more antics! I'll see you all Friday! This is gonna be a fun ride!Also, request characters to be interviewed starting NOW.And... pick out your favourite quotes from the chapter. New chapters weekly starting Friday, plus special PSAs in between! -ibrow Feel free to use the banner! All the cool kids do it! =D ALSO ALSO ALSO please check out the six character promos! They'll give you some hints as to what you might see!
The funny is back


text:
Louis Head, stepfather to 18-year-old Michael Brown who was fatally shot by police, holds a sign in Ferguson, Mo., near St. Louis on Saturday, Aug. 9, 2014 (AP Photo/St. Louis Post-Dispatch, Huy Mach)
Tensions flare between protestors and police following killing of unarmed teen
Mike Brown was reportedly surrendering with his hands up when he was shot multiple times by an officer
Check out this article! https://www.salon.com/2014/08/10/tensions_flare_between_protestors_and_police_following_killing_of_unarmed_teenager/
Elias Isquith
Relations between the citizenry and the police in Ferguson, Missouri have become extremely fraught following the killing of unarmed African-American teenager Mike Brown by law enforcement on Saturday, with Brown's parents and supporters demanding accountability for what they claim was an egregiously unwarranted use of deadly force.
A large and increasingly restive crowd assembled at the scene of Brown's killing, eventually drawing as much as 100 police cars from 15 different departments. A dumpster was reportedly set aflame, and a loud chant of "kill the police!" reportedly could be heard during some of the tensest moments between protestors and police.
"Ferguson police just executed my unarmed son!!!" read a sign made by a man who identified himself as Brown's father. Pictures of him holding the sign soon went viral on social media:
[embedtweet id="498210025383288832"]
A woman who identified herself as Brown's mother also spoke up, telling the St. Louis Post-Dispatch that the police "killed [her] son" and describing the shooting as "wrong" and "cold-hearted."
Users on Instagram shared video from the scene of the protests, where dozens of police can be seen circling a group of Fergusonians:
And as the day continued, protestors eventually marched on the Ferguson Police Department's headquarters:
The officer allegedly responsible for shooting Brown has been placed on paid administrative leave, according to Ferguson's police chief, Thomas Jackson, while the local branch of the NAACP has called upon the FBI to intervene and conduct an investigation of its own.
Elias Isquith is a former Salon staff writer.
MORE FROM Elias Isquith • FOLLOW eliasisquith • LIKE Elias Isquith
Fbi Ferguson Kill The Police Mike Brown Naacp Police Brutality Race Racism Thomas Jackson Video
Sandra Bland should be alive today
Barr "disagreed" on Trump obstruction
Mueller can't clear Trump on obstruction
Mueller: Sarah Sanders admits lies