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As seen in: Bloomberg News, Bloomberg Businessweek, Los Angeles Times, Chicago Tribune, SFGate, The Boston Globe, The Globe and Mail, Seattle Times and 137 more, Sydney Morning Herald, Business Standard, The Star (Malaysia), Houston Chronicle, Orlando Sentinel, Toronto Star, National Post, The Sacramento Bee, The Mercury News, Star Tribune, The Morning Call, New Zealand Herald, Buffalo News, Spokesman-Review, Hartford Courant, News & Observer, Kansas City Star, Australian Financial Review, Stars and Stripes, Business Day, Mail & Guardian, The Star (South Africa), Philly.com, The Province, Bloomberg BNA, Financial Post, Information Management, Daily News, St. Louis Post-Dispatch, The Modesto Bee, The Indianapolis Star, Orange County Register, The Charlotte Observer, Salt Lake Tribune, Akron Beacon Journal, Wichita Eagle, Crain's Detroit Business, Mint, NDTV, Rock Hill Herald, Duluth News Tribune, The Monterey County Herald, The State, Bradenton Herald, The Reporter (Vacaville, CA), The Patriot Ledger, Daily Democrat, On Wall Street, The Herald News, Jacksonville Daily News, Corning Leader, Pocono Record, The Telegraph (Macon), The Standard-Times, BenefitsPRO Magazine, The Daily Gazette, Financial Advisor, Vallejo Times-Herald, Merced Sun-Star, Columbus Ledger-Enquirer, The Daily Record (Baltimore, MD), Cape Cod Times, Daily Messenger, MetroWest Daily News, The Ardmoreite, Southwest Times Record, The Enterprise (Brockton, MA), Insurance Journal, The Taunton Daily Gazette, Milford Daily News, Sault Ste. Marie Evening News, Canton Daily Ledger, Ionia Sentinel Standard, The Daily Reporter (Coldwater, MI), Wayne Post, Leesville Daily Leader, REP. magazine - WealthManagement.com, Cheboygan Daily Tribune, Kirksville Daily Express, The Rolla Daily News, The Daily Telegram, Waynesboro Record Herald, Wayne Independent, Pekin Daily Times, Press Mentor, Pontiac Daily Leader, La Junta Tribune-Democrat, Echo Pilot, Granite Falls Advocate Tribune, Aledo Times Record, Bent County Democrat, Carthage Press, Neosho Daily News, Charleston Express, Mexico Ledger, The Steuben Courier Advocate, The Observer-Dispatch, St. James Plaindealer, The Sleepy Eye Herald Dispatch, Chillicothe Times Bulletin, East Peoria Times-Courier, The Clay County Advocate Press, Galva News, Geneseo Republic, Washington Times-Reporter, Morton Times-News, Olney Daily Mail, Orion Gazette, Hillsdale Daily News, Fowler Tribune, Ag Journal, Aurora Advertiser, Sturgis Journal, Linn County Leader, Chillicothe Constitution Tribune, Moberly Monitor-Index, Gonzales Weekly Citizen, Kiowa County Signal, Renewable Energy World, National Underwriter Life & Health Magazine, Canada.com, Stuff.co.nz, The Times Herald-Record, Mail Tribune, Carrier Management, The Peninsula Qatar, Daily Siftings Herald, Carbondale News, Daily Voice, Times Telegram, Cary News, Roslindale Transcript, Bloomberg Markets Magazine, Bloomberg-Quint, Seacoastonline.com, Automotive News Europe, Business Day SA
Covers: business disputes, insider trading, money laundering, misadventures of the wealthy and powerful, consumer litigation, securities fraud
Doesn't Cover: I don't bite on mass story pitches but I do like data, reports and connecting with experts. Feel free to contact me with those things.


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Submitted to: Association for Temperate Agroforestry Meeting
Publication Type: Abstract Only
Publication Acceptance Date: 12/6/2002
Publication Date: 6/24/2003
Citation: BURNER, D.M. 2003. DIFFERENTIAL PERFORMANCE OF TWO SHADE TOLERANT GRASSES IN PINE ALLEYS. Association for Temperate Agroforestry Meeting. Available: http://www.missouri.edu/~afta/8thNAAC/poster_abstracts.htm.
Technical Abstract: The objective of this study was to examine effects of alley crop environment on herbage yield, nutritive value, and botanical composition of two shade tolerant forage grasses. The experiment was conducted for 3 yr in orchardgrass, tall fescue, and a 1:1 binary forage mixture in alleys of loblolly and shortleaf pine, and the unshaded control at Booneville, AR. Herbage yield, persistence, and nutritive value will be discussed relative to forage species and alley microenvironment.

domain: agronomy


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John Myers, Head Gardener at Fairlight Hall near Hastings, in East Sussex, shares his advice on what to do in the garden in June.
“June is a fantastic month with the longest daylight hours which means all the more time to enjoy the garden. There is lots happening in the Fairlight Hall garden too. The walk along the ha-ha border is wonderful: the border has filled out with a canvas of pastel colours and the walls are festooned in glorious yellow roses.
The tropical border has come to life, the pictorial meadow is a riot of colour filled with Eschscholzia californica (Californian poppy), the cutting garden is full of the scent of sweet peas and the driveway is covered in wild orchids.
In the walled garden I’m planting out the pumpkin, squashes and courgettes now it’s June and the risk of frost has passed. I’m making lots of successional sowings of French beans, salad leaves and chard too. French beans can be sown every 10 days or so until July.
In the tomato house the tomatoes have been tied in to their support and their side shoots are being pinched out which removes some of the less productive growth. I’ve also been harvesting artichokes which will be preserved in olive oil. At this time of year it’s very important to keep up with irrigation in the kitchen garden because keeping the vegetables well watered helps production of crops and stops plants from bolting (going to seed).
Keeping on top of the weeding is a very important job throughout the summer. The extra light and warmth makes weeds such as dock, nettles and annual meadow grass spread quickly and easily. As we garden organically we hoe off annual weeds and dig out perennial weeds by hand without the use of chemicals. Although all gardens have a weed or two it is important to take care of them before they flower to stop them from setting seed.
We use cut flowers to decorate the house and recital room so the cutting garden gets a lot of use at this time of year. Recently I’ve been making up fish bowl vases of sweet peas, nigella and a few sprigs of lemon balm. They are filled with scent and it’s a great use of seasonal flowers. For our larger displays I use peonies, foxgloves and alliums with some foliage to add interest such as lime green or red cotinus or some sprigs from a copper beech.
It’s hard to think of a British summer without thinking about hanging baskets filled with colourful bedding plants such as petunias, pelargoniums, or lobelia. At Fairlight Hall we help support Ore in Bloom, our local village’s community group which brightens up the local area – we’ve hung 33 hanging baskets across the village. Hanging baskets bring such splashes of colour and June is the best time to hang them out now that the threat of frost has gone.
Find out more about Fairlight Hall and its gardens here.
Click here to catch up on John’s jobs for May.


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Enriching, celebratory, and often unconventional, Asheville’s performing arts scene encompasses everything from the classic to the avant-garde.
by Cat KesslerDuring the depths of winter, the Asheville Fringe Arts…
by Jen Nathan OrrisAsheville is a haven for originality. From breathtaking…
Sign up for your free Travel Guide. Your Asheville story begins here.
Asheville Convention and Visitors Bureau
Buncombe County Tourism Development Authority

domain: artistic


DOWNTOWN ST PETE REDEVELOPMENT SITE
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Multi-Family, Retail, Other
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Overview / Comments
Excellent opportunity to purchase a redevelopment site in the height of the burgeoning downtown market, located at the northwest corner of 2nd St S and & 4th Ave S - Located in the DC-1 zoning district, the site can be a high rise building, with the height and the number of units dependent upon setbacks, parking and other related issues – lot size is 100 x 100 - Ideal for a condominium development offering beautiful waterviews to the east and expansive views of the thriving downtown scene from all other directions
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The information presented herein is provided as is, without warranty of any kind.
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For the first time ever this season, New York Fashion Week: Men’s served as the opening act for the women’s shows, with three jam-packed days of menswear that mixed young upstarts like Linder and Feng Chen Wang with household names like Raf Simons, BOSS, and Joseph Abboud. John Varvatos kicked things off a week early with a pre-Grammys show, and Wednesday saw the first ever China Day, celebrating the rising new designers from the Eastern power. Take a look at our exclusive coverage of the Fall 2018 men’s shows in New York—with backstage and streetstyle shots by Betty Sze and Jonathan Shia.
Dylan Fender, Willow Barrett, Oumar Diouf, Laurens Pouchele, and Eli Epperson at Feng Chen Wang
Anthony White and Andrew Moore at Joseph Abboud
Henry Watkins at Joseph Abboud
Jean Chang at John Varvatos
Willow Barrett, Dylan Fender, and Piero Mendez at Feng Chen Wang
Bom Chan Lee, Christian Heritage, Niels Trispel, and Jean Chang at John Varvatos


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As you select categories, the number of matching recipes will update.
Find exactly what you're looking for with the web's most powerful recipe filtering tool.
IMy motto is: I cook, you clean, b/c I hate to clean after the mess I've made. I'm not exactly the neatest person in the kitchen. I've been told that I make some mean Pico (de Gallo that is). I'm all for constructive criticism.
Anything spicy. My food needs to be spicy or it's boring. I don't think there's a food that I won't eat, or try. I don't really care for pepperoni, but I'll eat it. lol Oh, and I am a sucker for Chinese and Sushi.

domain: food


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Noida-Delhi border to remain sealed, essential services allowed
New Delhi | Jagran News Desk: The Noida-Delhi border will remain sealed for movement of people to and fro the national capital, Gautam Buddh Nagar administration said in its latest guidelines for coronavirus-induced lockdown on Sunday.
The guidelines stated that the decision has been taken as the source of infection in 42 per cent of cases detected in the district in the last 20 days has been traced to Delhi.
While Uttar Pradesh, reported 262 new cases of COVID-19 in the last 24 hours, Delhi reported 1,295 new cases and 13 deaths in the last 24 hours.
"There are 2,901 active cases in the State and 4,709 people have been cured/discharged. The toll stands at 213, said Principal Secretary, Health, Amit Mohan Prasad as quoted by ANI.
Delhi Health Minister Satyendar Jain, while addressing a press conference here, said: "The total number of cases in the city is 19,844 and deaths are 473."
Earlier on April 21, the district administration has banned the movement of people between Delhi and Noida.
The inter-state ban exempts doctors, ambulances, media, goods carriers, and those involved in COVID-19 services and those with passes issued by the administration.
The announcement comes a day after the Home Ministry shared revised guidelines for the fifth phase of the lockdown in containment zones. The MHA guidelines had allowed inter-state movement and said that state government can announce their decision whether they want to close borders in advance.
Haryana had also sealed the Delhi-Gurugram border amid a spurt in cases in the national capital a few days ago. It is likely to remain closed.
Earlier today, Uttar Pradesh extended lockdown till June 30. While issuing the order, the state government said that shopping malls, hotels, restaurants, and places of worship will be allowed to reopen from June 8.
It further added that government offices will operate in the state with 100 per cent workforce.
(with PTI inputs)
Posted By: James Kuanal

domain: sociology


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Sansom will succeed Conrad Nelson in June this year.
Musical based on the smash DreamWorks movie hits York this February.
Brighton residents are being encouraged to boost their self-esteem this January with a series of innovative workshops.
Enjoy treats from National Lottery-funded heritage attractions.
Leeds Playhouse’s chilling yet uplifting seasonal show reaches perfection.
Take a magic carpet ride this Christmas with panto in Huddersfield.
A powerful new one man show based the actor’s real life story.
Tickets go on sale in April 2019.
EU won’t want to miss this.
The musical promises to be for ‘thinkers of all ages.’
The end of the world as we newt it.
A new piece of contemporary theatre that boldly explores our relationship to care, our bodies and shame.


Kill The Imposter is an in-your-face, no-holds-barred deathcore onslaught hailing from Orlando, USA. They have a new album coming out in May of 2021 and it promises violence, rage, and a monstrous barrage of breakdowns, screams, riffs, and blast beats.
“The Violence Sessions” is a seven-track album, and the third released from the band following “The Decimation” (2019), and “A Strain Of Agony” (2020). The upcoming offering is pure chaotic energy, something that current fans will recognize and new fans will revel in.
Already, Kill The Imposter has released two music videos for the tracks “Mace” and “Suffer Alone”. “Mace” is likely the only political song the band will ever write, but the takeaway of it is, think for yourselves. People, who have no allegiance to you, are not the people you should be listening to. “Suffer Alone” was written for vocalist Johnny Nobody’s ex-wife as he explains himself:
“I didn’t know a better way to describe the way I felt at my worst with her. I took the idea from the movie “300’ when Leonidas tells the traitor “I hope you live forever”.” He continues to share his thoughts on the full album, “we cannot wait for the fans to get their hands on it, the music is just getting tighter and more violent with each song. The more we work together the better these hits are turning out”
Violent and tight, Kill The Imposter is the remedy for a hard day or the encouragement you need at the gym, they are recommended for fans of Hatebreed, Alpha Wolf, and Dealer.
Watch “Mace” on YouTube:
Watch “Suffer Alone” on YouTube:
1. Broken Crown (2:36)
2. Dongan Hills (3:35)
3. Evil Ways (3:11)
4. False Prophet (3:33)
5. Mace (3:02)
6. Suffer Alone (3:46)
7. Unfit Coward ft. Taylor Barber (Left To Suffer) (2:30)
EP Length: 22:17
For more info:
Kill The Imposter is an Orlando, USA-based deathcore band that was formed in late 2018. Pulling musical inspiration from everywhere, the intention of this four-piece band is to make you move in any capacity you see fit.
Coming from local and national bands, Kill The Imposter brings experience, drive, and mayhem, to the stage. The quartet banded together over a shared love for heavy and violent music, after sharing the stage for one song they knew they had something special, so they sat down together and within a week had 3 songs written and a video lined up. They haven’t stopped since that first sit down, and they won’t stop.
One of the founding members Danny Arrieta (guitar) is the primary music writer getting help with arrangement by Johnny Nobody (vocals). Nick Colvin (drums) carries the aggressive speed and heavy grooves with Wilson Bembry ( bass) definitely sharing and blending the thundering lows and technical playing between all of it.
Since they got together, Kill The Imposter has released “The Decimation” (2019), “A Strain Of Agony” (2020) and “The Violence Sessions” (2021). They have pummeled the stages of Central Florida Metal Fest and Tampa DeathFest and played alongside heavy hitters such as Nile and Terrorizer.


This is a series of videos covering the installation, startup and maintenance of our commercial refrigeration products.
If you are in the heat transfer business, you can benefit from broadening your useful knowledge of refrigeration. This may improve your efficiency on the job, make you more flexible in your job duties, increase your value to your company and yourself, and make you a better contributor to our industry. This course will exposure you to new resources, reinforce heat transfer doctrines and provide a better understanding of: ♦ Basic Refrigeration Terms ♦ Basic Refrigeration Theory ♦ Basic Refrige ...
In this 5th episode, we will cover the refrigeration process in more detail. This is an entry-level presentation of materials for novice and beginning listeners who want to learn: • Refrigeration Process• 3 Conditional States of Refrigerants
In this 4th episode, we will cover how refrigeration works. This is an entry-level presentation of materials for novice and beginning listeners who want to learn: • How refrigeration works• The heat sponge analogy
For long-term equipment operation, periodic maintenance must be performed on a regular basis.
Proper adjustments are required for long-term system operation and satisfactory performance.
Various system setups must be performed during initial startup for proper, reliable and effective system operation.
Prior to starting the equipment, certain tasks must be performed to assure the equipment is ready for a safe and successful startup.
Proper line sizing and installation techniques are needed to assure circulation of refrigerant and lubricants through the equipment.
Proper wiring steps are required for powering the equipment reliably and safely.
Location and mounting of condensing unit is also important for proper equipment operation.
Proper mounting of the expansion valve, distributor nozzle and solenoid valve are essential for a correct installation to produce desired equipment performance.
For a proper evaporator installation, it is important to follow best-practices recommendations. These are necessary for satisfactory equipment operation and cooling results.
There are several critical tasks that must be performed prior to equipment installation to assure a successful installation is possible.
In this 3rd episode, we will cover the affects of heat on phase change at an entry-level presentation of materials for novice and beginning listeners who want to learn: * Pressure temperature relationships * How heat affects change of state or phase* Latent vs. sensible heat
In this second episode, we will cover the characteristics of heat at an entry-level for novice and beginning listeners who want to learn: ♦ How heat transfers or flows from one object to another♦ What factors influence the rate of heat transfer
This episode will cover refrigeration basics including some fundamental definitions and terminology of entry-level materials for novice and beginning listeners who want to learn: What is refrigeration?What is cooling?What is heat?How is heat measured?What's the difference between temperature and heat content?…


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To marinate the beef
400g beef bavette steak, sliced thinly across the grain
2 tsp Thai black soy sauce (or regular light soy sauce)
2 tsp oil
2 tsp cornstarch
For the rest of the dish
2 tsp oyster sauce
1 tsp sugar
2 tbsp Thai black soy sauce
4 tsp Thai soy sauce
2 tsp fish sauce
Ground white pepper to taste
400g pack of rice noodles, cooked slightly more al dente than usual, as they will be cooked more in the wok
3 cloves of garlic, thinly sliced
400g of choi sum, chopped in 3 inch lengths
2 large eggs, beaten
- Combine marinade ingredients, making sure the beef is well coated. Set aside.
- Next, combine the oyster sauce, sugar, black soy sauce, soy sauce, fish sauce and white pepper in a small bowl and set aside.
- Heat your wok over high heat and, once hot and smoking, add a tbsp of oil. Sear beef until nicely coloured but not cooked completely through. Transfer back to the marinade bowl.
- Add another tbsp of oil to the wok and add first the garlic and then the choi sum, stir frying until the leaves are just beginning to wilt.
- Add the noodles and then the prepared sauce and quickly but thoroughly mix it all together. Add the beef back to the wok.
- Now push everything to one side and add the beaten eggs into the space you made. Leave for a few seconds and then start pushing the eggs around, scraping the bottom and scrambling into small pieces as you go. Mix everything together well.
- When everything is nicely hot and the noodles have begun to slightly caramelise, you are done. Dish up and eat immediately. Enjoy!
Pages: Page 1, Page 2


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Interested in the beach and want to help to look after it? Join in with regular community beach cleaning events at Cleveleys.
Care for Cleveleys
Care for Cleveleys is the coming together of everyone who has a vested interest in the success of our town. We’re working together, taking ownership and responsibility for where we live and work. It’s really making a difference – why don’t you get involved?
The aim is to attract people to the town and keep it vibrant in the future. The strapline is ‘Putting people at the heart of the town’ which really says it all!
- Find out much more and about the Cleveleys Coastal Community Team


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On November 25, 1974, a voice went silent. Few noticed – it had always been such a quiet voice.
English singer-songwriter Nick Drake was 26 years old when he died from an overdose of antidepressants. Whether he intended to commit suicide has never been determined; he was a fragile person, suffering from clinical depression and possibly associated disorders. His use of marijuana is well-documented, and there is speculation that he may have turned to harder drugs as his world darkened. Whether this is true and to what extent it may have contributed to his death will never be known.
Not much about Nick Drake is knowable, not to his growing legions of fans now, not to his family and friends during his lifetime. His father once remarked, after getting a report from an obviously perplexed schoolmaster, “All the way through with Nick – no one knew him very much.”
Nick knew Nick, though, and his small body of work reveals insight into his own mental and emotional brokenness that is breathtakingly honest and deceptively simple. His music is as fragile as his psyche, his voice breathy and ethereal. His lyrics, accompanied by his exquisite guitar picking, explore themes of loneliness, lost opportunity, the passage of time. The music stirs listeners to melancholy without pulling them into depression. Nick’s gift was introspection without indulgence, anguish without angst, honest emotion without a whiff of “emo.”
Nick was beloved by those who knew him; a cherished son and brother and a loyal friend who embodied the descriptor used over and over by those closest to him: kind. He felt deeply – perhaps too deeply for this world – and he hated taking the medications that stripped those feelings from him. He took them anyway, apparently reaching out for help from any available avenue. A study in contradictions, he sought recognition but shied from publicity. He sang gently evocative songs but could also wail an authentic blues. He was a star athlete who turned sickly, a drug enthusiast with a distaste for his prescriptions, a child of privilege who favored shabby, ill-fitting clothes. On the subject of obtaining his college degree, he told his father that a safety net was “the one thing [he didn’t] want,” yet he was ultimately, tragically unable to survive on his own.
Nick recorded three albums in his short career: 1969’s Five Leaves Left was followed by Bryter Layter in 1970, and in 1972 came Pink Moon, the stark, stripped-bare acoustic album considered by fans and critics alike to be his masterwork. Those three albums were supplemented posthumously by bootleg recordings and compilations, but even so, the sum total of his life’s work hovers at around 100 songs.
One hundred songs, and each one a jewel. One hundred little windows into a beautiful, bedeviled soul; one hundred attempts by Nick to connect with something larger than himself, to impart a message to someone, to anyone who might have been listening. Unfortunately, few were listening in 1974.
Sometime after midnight on November 25, after wandering downstairs to have a snack, Nick took more of his medicine than he was supposed to, collapsed across his narrow bed and never arose. His death was ruled a suicide, but this ruling has been disputed. Gabrielle Drake, however, has said that she prefers to think her younger brother committed suicide, “in the sense that I’d rather he died because he wanted to end it than it to be the result of a tragic mistake. That would seem to me to be terrible….”
However you left us, Nick, thank you for the beauty you left behind, and I hope you’ve found peace. The prophecy in “Fruit Tree” has come to pass.
Fruit tree, fruit tree, no one knows you but the rain and the air
Don’t you worry, they’ll stand and stare when you’re gone


Samsung is busy on a lot of things. Apart from the numerous mid-range phones and tablets, there are two foldable phones to be announced at the next Galaxy Unpacked. One of the flagship foldable phones is the Galaxy Z Fold 3. It will be the third-gen foldable smartphone from the South Korean tech giant. It […]
The post Samsung Galaxy Z Fold 3 could have touch-based controls first appeared on Android Community.


NOTE: This camp is no longer being offered this summer.
Jim Tiller, Director
August 10-14, 2020
9:00 am-12:00 pm
for students entering grades 6-12, NYSSMA Level 3-6
Limited to a maximum of 10 students
Note: Masks will be required and everyone entering our building needs be ready to comply with the new protocols we have put in place for in-person classes. Detailed procedures will be emailed to registered students before entering the building for the first time.
Join RPO percussionist Jim Tiller and expand your percussive horizons in this unique camp! This is a great opportunity to grow musically and make friends in a chamber music setting. Ensembles of differing sizes will explore a variety of advanced repertoire for percussion instruments including snare drum, keyboard, timpani, and drum set, among many others. Rehearsals will include intermediate to advanced instruction in all major areas of percussion performance, master class opportunities, instrument demonstration, and special topic discussions. Percussion Camp concludes with a performance.
Fee: $10 registration fee; $255* tuition. (Fees are as of Summer 2020.)
As participation in this camp is by director approval and after verification of NYSSMA level, this activity is not available for registration online. Please call Hochstein at (585) 454-4596 for more information.
* Learn more about our Tuition Assistance by clicking here.


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A residency on the coast inspires reflections on the view. How has the shoreline “view” been compromised by private interest? What happens when the need to gaze deeply into epic nature, to get lost in the scale and beauty of the shore, is no longer accessible? How can popular forms of education push back and build environmental consciousness? If climate change is about aesthetic devastation as much as toxicity, resource depletion, and colonialism, then the shoreline offers a reflexive site through which to reconsider views of the land and to argue for democratic access.
28 August 2019: Binoculars
Just now: A flash of red swoops by the window. Is it a red-tailed hawk, or red-shouldered? I’m new at attempts to identify, reliant on the dusty Peterson Field Guide to the Birds found in a used-book store on my way to the Cape. I love the detailed drawings, the encyclopedic promise of knowledge, and the way that flipping from page to sky doesn’t always match up. The book warns: “There is considerable variation in individuals within most of the species.”2 I take up the binoculars to look more closely: The bird is large in body and wingspan, with a small fierce head, eyes that rivet, and uneven red plumage down its back and tail. I follow the way it coasts and dives, then circles back up and around. Taking my eyes off the lens, I realize I’ve missed the bigger story: It’s beefing with an American crow.3 I check the glossier guidebooks specific to this shoreline: no mention of crows. These two are fighting, and clearly the hawk is bigger and stronger. But the crow has friends.
My view comes as guest of the National Park Services and Peaked Hill Trust on the backshore near Provincetown, MA. I’m staying in Ray Well’s shack on the dunes, a writing residency where my focus is on the privatization of the shoreline view. With one eye on the birds, and another on my reading, I find this account of artists on the dunes before me:
When they discovered [Provincetown], a lot of them decided to stay. They found the dregs of buildings to live in, because they’re all poor. One of the reasons for this is their whole quest. An artist’s quest is a spiritual quest. It’s not money. Money doesn’t come in to it. You see a shift today where people are being taught to market their art, and that’s a whole different thing. The passion to be an artist was something else. It was a very deep commitment to life, to experimentation, to develop a means of sharing whatever was inside you.4
Okay, but people have to eat. Where I teach, in an urban university with a strong set of art programs, no one separates art from money anymore; they can’t afford to. If money has always been the issue for artists, first underwritten by church and state before giving way to the bourgeois patron of the late 18th century and today’s art market, economic pressure feels tighter and tighter. Residencies are one tool in the artist’s survival kit, fantasy spaces of such allure and respite as if only to foreground the problem of access. What happens when the need to gaze deeply into nature, to get lost in the scale and beauty of the shore, is no longer accessible for the artist or, by extension, the fisherman, the lifeguard, or the tourist? Such views are stolen, briefly held, in an economy that names all of us workers above all else.
The sky is big around me: 360 degrees of blue, set against dunes and pitch pines. The shack is a wonder: sturdy, simply made, yet prioritizing all the right things. A glassed-in porch with writing desk and views on three sides. An outside deck for eating and bird watching. And a minimalist kitchen: two gas burners and a jug of water, hand-pumped and powered by gravity, for washing up. Small in scale, built from salvaged materials, standing lightly on stilts to accommodate the shifting sands, the shacks developed informally, mostly without land title, squatters informed by two needs: a roof for surf-men, pre–US Coast Guard workers who watched the sandbars for ships in trouble; and later respite for fishermen and artists who sought the light of the dunes and the salt of the sea.5 A place to observe the tides and weather; a place to shelter near sea-bound work, at once viewing device and home. This was “nature,” a view lived through sweat and labor, on the margins of capital’s meanest elements.
Watching the birds do battle, America in parts behind me, I wonder about the dreams of residency and the unholy trade of land for money: Who, or what, belongs here? Am I the hawk, or the crow?
10 January 1987: Total
I was 20 when I first took the train west to Banff, Alberta, like others before me drawn to tourist and resource economies, lured by the boom and the bust, in hopes of finding work. I found a job as a maid at a hotel in Banff National Park, cleaning 30 rooms a day, four days a week, using a creamy-opaque product called “Total.” My coworkers, mainly Quebecers and a few from Ireland and New Zealand, warned me about Total: You needed to wear rubber gloves, it destroyed human skin. The gap between hearing and knowing, though, is big. By the end of my second day on the job, my hands were shredded: pink and red and nails torn off. I went into town to White’s Grocery on Banff Avenue in search of new gloves. It was body-breaking work, but I stayed on for the view: dramatic shifts of weather and light, changing the surfaces of the Bow Valley; air so pure it felt like a drug; and the rush of gravity, days off on the slopes skiing, with other kids like me, trying to sort how to do things with life.
It was 1987, and there were any number of world events to clarify the urgency of nature on the precipice and the limits on access to a “good” view: say, for instance, Clayoquot Sound.6 Or Chernobyl. Both were still present in the news and set deep in my consciousness. But my view was borrowed: fixed on survival of self, rather than species. The path toward my own environmentalism came slowly amid the hub and crush of rent, groceries, and the costs of being an adult: I was alone and trying to stay afloat, shocked by the unrealness of real estate, the impropriety of property. The route from Banff Avenue to Banff National Park, from the private to the public, came slowly, honed by life on the ground, with its daily goings-on and needs. In the contrast between the fluorescent lights overhead in the hotel to the epic sky by Two-Jack Lake, my surroundings schooled me toward a slow kind of tuning in. Outside, off-work, time and space were different, and the figure in a landscape, momentarily, entered another structure of feeling: free as a bird. Never was the link between access and economic privilege more on view than in my time as a cleaner at Banff, changing sheets in the upper suites, with an eye to the window and the rockface of Mount Rundle.
Date Unknown, 1835: Real Estate
My father’s great-great-grandfather was James Thompson, said to be born in Cork County, Ireland, in 1808. Landing at the port of Quebec in 1835, with his wife, Elizabeth Kelly, and two children, they made their way via the Ottawa River to Lochaber Township, where he worked as a laborer clearing bush while subsistence farming on a bit of land. He was one of many Irish escaping poverty and famine, some 30,000 arriving annually to Canada between 1830 and 1850. But the stories I’d learned in history class, and the memories told at family dinner, always made it sound like, you know, famine happens. As if land or climate acts alone in such crises. By 1835, though, a constellation of bad decisions and policies made by London elites had already consigned the Emerald Isle to the status of raw material for ambitious farmers and wealthy landowners. Karl Marx, in a short text on Ireland from Capital, noted a curious outcome as the amalgamation of small tracts of land into larger farms and the shift from arable to pasture lands developed: On the one hand, depopulation and diminished land quality; on the other, increased profits from rents charged and total surplus product.7 He writes, “The Irish famine of 1846 killed more than 1,000,000 people, but it killed poor devils only.”8
Things could have been different, I think, looking out toward the shoals off the Lower Cape. Enclosure, or the partitioning of common lands and smaller tracts—part of the epic ontological shift from feudalism to capitalism—only began in about 1450 with the clearing of small estates through proclamation or law and the subsequent amalgamation of lands for bigger farm operations. Historian Jason Moore sees this longer pattern of the expropriation of land and displacement of its people—whom Marx deadpans as “surplus population”9—as a defining aspect of capitalism. In his accounts of the “capitalocene,” Moore writes, “The whole thrust of capitalist civilization develops the premise that we inhabit something called society and act upon something called Nature.”10 Reassigning to the category of “nature” most humans—the Irish, as in my story; but more significantly Africans, Indigenous groups, and women—alongside the forests and animals allowed for the cheap production of food, energy, labor, and raw materials: “cheap nature.” That meant poverty, enslavement, and worse for those on the wrong side of the binary. What came next was the theft of access to land and sea, the reification of the sun.
Sunshine was not elusive for James Thompson, who worked outside “with an axe,” likely in the booming timber trade of what is now eastern Ontario and southwestern Quebec. Very recently, I came upon a deed held in his name, showing a purchase in 1836 of 100 acres in Lochaber Township, just northeast of the river at Thurso, Quebec. Remarkably, he bought what was called in flattering terms, “Crown land,” for 25 English pounds just one year after he arrived. And one year after Algonquin groups in the region had sent a petition to the lieutenant-governor of Upper Canada, demanding protection of their common lands, asking that “squatters” be compelled to leave and that any partitioned or “dismembered” lands be compensated for.11 Caught in a cycle of displacement and theft, at once the object and instrument of capital’s brutal need, his life was made through violence on both sides of the Atlantic.
Historical time, like geological time, offers up its sightlines slowly. There was always sand on the tip of the Cape but the dunes once held expansive coniferous forests, and there were stands of oak, beech, and hickory.12 The coastal lands were the traditional hunting and small-scale farming grounds for the Wampanoag tribes—the Nauset and Mashpee—who worked and dreamed this area for thousands of years prior to the arrival of European settlers. Displacement and development—meaning illness, death, and enslavement for the Indigenous—ramped up from about 1650 onward, when settlers cleared vast stretches of the land for wood, agriculture, and buildings. Only in the 19th century, after near decimation of the landscape, were the pitch pines and beach grasses planted, when the sand got so bad it piled up and threatened to overwhelm the houses of Provincetown.
From the shack, I can see the cliffs by the beach drop out here and there, as wind and wave revise the line of the shore daily. Walking west, I can see the shoals flood and disappear as the seas rise with the daily tide and an annual rate of 3.2 mm due to warming temperatures.13 And I can see the line of trucks snake past my porch four times daily, as tourists pay $28 each for a brief ride through the blinding light of the dunes.
26 August 2019: Dead Things
Seasonal workers rise early, most summers in the Outer Lands, to rake the beaches and ready the chairs and umbrellas for vacationing guests. Paid minimum wage plus tips, these workers form the underclass of the tourist economy, nevertheless they play an epic role: Like theater stagehands preparing scenes for a play, they sculpt pristine ocean views for the holiday crowd, clearing the wrack line and placing chairs along the shore. In a sleight-of-hand move, swapping physical labor for uncluttered views, the prepared beach affirms beautiful nature as expensive, empty, other. Farther from sight? Sea lettuce, rockweed, green fleece, molted crab shells, elaborate nests, and, amid the tangled flux…plastic.
Plastic, so ubiquitous in the petty tasks of daily life, tends to recede from view. But this morning, on my first walk along the shore by the Provinceland dunes, it resurfaces with a horror I can’t quite place.15 This is the National Seashore. These are bird nesting areas. I am just south of Race Point, following the wrack line. So many shorebirds gather here, to my eyes, without tension: terns, sandpipers, gulls. Herring gulls, laughing gulls, great black-backed gulls. Then a ruddy turnstone, a piping plover, an American scoter. What I see, slowing down to learn the names of the different birds and plants along the shore, is the glittering carpet of seaweed—glittering with plastic, what feminist scholar Heather Davis has called the “undead.” Now a kid’s shovel, now a fragment of a Polar Springs water bottle, many deflated mylar balloons. But everywhere and tangled up in green: bits of straws, birthday ribbon, lots of flat twine—the kind that holds boxes together. Everywhere. Gleaming, entwined, inseparable—part of a “new sensorial regime,” an “accidental aesthetic,”16 that is dazzling in its ubiquity and fusion with sea life/death.
Dialectic images, to be sure, as I write, flipping from nature as crafted to culture as material death. But these scenes are lived: fully dimensional, embodied, and elemental. Heading back from my morning walk, I look up to see a gull with a saggy orange balloon in its beak, and flash to my hands Total-ed: the unexpected burn of our immersion in toxic materials. I stop and watch for a while, keeping my distance. Then I’m maneuvering around, jumping and waving to try to jar the balloon from its beak. But I give up and keep walking. On the berm to my right, I suddenly notice a large dead bird: its wings upright and open, its head in the sand. The angle is ghastly, as if it died intentionally, in protest, crashing headlong into the beach. Everyday life at the shore, a mix of death and life, waste as commodity residue and nature as viewable. Seeing requires distance, steps made away from the grind of working life. We separate in order to attend, but at what cost?
31 August 2019: Use-Value
It’s said that, back in the day, the ocean held little romance for the people who made their living off its waves. Dune resident Colin Malicoat remembers that, “when you got off the boat, you turned your back to the sea.”17 The shore was serious, to be used not played with. Anthropologist Michael Taussig remembers the same in his recollection of growing up on the shore near Sydney; the shoreline was home only to the working class who couldn’t afford better spots, away from the harshest elements. For Taussig, encounters with the sea have fallen out of ordinary experience, just as real estate speculators have transformed these spaces into commodities of the highest value. He writes,
This reconfiguration of money and the sea began and has been completed in my lifetime, this total reversal of value and forced exodus of the economically weaker from the seaside. It is by no means as dramatic or as consequential as the appropriation of the land from the Aboriginals that was begun in the late eighteenth century, the land having been legally defined by the British government as without owners, much the same as was done to the Palestinians by the Israelis this century, but was achieved freely by the anonymous force of the market instead, the market of fantasy.18
Taussig’s interest, then, is to sort out how the transformation from common to commodity, from public to private, happens. He writes, “The secret of the expansion in value is a consequence of an artistically contrived revelation around the axis of prehistory. The trick, for the modern capitalist magic, to function, is to deface the commodity of labor, allowing its mimetic or use-value component to surge forth, flashlike, only to disappear once again as an expanded semiotic or exchange value.”19 What’s striking here is Taussig’s insistence that at the heart of capitalism lies an aesthetic maneuver, which enables fantasy—the pristine waterfront, composed in linear perspective—to take hold, thereby raising values. Confounding mathematical or scientific explanations, the commodity’s sudden appearance is driven by the power of aesthetics to take hold of our imagination and the flight of desire, to grip us with feelings of worth and worthlessness, through a kind of masking, as in the erasure of waste and labor on the beach.
Here at the shore, there is no question that natural aesthetics move us in everyday life. How else to explain the older jogger who crosses my field of vision each morning making the arduous trek across the dunes at 8:30 a.m.? Barefoot, toes in sand, skin exposed to the muscle of the wind, he is smiling as he passes and greets me with a wave. I too feel more alive in this place: my body animated by proximity to the elements, attention honed by the scale of the landscape and the slowness of time. But beauty is such a dirty thing: marred by its seductive power, colonized by the markets to sell and resell. This is something of what scholars Patricia Ávila-García and Eduardo Sánchez have in mind in their description of “the environmentalism of the rich”: whereby excellent lands—biodiverse, pristine, unspoiled by toxic waste—along the Jalisco coast in Mexico were expropriated in the name of conservation, federalized and/or privatized, with development slotted to benefit wealthy elites.20 Along the Jalisco coast, actions in the name of environmental protection—aesthetic acts—served only to greenwash a move toward access and control by financial elites. Conservation, the impulse and political movement to “save” landscapes deemed beautiful, operated as a kind of theft. But where writers like Ávila-García, Sánchez, and Taussig zero in on a use-value approach to access that pits “inhabiting” against “contemplating,” I want to expand use-value to include contemplation as an essential kind of doing, and the view as its critical tool: allowing an embodied form of attention that ought to be seen as a basic human right, akin to fresh air and drinking water.
Date Unknown, Circa 1776: Claude Glass
The Claude glass was a small, portable convex mirror used in the 18th century by painters and tourists as a mechanism through which to perceive the largesse of a landscape. Its small convex lens—sometimes tinted, sometimes clear glass—compressed the vastness of the landscape into a small reflection that respected proportion and detail but flattened out texture and tone, and darkened and miniaturized the view for better recording by the artist, better seeing by the tourist. Named after the French artist Claude Lorrain, the Claude glass framed and filtered the view, reorienting the gaze of the beholder toward a handheld mirror and often requiring, hilariously for observers of the day, that they turn their back on the very view they hoped to paint in order to allow for mirror reflection. A framing, a distortion, a reduction, an abstraction, whereby “fascination quickly becomes malaise.”23 Associated with the 18th-century picturesque,24 a category of art described by William Gilpin as holding “some quality capable of being illustrated in painting,”25 the device was part of an assortment of optical instruments, including the camera obscura and the graphic telescope, bound by new research in optics and used by painters and tourists as a tool for seeing environments.
Devices of this order helped construct the idea and shape of land as representation and “view,” anchored less in the lived experience of being in or of a landscape, more in its idealization and recollection toward acts of inscription—that is, translation acts from tree to representation of tree.26 Western ideas of a perfect view established conventions for seeing and being in the landscape, training eyes through the work of 17th-century geographers, who drew maps and scenes from a linear perspective that centered the colonial gaze; or via seekers of the picturesque, who codified scenes in the framing of sight lines, curating of points of interest and staging of distance in order to magnify nature’s pleasing effects. Phenomena such as these played a central role in the sedimentation of a culture/nature binary through art as older mass media.27
This history of making images, full of eccentricities yet complicit, fucked-up, and still beautiful, is partly what I’m wrestling with as a teacher, in the hybrid studio/reading class I teach at the university.28 The course explores the shoreline, in particular, as a shape-shifting site of natural and cultural identity and imagines different ways to bring landscapes and their crises into art practice and curricula at the elementary, secondary, and postsecondary levels. We read the environmental ethicist Allen Carlson, who writes that art history has had too strong an influence on how we understand our response to nature.29 But at least since the 19th century, art history has made the deepest investment in exploring the visual world’s affective power, and in teaching us to see and see differently. Moreover, its attention to beauty, however flawed, corrupted, or co-opted the category may be, takes seriously the phenomenon’s power to move, gather, incite, enfranchise.30
My gaze wanders away from screen to sky. It’s first light on the dunes, and I hear the tree swallows cluster and sing in the patch of rugosa rose just by the door. When I stand, they fly away, in unison, up and around, settling somewhere beyond sight. Minutes pass. The clouds break open, a neon crack in the dark, then fire orange, then pink and blue and the drama of the lightening sky. I step outside and lie down on the steep, sandy path below the shack: stay here, alert to the scuttling thoughts, alive to the skin on the sand, the flies near the face and the retina sky above, indifferent. It’s a beauty that affronts for being beyond our control; and whose originality confronts us in ways that can’t be met in language alone.
Summer 1968: Being There
I’m four years old, up on my dad’s shoulders as we cross the knobby terrain of a newly purchased hobby farm in southern Ontario. A public-school science teacher and former meteorologist, Dad will transform the site into a science lab for students: planting trees, learning about composting and soil improvement, studying cloudscapes and cedar growth, water levels, and bird arrivals. He didn’t call it environmental literacy, nor did he think of what he did in fancy terms like pedagogy. Still, he was focused on sharing a love for the poetics and the politics of the land and water, and he did so within a framework of education bound by co-presence, collaboration, and lived experience.
The first in his family to attend college, Dad’s approach to teaching was rooted in his upbringing in the Italian neighborhood of Ottawa, where his father ran a lumberyard and his mom spoke four languages and went door-to-door selling Avon. Dad studied biology and chemistry at a Catholic college downtown, before taking a job with the national weather service in Winnipeg, drawing maps by hand every three hours, scanning the skies for halos and sundogs. He believed that work transformed mind and matter. But experience taught him that the world did things, too; science was a meditation with the wind. I see my dad, a small figure in a vast landscape, looking up: the ancestor of Irish peasants named illiterate in an 1851 census, settlers caught in a wave of migration, at once displaced and displacing the Algonquin peoples who came before.
Learning from the land takes time when knowledge is embodied and often slow-moving. David Orr, an early leader in environmental education, sees environmental literacy as a core interdisciplinary competency, gained through direct experience of the landscape and learning in place.31 Orr’s ideas foreground land-based learning, not as trend or supplement to the curriculum but as the root of all education, by which he means, of all self-knowledge. It’s a message prefigured by Indigenous thought; Leslie Marmon Silko, for instance, tells the story of how land shapes identity, via the need to befriend every plant, insect, animal, and root in the Pueblo in order to survive its rigors—the world pressing in through surface of the body.32
The view teaches us, as “we become what we behold.”33 This is why contemplation and beauty—codified, unspoiled—matter, as feet and face come together to perceive environments. The view, it turns out, has always been a kind of doing, but geographic scale, geologic time, and the enigmas of material life—inside science, yet outside language—require revised modes of seeing and being in/of a landscape. I think this must be what progressive healthcare people like Sonya L. Jakubec and her team of researchers in southern Alberta have in mind, in their work bringing hospice patients into the national parks as part of the end-of-life process.34 Being there mattered; immersion in a landscape held tremendous power to reshape the experience of grief. Their sense of the view, bound primarily by gentle, affective interactions on the ground, begins to suggest the ways that land-based forms of contemplation—used here as vernacular shorthand, wherein the word’s association with careful looking, thinking, and intending all come together—may be consequential.35 Equal parts portal and balm, the view ignites profound forms of attention that soothe and shape deep inquiry. Yet there is no view without access, no view without a body moving in a landscape.
It’s just past 7 a.m. I look up from reading to see two mourning doves on the deck’s railing. The elegant shape and long tails, the silken coat: feathers of silver and tan on the back, blush pink on the breast. They seem to look my way, gazes steady, peering through the glass. There’s no outcome to this exchange, no easy meaning. But look out, listen, keep watching. “Knowing” is an illusory tic on the way to the view.
4 September 2019: Bird’s Eye/Vogelfrei
Marx takes a “metabolic” view of nature, at once doing and done into,36 and he finds this dialectic squarely rooted in the circuitry between bodies and materials. It’s a balanced view of material agency—that dreamlike set of contemporary ideas, foretold in various religious and cosmologic practices, as well as in the histories of animism, magic, and puppetry, that embrace the life of nonhuman objects and decenter postures of human authority. Yet, as the 45th US president eyes federal lands for resource and development opportunity, and the backshore of the Cape appears more as canvas than ecology, the need to stay focused on human agency and embodied forms of power weighs more heavily on my mind than any speculation on the doves.37 Consider the unfettered corporate agency on view, for example, in the spoiled landscapes and watersheds of Argentina and Peru, poisoned by multinational Canadian mining companies like Barrick Gold, whose stakes in the landscape are limited to monetary. Or think of the agency of the state, whose socialism for elites takes the form of, say, federal insurance subsidies for ongoing coastal housing development, in spite of devastating storms and flooding.38 Accounts like these proliferate, stick in me: a tangle of relations between human agency, institutional scale, and landscapes in the grip of rootless wealth and power.
Orr contrasts the idea of “inhabiting” with “residing,” wherein inhabiting implies sustained engagement in a landscape and residing is itinerant: “The sum total of violence wrought by people who don’t know who they are because they don’t know where they are is the global environmental crisis.”39 He, too, has in mind the irresponsibility of the corporate actor, whose crimes are veiled by imagined geographic distance and cultural bias. But movement in a landscape hasn’t always felt flawed, just as roots were not always measured in dollars. Indigenous groups in the Cape moved over vast areas, for instance, while still maintaining long-term relationships to place bound by practices including hunting and farming.40 In its earliest usage, vogelfrei referred to the sense of being “as free as a bird,” unbound by debts of any kind. The term becomes pejorative around the time of enclosure, applied to the vagrant and outcast, whose loss of legal rights is predicated on and punished through enforced land relations.41 But the poetic sound and syntax of vogelfrei perhaps return us to the promise of its earliest usage, marking a time before property, when the body in a landscape could figure differently. Bird free. Then, I imagine, access to a view wasn’t bound exclusively to notions of wealth or ownership; and residency implied only being there. Land meant all kinds of relations, among other things, or as Peter Kulchyski writes the term in his work on Aboriginal political forms: “The landscape itself as a trace as a story as a setting as an obstacle as a site as a question as an opening as a language surrounded by and representing an embodied inscription.”42
I turn away from the page to the shore, moving slowly. Thinking takes space, as history swells up, around, and in me in the here and now. I’m thinking, too, about the university classroom—talk about institutional agency moving toward totalization! Still, in the studio class I teach, with its focus on making and reading imagery as and against trained views; I work as my colleagues do, finding ways small and large to return to the space and place of land. Moving from image to view is akin to shifting from inscription to lived experience; it involves a retraining of the eye or, more precisely, a revised sensitivity to being in the eye–body–environment as historical perceptual machine.43 A view may not count for much, you think—it’s either too cheap or too commodified.44 But a view is dialogic, never static—at its best, the view offers a luminous stepping out of time, in which a laboring body finds the space to “see.”
I make my way from the edge of the water back toward the shack, and at the top of the dune, I lose my balance. Just over the beach grass, the wide sea: at high tide, dark blue and calm as glass. To the south, there are mostly cirrus clouds, dark gray with bands of pink. To the north, cumulonimbus—the upward towers and rounded stacks that foretell storms. Hurricane Dorian, I’ve been told, due to hit before midnight tonight. It’s only noon, and I’m pausing over the end of my time in this landscape. The beach below is crowded in all directions: pipers, shearwaters, cormorants, calling out in languages unknown to me. Suddenly, a small plane appears, headed for Race Point. As it nears, I see the banner behind it: Michelob Ultra. My thoughts skip from Air Rights to Amazon.com drone deliveries, and the fate of the birds. Who, finally, will own the sky?
The author thanks Liz Miller at Concordia University, the Peaked Hill Trust and National Park Service, and the Editor and readers at Departures in Critical Qualitative Research.
Unless otherwise noted, all images were made by the author on a broken Android cell phone. Research assistant, photographer, and BFA student William Normand-Robichaud helped with curation and technical manipulation of images.
Roger Tory Peterson, A Field Guide to the Birds (Eastern Land and Water Birds) (Boston: Houghton Mifflin Harcourt, 1947), 43.
That there were four of these birds makes me think they are crows. But their larger size, soaring flight, and croaky squawk makes me think they are ravens. A notice on the local NPR station WCAI notes that ravens are newly breeding along the Lower Cape, with increased sightings since 2012, attributed to forest recovery in the area. See Mark Faherty, “Ravens among the Newest Breeding Birds on Cape Cod,” WCAI: Local NPR for the Cape, Coast and Islands, 22 March 2017, https://www.capeandislands.org/post/ravens-among-newest-breeding-birds-cape-cod#stream/0.
Robert J. Wolfe, Dwelling in the Dunes: Traditional Use of the Dune Shacks of the Peaked Hill Bars Historic District, Cape Cod (Washington, DC: National Park Service/United States Department of the Interior, 2005), 27.
An early source for this architecture locally may lie with Indigenous peoples on the Cape; by the early 1800s, the Mashpee were building simple one-room houses described as “huts” or “cabins.” See Daniel R. Mandell, Tribe, Race, History: Native Americans in Southern New England (Baltimore, MD: Johns Hopkins University Press, 2010), 9.
Clayoquot Sound is a coastal area on the west of Vancouver Island, home to Nuu-cha-nulth Indigenous peoples for over 2,000 years and characterized by diverse terrain and temperate rainforests. The Sound was the scene of fierce activism around the destruction of old-growth forests that began in the 1970s and culminated in 1993, when 859 people were arrested in what was one of the largest acts of civil disobedience in Canadian history. The government of British Columbia signed a temporary agreement to stop logging: Indigenous groups obtained greater authority over the region; and in 2000, UNESCO named it a biosphere reserve. Logging, however, continues in the area and across the Island.
Karl Marx, Capital: A Critique of Political Economy, vol. 1, trans. Ben Fowkes (New York: Vintage, 1976), 854–70.
Marx, Capital, 861.
Marx, Capital, 782.
Jason Moore, “Capitalocene, Part I: On the Nature and Origins of Our Ecological Crisis,” Journal of Peasant Studies 44, no. 3 (2017): 600.
See Algonquins of Ontario, “Algonquin Petition of June 6, 1835,” http://www.tanakiwin.com/wp-system/uploads/2013/10/f-Algonquin-Petition-of-June-6-1835.pdf.
Patrick J. Lynch, A Field Guide to Cape Cod (New Haven, CT: Yale University Press, 2019), 75, 81. See also John Cumbler, Cape Cod: An Environmental History of a Fragile Ecosystem (Amherst: University of Massachusetts Press, 2014).
Lynch, A Field Guide to Cape Cod, 30.
Digital facsimile, deed held by James Thompson, 1836. Land Petitions of Lower Canada, 1764–1841. Library and Archives Canada. http://www.bac-lac.gc.ca/eng/discover/land/land-petitions-lower-canada-1764-1841/Pages/image.aspx?Image=e008738787&URLjpg=http%3a%2f%2fcentral.bac-lac.gc.ca%2f.item%2f%3fid%3de008738787%26op%3dimg&Ecopy=e008738787.
For a discussion on waste’s relation to the sublime, see Amanda Boetzkes, “Waste and the Sublime Landscape,” in “Landscape, Cultural Spaces, Ecology,” ed. Lora Senechal Carney and Édith-Anne Pageot, special issue, RACAR: Canadian Art Review 35, no. 1 (2010): 22–31.
Heather Davis, “Life and Death in the Anthropocene: A Short History of Plastic,” in Art and the Anthropocene: Encounters among Aesthetics, Politics, Environments and Epistemologies, ed. Heather Davis and Etienne Turpin (London: Open Humanities Press, 2015), 349, 348.
Wolfe, Dwelling in the Dunes, 27.
Michael Taussig, “The Beach: A Fantasy,” Critical Inquiry 26, no. 2 (2000): 251.
Taussig, “The Beach,” 271.
Patricia Ávila-García and Eduardo Sánchez, “The Environmentalism of the Rich and the Privatization of Nature,” trans. Victoria Furio, Latin American Perspectives 39, no. 6 (2012): 51–67.
Claude glass as shown in Pike’s Illustrated Descriptive Catalogue of Optical, Mathematical and Philosophical Instruments; Manufactured, Imported and Sold By the Author; With Prices Affixed at Which They are Offered in 1856, vol. 2 (New York: Benjamin Pike Jr., Optician, 1856), 193.
Young Man with a Claude Glass by Thomas Gainsborough, 18th century. Courtesy of the Morgan Library and Museum. III, 1.
Arnaud Maillet, The Claude Glass (London: Zone Books, 2004), 217.
For art historian Renzo Dubbini, the picturesque is “an interpretive code and a theory of character applied to the environment” (Geography of the Gaze: Urban and Rural Vision in Early Modern Europe, trans. Lydia G. Cochrane [Chicago: University of Chicago Press, 2002], 136).
William Gilpin, Three Essays: On Picturesque Beauty; On Picturesque Travel; and on Sketching Landscape: To Which Is Added a Poem on Landscape Painting (London: R. Blamire, 1792; Ann Arbor, MI: Early English Books Online Text Creation Partnership, 2011), https://quod.lib.umich.edu/e/ecco/004863369.0001.000/1:4?rgn=div1;view=fulltext, accessed 14 November 2020.
See Ron Broglio, Technologies of the Picturesque: British Art, Poetry, and Instruments, 1750–1830 (Lewisburg, PA: Bucknell University Press, 2008); Gina Crandell, Nature Pictorialized: “The View” in Landscape History (Baltimore, MD: Johns Hopkins University Press, 1993); Dubbini, Geography of the Gaze. On the construction of landscape through capital, see Neil Smith, Uneven Development: Nature, Capital, and the Production of Space, 3rd ed. (Athens: University of Georgia Press, 2008).
Art historians have made decisive cases for how the picture-making of land shapes our seeing of the natural world. For example, Crandell has found that Greek architects sited their buildings in relation to important geological features on the land; she argues that because their representational conventions were different from our own—which privilege the view from a singular pair of eyes standing in a landscape—we couldn’t see the profound relation antiquity had with land (Nature Pictorialized). See also John Barrell, The Idea of Landscape and the Sense of Place, 1730–1840 (Cambridge: Cambridge University Press, 1972).
Art Education, Concordia University, Montreal: “Image/Text/Motion: The Poetics and Politics of Water” (2015); “Water 2.0: The St. Lawrence River/Fieldwork in the Anthropocene” (2016); and “Art and the Anthropocene” (2018).
Allen Carlson, “Ten Steps in the Development of Western Environmental Aesthetics,” in Environmental Aesthetics: Crossing Divides and Breaking Ground, ed. Martin Drenthen and Jozef Keulartz (New York: Fordham University Press, 2014), 13–24.
David Hickey, The Invisible Dragon: Essays on Beauty (Chicago: University of Chicago Press, 2012).
David Orr, “Environmental Education and Ecological Literacy,” Education Digest 55, no. 9 (1990): 49–53. See also Native American studies scholar Gregory Cajete, who defines land education as bound by direct experience; he writes that it involves learning about “not only a physical place with the sun, wind, rain, waters, lakes, rivers, streams but a spiritual place of being and understanding” (“Reclaiming Biophilia: Lessons from Indigenous Peoples,” in Ecological Education in Action: On Weaving Education, Culture and Environment, ed. Gregory Smith and Dilafruz R. Williams [New York: State University of New York Press, 1999], 193); and aesthetics scholar Arnold Berleant, who argues for further attention to experience, understood as sensorial and embodied; he sees “an aesthetic interest in environment as fundamental…because our sensory engagement with environment precedes and underlies every other interest” (“The Cultural Aesthetics of Respect: Kant’s Contribution,” in Environmental Aesthetics: Crossing Divides and Breaking Ground, ed. Martin Drenthen and Jozef Keulartz [New York: Fordham University Press, 2014], 63).
Leslie Marmon Silko, “Landscape, History and the Pueblo Imagination,” Antaeus 57 (1986): 882–94.
William Blake, paraphrased in Marshall McLuhan, “The Medium Is the Message,” in Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1964), 7–21.
See Sonja L. Jakubec, Dan Carruthers Den Hoed, Heather Ray, and Ashok Krishnamurthy, “Grieving Nature—Grieving in Nature: The Place of Parks and Natural Places in Palliative and Grief Care,” in Health in the Anthropocene: Living Well on a Finite Planet, ed. and Katherine Zywert and Stephen Quilley (Toronto: University of Toronto Press, 2019), 241–50. Jakubec’s work functions outside transactional phenomena like the ParkRX program, in which doctors officially proscribe time in natural spaces, often providing patients with state-allocated day passes to parks. Whereas Jakubec’s model involves self-direction from patients and caregivers, the Park RX model weds doctor-as-authority-figure with a transactional access model, whereby doctors provide day passes to particular spaces. For more on Park prescriptions and the health benefits of being in green spaces, see Nate Seltenrich, “Just What the Doctor Ordered,” Environmental Health Perspectives 123, no. 10 (2015), A254–59.
Cajete notes “the development and nurturance of this sensibility play a very important role in maintaining our physical, mental, and psychological health” (“Reclaiming Biophilia,” 190).
See Smith, Uneven Development, 16–28.
Since the time of writing, the Mashpee Wampanoag tribe on the Upper Cape have had their lands newly expropriated by the Trump Administration’s Department of the Interior. See Max Jungreis, “Mashpee Wampanoag Tribe Is Losing Its Reservation,” The Boston Globe, 28 March 2020, https://www.bostonglobe.com/2020/03/28/metro/mashpee-wampanoag-tribe-is-losing-its-reservation-leader-says/.
See Gilbert Gaul, The Geography of Risk: Epic Storms, Rising Seas, and the Cost of America’s Coasts (New York: Farrar, Straus and Giroux, 2019).
Orr, “Environmental Education,” 49. This distinction recalls Taussig’s contrast of the actions of contemplating/inhabiting (“The Beach”); and gestures to the landscape/taskscape divide in Tim Ingold, The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (London: Routledge, 2000).
Mandell, Tribe, Race, History.
Marx uses the term vogelfrei, I think, evocatively to refer clearly to an emergent proletariat without land rights or access to means of production and to suggest the potential of this group toward setting themselves free (Capital, 896). For a sense of the term’s usage in more recent legal scholarship, see Umut Özsu, “Grabbing Land Legally: A Marxist Analysis,” Leiden Journal of International Law 32, no. 2 (2019): 219; Markus Dirk Dubber, “The Right to Be Punished: Autonomy and Its Demise in Modern Penal Thought,” Law & History Review 16, no. 1 (1998): 120. For a general account of the term’s history, see Wikipedia, s.v., “Vogelfrei,” https://en.wikipedia.org/wiki/Vogelfrei.
Peter Kulchyski, Like the Sound of a Drum: Aboriginal Cultural Politics in Denendeh and Nunavut (Winnipeg: University of Manitoba Press, 2005), 18.
New York dancer/choreographer and performance artist Carolee Schneemann’s “Eye Body” (1963) is a key reference point here. As a set of actions and representations by the artist in an environment that sought to center the body in the creative act, the work marks the embodied nature of seeing and challenging perceived divides between painting and sculpture; painting and performance; artist and subject. See Carolee Schneemann and Bruce McPherson, More Than Meat Joy (Kingston, NY: McPherson & Co., 1979).
A recent New York Times article described the purchase of air rights from a neighboring building by members of a condominium seeking to protect their view. See J. David Goodman, “How Much Is a View Worth in Manhattan? Try $11 Million,” New York Times, 22 July 2019, https://www.nytimes.com/2019/07/22/nyregion/manhattan-real-estate-views-air-rights.html.


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FINALLY recapping my Atlanta trip from a few weeks ago! Sorry it took so long. As most of you know, I work full-time and we are in busy season (work first, play later). So, let’s get to it!
One of my close friends Amorkor turned 23 near the end of June, so she wanted to celebrate by taking a girls trip to Atlanta. Now, she’s a frequent Atlanta traveler, so this girl knows what she’s doing in this city. However, it was nice knowing she wanted to have different experiences this time since she was traveling with a different group of girls. Instead of booking a hotel, we decided to stay at an AirBnB. If you don’t know what that is, it’s a place where guests can book spaces from hosts, connecting people who have space to spare with those who are looking for a place to stay for days, weeks, or even months. Since booking through them, I’ve pretty much decided that I’ll never stay anywhere else. It’s the same cost if not less than a hotel and you get the full amenities of staying in a house. Besides the house being absolutely gorgeous, the best part was that there was room for everyone to spread out and be comfortable. One of my biggest pet peeves is five girl staying in one hotel room using one bathroom, it’s horrible. If it’s in my control, I won’t ever do that again. Here is a quick little view of the house we rented in Cabbagetown right outside of Downtown, Atlanta. It had a fountain, three bedrooms, three full bathrooms, upstairs attached balcony, outdoor space, I mean it was PERFECT!
But, enough about the house. Cabbagetown is absolutely amazing and the cutest little town I’ve ever seen. There were graffiti murals everywhere, I was totally obsessed. Especially considering it was literally around every corner we turned. Totally different scene than what I get here in St. Louis. That’s what I look for when I vacation, being able to experience a completely different environment than what I get on a daily basis. These are the main murals I got the change to photograph, they are breath-taking and extremely impressive.
This was one of my favorites, obviously.
After finally getting settled into our weekend home, we decided to get lunch. Another great thing I love about Cabbagetown is that so many activities are in walking distance. Yet another thing I don’t get living in the suburbs of St. Louis, I have to drive EVERYWHERE. Unless I want to randomly walk to the Taco Bell up the street from my house, but I don’t eat fast food, so that’s a bust. We walked to a place called Six Feet Under. Man was the food GREAT! I ordered the blackened shrimp, crawfish, catfish taco combo platter. As you can tell below, it was delicious. I love trying different things from different places, so it was really a treat. Also, we got to eat on their roof top balcony which was awesome.
After lunch, we walked home and got ready for the night. My best friend Brittany arrived a few hours later and we soon left for the Juicy J concert! The horrible part about snapchat is that you take so many photos on there, you either forget to save them down or take actual pictures using your camera – bummer. BUT, it was so amazing. The best part was that we were front row and I caught his towel, accidentally. I know that sounds like a lie, but it’s true. You can even ask Amorkor. After that, we went to a bars in Edgewood which I’m obsessed with. I love rap music, especially underground artists, so that’s one of my favorite parts about Atlanta – discovering new music. The vibes I got in Edgewood are like nothing I’ve ever felt before. Everyone was dancing, having a great time, and just overall enjoying life – that’s an amazing time in my book. After a night out and long walk back to our house, we decided to call it a night.
Friday was my favorite day of the entire trip by far. One thing that I love about my friend Amorkor is that she’s a planner, like me. When someone else invites me on a trip, I really try and go with the flow because it’s about them, not me. Some trips I’ve attended are more go with the flow and relaxed, which is really nice. But honestly, I really love a well thought out, jam-packed, busy trip, with tons of activities and new experiences. Amorkor did just that, that’s why I had such an amazing time.
She asked us ahead of time if we would be interested in climbing Stone Mountain. I honestly had never heard of it but it looked like something different and fun. Besides, anything outdoors and athletic, I will ALWAYS say yes to. Of course and in typical fashion, we were lost the first 30 minutes of being there, but we finally found our way. Crazy thing is that, I didn’t expect the mountain to literally be 100% stone, and it was (as seen below). It was probably one of the most difficult but fun things I’ve ever done in my entire life.
Amorkor and I sweaty, with her fish eye camera lens, climbing up Stone Mountain.
The best most intense part of the mountain, I couldn’t capture because it was literally on a complete almost 180 degree incline (okay, it wasn’t literally 180 degree, but it sure as hell felt like it). If you fell, there was no one and nothing that could help you, because the entire mountain is rock. I consider myself to be pretty in shape and it was difficult for me to get up there. On top of that, there was massive elevation, hot temperatures, and humongous rocks to climb over.
But, reaching the top, was the best feeling EVER. The views were to die for. If I lived in Atlanta, I would be on this mountain every weekend. The trail we did was only a mile but it honestly felt like 5. To think we were considering doing the 5 mile course, that obviously wouldn’t have worked.
After taking the lift down the mountain, we decided to get something to eat. We went to a Tapas bar called Twist in Buckhead. The food was amazing, once again. Below is a photo of the scallops I ordered, they were amazing and the sauce was awesome. The lighting in the restaurant was really dark so the other food photos weren’t that good. However, we all got different tapas and shared them, best idea ever.
After lunch, we went home to shower and get ready for our wine stroll in Tudor Square. What this consisted of was us going to different establishments in Tudor Square, shopping their stores or boutiques, and tasting different wines while looking around. It was very relaxing and definitely something different to do .
One thing I would suggest that I don’t think I do enough of is utilizing Eventbrite and Groupon. I use Groupon all the time, but not so much when traveling outside of St. Louis. Eventbrite is where we bought our tickets for the wine stroll and the pool party. Amorkor is the one who threw the ideas out there for these events and I am so happy she did. I will definitely use these for my next trips!
After the wine stroll, we went home to freshen up and get ready for a night out on the town. We had friends over at our place and got ready to head downtown.
It was a sad day because it was Brittany’s last day before she had to head back to Chicago. But a happy day for Amorkor because her friend Nicole was coming from St. Louis. We woke up with the intention of getting henna tattoos, but that ended up falling through. No fear, we still had a full day ahead, so we got coffee and went into a few thrift stores. You would be shocked to know that I didn’t buy anything the entire weekend besides a hand-made wire ring from a random man off the street. All of this occurred in an area called Little 5 Points. Once again, there was a ton of graffiti murals everywhere and I loved it!
After Little 5 Points, we got a quick bite at a pizza place, went back to the house to relax a little, then headed to the pool party.
We bought tickets through Evenbrite once again for the rooftop pool party at the W. It had rained on and off all day, so there weren’t a TON of people at the pool party. But, that made it feel like our own private pool, which I had no complaints about! All in all, we had a great time.
We ended the night by going home, having some drinks back at the house with some friends, and a night out on the town. I was so sad that the weekend was over because I had such a great time! This trip definitely taught me that I need to continue being Type A and planning trips ahead of time, because we all know it’s hard for me to go with the flow. The trip wouldn’t have been possible if it weren’t for Amorkor pretty much planning every detail from the rental car, AirBnB, activities, and so on. Out of all the trips I’ve done, this one was definitely on my Top 3 List. In my opinion, a good trip consists of the people, atmosphere, activities, and overall positive vibes – this trip had it all!
Can’t wait for my next trip!

domain: travel


Samsung has said (opens in new tab) that it has begun shipping 4 Gb 20 nm mobile DRAM chips on Thursday. The Korea Times followed up by stating Samsung is sending those chips to Apple in particular -- a move that is reportedly ahead of schedule and possibly a sign that the company is looking to calm investors worried about Samsung's relationship with Apple.
Earlier in the week, there was a report that Apple may be shifting at least some of its DRAM orders from Samsung to Elpida and that the company bought up about 50 percent of Elpida's DRAM output. The report has caused Samsung's market cap to drop by almost $10 billion this week alone. There has been no confirmation from Apple or Elpida whether the shift has in fact happened, but it should not be surprising that Apple would consider other DRAM makers to diversify its suppliers, which not only guarantees supply, but offers leverage in negotiations. Apple has always acted in this manner and there is no reason to believe that it would change a winning strategy.
It's also no secret that there are tensions between Apple and Samsung due to lawsuits and counter-lawsuits. Apple is unlikely to be willing to fund its enemy and if it can move production volume away from Samsung, it probably will. Samsung's advantage is technology that is ahead of some of its rivals and that card may lure Apple back into the boat - or convince the company not to leave.


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Jackie had asked for This is How You Lose Her, by Junot Diaz, a book and an author I was not familiar with. When I got it for her, I thought, if I didn’t know Jackie better, that it sounded like a self help book. It’s not; it’s a collection of short stories. She really enjoyed it which made me investigate Mr. Diaz more. When I googled him, the first word that screamed at me was “Pulitzer.” Mr. Diaz had my interest.
The Brief Wondrous Life of Oscar Wao is a great first novel. Maybe not for everyone but certainly for me. Oscar is a geek extraordinaire who lives in Paterson NJ after his mother emigrated from the Dominican Republic. Oscar is very overweight, lives in a dream world of sci-fi, comic books and role playing games. He falls in love with just about every woman he sees, even women terribly out of his league. He fears he will be the first and only Dominican man to die a virgin.
Diaz uses tons of footnotes, telling us the back story of Rafael Trujillo, which made me realize how lacking my knowledge of Central American history is. (I’ll rectify that someday, after I read all of Diaz first.) He also writes parenthetically constantly (a man after my own heart.) He is a poet with the language. The heat in the DR is not just hot, it’s “beat you down hot.” She could not just swear, she could “cuss the black off the crows.” At the end of some of his footnotes, he’ll just start writing to the reader, which I mostly found charming.
The beginning of the book was all Oscar, poor sad doomed Oscar. He loved the Lord of the Rings Trilogy so much he put a sign saying, “Speak, Friend, and enter” above the door to his dorm room at Rutgers, and in Elvish, of course. I did like Diaz’s references to other books, from The Stand, It, Moby Dick, all things Tolkien, although after the tenth Mordor reference (“El Hefe dominated Santa Domingo like it was his own private Mordor.”) I was yelling at Diaz to go read another book. I got absolutely none of his comic book references, since Marvel and I have never become acquainted. There is a vast amount of Spanish in the book, which he never translates, but most of it is easy enough to suss out and I don’t know a bruja from a caudillo.
Just when you’re wondering if the entire book is going to be about whether Oscar ever gets laid, the focus switches to his sister, where we learn to hate their mother, until the focus switches again to the mother’s childhood, where we no longer hate her.
I liked the beginning to the book better than the end, which is getting commonplace with me no matter what new book I read. He wrote about Oscar and his love for the puta he fell for when he went back to visit the DR, and felt the need to put an author’s note in, explaining why he wrote that to the blacks on the DR and why they thought it might not sit right. That struck me as a shocking lack of confidence in himself.
I hope he has more than one novel in him because his wordplay is so wonderful. I imagine he writes like he talks. I’m very jealous of his writing students at MIT. (Who knew they taught you how to write at MIT?)

domain: literature


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A 13-year-old boy has been arrested on suspicion of sexually assaulting a four-year-old girl in a children's play centre in Lancaster.
Lancashire Police said the attack took place at The Zone on Dalton Square on 16 February between 12.30 and 1.30pm.
The teenager is currently on police bail pending further enquiries and investigating officers are appealing for information in relation to the incident.
Detective inspector Phil Jones said: "I would like to stress that at this stage, there is no suggestion that any other child has been a victim; we do believe this to have been an isolated incident.
"However, we are seeking any witnesses that may have seen something suspicious or out of the ordinary.
"This is a very sensitive investigation and we are seeking the help of the public. I would ask the parents or relatives of any children who were at The Zone on Saturday between 12.30pm and 2pm to contact the police."
The parents of the toddler are currently being supported by specially trained police officers.
Jones added that The Zone play centre is "fully cooperating" with the investigation.

domain: news


WARREN, NJ - After a presentation by Warren Recreation Director Joe Passaro, the Warren Township Committee voted to adopt a $1.78 million bond ordinance to move forward with the redevelopment and expansion of the municipal pavilion. The committee also passed a resolution to seek grant funding from Somerset County for the entire cost.
Currently, the municipal pavilion behind Town Hall is approximately 2,600 square and the expansion plan is about a total of 7,000 square feet. Built in the early 1960’s, the pavilion is nearing the “end of its useful life,” Passaro said. The proposed pavilion expansion will be able to accommodate all of the various groups that currently use it and more. Children and families, seniors, recreation summer campers and concert goers among them. The new pavilion will be ADA compliant and will have new electrical, a sound system, and new plumbing for expanded bathroom facilities.
See presentation and comments here:


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News from Yosemite National Park: Tioga Pass (Highway 120) will open all the way through the park on Monday, May 21 at 9:00am.
It’s official! Tioga Pass will open Monday, May 21, 2018 at 9:00am.
Additional information about the road opening:
- Tioga Road is a seasonal road through Yosemite National Park, typically open from late spring to early fall. All motorists should drive with caution and be aware of possible hazards in the roadway, including rocks, debris, and water. Tioga Road may be impacted by incoming storm activity, including snow and icy driving conditions, over the next week. Tioga Road may temporarily close due to weather and unsafe driving conditions at any time.
- To check current road conditions for Tioga Pass call (209) 372-0200 (press 1, then 1).
- There will be limited services available along Tioga Road.
- All campgrounds along Tioga Road remain closed.
- There is no anticipated opening date for the Tuolumne Meadows store and the Tuolumne Meadows Visitor Center. The Tuolumne Meadows Wilderness Center will open on Monday, and will also serve as a temporary visitor center. There is no gasoline available along Tioga Road.
- The closest gas station to the west is located at Crane Flat.
If you plan to travel over Tioga Pass, we highly recommend calling the road conditions line (209) 372-0200 (press 1, then 1) before you leave. Other helpful links:


posted by Anthony
two dogs pull horizontally on ropes attached to a post; the angle between the rope is 70deg. dog A exerts a force of 268N and dog B exerts a force of 310N.
find the magnitude of the resultant force. and the angle the resultant force makes with dog A`s rope.
draw the figure.
In my head, if R is the resultant
Then the law of cosines
The angle can be found by the law of sines, but you need to draw the figure and see how that works, after you get the angle in the law of sines, you have to orient it with geometry to some axis.
Fr=268[0o] + 310[70o] = 268 + 310*Cos70 + (310*sin70)i = 268 + 106 + 291i = 374
+ 291i = 474N[37.9o] N. of E. = 37.9o N.
of dog A's rope.


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An interesting game which seems to be a Childrens Game (similar to a German Klassen-Lotterie game (1880)). It consists of:
A set of picture cards numbered 1 to 60
A set of description cards (that match the picture cards) numbered 1 to 60
5 sets of Klasse cards
1ste Klasse 10 cards between 1 and 15 centen
2de Klasse 10 cards between 1 and 20 centen
3de Klasse 10 cards between 1 and 20 centen
4de Klasse 10 cards between 3 and 25 centen
5de Klasse 20 cards between niet (10 cards) and 100 centen
Each set of cards and klasse cards are in their own cases which match the box that they all fit into.
Unfortunately no rules but from Klassen-Lotterie. The description from Klassen-Lotterie is
"The lottery cards and the tokens are dealt out to the players, then each player in turn draws a counter from the draw box and can claim a lottery card from the other players." The object of the game is to end up with the most lottery cards.
Condition - Complete / Cards very good but six have number over-written in pen (3de Klasse) / no rules / Original box and 7 inner boxes Outer box scuffed at edges / inner boxes good (each labelled in pen) with contents
Postage / As postage often changes it will be provided at time of purchase. Postage will be at cost rounded up to the nearest £1.00 to cover packaging.
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domain: game