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I nipple games for guy that loves humiliation
But how often do we hear the nitty-gritty of how we can actually better understand our deepest desires and most embarrassing questions? Bustle has enlisted Vanessa Marin, a sex therapistto help us out with the details. No gender, sexual orientation, or question is off limits, and all questions remain anonymous.
Your goal is to twist the nipples of the fat guy. You have 60 seconds to twist the nipples as violently as you can! Welcome to Girl Gamesthe largest free game site made just for girl gamers! You'll always find the cool games at Girl Games, we have all the best games from game developers like i-dressup, girlsgogames and cartoon doll emporium so you will never get bored! New games are added every Thursday, so check back for all the latest free games online! Currently 3.
|Where am I from:||English|
|What is my hair:||I've lustrous ash-blond hair|
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domain: game


- The distribution date for the New Media spinoff will be made on or about February 13 to common stockholders of record on February 6. New Media's stock symbol will be NEWM.
- Newcastle (NCT) shareholders will receive 0.07219 shares of New Media for each share of Newcastle they own. When-issued trading commences on February 4.
- Previous coverage
- Press release


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3D of the HIV — 360°
This human immunodeficiency virus model summarizes the results from more than 100 of the latest scientific publications in the fields of virology, X-ray analysis and NMR spectroscopy. The depicted spatial configurations of 17 different viral and cellular proteins found in the HIV particle are in strict accordance with known 3D structures. The viral membrane in the model includes 160,000 lipid molecules of 8 different types in the proportion found in the HIV particle.
Date: Sep 08, 2010
Visual Science’s Ebola Poster represents a pinnacle in the history of visualization of the human body.
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domain: health


Beijing has reiterated its call to Taiwan to remove “artificial obstacles” and allow “safe and effective” vaccines from the mainland onto the island, and invited the Taiwanese to come and get inoculated.
China has repeatedly offered to send coronavirus vaccines to the island, which is claimed by Beijing as an integral part of the country. Chinese-made jabs have not been approved in Taiwan, however, and it has opted to use Western-manufacured vaccines instead.
The call was repeated on Friday by China’s Taiwan Affairs Office, which urged the Taiwanese authorities to authorize the use of Chinese-produced shots as soon as possible.
“[We] urge the authorities to earnestly listen to the voices of the people on the island and remove the man-made obstacles for mainland vaccines to enter Taiwan as soon as possible, so that Taiwan compatriots can get safe and effective mainland vaccines,” a spokesman, Ma Xiaoguang, said in a statement shared by Chinese state-run media.
The official also urged the Taiwanese to come to the mainland to be vaccinated. To qualify to be inoculated, Taiwan’s residents need to meet vaccination requirements and follow Covid-19 outbreak control measures. As of May 31, some 62,000 had been vaccinated on the mainland, the spokesman added.
The Chinese call comes as the island reports 287 new daily infections – one imported case and the rest locally transmitted – as well as 24 new deaths. Taiwan had fared extremely well in the pandemic, detecting only some 1,000 cases in over a year, but the situation has changed in recent weeks, with the island nation now facing a rapid spread of the disease. Its tally has now passed the 12,000 cases mark, with more than 360 people succumbing to the disease since mid-April.
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The new volume of the Rough Guide is dedicated to voodoo and the music that, in different ways, are associated with this complex (and still viable) ritual practice. The sound landscape that offers us is vast and includes many genres of music and artists from different musical extraction.
The repertoire includes rituals music of Haitian voodoo, Cuban Santeria, Brazilian Candomble, as well as traditional songs of the African Diaspora and New Orleans.
Regarding instead the artists that were included in the collection, we can say that well represent the complexity of the topic. In fact, the “Rough Guide to voodoo” includes not only popular singers and actors directly connected to this religious practice, but also musicians who have reinterpreted some of the songs that represent the expressive scenario of voodoo. In this context, the presence of ethno-jazz and, in general, commercial scene musicians, such as Baden Powell, Vinicius de Moreas, Maria Bethania and Dr. John, with the Haitian singer Toto Bissainthe, the Afro-Cuban singer Lazaro Ros and Erol Josue – “The Prince of Haitian Roots Music” and at the same time “Houngan”, that is “Vodou priest” – make the anthology not only a compendium on gender, but also an example of how vehicular, complex musical forms (out of a context so marginal as unique).
Also, as you can read in the dedicated page, the collection demonstrates that voodoo – and then, in full, a particular ritual practice strongly marked in social terms – and the productions of expression through which has taken shape, have an uncommon intrinsic resistance. Even continued to thrive despite the many types of repression carried out over the centuries.
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domain: entertainment


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Mar 4, 2015, 12:26 AM EDT
Kentucky is learning how to win games when they don’t play well. That’s scary.
Feb 9, 2015, 9:00 AM EDT
Kentucky and Oklahoma State both picked up big wins this week.
Nov 17, 2014, 2:40 PM EDT
Which five would you have on the floor if you were Coach Cal?
Nov 7, 2014, 9:00 AM EDT
As good as the Wildcats are, there are certainly some red flags here.
Nov 2, 2014, 3:45 PM EDT
Karl-Anthony Towns is doing a lot of damage early in his freshman year at Kentucky.
Oct 31, 2014, 9:00 AM EDT
Is this team better than Philly?
Oct 30, 2014, 9:00 AM EDT
The list of big men dominating college basketball this season is solid.
Oct 22, 2014, 4:06 PM EDT
College basketball will have plenty of impact freshmen this season. Here’s a look at some that could step in and contribute right away.
Aug 20, 2014, 2:01 PM EDT
Kentucky made the decision not to allow one of their stars to head to Spain for two weeks while they’re supposed to be in class.
Aug 12, 2014, 3:46 PM EDT
Tyler Ulis, Karl Towns, too much depth and why Alex Poythress’ play was so important.
Jul 15, 2014, 10:46 PM EDT
Karl Towns became the second Kentucky Wildcat to win the award.
Apr 12, 2014, 12:03 AM EDT
Kentucky commit Karl Towns has had a good couple of weeks of practices at marquee events and he hammered home another dunk on a defender at Nike Hoop Summit practice.
Jul 13, 2013, 6:10 PM EDT
This just in: every move John Calipari makes pays recruiting dividends. Hanging with Charlie Sheen? Money. Posing with arch-nemesis Rick Pitino? Also gold. Being chosen to drive the Kentucky Speedway pace car? Got his name in the papers. Not getting to drive the pace car after all? Ditto. Losing in his hometown in the first…
Dec 4, 2012, 10:40 AM EDT
New Jersey native Karl Towns, one of the brightest young talents in the country, has committed to Kentucky and reclassified to the Class of 2014, he announced Tuesday. Towns’ commitment to Kentucky comes as little surprise, as he had developed a strong relationship with coach John Calipari and even played for Calipari this past summer…
Nov 30, 2012, 4:51 PM EDT
While college basketball world waits for 2013 recruits, Andrew Wiggins and Jabari Parker, to pick a school for next year, the top sophomore in the nation is already prepared to make his choice. Next Tuesday, Karl Towns (St. Joseph High/Metuchen, NJ) will announce his college choice from his high school. The 6-foot-11 Towns, who has…
- 2015 College Basketball Updated Early Entry List 14
- Providence announces return of point guard Kris Dunn for 2015-16 season 0
- Five-star guard Malik Newman commits to Mississippi State 0
- UPDATED: 2015-2016 College Basketball Way-Too-Early Preseason Rankings 0
- Oklahoma guard Buddy Hield returning for senior season 0
- Arizona forward Stanley Johnson enters 2015 NBA Draft 2
- California guard Tyrone Wallace to return for senior season 0
- Duke lands commitment from elite PG Derryck Thornton, who will reclass (17)
- 2015 College Basketball Updated Early Entry List (14)
- Five-star Kentucky commit believes the NCAA will clear him to play (10)
- Five members of Iowa State’s 2014-15 team have been arrested after two more arrests this week (9)
- UPDATED: 2015-2016 College Basketball Way-Too Early Preseason Top 25 (9)

domain: news


A router is a device generally used for networking which is used for forwarding the data packets flanked by various computer networks thus creating an overlay inter connected network because a single router is linked with various data lines on different networks. In case of a data packet coming in line to another data packet, the router requires reading of address information to find the final destination. Then it combines with the information already stored in a router policy to direct the source on to the subsequent network on its path. In this way, data packet gets transmitted from router through networks creating an inter network to reach the destination point. The selection for the best path inside a network is termed as routing.
The switching loop, also known as the bridge loop, occurs during networking in computers when there is in excess of one OSI model Layer 2 pathway between any two endpoints, say when there are connected several connections between any two ports or network switches connected via common switch with each other. Switching loops Layer 2 along with broadcast storms can be overcome by making use of function known as Spanning Tree Protocol or STP in LAN (Local Area Network). The Spanning Tree Protocol will allow the redundant links inside the network to avoid the failure of complete network system even in case of failing of an active link. Through this technique, almost complete switching loop issue can be overcome. The STP is supported through a simple algorithm which is developed at DEC by Radia Perlman. The STP was characterized by IEEE through IEEE 802.1D. The only problem now remaining is the sluggish convergence time of the STP and to overcome the problem, another version of STP known as IEEE 802.1W was introduced which is also termed as RSTP (Rapid Spanning Tree Protocol) because of its ability of a large convergence time. Apart from STPs, the other things that one can also do to avoid the problem of switching loop is to monitor the CPU load through SNMP or enabling the SNMP traps for some of the events like topology STP changes etc. Enable the use of storm controls to limit the broadcast at the ports or maybe enabling port security along with limiting number of address MAC with every port can also help solve the problem to some extent. In case you run a DHCP, enable Option 82 for avoiding the problem. Always check to not span the VLANs in excess in using the L2 topology to overcome this issue.
Correct cabling is extremely important for maintaining proper orientation of bypass copper switches, especially for 10/100 BaseT applications. The improper cable issue can lead to inability of unit to maintain the functioning like bypass switch. To overcome such cable issues, it is very important to make sure that both the router and switch interface can communicate with each other in a bypass mode. If this test of Bypass communication mode does not succeed, try directly connecting the external two cables with the help of RJ45 female coupler. Another way to make some further inroads to avoid the problem is to connect only a single cable at a time. Cabling should be done in a way such as the router is directly connected through cables with a DTE based interface. This direct cabling must also be there to connect switch port with a DCE interface or network switch. Crossover cables must only be used at places where connection with opposite type equipment is required.
Port configuration is among the most common mistakes that administrators tend to make while processing the networking request. It is mostly during the configuration stage that either on router or switch or the addressing of local subnet that these issues generally occur. If the problem is related to the switch port configuration, using show interface switch port command must be done to check out what is the root cause of the problem. The show interface switch port and the show running config are some of the powerful tools for troubleshooting the port configuration issues. If you are using a traditional model for routing, make sure that switch ports are connected to router interface and are configured correctly. If the same has not been done correctly, network devices will not be receiving or getting connected to the router interface which will hinder traffic to other networks.
For overcoming this problem, utilize switch port access 20 VLAN configuration interface command through a switch port. Whenever a switch port is made to configure or assign with a correct VLAN network, computer is then able to communicate through router interface and then will be able to access other VLANs in connection with the router. To configure a static VLAN, it must be assigned statistically. For restricting VLAN routing, you may also go to Configuration > Network > IP > IP interface section. Then click Edit to restrict the routing for a particular VLAN. Configure the VLAN for obtaining the IP address and then uncheck inter VLAN routing option and apply the changes to complete the process.
MTU path discovery is a standard technique in networking terms which is used to determine maximum units of transmission through a network between two IP hosts required to avoid IP fragmentation. But this also causes problems like security devices blocking all the ICMP messages for security benefits which also includes the error which are required for genuine operation of MTU path discovery creating a black hole. To avoid this situation enabling detection for black PMTU hole on the hosts for windows is required that will communicate with the WAN connection. To do this, open registry editor and search for the following key in the editor 'HKEY_LOCAL_MACHINE\SYSTEM\CurrentControlSet\Services\tcpip\parameters' and then select add value from the edit menu, following on then add value name = Enable PMTUBH Detect, data type = Reg_Dword and value =1 and then quit the editor and restart your device. Another method for the same is configuring the router intermediate to enable sending of Type 3 ICMP 4 Code messages which requires a firmware upgrade or router software, reconfiguration or replacement of router.
Sudden and power interruptions might result into having sporadic connection and even running out of all when the power outage is restored. If something of this sort happens, you will need to follow a standard set of instructions to get back on track. Firstly, switch off the router and also unplug the router from the external power adapter. Wait till 10 seconds before connecting the adapter and switching it ON. If you are still facing the same problem of no connection, then try doing the following. Resetting the router and then configuring it - this may be achieved by pressing and holding Reset click for at least 10 seconds. Then upgrade or re - flash the router's firmware by using the latest version of it and then trying re - flashing it.
Troubleshooting the problems related to network and routing or missing information from routing is an essential skill involving implementation and maintaining a routed network which makes use of a routing protocol. There are several reasons for such problems which can be listed as follows:
This problem may arise due to the modules not getting recognized by the server. In order to overcome this, you need to verify information on hardware of the network and will need to use show diag prompt in EXEC mode. If the information is not present in the module, reset hardware module. Router will need to be reloaded after installing the module. Check for documentation on hardware installation as some modules also need configuration from router after installation. If an error message is displayed, it is the hardware incompatible issue. Check modules to make sure that they are in support with router.
Subnet mask is required for TCP/IP to function properly. It determines if the host is on using a local subnet or any remote network. The troubleshooting for such problems is done through the use of WINIPCFG, PING and IPCONFIG utilities. The common problem you'll encounter is that computer will be able to communicate with hosts on local network and to all remote networks but not to those who have same class and are nearby to it. To fix such issues, you will just be required to punch the subnet mask correctly in the IP/TCP configuration for the host.
Any device encountering the problem of wrong or incorrect gateway can communicate with any host available on its own network segment but not with some or all hosts available on the remote network. A network using more than one router and if wrong router is set the default gateway, the host can communicate only with some remote networks. The problem can be solved by setting up a DLINK to work as a switch or put the same in bridge mode that can provide the link for communication between networks.
All TCP/IP protocols are well equipped to detect any duplicate IP address issue in most cases. Here is what you can do to avoid the same. Delaying the probe from the switching is an ideal method to go about this problem such that Windows has adequate time to complete the process of duplicate address detection. Use the command 'ip device tracking probe delay 10' for delaying the probe. You can also configure switch to send non - RFC compliant probe from SVI in VLAN to the place where PC is residing. Use the command 'ip device tracking probe use-svi' to complete this process. Another method is to troubleshoot the client to determine root cause of duplicate error occurrence. In order to complete this process, analyze the behavior of IP device and tracking probe by using command 'ip device tracking probe interval seconds'. This can be your base to overcome this problem.
Wrong DNS error message is something we all wish hasn't existed because it can almost kill your network. DNS looks after the process for converting the website's URL to IP address required for actual communication. However, there are some easier ways to overcome the problem. Verifying your network connectivity is the most basic step you need to try in this situation. Then check if the server is doing load balancing across servers? Also, don't forget to check the server's forwarders. Then, try to ping some hosts and perform troubleshooting through NSLookup. Finally, alternate server DNS can also be tried and make sure the device is virus - free by performing a quick scan and then reboot the DNS server to complete the process.
The routing is required for many of the common operation such as electronic data or telephone network and transporting network etc. The router in general is connected mainly with two networks, it may be two LANs or one LAN and one WAN and its related ISP network. Any error or issues within this network or connection makes way for many different types of problems encountered while using routers. Above are mentioned some of the methods to deal with several problems related to routers and switches. Hope, they are useful.
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Video entertainment markets in the Nordics are gearing up for a period of solid and sustained growth, according to a new raft of reports from Futuresource Consulting. The firm’s latest round of research shows the region achieved US$6.3 billion in video entertainment revenues in 2021, and is forecast to reach nearly US$7 billion in 2022, rising to US$8.5 billion by 2026.
“All eyes are on SVoD,” says Joanna Wright, Senior Market Analyst, Futuresource Consulting. “While Pay-TV currently captures the majority of consumer spend across the region, SVoD is the driver behind new growth, despite slowdown in the sector. We’re seeing people reach for their purses and wallets for D2C services like Disney+, the newly relaunched version of HBO Nordics, HBO Max and the likes of Paramount+ and Discovery+ as well.
“Whilst international brands have performed well in recent years, local players are also making a significant market impact. Viaplay is closing the gap on the leader Netflix in all markets, making big investment plays within the Nordics, as well as extending its reach into other territories. Meanwhile, TV2 Play in Denmark and Norway, and CMore in Sweden and Finland, continue to perform well and stake their claim in the market, thanks to deep catalogues of premium local content.”
Futuresource expects SVoD in the Nordics to generate US$2.6 billion in 2022, with more than two million net additional subscriptions, taking the total subscriber base to 19.5 million across the region. In terms of spend, Sweden takes the top spot, accounting for 30% of total revenues. Denmark is close behind at 29%, with Norway and Finland taking 26% and 15% respectively.
Nordic Box Office is also beginning its ascent, on track to return to 75% of pre-pandemic revenue levels in 2022. The majority of cinemas have reopened, and a high incidence of vaccination and booster uptake in all four markets is encouraging the rapid rollback of covid restrictions.
PVoD and PEST have also both performed relatively well from a limited number of titles. Moving forward, Futuresource expects further and more widespread trials, which should achieve strong uptake due to the region’s affluence and its strong appetite for new release content.
Digital transactional video faced a challenging year in 2021, with a limited release slate, particularly from Hollywood, and this applied downward pressure to both physical and digital revenues. However, Futuresource expects a slew of new releases that will transform the market in 2022. Amazon is also yet to launch its transactional video store in the Nordics, though Sweden is tipped for a mid-year launch, with other Nordic markets being rolled out in the next wave. Due to a limited presence here, the e-commerce giant is unlikely to have the same disruptive influence on the market as seen in countries such as Spain and Italy.
“When it comes to digital transactional video, it’s not all about Hollywood,” says Wright. “Far from it. Local films performed well last year, particularly in Denmark. Oscar-winning title Druk cemented its position as the biggest EST title to date in Denmark, with big wins coming in for the likes of Riders of Justice, The North Sea and Ternet Ninja 2 as well. But Norway is the one to watch, on track to account for more than 40% of EST spend in the Nordics this year, with a digital ownership mindset already well-established across the country.”
For further information or to purchase Futuresource Consulting’s video insights reports on Denmark, Norway and Sweden, please contact firstname.lastname@example.org
Latest Content & Entertainment Insights


Der Bundesrat hat am Freitag, 28. Mai 2021, dem von Herrn Bundesminister Andreas Scheuer vorgelegten Gesetzentwurf zur Anpassung nationaler Regelungen an die Durchführungsverordnung (EU) 2019/947 der Europäischen Kommission vom 24. Mai 2019 über die Vorschriften und Verfahren für den Betrieb
Markets, trends and perspectives
What's going on in the world of FLYBOTS? How is the market developing? What are current trends? Where are the perspectives?
Here you will find exciting articles about FLYBOTS. Experts share their knowledge on current topics related to the development and operation of FLYBOTS. Information from the community for the community.
FLYBOTS Techtalk: 5 questions to Christian Kaiser (Copting GmbH)
In our "Techtalk" we would like to know more in detail and begin our interview series with Christian Kaiser, Managing Director at Copting GmbH. We wanted to find out which products and services have good prospects for growth from his point of view and which skills are crucial for drone training. Also important: Which wishes does Christian Kaiser have for politics and the development of the market.
FLYBOTS Get together auf der ILA Berlin 2022
Kleines FLYBOTS Get together am 24.06 auf der ILA Berlin
Hello (FLYBOTS) World
Hallo liebe FLYBOTS-Community, mein Name ist Gilbert Linn und ich arbeite seit Januar 2022 für LNC LogistikNetwork Consultants GmbH in Hannover. Ich bin als wissenschaftlicher Mitarbeiter angestellt und unterstütze die Landesinitiative Niedersachsen Aviation und die interaktive Plattform FLYBOTS.INFO.
Von der zivilen Luftfahrt zu FLYBOTS
Kurze Vorstellung von Celina Kiesling
Other sources online
BVZD - Branchenverband Zivile Drohnen e. V. organizes the dialog between the civil drone industry, politics and society in the fields of new mobility, logistics and digitalization. The central goal of the association is the economic promotion of the young industry, the increase of flight safety in alignment with other road users and the positive shaping of political framework conditions.
With around 250 members, the German Aerospace Industries Association (BDLI) represents the interests of an industry that is characterized by international technological leadership and global success. The German aerospace industry is not only the lifeline and driving force of the economy, but also an important employer of predominantly highly qualified employees.
The primary tasks of the BDLI include communication with political institutions, authorities, associations and foreign representations in Germany as well as a wide range of member services in Germany and abroad. The association is also the trademark owner of ILA Berlin - the trade show for "Innovation and Leadership in Aerospace".
For many years now, the BDLI UAV Expert Committee has successfully accompanied the development of the civil and military drone market.
In view of overlapping interests, in 2017 the BDLI partnered with the German Air Transport Association on Unmanned Aviation (BUVUS) and established the voice of Unmanned Aviation in Germany with the joint initiative Verband Unbemannte Luftfahrt.
The German Air Transport Association (BDL) is the common voice of the German air transport industry.
It is open to all German aviation companies and associations. The association represents and promotes the interests of airlines, airports, German air traffic control and other service providers in German aviation.
The BDL is committed to ensuring that Germany can develop as a high-performance and competitive aviation location - in responsibility for society and the environment. The association acts as a central point of contact for politicians, the media and the public, bundling and communicating the issues that are of importance to the German air transport industry.
In order to speak with a strong voice on the important subject of unmanned aviation, manufacturers and operators in the German aviation industry - represented by the German Aerospace Industries Association (BDLI) and the German Air Transport Association (BDL) - have joined forces in the Unmanned Aviation Association.
UAV DACH e.V. exists since 2000 and is the largest and most experienced German-speaking professional association for unmanned aerial vehicles in Europe. It represents the interests of about 220+ members from research & development, manufacturer and supplier industry as well as users and service providers from the countries Germany, Austria, Switzerland, Italy and the Netherlands. The association's superordinate goals are the economical construction and use of unmanned aerial vehicles for the benefit of the public, the achievement of broad public acceptance and operational safety in the airspace without danger to persons and property on the ground.
The Verband Unbemannte Luftfahrt is a joint initiative of the German Air Transport Association (BDL) and the German Aerospace Industries Association (BDLI). The new association is primarily concerned with the challenges of certifying commercially used unmanned aviation systems and integrating them into the existing air transport system. The focus is on the safe coexistence of manned and unmanned aviation.
The 2021 market study "Analysis of the German Drone Market" by the Unmanned Aviation Association can be found here.


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One of the special things that make the south India excursions magnificent is the culture, artwork and architectures which particularly obtainable in states reminiscent of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. South Indian tourism introduces the richness of temples and its structure through which a significant a part of the Indian cultural historical past lays. Furthermore, it provides opportunity to know extra in regards to the lovely dance kinds comparable to Kathakali, Mohini Attam, Kuchipudi, Bharata Natyam that south India tourism has produced in entrance the world.
?? Contact a trusted travel company: Journey businesses have the very best know-how relating to each tourist destination. They will acquaint you with every nuance of your most well-liked vacationer destination regarding ticket prices, accommodation Bangkok and elsewhere in Thailand comparable to Chiang Mai, Phuket and so forth. Since travel companies book inns Thailand rooms in bulk, they receive fairly some low cost which they move on to the customers.
In addition to this explicit natural phenomenon, there are a various and comprehensive record of the reason why summertime makes an excellent season for an Anna Maria vacation. Technically thought of a part of the “off-season,” June and July prove exceptionally quiet periods for vacationers trying to get away from the busyness of their day by day grinds. Moreover, this destination buzzes with activities, features and occasions all yr long. Simply try native websites and listings to be firmly in the know upon arrival.
Purple Fort is a famous and exquisite vacationer spot of capital New Delhi. It Situated nearer to the Chandni Chowk. The identify comes after the delivered deal with of first prime minister of our nation, Mr. Jawaharlal Nehru speech to the nation. It also constructed over ten years the Purple Fort was the mind youngster of nice Emperor Shah Jahan. The inner part of Pink fort is making you to mesmerize. This monument is unquestionably like a story teller of our nice nation’s history.
Goa is the smallest state of India but it is full of sights for vacationers approaching a visit of the state. One of the hottest travel locations of the world, Goa is full of bundle of vacationer spots to go to. It is the land of scintillating seashores, picturesque sightseeing spots and alluring tourism points of interest that make the state an impressive holidaying vacation spot. Goa is amazingly gifted by the nature and has scores of places of vacationers’ curiosity amongst which the beaches are the finest and probably the most sought after.

domain: travel


J. Phys. IV France
Volume 134, August 2006EURODYMAT 2006 - 8th International Conference on Mechanical and Physical Behaviour of Materials under Dynamic Loading
|Page(s)||269 - 274|
|Publié en ligne||26 juillet 2006|
J. Cirne, R. Dormeval, et al.
J. Phys. IV France 134 (2006) 269-274
High strain rate and high temperature behaviour of metallic materials for jet engine turbine containmentF. Gálvez, D. Cendón, A. Enfedaque and V. Sánchez-Gálvez
Department of Materials Science, Polytechnic University of Madrid, c/ Profesor Aranguren s/n, 28040 Madrid, Spain
Published online: 26 July 2006
This work presents a study on the mechanical characterisation of the materials involved in air jet engine turbines. The final objective is to analyse the phenomenon of a turbine blade off failure, to verify the requirements of the case containment. The materials in the turbine are under high temperatures, ranging from 400C to 800C and when the fail of the blade occurs if impacts against the case, reaching strain rates up to 103 s - 1. To obtain the behaviour of the materials, testing at high strain rate and high temperature at one time is necessary. The experimental set-up used was a split Hopkinson pressure bar, with a high temperature furnace adapted. The bars used on the device were high strength nickel alloys with a cooling system to decrease the temperature of the measurement devices. The effect of wave dispersion due to the temperature gradient has been also studied to correct the measurements if necessary. The material tested has been the FV535 stainless steel used on the case. The full stress-strain curves at different temperatures and at strain rates up to 103 s-1 have been obtained. The experimental results show a marked influence of the strain rate and the temperature that cannot be neglected. The Johnson-Cook material model has been used to fit the results of the material tests.
© EDP Sciences 2006


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||Editors Note: On Friday, December 14, 2001, the writer W. G. Sebald was killed in a car accident in Norwich, England, where he had lived since 1970. In the days after his death, we received a number of emails, faxes, and calls from people who, though they had never met him, felt connected to Sebald through his books. This symposium is our way of responding to that spontaneous expressions of shock and loss.
What Arthur Penn said of filmthat it trembles constantly on the brink of being boringalso holds true for the work of W. G. Sebald. This is not the reaction of a middlebrow philistineor at least its not only that. I find thrillers boring but thats just a personal thing; they dont engage with the idea of boredom in the way that Thomas Bernhard or Sebald does. It is the trembling, the perpetual uncertainty, the hovering on the edge of infinitely tedious regress (a yawning chasm, so to speak), that generate the peculiar suspensethe sense, more exactly, of suspended narrationthat makes Sebalds writing so compelling. This was most pronounced, paradoxically, in The Rings of Saturn, where the flatness of the landscape, the profound inaction described, accentuated the dizzy psychological depths plumbed. Like The Emigrants, it held ones interest constantly because any clues as to what was going to make the book work always seemed likely to be hidden in the least interesting passages, the passages one was most tempted to skim. The reader was thereby forced to attend (in every sense) with a patience-straining diligence that proceeded in tandem with the narrators weary tramping through the Suffolk lowlands.
Sebalds hypnotic prose lulls you into tranced submission, a kind of stupor that is also a state of heightened attention. After a while (long after you would normally be prepared to wait), you sense that the studied avoidance of anything resembling momentum has generated a purpose and direction of its own: not a story as such, but the process and chance encounters from which a novel could have been coaxed.
The idea of the digression was so intrinsic to the conception of both The Rings of Saturn and The Emigrants that one never doubted, however wayward and unfamiliar the territory, that Sebald knew exactly where he was going. By the time of Austerlitz I had become sufficiently acclimatized to this weird literary terrain to feel that I too knew exactly what was going on. Exactly in the sense of, well, vaguely. Sebald was a meteorological writer: atmosphere and weather do much of the work of character and plot. Austerlitz is all mist, drizzle, dissolution, and haze. All forms of colour were dissolved in a pearl-grey haze; there were no contrasts, no shading any more, only flowing transitions with the light throbbing through them, a single blur from which only the most fleeting of visions emerged. That passage is itself one of those visions, a subtle swell of lyrical brilliance emerging from the carefully articulated narrative blur. You resolve to concentrate harder but, within a few pages, the diminished corporeality of the writing drifts, like a creeping miasma, towards an impenetrable fog.
As Austerlitz had its mists, so Saturn had its melancholy wash of cloud. The combination of lowering cloud and the narrators wryly nonspecific depression trembled constantly on the brink of wan humor. Indeed, this initially wary readers conversion to Sebald occurred with the dim realization that he was, along with everything else, a comic writer. In this respect his world is reminiscent of the black idylls of Bernhard, whose relentless, paralyzing hysteria is sedated and transformed by Sebald into his own unique form of repressed almost-hilarity.
Sebalds death was as unsettling and anomalous as his work. Here was a writer struck down at the height of his powers, at the age of fifty-seven, when he had just begun to achieve wide recognition. Each of these statements would typically be incompatible with at least oneoften bothof the others. He was one of the most innovative and original contemporary writers in the world, and yet part of this originality derived from the way his prose felt as if it had been exhumed from the past, as if the spirit of ruined Europe were speaking through him. Perhaps this is why it was said, in Germany, that he wrote like a ghost. There was always something weirdly posthumous about his writing, but this only makes his physical death more shocking.
The loss feels unbearable. Premature death has brutally imposed a retroactive shape on Max Sebalds life and work, turning early or middle things into last things. Perhaps in the future it may come to seem inevitable that the elegiac intensities inscribed by Sebald in literature do not result in a large body of work. That, instead, we have the imperishable gift of just a few books written once he found the voice in which to deliver his commanding, exquisite prose arias. But, for the moment, the loss simply feels...devastating. Unacceptable. Difficult to take in. He had an exemplary sense of vocation, full of scruples and self-doubts. The work is recklessly literary and inspired by a thrilling variety of models. These writersfrom Adalbert Stifter and Jean Henri Fabre to Virginia Woolf and Thomas Bernhardillustrate Sebalds connection to several kinds of moral seriousness, luminousness of description, and purity of motive. He was one who demonstrates that literature can be, literally, indispensable. He was one by whom literature continues to live.
In the summer of 1998, when I was taking a trip in Northern California, I came upon a paperback copy of The Emigrants in a small independent bookshop. I had been told about the book by a friend but was not prepared for the effect it had on me, one that I can only describe as total entrancement, accompanied by a profound sense of vertigo. I kept reading it in fits and starts as my journey was often interrupted. At times, even as I was caught up in the narrative, I would have to stop because I had become confused as to who was the I that was doing the tellingas if all the Is in the story, fictional and real, were merging into one in this circling of storytelling.
At one point in the narrative of Max Ferber, I came to the words time, he went on, is an unreliable way of gauging these things, indeed it is nothing but a disquiet of the soul, and I realized that the vertigo was extending to the experience of time as well.
Propelled onward, not by suspense but by something even more fundamental to narrative, I came to the bottom of the next page, and suddenly there was total disjunction. The words on this next page were not only out of time; I could not tell at all if it was indeed the person speaking who had been speaking. At the same time, the words I was reading were strangely and deeply familiar to me.
What had happenedand it took me a good few minutes to realize thiswas that the book had been improperly bound, so that after page 182 came page 151, and then a repeat of a section I had already read.
I bought a new copy of the book to read, but I also kept the old one. Since Sebalds death, I have looked again at that flawed copy of The Emigrants. I have thought how the sudden disjunction of voice and timewhich was a fluke of the binding processis at the core for me of Sebalds work. It is as if, reading him, I am constantly being dropped into an abyss and just as constantly pulled back, shaken yet knowing what I should have known (but may have forgotten or simply refused to know) about life and death.
I first heard of Sebalds death from a friend, who called and told me, and I said at once, almost harshly, You must have made a mistake, it cant be so.
Later, rereading The Emigrants, I came across these words: And so they are ever returning to us, the dead.
As anyone who has ever driven it will tell you, the Norwich/London road cuts, slack and dull, through low-lying fields. I say fields, knowing that the word might imply ample vistas. Not in Norfolk. In Norfolk it is sometimes hard to think there is a landscape present in any ample or comforting sense. If you see twenty feet ahead, you count yourself lucky. Fog and rain are as frequent as landmarks are few. Towns are fewer. Coming or going there is only one road, whose two lanes quickly clog with traffic. The fast follow the slow, and vice versa. The carts and tractors do eventually pull over, slowly yielding to speed, but there isnt much of anywhere for their concessions to lead.
I finished reading Austerlitz on the day Sebald died. This is true. I was on a plane (which has its own hazards), and did not learn at once that he was gone. I know the phrase is dramatic, and Victorian: I hope it captures how it felt to register that something as vast as Sebalds writing was at an end.
At first I was angry that the end came, of all places, on the Norwich/ London road. His was a mind that was anything but linear; it could switch lanes, jump in time and place, and maybe not bother to signal that something new (really new) was on the way. Lapses and leaps are frequent in his pages. Chaos threatensthink of the untidy piles in Austerlitzs studyand patterns are agonizingly hard to find. They demand endless detailslarge facts, faint tracesand time is essential for connections to emerge. I was angry that such a mind, such a way of understanding time and thought and history, could have been so fatally boxed in. Now, however, when I think of Sebalds death, I realize how much its irony fits with the very patterns his writing taught us to perceive.
Anne M. Wagner
Amid all the sublimity, mystery, and abysmal autumn of W. G. Sebalds work, it is easy to forget its more vigorous and vulgar arts: in particular, Sebalds ear for gothic melodrama, and for comedy. I stuck to the sandy path until, to my astonishment, not to say horror, I found myself back again at the same tangled thicket from which I had emerged about an hour before... This sentence from The Rings of Saturn is really the purest antiquarianismit sounds almost indistinguishable from the nineteenth-century Austrian writer Adalbert Stifter. Sebald, among many other talents, had a genius for this kind of muted extremism, which he used to slyly comic effect. For all the inevitable emphasis we put on Sebalds relationship to the Holocaust, he was in many ways an amused connoisseur of eccentricity, which represents, I suppose, the English side of him. I remember, when first reading The Emigrants, laughing out loud at several moments. One such occurred during the last story, Max Ferber, in which Sebald recounts his early days in England, in a Manchester boarding house. The landlady provided him with an English machine, called a Teasmade, which looked like a miniature power plant, a machine that combined an alarm clock and a tea-making mechanism. Sebald, proudly deadpan, reproduces a photograph of this absurd device. It was at that moment that I realized that there was something comic (as well as wistful, elegiac, radical, etc.) about Sebalds entire habit of reproducing photographs. Even the sad photo-graphs, the most elegiac ones, have a kind of cheekiness, an amusing impertinence, as they sit there in their careful novelty on the page, quietly ensuring that Sebalds work can belong to no known literary genre.
Another moment, also involving a machine, occurs in the first story, about Dr. Henry Selwyn. Sebald and his wife have been invited by Selwyn to dinner. The housekeeper pushed in a serving trolley equipped with hotplates, some kind of patented design dating from the Thirties. Since every word in Sebald is carefully chosen, we should ponder the deliberate, almost maddening vagueness of that phrase some kind of patented design. As opposed to an unpatented design? Is Sebald not suggesting, mildly, that this extraordinary and doubtless inefficient contraption had no right to its patent?
I emphasize this aspect of his writing its own patented design, indeed only because the reviews that appeared in his lifetime rarely commented on it. Certainly I was delighted, when we had dinner once in New York (the only time I met him), that in person he was as quietly funny as his writing. He said that one of the elements of English life he most liked was English humor. What is German humor like? I asked him. It is dreadful, he said. Have you seen any German comedy shows on television? he asked. I had not. They are simply indescribable, he said, stretching the word in his lugubrious German accent. Simply indescribable.
A friend who spent an evening with Sebald a few months agoa relaxed evening, the writer talking with people he knew welltold me that in this setting he came across as easily, caustically, a man of the Left. His remarks were brief but their drift unmistakable. We agreed that this was not surprising, but that it mattered that neither of us would have risked a prediction of Sebalds politicshis political attitudes, his style in the face of day-to-day eventson the basis of the books he had written.
Oddly, I found this resonated with what another friend, a German literary critic, had said to me a year or so before, explaining his failure to go along with the lionizing of Sebald in the English-speaking world. He found Sebalds prose too reminiscent of a run of late-nineteenth-century elegiac German and Swiss essayists (he named names, but they meant nothing to me and are long forgotten), sharing their slightly aggrieved disappointment in modernity, and like them not giving an inkling of the form of life he would prefer. Not even going in for nostalgia.
I did not doubt the charge, but I ended up thinking that what I admired in Sebald had to do with just this ability to retrieve a late-nineteenth-century tonea minor tone, if you like, a posture of privacy and bad nervesand have it apply to the hugeness, the atrocity, of the century following. And in applying, change key. Likewise, the verdict on Sebalds suspension between past and present seemed to me to cut both ways. The books he wrote are about living in the past, and what it is that conspires to make this a way maybe the only bearable or defensible oneof living in the present. Preference has nothing to do with it. Sebalds past is a spell, a medicationsometimes transparently a fakewhose purpose is to figure and resist the madness pressing in on all sides. On goes the querulous patter of the memoir, past flow the indecipherable photographs, up pile the facts about herring and Omar Khayyamand we are in hell before we know it, smelling the smell, hearing the screams, being offered a path through the fire. It is bitter to think the path now peters out.
T. J. Clark
He was the writer we could least afford to lose. His language and breadth of vision combined in a slow burn, and by the light of that combustion we could glimpse what we have come from and what we have arrived at. Even, in a few dark, prophetic passages, where were going: For somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins. This I found in Austerlitz, his newest novel, which I happened to open in mid-Septembera coincidence eerily in keeping with Sebalds own broodings on serendipity across time and space, and on the imponderables that govern our course through life.
More than anyone else writing today, he made it new. His undulating, hypnotic sentences are perfect paradigms of the modern sensibility, its tangled restlessness and torpor. His meandering narratives, convoluted yet meticulous, embody the lingering state of shock that is our legacynot only from two world wars but from the decades of colonialism that preceded them, and still farther back. He made history new as well: the gaze that took in centuries of flourish and inexorable decay resurrected them with heartbreaking lyrical precision.
His notions of time make that possible. Like the spectral wanderers of his novelsall of them facets of himself, Sebald the prismhe sees time as plastic, irregular, subjective, a disquiet of the mind. Only our panic willfully orders it by the movements of the planets. Past and present might be concurrent or not, might stop and start with the erratic spasms of the mind, of memory. Why might we not have appointments to keep in the past just as we do in the future? But in our collective shock, we tend to erase time as we go, forgetting what defines us. He has not forgotten. He pieces together the shards to remind us. And by some unfathomable sleight-of-hand, in making things clear and whole, he gives them the luster of mystery.
He left four novels: Vertigo, The Emigrants, The Rings of Saturn, and Austerlitz (all superbly translated, the first three by Michael Hulse, the last by Anthea Bell). According to his New York Times obituary, a fifth book, Airwar, about the bombing of Dresden, will soon appear in English. Although to say a Sebald work is about anything so local is misleading. Like many writers of geniusthe Greek tragedians, say, or Dostoyevskyhe dwells always on the same large themes. His favorite is the swift blossoming of every human endeavor and the long slow death, leaving a wealth of remains to be pored over. The Rings of Saturn does this most brilliantly and idiosyncratically: the narrators search for the skeleton of Sir Thomas Browne (the seventeenth-century author of Urn Burial) leads circuitously to a meditation on Belgian atrocities in the Congo, to the execution of Roger Casement, and eventually loops to silkworm cultivation in China and its spread through Europe in the Enlightenment.
Sebalds more specific preoccupation is the aftershock, physical and metaphysical, of the war waged by the Third Reich. Born in 1944, he left his native and forgetful Germany for England at the age of twenty-one, with the sense of something being hidden from him. Judging by his work, he seems to have remained appalled forever after at what he discovered. (The narrator of Vertigo, on hearing a bunch of rowdy German tourists beneath his hotel room, thinks: How I wished during those sleepless hours that I belonged to a different nation, or, better still, to none at all.)
I call his books novels, partly, I think, because I want to claim him for fiction, and partly because that seems the most inclusive term for their melange of fictionalized memoir, travel journals, inventories of natural and man-made curiosities, impressionistic musings on painting, entomology, architecture, military fortifications, riffs on the lives of Kafka, Stendhal, Casanova, Conrad, Swinburne...Whatnot. Encyclopedic. Defying classification, Sebalds books take the shape of his consciousness. That is what makes them great. I call them novels because what unifies them is the narrators distilled voicemelancholy, resonant as a voice in a tunnel, wittythe effluvia of their authors inner life. And against all odds, from the accounts of exile and decay, the voice wrests a magical exhilaration. In the face of decline, Sebald offers writerly passion. It is gorgeous; it yields aesthetic bliss.
The Sebald character is a wanderer, by train through Italian cities and New York suburbs, on foot through the empty reaches of the English countryside, exploring the history of each settlement he passes through. Wherever he is, he finds strangely vacant streets and roads, not a soul around. He sees apparitions, figures from history gliding by. He spends sleepless, despairing nights in bleak hotel rooms. He visits deserted museums, collections of oddities gathered by eccentrics or specimen jars of natures anomalies; he saves and photographs his ticket stubs (Sebalds books are famously strewn with evocative, gloomy photographs) as proof of his passage. Like the author, he is German and left home young, in profound dismay. Returning to his native town revives the dismay: I felt increasingly that the mental impoverishment and lack of memory that marked the Germans, and the efficiency with which they had cleaned everything up, were beginning to affect my head and my nerves. Sometimes he visits or simply recalls an old friend and we hear the friends story, very like his own, in a voice like his own. Often the friend dies by suicide. We barely know him, but his death spears us to the marrow. You might expect that so many losses would diminish each single death, but on the contrary, every one deepens the grief of the next.
Always, the world is veiled, seen through fog and mist: a veil of rain, a veil of ash, a profusion of dusty glitter. An exiled German painter in The Emigrants loves the accumulation of dust in his studio, the grey, velvety sinter left when matter dissolved, little by little into nothingness. After a dust storm, the narrator observes, although it now grew lighter once more, the sun, which was at its zenith, remained hidden behind the banners of pollen-fine dust that hung for a long time in the air. This, I thought, will be what is left after the earth has ground itself down. Instead of feeling crushed by the image, we feel exalted. Truth, in the truth-tellers genuine voice, cannot help but be exalting.
An eccentric naturalist in Austerlitz makes his own veil, choosing to see the world through glasses with gray silk tissue instead of lenses in the frames. Mysterious bits of silk turn up again and againin the ash from a burnt manuscript that resembles a scrap of black silk, or in the oddments left by a Russian rabbi in 1920. The narrator of The Rings of Saturn wonders: That purple piece of silk...in the urn of Patrocluswhat does it mean? The question is answered in Austerlitz. The young protagonist, growing up alien in a Welsh town, listens to Evan the cobblers tales of seeing the dead who had been struck down by fate untimely... marching up the hill above the town to the soft beat of a drum. Evan shows the boy a piece of black veil his grandfather saved from one of their biers: Nothing but a piece of silk like that separates us from the next world.
The porousness of that border is a fitting message for Jacques Austerlitz, who lost his past to the next world. Only at fifteen does he learn his real name, which aptly recalls a battleground; not until years later does he discover his true identity. We hear his emblematic story through the familiar Sebald narrator, who uncannily resembles Austerlitz: an emigrant, intrigued by architectural history, subject to periodic emotional collapse. The two keep meeting, at first by improbable chance and later by design, over a period of some thirty years. Each time, without any of the usual formalities, Austerlitz takes up his narration from where it left off, his tale enlaced in a web of images that conjure up exile, loss, and return: homing pigeons, the shadows of reality that emerge in developing photographs, and railroad stations, his lifelong obsession.
Born in Prague, Austerlitz was evacuated by train at the age of four, along with other Jewish children, to escape the war. An emotionally frozen Welsh Calvinist couple raise him; in the silence and austerity of their airless house, he forgets his early years (quite as the Germany of Sebalds youth managed to forget the recent past). When the vortex of past time becomes too turbulent, he suffers a breakdown: I had neither memory nor the power of thought, nor even any existence...All my life had been a constant process of obliteration, a turning away from myself and the world.
Then comes a reprieve, unprecedented in Sebalds work. In a vision, Austerlitz sees himself as a small boy sitting on a bench in a railroad station. From that image, as from Prousts madeleine, his past begins to emerge, like the photograph images on exposed paper. Unlike Prousts hero, Austerlitz can return literally to the tangible remains, to Prague, to hunt down his past.
The great riddle and perplexity of the novel is not Austerlitz himself, though. Sebald makes that story poignantly, passionately lucid, and for the first time gives a graphic description of what a number of his emigrants eluded: Terezin, the camp where Austerlitzs mother ended up. The mystery is the relationship of the narrator, epitome of all Sebalds narrators, to Austerlitz. Gradually that too comes to light. Austerlitz must find someone to whom he could tell his own story... and for which he needed the kind of listener I had been. The narrator bears the burden of the tale. More than mere witness, he is a trusted confidant who by his unstinting attention takes on the storytellers fate. Toward the end of his story, Austerlitz gives the narrator a photo of his actress mother, found in the Prague theatrical archives. He gives him the key to his apartment, too, passing on his life for safekeeping. The novel is the key Sebald passes on to us.
With its fully developed character and story line, Austerlitz may seem a reversion to a more traditional novel, but like the preceding books, it has been finely ground through the sieve of history and metaphor. Though not as wide-ranging or dazzling as The Rings of Saturn, it is more intimate. It wrenches the heart quicker and tighter. Of all Sebalds emigrantsa fictional family of sortsAusterlitz is the most scrupulously drawn. And Sebald offers him a dust-mote of hope at the end, as, having successfully traced his mother, he plans to continue the search for his father.
Max Ferber, an exile from The Emigrants, also left the narrator a memento, along with words that augur the task Sebald assumed: Ferbers mothers memoirs had seemed to him like one of those evil German fairy tales in which, once you are under the spell, you have to carry on to the finish, till your heart breaks, with whatever work you have begunin this case, the remembering, writing and reading. That is why I would rather you took this package, Ferber said.
Lynne Sharon Schwartz
As a child in a Bavarian village in the lean years after the Second World War, W. G. Sebald constructed his own playthings. If you grow up not with toys bought in the shop but things that are found around the farmyard, you do a sort of bricolage, he told me. Bits of string and bits of wood. Making all sorts of things, like webs across the legs of a chair. And then you sit there, like the spider. We were talking about the idiosyncratic way in which he composed his books. He said that the urge to connect bits that dont seem to belong together had fascinated him all his life.
I was visiting Sebald in Norwich, England, in Augusta few weeks before the publication of what proved to be his last novel, Austerlitzin order to write a profile for the New York Times Magazine. The September 11 attacks and the Afghanistan war intervened, so that the piece did not run until December, and then at reduced length in the daily newspaper. Three days after the article appeared, Sebald died in an accident. Once the first shock of the news had receded, I rethought our conversations, connecting the pieces differently in this stark new light. The jokes about attractive ways of dying, the descriptions of the book in progress, the vacillations over post-retirement plansall took on unintended irony and unwelcome poignancy. But I was unsure whether these new associations were instructive or merely distracting.
Writing before Sebalds death, I hadnt felt the need to devote much space to the book he was working on. Now that the book would never be born, I wondered if my jottings on his remarks (like an architects unbuilt doodle) possessed a new value. And what about his future? In two years he would have been able to step down with a full pension from his position teaching literature at the University of East Anglia. Because he wrote so eloquently about the sense of dislocation, I had asked if there was any place he had ever felt at home, and that line of talk had led to his musing about where he might spend his final years. Did those dreams, brutally foreclosed, become irrelevant or somehow more important?
Thinking about Sebald, I slipped into Sebaldian logic. The boundaries between the dead and the living, the planned and the accomplished, the remembered and the real, came to seem arbitrary. That the book and the retirement would never occur didnt much change the valence of the material. Reading Sebald, you feel the excitement of exploring a strange new landscape. The bits I had gathered could serve as road markersor, at least, travel postersfor the territory of his mind.
Sebald was Proustian, people often said. Since his tone was elegiacal and his sentence structure was serpentine, this pigeonholing arose predictably. Furthermore, Sebald and Proust were alike in their creation of a unique format; one might aptly say of Sebalds books, as Walter Benjamin once wrote of Prousts, that all great works of literature found a genre or dissolve one. That said, it strikes me that the differences between Sebald and Proust are more instructive than the similarities. When people call something Proust-ian, they are usually referring to Prousts fascination with involuntary memory, the way in which sensory associations conjure up the past. Yet the French writer elaborated just as extravagantly on the joys and tortures of anticipation. (The present moment is what disappointed him.) Sebald, temperamentally, preferred to keep his eyes averted from the future, which for him impended heavily with disaster. And he accumulated his recollections not in windfalls, but through diligent dredging and mining. Having been born in Germany in 1944 and raised in a society that willed itself into amnesia, he regarded remembering as a moral and political act. When I said offhandedly that by now his mother, in her late eighties, could probably no longer remember the war years, he replied quickly, speaking of his mothers generation: They could remember if they wanted to.
At the time of his death, Sebald was researching a book that would explore, among other subjects, his family history. As they all came from the lower classes, there are often not even exact dates of birth or places of residence, he told me. This uncertainty begins two generations back. His ancestors inhabited a forested region between Bavaria and Bohemia that had, from the time of the seventeenth century, been devoted to glassworks, and so Sebald could speculate with reasonable confidence about their working life. But even of that he was never quite certain. Like an archeologist reconstructing a pot from a couple of shards, he worked in a way that he characterized as extremely tenuous and unreliable. He could not blame this entirely on the paucity of his documentation. He was also, for the same book, reading through twenty-three volumes of diaries (each consisting of two hundred pages, written in a minuscule hand, in ink made from elderberry fruit) that had been kept from 1905 into the 1950s by the grandfather of a friend of his, a Frenchwoman his age named Marie, who grew up in Picardy. This diarist grandfather, a miller, was obviously the family scribe and the family rememberer, and yet he wasnt always accurate, Sebald said. He took notes and he didnt always write them down at once, but in the evenings or on Sundays, because he was working. Relatives offered variant versions of the same events. So there are all these different narratives, and they have equal rights and equal status, Sebald said. And in some places, of course, there are simply gaps. You can say once or twice that the evidence is scarce, but you cant do that on every page, it becomes a bore, Sebald said. So you borrow things. You adulterate the truth as you try to write it. There isnt that pretense that you try to arrive at the literal truth. And the only consolation when you confess to this flaw is that you are seeking to arrive at the highest truth.
Maries family in France had endured an intimately unhappy relationship with the Germans. Her grandfathers village was located near St. Quentin, right on the German defensive trench line in the last year of World War I. During World War II, her father joined the Resistance and was murdered by the Nazis. He was shot at the age of twenty-two or twenty-three and had his eyes gouged out, Sebald said. Marie was born a few months later. Sebald showed me a photograph snapped by a Catholic priest of the austere stone building where the execution took place. I think there is something there that you wouldnt get hold of without the photograph, he said. Not necessarily to be put in the book, but for the working process. Certain things emerge from the images if you look at them long enough.
Scrutinizing documentsphotographs, diaries, war recordslaunched Sebald into a receptive state. (In The Emigrants, he wrote that, looking at photographs, we feel as if the dead were coming back, or as if we were on the point of joining them.) He chose the objects of his attention intuitively, then followed where they led him. I conduct my research randomly, but persistently, he said. I often compare it to the comportment of a dog when he runs across a field. He follows something that is immaterial. And he always finds it, and he find it quicker than I did. Especially these days, when there is so much information about everything, you have to disregard most of it. You must find a way of ignoring everything else and just follow your nose. In The Rings of Saturn, he compared writers to weavers: melancholics working complex patterns, always fearful that they have gotten hold of the wrong thread. One of the threads he was tracing in his next book concerned a commander of the Red Army in the short-lived Bavarian Socialist Republic. Executed in Munich in 1919, on a spot that is now a Hermès store on posh Maximilienstrasse, this man had the same name as Sebalds mothers family. While Sebald had not established a family connection, what was at the least a coincidence had caught his attention. He was following the trail.
He showed me a topographical map from 1918 used by the German army command: This gives you an idea of the density of the trench system, the irrationality of it...The completely insane collective effort that marks this eventI dont think I shall be able to understand it, but I want to marvel at it. Whenever he visited Munich, Sebald would spend half a day at the War Archive, calling up volumes that no one had touched in decades. He recalled the first time that the files that he had ordered arrived on a trolley. You have a visual sense of how much something weighs, he said. You try to pick this up, and you can barely lift it. Its as if the specific weight of the paper they used is higher than the paper we use. Or its as if the dust has gotten in there and insinuated itself, so they have become like a rock. If you have any imagination, you cant help but wonder about it. These are questions a historian is not permitted to ask, because they are of a metaphysical nature. And if one thing interests me, it is metaphysics. He paused for a second. I am not seeking an answer, he said. I just want to say, This is very odd, indeed.
Much of modern life repelled Sebald. He told me that one of the chief reasons he departed Germany, first for French-speaking Switzerland, then for England, was that he found it agreeable not to hear current German spoken all around me. His literary models wrote in nineteenth-century GermanGottfried Keller, Adalbert Stifter, Heinrich von Kleist, Jean Paul Richter. The contemporary language is usually hideous, but in German its especially nauseating, he said. He asked if I knew the German word for mobile phone. With a look of horror, he told me: a handi.
There was a shopping mall in Norwich that he avoided: If I have to go into it, I am seized by all these disagreeable feelings. He owned neither a fax machine nor a telephone answering machine. He was the only faculty member at the University of East Anglia without a computer in his office: he had declined the one allotted him, recommending that the money be used instead for student aid. (Was it? I asked. He shrugged. Of course not.) The impersonality of the personal computer alienated himthis chatting going on from one machine to another, and, even worse, the prospect of being locked up with a machine muttering under its breath at me. Amused by human foibles, his own very much included, he knew that there was something comical about his reactionary posture. I hold with the wireless and the motor-car, he proclaimed. I dont especially appreciate the blessings of technology. Passively but stubbornly, he fought off the tawdry intrusions of the modern world. Theres always an argument that is hard to resist, he observed. So your daughter says, What if I get stranded in the middle of Thetford Forest in my not very reliable carshouldnt I have a mobile phone? The devil comes in with a carte de visite. That is always the way.
The gigantism of modernitythe scale of buildings, the acceleration of pace, the profusion of choicesafflicted Sebald with a kind of vertigo. Ill at ease with the time in which he lived, he may have felt most comfortable in a place in which he was foreign. I dont feel at home here in any sense, he said of Norwich, where he lived for thirty years. Drawn repeatedly to the stories of people whose accents, native landscapes, and histories mirrored his own, he never failed, when he visited his mother in the town in which he was raised, to be disgusted by all the nasty people in the street who were as boxed in as they have always been. His favorite subject was the Germans who had been cast out of their boxes, often Jews who had been forced to flee Nazi Germany. He insisted, persuasively, that he was not interested in Judaism or in the Jewish people for their own sake. I have an interest in them not for any philo-Semitic reasons, he told me, but because they are part of a social history that was obliterated in Germany and I wanted to know what happened. He felt a rapport with displaced people in general, and, in particular, with outcast writers. I can read the memoirs of Chateau-briand about his childhood in Brittany and find it very moving, he told me. I can feel a closeness to him that may be greater than the proximity I feel to the people I find around me. His desire to know just a few people and places probably stemmed from this profound sense of dislocation. He derided the promiscuity of contemporary travel. That is what is so awful about our modern life, we never return, he said. One year we go to India and the next year to Peru and the next to Greenland. Because now you can go everywhere. I would much rather have half a dozen places that mean something to me than to say, at the end of my life, I have been practically everywhere. The first visit doesnt reveal very much at all.
When I asked if there was any place in which he had ever felt at home, he thought of one spot, which, not coincidentally, has a literary pedigree: the island of St. Pierre in the Lac de Bienne in Switzerland, famous as the refuge of Rousseau in 1765. I felt at home, strangely, because it is a miniature world, he said. One manor house, one farmhouse. A vineyard, a field of potatoes, a field of wheat, a cherry tree, an orchard. It has one of everything, so it is in a sense an ark. It is like when you draw a place when you are a child. I dont like large-scale things, not in architecture or evolutionary leaps. I think its an aberration. This notion of something that is small and self-contained is for me both an aesthetic and moral ideal. Although St. Pierre was not a realistic retirement choice, Sebald thought he might spend his final years in a French-speaking region, probably Switzerland. With someone like me, you always have two sides, he said. Oh, Ill just move to the most beastly part of northern France and live in rented accommodations in St. Quentin or Combray and see if I survive. But naturally there is another part of me that thinks of moving near Neuchâtel in Switzerland. I know that drawing up a plan makes no sense, because plans are never followed. It will be a question of constellations.
Even as a student, Sebald deviated from the academic path. He recalled that his professors at Freiburg University would mark his papers, This is not a cabaret, this is a German literature seminar. As he progressed as a professor, he felt more at liberty to let his mind follow its natural bent. His first nonconformist book, After Nature, was a prose poem (to be published in an English translation by Random House) that resembled a Cubist self-portrait. In it, Sebald discusses the sixteenth-century painter Matthias Grunewald, who was from Würzburg, not far from Sebalds hometown, and a young botanist, Georg Wilhelm Steller, who not only hailed from southern Germany but also shared Sebalds initials. The book ends with what Sebald described to me as this pseudo-biographical part about growing up in southern Germany in the postwar years.
Again and again, Sebald returned to figures who were rooted in or somehow connected to southern Germany. Like many lesser writers, he was primarily interested in himself; what redeemed this solipsism was the extraordinary and capacious nature of that self. The form that he devised for his writing (which he called, with uncharacteristic inelegance, prose fiction) was a rumination or meditation, in which all of the characters shared the rueful, melancholic tone of the narrator. In Austerlitz, he tried to cleave more closely to the structure of a traditional novel, propelling the narrative forward with the saga of a mans search for his parents, and you could feel the authors unconventional mind creaking against the walls of convention. The new book promised to return to the free-ranging, more musical structure of the earlier ones, as seemed natural for someone who deprecated the ability of the old-fashioned novel to function in modern times. There is so often about the standard novel something terribly contrived, which somewhere along the line tends to falter, he said. The business of having to have bits of dialogue to move the plot along, thats fine for an eighteenth- or nineteenth-century novel, but that becomes in our day a bit trying, where you always see the wheels of the novel grinding and going on. Very often you dont know who the narrator is, which I find unacceptable. The story comes through someones mind. I feel I have the right to know who that person is and what his credentials are. This has been known in science for a long time. The field of vision changes according to the observer, so I think this has to be part of the equation. He cautioned that the narrator was of course not to be confused with an authentic person. In other words, the narrator of Sebalds novels was not to be mistaken for Sebald himself.
Notwithstanding the disclaimer, the joy of reading Sebald is the pleasure of stepping into the quirky treasure-house of his mind. I dont consider myself a writer, he said. Its like someone who builds a model of the Eiffel Tower out of matchsticks. Its devotional work. Obsessive. His books are like some eighteenth-century Wunderkammer, filled with marvelous specimens, organized eccentrically. Even without the inclusion of the blurry black-and-white photographs that became a trademark, they would feel like journals or notebooks. Sebald himself, when I asked why every character in his novels sounded like the narrator, said, Its all relayed through this narrative figure. Its as he remembers it, so its in his cast. He credited the monologues of Thomas Bernhard, in which the layers of attribution can run four-deep, as an influence. Like an old-fashioned newspaper reporter in the era before blind quotes, Sebald believed in naming sources. Otherwise, theres either the she said with a disconsolate expression on her facehow does he know?or as thoughts of regret passed through her mind, he complained. I find it hard to suspend my disbelief. He was a literary magistrate who admitted nothing but hearsay as evidence. Or, to put it more precisely, he thought that a statement can no longer be evaluated once it is prised from the mind which gives it utterance.
In person, Sebald was funnier than his lugubrious narrators. He was celebrated among those lucky enough to hear him as a witty raconteur. Of course, one knows not to confuse a narrator and his author; but, as I was reminded when speaking with Sebald, that admonition is merely one corollary of the impossibility of knowing with assurance another persons mind. Say you write fairly gloomy things, he told me. They think they should sue you under the Trade Description Act if you tell a joke. Whos to say? What you reveal in a dark text may be closer to the real truth than the person who tells a joke at a party. Some of his own melancholia came to him as a paternal legacy: both his father and grandfather spent the last years of their lives morbidly depressed. His father, who in Sebalds telling resembled a caricature of the pedantic, subservient, frugal German, didnt like to read books. The only book I ever saw him read was one my younger sister gave him for Christmas, just at the beginning of the ecological movement, with a name like The End of the Planet, Sebald said. And my father was bowled over by it. I saw him underlining every sentence of itwith a ruler, naturallysaying, Ja, ja.
Sebalds talk often turned to death, which he regarded with the same dry, wry eye that he cast on life. When I asked him casually why he had changed publishers, expecting the usual tale of finances and contracts and agents, he instead explained that it had all begun with the mysterious suicide of his German publisher, who hopped the S-bahn to the mountains outside Frankfurt, drank half a bottle of liquor, took off his jacket, and lay down to die in the snow. When hypothermia sets in, its apparently quite agreeable, Sebald said. Like drowning, I said. To which Sebald replied, with a nod, Drowning also is quite agreeable.
According equal status to the living and the deadafter all, they jostled side by side for space in his mindSebald would perhaps view his own passing with equanimity. He is spared the labor of writing the next book. For the rest of us, not having that book to look forward to is a blow, a subtracted hope. I am reminded of Sebalds account of an experiment that intrigued him. They put a rat in a cylinder that is full of water and the rat swims around for about a minute until it sees that it cant get out and then it dies of cardiac arrest, he told me. A second rat is placed in a similar cylinder, except that this cylinder has a ladder, which enables the rat to climb out. Then, if you put this rat in another cylinder and dont offer it a ladder, it will keep swimming until it dies of exhaustion, he explained. Youre given somethinga holiday in Tene-rife, or you meet a nice personand so you carry on, even though its quite hopeless. That may tell you everything you need to know. He chuckled. Disconsolately, merrily, companionably, bitterly, resignedly, darkly, theatrically, dourly, inconsolably? One is in no position to say.

domain: artistic


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AMD is aiming for markets looking for more performance than the Intel Atom
AMD is hard at work introducing new processors to try to capture market share from Intel. Earlier this week, slides showing some new AMD processors coming this year surfaced. Among the new processors on the slide was a line AMD is calling Ultra-Value Client (UVC).
The UVC processors will be available through OEMs only. More information on the line of UVC processors has now surfaced at CHW.net. The new slides show that the UVC processors are intended to allow OEMs to produce new computers in form factors optimized for emerging markets and basic PC usage.
AMD does specify that the UVC products are aimed at more than the netbook market and can deliver traditional PC performance. The UVC processors are intended to be paired with AMD's 690 and 740 chipsets for high-quality visuals.
All UVC parts will use AMD's standard socket AM2 and S1g1 notebook infrastructures. The UVC processors include the AMD Athlon X2 3250e with a 22W TDP and operating at 1.5GHz. It features a 1MB L2 cache and is planned to be available in Q4 2008.
The AMD Athlon 2650e has a 15W TDP and operates at 1.6GHz with 512KB cache. The 2650e is available now. According to AMD slides, it is positioning both the Athlon X2 3250e and Athlon 2650e above the Intel Atom DT 230 processor in performance.
These processors may become attractive to netbook makers looking for an alternative to Intel's Atom parts because of the current shortages of Atom parts from Intel. It is important to note that the AMD processors use more power than Intel's Atom. AMD is betting some users and OEMs will be willing to sacrifice battery life for improved performance.


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- Model# QZ-CAN-1911-WB
- Brand: Quoizel
- Wall Projection: 11"
- Shade: Clear seedy glass (5" x 9" x 9.5")
- Finish: Weathered Bronze
- Material: Aluminum
- Lamping: (2) 60W 120V B Torpedo incandescent (Bulb NOT included)
- Weight: 7 lbs
- Dimension: 17.5" (H) x 11" (W) x 11" (L)
From the Carson Collection, this Quoizel Lighting outdoor hanging light incorporates crisp lines and angles that compliment the subtle traditional styling. This stylized transitional outdoor hanging light, which is ideal for a variety of outdoor lighting needs, features candelabra lights, clear seedy glass and a beautiful Weathered Bronze finish that accentuates the traditional detailing.
- Safety Rating: ETL Listed
Questions and Answers
- There are no questions for this item, yet.
- There are no reviews for this item, yet.

domain: design


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Disclaimer: This is a sponsored conversation written by me on behalf of Pinnacle Foods Group LLC. The opinions and texts are all mine.
Easy Vegetable Recipe
Are you ready for a revolution in your meal planning? We all want to eat healthy. I know that has been one of my goals, and I am doing better. The other goal I had is to change up what I feed my family. I love trying new recipes, but I hate when they do not work out. The place that I haven’t done much recipe creation in is sides. I have a solution for that and a solution for how to add more vegetables to our meals. The three reasons I hear for people not adding vegetables to their meals are: veggies go bad quickly, I do not know how to cook them, and the third is they are so expensive. Well, let me tell you the new Birds Eye® Protein Blends products at Walmart are the answer to all three of your objections to having tasty vegetables on your table at every meal. They are your easy vegetable recipe that is readily available in your freezer which allows you to put a side you can be proud of every night on the table. We like these so much we have them for lunch as well.
Their Easy Vegetable Recipes include these flavorful options.
I am the queen of chicken. I am not sure why I guess because I can throw it in the oven and it basically cooks itself. That is why I really like the easy vegetable dishes to make my dinner special. I make a slow cooker chicken as well that taste just like a rotisserie. Then I go ahead and put the Birds Eye® Protein Blends into the microwave for five minutes, and I have a complete meal. I really love that I can put together a meal in minutes with limited dishes and preparation. I love the convenience, taste, ability to add more veggies into my diet. I love that I can pull these out of my freezer anytime and they are a game changer full of flavors that my family loves. Birds Eye® Protein Blends are So Veggie Good!TM.
Oh, How about we save you even more money. There is a $0.50 off coupon available on Ibotta.
I also bought Italian Style and I plan to heat them up for my bake potato bar. Birds Eye® Protein Blends is a great way to partner vegetables with a quick meal.
What is your favorite quick and easy meal? What Birds Eye® Protein Blends would you pair it with? The Southwest Style, California Style, Asian Style or Italian Style.
This is a sponsored conversation written by me on behalf of Pinnacle Foods Group LLC. The opinions and texts are all mine.
Fall Roasted Vegetable Recipe
Easy Instant Pot Soup and Stew Recipes
Superior Source Vitamins Giveaway
Homemade Egg McMuffin Breakfast Recipe
Easy Reindeer Cupcakes Recipe
Summer Sizzle with Honey Products from New Zealand
Spring Cleaning Tips with Free Printable Deep House Cleaning Checklist
OREO Cookie Balls Christmas Tree!
Support Your Child’s School with Box Tops

domain: food


Shorter small grid ladders
For small grid the ladders are sometimes just too long. For example if you build a truck or any bigger ground vehicle getting into the indoors can be difficult since ladder are sometimes just too long but without them you need to build weird blockstairs and there is missing that little sweetspot inbetween. Another idea would be a stepping block or something like that to wich you snap like a ladder. It would help on modded hardcore playthroughs without planetary jetpack or if it simply ran out of fuel. And sure you could build a little lift with pistons wich i also have done in the past but that also isnt always the best way of doing things. The existing ladders already look like two smaller ones combined so maybe just use that.
Anyway since you cant steer in the air after you jump (wich is good since its realistic) another way of getting on a high vehicle would be nice, or a retractable ladder variant but thats too much maybe.
It would probably be easily doable with a mod but i didnt find any and i am not able to make one myself.
I know its not important or whatever but little additions like these would be great in the future.


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Is Magnet Fishing Legal In Maryland?
Magnet fishing, an engaging activity often navigating the intricate legal waters, revolves around exploring bodies of water using a robust magnet to uncover items. Undertaking this pursuit in Minnesota demands a comprehensive understanding of local laws and regulations, which may present unique characteristics across different regions. It is crucial to stay well-informed about any specific restrictions or permits applicable to the particular area where you plan to indulge in magnet fishing.
For the most accurate and current information, it is advisable to consult with local authorities, such as the Minnesota Department of Natural Resources, or connect with local law enforcement agencies. These entities are well-placed to provide details on any pertinent regulations or restrictions associated with magnet fishing in Minnesota. Seeking guidance from these authorities ensures a legal and enjoyable magnet fishing experience, aligning with the distinctive regulations that govern the state’s aquatic environments.
Best Places to Magnet Fish in Maryland
Chesapeake Bay (Multiple Locations):
Chesapeake Bay, a vast estuary, invites magnet fishing enthusiasts to explore its shores near cities like Annapolis or Baltimore. Each cast of the magnet may reveal relics that mirror the bay’s maritime history and the vibrant communities along its coastline.
Patapsco River (Multiple Locations):
The Patapsco River, meandering through central Maryland, provides a picturesque setting for magnet fishing exploration. Explore different sections near historic towns like Ellicott City or urban areas in Baltimore, where each magnetic pull may unveil artifacts with connections to the region’s industrial past.
Gunpowder Falls (Multiple Locations):
Gunpowder Falls, a scenic river in Maryland, becomes a magnet fishing haven amidst the natural beauty of Gunpowder Falls State Park. Explore different sections near towns like Kingsville or Perry Hall, casting your magnet into the river’s currents for potential discoveries against the backdrop of lush landscapes.
Potomac River (Multiple Locations):
The Potomac River, forming part of Maryland’s southern border, unfolds magnet fishing possibilities near cities like Cumberland or Hagerstown. Explore the riverbanks, where each magnetic pull may reveal relics with connections to the Potomac’s role in regional history.
Deep Creek Lake (McHenry):
Deep Creek Lake, nestled in western Maryland, offers a serene magnet fishing experience. Explore the shores near McHenry, casting your magnet into the lake’s depths for potential finds amidst the recreational allure of Deep Creek Lake State Park.
Susquehanna River (Multiple Locations):
The Susquehanna River flows through northeastern Maryland, providing magnet fishing opportunities near towns like Havre de Grace or Port Deposit. Explore the riverbanks, where each pull of the magnet may unveil artifacts that resonate with the Susquehanna’s natural and cultural significance.
Assateague Island (Berlin):
Assateague Island, known for its pristine beaches and wild horses, invites magnet fishing enthusiasts to explore its shores near Berlin. Against the backdrop of dunes and coastal beauty, each cast into the waters may reveal relics with connections to Assateague’s unique environment.
Anacostia River (Washington, D.C./Bladensburg, MD):
The Anacostia River, flowing through parts of Washington, D.C., and Maryland, presents magnet fishing possibilities near Bladensburg. Explore the riverbanks, where each magnetic pull may reveal artifacts that tell stories of the Anacostia’s urban and natural landscapes.
Rocky Gap State Park (Flintstone):
Rocky Gap State Park, situated in western Maryland, emerges as a magnet fishing destination amidst the lake and natural surroundings near Flintstone. Explore the designated fishing areas for potential discoveries against the tranquil backdrop of Rocky Gap’s scenic beauty.
C & O Canal (Multiple Locations):
The Chesapeake and Ohio Canal, running parallel to the Potomac River, offers magnet fishing opportunities at various points in Maryland. Explore different sections near historic towns like Cumberland or Brunswick, where each pull of the magnet may unveil artifacts that reflect the canal’s historical significance.
Magnet Fishing Finds in Maryland
Just like in many other locations, Maryland’s water bodies hold a bounty of lost fishing gear – hooks, lures, and sinkers. These common discoveries tell tales of fishing excursions and provide insight into the recreational activities enjoyed by locals against the backdrop of Maryland’s stunning landscapes.
Given Maryland’s reputation as a haven for outdoor enthusiasts, magnet fishers occasionally stumble upon items such as camping gear and climbing equipment. These finds serve as reminders of the state’s popularity for outdoor activities and the diverse range of equipment used by adventure seekers.
Coins and Metal Tokens:
The underwater landscape in Maryland often yields loose change, along with historical coins and tokens. Each coin retrieved serves as a small piece of the state’s financial history, offering a tangible connection to both past and present currency.
Bicycles and Skateboards:
Urban areas near parks and recreational water bodies in Maryland frequently reveal discarded bicycles and skateboards. Uncovering these items adds an urban flair to magnet fishing expeditions, sparking curiosity about the stories behind their abandonment.
Nails, screws, bottle caps, and other bits of metal are common finds in Maryland, reflecting both human activities and occasional debris from construction projects. This eclectic mix of metal scraps provides a glimpse into the industrial aspects of Maryland’s urban and rural environments.
Maritime History Unveiled:
Maryland’s rich maritime history unfolds during magnet fishing expeditions, with enthusiasts discovering remnants of old marine equipment, ship parts, and nautical artifacts. These finds offer a tangible link to the state’s seafaring past and the importance of its coastal heritage.
Magnet fishers in Maryland often unearth historical artifacts such as old tools, hardware, and other metal objects. These relics provide a window into the past, offering a tangible connection to the state’s industrial and transportation history.
In some instances, magnet fishers in Maryland have pulled up knives and occasionally firearms. Responsible reporting to authorities is emphasized, underlining the importance of safety and adherence to legal protocols when encountering potentially sensitive items.
Various car and motorcycle parts, including license plates, exhaust pipes, and engine components, find their way into Maryland’s water bodies. These discoveries contribute to the state’s automotive history, showcasing the remnants of vehicles from different eras.
Rings, necklaces, and bracelets, both ordinary and potentially valuable, have been discovered during magnet fishing expeditions in Maryland. These findings add a personal touch to the underwater landscape, hinting at stories of loss or abandonment.
Legal and Safety Considerations:
Maryland’s magnet fishing experience is not without precautions. Enthusiasts are advised to wear gloves, use strong magnets, and, most importantly, familiarize themselves with local and state laws to ensure that magnet fishing is permitted in their chosen locations. As Maryland proves to be a magnet fishing treasure trove, offering a variety of locations to suit every skill level and preference, it beckons adventurers to explore its waters and unearth the hidden treasures that lie beneath the surface. So, gear up, gather your friends, and dive into the exhilarating world of magnet fishing in the captivating Old Line State.


Download Pontiac GTO car wallpapers in HD for your desktop, phone or tablet. All images belong to their respective owners and are free for personal use only.
GTO. No other name in automotive history says muscle car like those three letters. When the GTO was introduced in 1964, its performance list included words like tri-power, four on the floor and a 389 cubic-inch V-8, and the car virtually defined true street performance.
Now the legend is back. Pontiac’s 2004 GTO is a modern-day incarnation of classic street performance. When you turn the key and hear the throaty dual exhausts announcing the 5.7L V-8, you’ll know you have your hands full. Compared to its ’60s namesake, the new GTO sports a suspension that is tighter, an engine that’s more powerful and a four-on-the-floor manual transmission that now boasts two additional gears. The car will hit 60 mph (97 km/h) in about five-and-a-half seconds, and run the quarter mile in under 14 seconds.
The completely new GTO isn’t just about horsepower, of course. Its unique personality includes impressive cornering abilities, a smooth ride and surprising comfort. But the heart of the GTO is indeed a truly awesome 5.7L LS1 V-8 engine, also known as the base powerplant for the Chevrolet Corvette. The LS1 produces an estimated 350 horsepower (261 kW) at 5,200 rpm and with 365 lb-ft. (495 Nm) of torque, it has no problem leaving a stop with purpose.
Source: Pontiac Press Release
- Engine: 5.7L V8
- Weight: 1690 kg / 3,725 lbs
- Power: 261 kW / 350 hp / 355 PS
- 0-100 kph: –
- Torque: 495 Nm / 365 lb-ft
- Top Speed: –


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See inmate #138 -- Ricky Green of Boyd, Texas.
Although, I personally do not believe the death penalty is just...I gotta say that many of these victims probably did not get a chance to say THEIR last words.
I thought Ricky Lee's last words were I'm Sleepy.
Some interestings numbers:185 White compared to 132 Blacks90 or 25% from Harris County
They hate to lose
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domain: sociology