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Tropical Fantasia: Towards a New Archivo-Museological Imaginary
Ana Helena Arévalo
We have observed ubiquitously, although not yet exhaustively, academics and practitioners alike catching archive fevers and chasing archival impulses down rabbit holes. We have borne witness to historiographical and archaeological turns in art and art history, in the chasing and longing for irretrievable pasts. We have found refuge in these milieux de mémoire. For what are archives but time-traveling machines; portals between unfinished pasts and reopened futures? What are archives but the mirrors of civilization, perpetually reflecting us as we are?
Cloistered away within Arctic mountains sits the Svalbard Global Seed Vault (fig. 1). The Judd-esque structure, also known as a doomsday vault, houses the globe’s largest seed archive, one that is perpetually protected and isolated from the threats and dangers of the outside world. It includes backups of seed samples extracted from crop collections all around the world, which endeavor “to stand the test of time and the challenge of natural and man-made disasters.” It was conceived as an apparatus of survival against the promise of ominous futures of deserts, deforestation, and desolation, very much feeding into humanity’s cultic celebration of permanence and its fetish of continuation.
As we now transcend into the Pyrocene—with forests, museums, and cathedrals blazing into flames—we must consider the prevailing crises of fire as intellectual discourse, academic discipline, and critical practice. Fire has not only become inherent of the condition of contemporary culture, but it will also ultimately dictate the ways we are to continue in time. This understanding of the future does not come in regards to obscure or implausible states, but rather facing very tangible, very real forms determined by fire.
For centuries the existence of collections (that is, of museums, libraries, and archives, and any of their archaic forms as repositories of culture and knowledge) has in part been mediated by the many bonfires of history, which therefore have shaped our understanding of culture and civilization. No matter how systemically different the flames may be—being that of a Gothic cathedral in a European capital or a modest scientific institution in the Global South—the consequences of such forces inevitably culminate in the disruption of already-existing histories and historicities.
The paradoxical energy of fire—and its cyclical process of construction-dissolution—is fundamentally ingrained in the way these collections are to continue in time. So much of what it is known today about long-lost repositories is, essentially, all the tangible and intangible material culture, knowledge, and collective memory that has been gathered and systematically (re)organized after the destruction of these collections. All of which have been reconstructed from fragments, remnants, and dust.
Hal Foster briefly stated that, similarly to the famous incident of the fire at Library of Alexandria, “any archive is founded on disaster (or its threat), pledged against a ruin that it cannot forestall.” Perhaps this self-contradictory energy of fire, as both tool and weapon, can be utilized as catalyst for the reconsideration of the current condition of archivo-museological practices as a whole. Collecting and archiving have become interchangeable activities, especially in terms of reconstruction, as it is equally about the material unearthed and gathered, and the ways this material can be displayed, as it is about the formulation of new forms of knowledge that root out from the process of archiving. That is to say that the reconstruction of future collections does not come as a quixotic attempt, but rather as an almost expected and anticipated instance of critical impetus.
The Seed Vault offers prospects of rebirth and regrowth after episodes of mass decay (fig. 2). How does this translate, then, to current (material and immaterial) forms of culture, heritage, and knowledge, and consequently, to the collections that encompass them, the spaces that store them, and the systems that define them? How can we (somewhat) pre-package and safeguard the backups of today so they are available and accessible to the archivists of tomorrow? What are the limits and the possibilities for an archive of archives to come about, and how could it inform and facilitate the reconstruction of future collections and collections in the future?
With the conflagration at the Museu Nacional as foundational premise, this article considers the ways in which material and digital archival methodologies (along with anarchival practices) are intrinsically embedded within the process of reconstruction of a collection. It does so not only by acknowledging the process of reconstruction in its literal understanding as building something once again after it has been damaged or destroyed, highlighting the role of archives as tools of reconstruction, but also by placing archivo-museology at the crossroads between the real and the imaginary, the Total and the fragmented, which allows for alternative forms to emerge as living archives.
As with any article, it should not be considered as a definitive or complete whole, but rather as a starting point that attempts to catalyze critical interchange and encourage further action.
On the evening of September 2, 2018, an unforgiving inferno erupted, consuming almost in its totality a collection surpassing 20 million cultural artifacts, rarities, and relics, along with over 630,000 volumes from its library (fig. 3). The Museu Nacional in Rio de Janeiro, a 200-year-old building and once a magnificent imperial palace, housed one of the most comprehensive scientific and ethnographic collections in Latin America. It displayed objects of universal relevance, such as Luzia, the oldest human skull in the Americas, and Bendegó, formerly considered the largest meteorite on Earth. Among the material artifacts lost in the fire were Egyptian and Greco-Roman treasures, dinosaur skeletons, mummies and human remains, and several study collections of brightly colored butterflies, rare insects, and assorted fossils, as well as furniture and works of art belonging to the former Portuguese royal family.
The fire at the Museu Nacional was attributed to the state of disrepair into which the building had fallen, and ultimately pinpointed to a fault in the A/C system. When the fire brigade arrived on site, they quickly realized that the fire extinguishers were not up to date due to previous budget cuts, and that the water tanks closer to the Museu Nacional had been previously emptied. The brigade, along with the museum’s personnel and civilian volunteers, were able to salvage a small part of the collection. The museum soon had to be fully evacuated, and as the fire burned throughout the night, feelings of rage and impotence were fueled when individuals quickly fathomed that nothing could be done other than to wait.
This was a direct consequence of over twenty-five years of negligence and the lack of support—financial and institutional—from past (and current) administrations in the Brazilian government. Catastrophes as such raise myriad questions regarding the role and responsibility of local, regional, and national institutions in the protection, conservation, preservation, and now digitization of their own collections and archives. Nevertheless, it concurrently opens up larger inquiries regarding the position of external entities in these processes, whether international organizations such as UNESCO and ICOM, or foreign governments and cultural institutions, especially in the context of collections held in the Global South, which often face more precarious conditions than that of collections in the Global North.
The idea of fire (and the destruction of cultural heritage by fire) can quickly lead to realms of nostalgia, romanticism, and unproductive pondering, mediated by the what-ifs. Focusing on the past, and on what could and/or should have been done, will not change the very real fact that a museum burned down, and with it, hundreds of years of culture, heritage, and knowledge. Rather than turning the now-charcoaled site into ruins plus beau que la beauté, we should look at it as a potential productive opportunity for the critical reconsideration of the museum, the library, and/or the archive as apparatus of survival and continuation.
It is for this reason, then, that this article does not elaborate on specific details about the events that led to the fire, or the events that have unhinged consequently, at administrative and governmental levels, in terms of prevention, responsibility, and accountability. The current efforts for the reconstruction of the Museu Nacional touch upon multiple (equally relevant) domains, ranging from the sociopolitical and the economic, to the cultural and the institutional. The article rather focuses on the idea of reconstruction as a general whole, at archivo-museological levels, primordially.
The permanent and irreversible damage of the fire extends far beyond simply the destruction of tangible artifacts and the physical infrastructure that encompassed them. The Museu Nacional accommodated an archive comprised of records, documents, and material knowledge, not only about objects in its collection, but also about Amazonian tribes and ecosystems that have now ceased to exist. A great part of the material gathered in the museum was destroyed, including research and writing about these cultures, traditions, and magic-religious systems, along with audio recordings of extinct languages and chants. The fire obliterated material evidence that attested to their existence, and what remains are merely memories in the collective mind. The conflagration at the Museu Nacional represents a monumental loss of Brazilian history and heritage, by all means equally as much as of universal culture and the history of mankind.
Current attempts to reconstruct the Museu Nacional have been carried in their most literal denotation: in the repair of a burned building, the retrieval of surviving fragments from the debris, and the restoration of damaged artifacts. The museum-now-turned-archaeological-site does not exist as burial ground, but rather as a treasure mine of elements that once again beg to be rediscovered. However, said process of reconstruction extends far beyond the walls of the museum in the physical world, all the way to their virtual counterparts in the online realm (fig. 4).
Prior to the fire, Google Arts and Culture had digitized 164 artifacts that were considered the highlights of the collection, and also produced 360º shots and short video presentations of its must-see rooms. In a similar effort, Wikipedia launched an initiative to collect and archive photographs and films of the Museu Nacional as recorded by its visitors. This new content, along with the material that the online platform had enclosed already—including PDFs of seventy books from its library and high-res images of single documents from its archive—has since been encompassed in a WikiCommons page dedicated to the Museu Nacional. This ultimately means that less than 1% of the collection at the Museu Nacional survived in the virtual realms as digital surrogates.
The process of reconstruction of the museum has brought a radical change in the nature of these digital repositories, having emancipated from their prior position as accessories (passive supplements), and adopting a new role as resources (active tools). The acts of digging and unearthing have now transcended into the virtual world, with (media) archaeologists and non-specialized audiences alike searching for digital fragments that could facilitate the reconstruction the museum again as a whole. These spaces stand in memoriam the collection that burned down, while simultaneously operating as support structures of the collection that will rise from its ashes.
Said change has consequently opened a larger inquiry into the readaptation and reformulation of the Museu Nacional, as its future forms and collections will inevitably blur all existing temporal and spatial delineations. Such reorganization will occur at all levels of governance, in the comprehensive reconsideration of its systematic, taxonomical, curatorial, museological, and archival orders. This merely reinforces the position (and potential) of archives and archival practices in terms of the preservation, conservation, and mediation of histories, narratives, and memories.
But what are the implications of a reconstruction as such in terms of remembrance and oblivion, and of resistance and contestation? What are we choosing (or what is being chosen for us) to forget? What does it mean to have such a vast part of cultural heritage and collective memory be technology-mediated? What are we failing to acknowledge by omitting the fire as part of the history, historicity, and historiography of the collection? That is not to say that the ongoing efforts are not valuable or necessary—any form of reconstruction is better than no reconstruction at all, that is certain. However, the scorched building, the burned artifacts, the charcoaled pedestals and showcases all very much amount not only to what the collection is, but what it will continue on to be.
We find ourselves amid the fragments, the residual, the gaps, the lacunae, the incongruities, and the discontinuities, in critical opposition to the discourse of history, which venerates the indivisible and the complete. As described by Michel Foucault in The Archaeology of Knowledge, collections cannot (and should not) be described in their totality, but rather emerging “in the fragments, regions, and levels.” And so the reconstruction of the Museu Nacional should not necessarily conclude (or aim towards) the (re)creation of perfect facsimiles and hyperreal translations. It should rather focus on the amalgamation of fragments, in the minutiae, in what otherwise would be discarded, and thus, consigned to an accelerated oblivion. It should (re)emerge in the form of a living archive.
Unearthing the Museum
“For what cannot be recovered can at least be remembered—or, more ambitiously as well as more ambiguously, reconstructed, reenacted, repeated.” Reconstruction comes in terms of remembrance and recollection; the act of remembering involves unearthing and burying, digging and displaying, and storing and retrieving, simultaneously. The retrieval of collective memory, as well as its simulation, manifests itself then through archival practices and the practices of the archive.
Archives exist as the most comprehensive form of repositories. Borrowing Julia Moritz’s concise definition of the archive, it is understood as “a systematic accumulation of records, documents, or other materials [that] figures as a meta-institution, an institution of institutions.” There are independent institutions that are foundationally conceived as archives (whether administrative or governmental, public or private), and there are other institutions that either contain archives within themselves or structures that potentially follow similar archival functions and methodologies, such as museums and libraries, which can be understood as forms of cultural archives. They construct a specific account of history, which derives directly from the traditional understanding of archives as houses of memory—mnemonic devices—and as such, as “the externalization of a historical consciousness.”
The paradoxical nature of the archive lies in its fundamental promise (and curse), which ensures that the fragment that traverses the walls of the archive—whether its physical, digital, or institutional walls—is bound to exist in perpetuity, fossilized in time, as part of a cohesive, systematic structure. It is often conceived as an ideal totality, when in reality it is the sum of infinitesimal fragments, all of which obey the rules and logic of entropy, decay, and time.
From this meta-institutional perspective, the museum-as-cultural-archive (or as an archive of culture) comes at two main levels; that is, in terms of chrono-politics and the production of lineage, and mnemo-synthesis and the production of memory. Consequently, it plays a pivotal role in the process of formulation of collective identity and heritage of cultures and communities, by portraying and embodying the shape of memory distilled in time. Archival practices have not only set forth the conditions in which we retrieve and reprise the past, but have also very much defined the ways we are to acknowledge and assimilate the present:
Without an archive and its codifications, one is left with traces and remnants that nowadays archaeologists try to decipher in the light of the archival procedures, which were established later. Just as our archives rewrite pre-archival history, the forthcoming archives will rewrite our present, even if it is most likely not to be in a form we would comprehend, but within the frame of their future network architectures.
This could then be extended apropos of the ways rethinking archival practices today might shape future modes of retrieval. The forthcoming conditions of the destruction of archives and the degeneration of archival and archivological practices could be envisaged almost in terms of an archival ruin value of sorts, by considering not solely the circumstances of archives in the future as they continue in time, but also their forms and practices when they ultimately do not do so.
But these are no Delphic futures that demand to be venerated with messianic devotion. They are very palpable, very real, very of the moment. Futures that, however crystallized, can still very much be grasped and shaped today. Hito Steyerl quite effectively illustrates this future, borrowing from the French term of future perfect utilized “to describe an event that will have happened in the future.” Visualizing a scenario in the year 2666, Steyerl suggests that we consider the future in terms of layers of history, and that we begin thinking today about the ways we want to design these layers:
We also need to plan for a surgical cut through all the layers that accumulate until 2666. What will this cut look like? What will it reveal? If it is to be interesting, we better design it properly now. If it is going to be as stunning as, say, a dinosaur claw emerging form the dust of prehistoric oblivion, we have to strategically embed it for further excavation now. We have to plan our future perfect as an amazing archaeological site, revealing surprising finds at every moment.
By acknowledging these future layers of history in conjunction with the layers of the archive, we are offered a plethora of opportunities and possibilities for the design not only of its future layers, but also of its future readings. If reading the archive stems from the principle that “archives rarely speak for themselves, but always have to be read in their context,” living the archive then would fundamentally mean that archives would have to be lived in their context. This simply underlines the fact that, by considering future archives today, we are able to determine the ways they will be read and lived, as well as how they will potentially inform future archival (and anarchival) taxonomies, topologies, and imaginaries.
The prospective for the design of future layers, and concurrently, the design of future archives, has only monumentally increased with the advent of digital technologies. Digital archival practices have facilitated alternative modes of preservation and conservation through digitization; the organization of this new material in digital archives and online databases has inevitably culminated in new quantities and qualities of memory, and in the formulation of new systems of knowledge production and forms of knowledge.
The emergence of these digital archival practices has fostered collaborative attitudes and constituted unprecedented interactions, which have simultaneously stimulated a whole novel array of alternative archaeological, curatorial, and museological practices. They have bridged distances—spatial, temporal, and logistical—and have allowed for the birth of taxonomical fluidities that had previously been rendered impossible. But where we have seen artists, historians, theorists, archaeologists, curators, and collectors exhaustively catching le mal d’archive down endless archival rabbit holes, we have not yet encountered the same momentum and motivations when it comes to archival explorations in digital spheres—let alone the consideration or reimagination of its future forms. That is not to belittle, in any way, early expeditions that, however rudimentary, are still fairly comprehensive, but rather to shed light on the fact that digital archives and online databases still remain as terrae incognitae that demand to be discovered and conquered.
The immensity of digital realms, and of the possibilities they provide in terms of time and speed, memory and storage, and accessibility and availability, can give a false sense infinity and continuity. Even if they will not necessarily be consumed in the flames of raging fires, digital artifacts, archives, and practices are not exempt from falling victim to the logic of entropy, decay, and time. The continuous threat of digital degradation is inherently embedded in the nature of the material, both in terms of hardware and software alike, which require the constant maintenance and active improvement of the platforms that contain them:
The Internet suggests permanence by using terms such as “autoarchiving,” but this is an illusion. The material needs to be actively captured and preserved. Archives that survive must inevitably be kept in some kind of houses of memory, whether real or virtual. The act of remembering involves both storing and retrieving: it is not a passive process, especially in the digital age.
The degeneration of these digital monuments and documents, which concludes in their digital obsolescence, derives from the meteoric pace at which technologies grow, and contrasts dramatically to the decay of their material counterparts, as physical monuments and documents have stood in place for centuries, and have superseded countless cycles of construction-dissolution. All matter—material and digital alike—is bound to disappear, and so their existence plays on the delay (or prolongation) of these processes of containment and dispersal while living (in) archives.
The archive has been considered both object of desire and subject of contestation. It has continuously been scrutinized, dissected, and juiced to its core, in order to push and stretch out its limits and possibilities. Archives have been analyzed in a myriad of different ways: in relation to questions of history, historicity, authenticity, and truth, based on its position as documentary and monumental apparatus, apropos authoritative power manifested in anti-archival turns, focused on its organizational and logical limits and contingency, confronting time-based archival structures and temporalities, and following anarchival (and anarchaeological) impulses; always responding to archival laws and prescriptive restrictions. And when these impediments once existed as barricades manifested in all forms of confinement—logical, systematic, infrastructural, institutional, or cultural, that is—these boundaries now come as productive opportunities for the critical assessment of the archive and the (re)expansion of archivo-museological fields and practices.
The archive has thus become vessel and generative apparatus, all at once; a means of culture and knowledge production. This has consequently diverged the understanding of the archive as a monolithic whole to its now ruling form as constellationary system—becoming both the cathedral and the bazaar. The nature of the archive is not fixed, but rather continuously in flux, and it stands at the intersection between the documentary and the monumental, the found and the constructed, the factual and the fictive, and the public and the private. It is in the fantastic and its impossibilities that the potential of the archive is stretched out, as the imaginary does not come in opposition to reality, but rather vis-à-vis the very real, in a place far beyond its walls.
Circling back to the Svalbard Global Seed Vault, it was originally envisioned as a means to address and resolve the governing fragility and vulnerability of the world’s gene banks. It exists as a backup storage facility of sorts—a backup of backups (fig. 5). It mimics similar principles to that of a bank’s safe deposit box, where each country or institution holds total ownership and control over the seeds they have deposited, which can only be accessed and withdrawn by the depositors themselves. The seeds are stored and sealed in custom-made, three-ply foil packages, which are concurrently secured inside bespoke boxes and organized on shelves inside a vault kept at a set temperature of -18ºC at all times. The Seed Vault’s remote location further reinforces its inaccessibility, both temporally and spatially, as the vault rooms are situated 100 meters into the mountain, entirely surrounded by permafrost. Its fail-safe methods guarantee the continuous preservation and conservation of the seeds even if (and after) all systems fail. That is to say that the archive itself is designed so as not to be accessed, ensuring that when the seeds enter the archive, they remain intact until after episodes of mass destruction, once they are needed again.
The archive of archives—the archive that exhaustively contains all the material needed to reconstruct all archives after they are destroyed—would then follow similar steps; understanding that once something enters the walls of such an archive, it is to be kept in a fixed, static, unalterable form. This would ultimately mean that what is preserved and conserved is merely one out of infinite versions of the archive. Apropos the preservation of artworks and artifacts in a museum, Christian Boltanski stated:
Preventing forgetfulness, stopping the disappearance of things and beings seemed to me a noble goal, but I quickly realized that this ambition was bound to fail, for as soon as we try to preserve something, we fix it. We can preserve things only by stopping life’s course. If I put my glasses in a vitrine, they will never break, but will they still be considered glasses? […] Once glasses are part of a museum’s collection, they forget their function; they are then only an image of glasses. In a vitrine, my glasses will have lost their reason for being, but they will also have lost their identity.
Both the physical and virtual worlds have unavoidably set forth forms of (unproductive) containment, whether material, temporal, spatial, conceptual, or institutional. We are often bound to the confinements of the fixed, indivisible, and complete. But archives are no longer repositories of dead things, for the grave has become the engine. And so the archive of archives would proclaim the early and unjust death of the collections it encompasses, by distilling and freezing them in time and space.
Even the promise of survival and continuation offered in the place within its walls does not liberate the archive from yielding to the demands of change; whether positive forms of change in terms of growth and expansion, or negative forms, facing decay and degradation. Archives, with their fevers, allures, and impulses, have become living organisms, shifting and fluctuating in perpetuity. The living archive, that is, the archive that is very much alive, replicates the binding and boundless possibilities of the Borgesian library. It is a vessel that is continuously being filled, extended, and reshaped. And even if some elements of the archive are bound to disappear—and they will irrevocably do so—they will still exist as gaps, lacunae, and voids, always within the periphery of the archive that contains them.
How do we then contain an archive that cannot (and maybe even, should not) be contained? How do we protect, preserve, and conserve that which begs not to be protected, preserved, and conserved in the first place? Terrestrial impermanence should not be understood as a threat, but rather as a pledge of survival. Equally, the promise of continuation should not come in terms of the absolute preservation and the timeless conservation of the material and the immaterial, as repositories of culture and knowledge are not exempt from the traces of fire(s). It is in this obedience to the logic of entropy, decay, and time, which is inherently embedded in the livelihood of all things, that material fragmentation and digital degradation become part of the matter and space themselves, and thus part of its histories, topographies, and archaeologies.
When we once were confronted with the physical and material limitations of archives in the earthly realm, we have found their prolongation with the genesis of digital archives and online databases, as these virtual spaces have allowed for the emancipation of the archive without walls from the singular and one-directional into the regenerative, rhizomatic, and open-ended. Material and digital archival practices, however disparate, manage to find one another in a productive juncture in the realm of the imaginary; it is in this moment of collision that we are able to (re)imagine the limits, possibilities, and layers of the archive—past, present, and future.
The future of all collections is contingent upon the hands of every single individual who has and will wander the earth—pearl divers who will plant seeds and unearth fragments deemed long-lost in all layers of the future, perfect and imperfect alike. Let us then (re)imagine what the reconstruction of the Museu Nacional as a living archive would have been:
The reconstruction of the Museu Nacional would have included all forms of the building, that is, the one in its previous state of disrepair, the one that was consumed in flames, and the one that will be rebuilt from the ruins. It would have housed a collection of artifacts that survived in their physical forms, along with the ones that were preserved online as digital surrogates. This collection would have also incorporated all the fossils and remnants that would have been found on the museum-turned-archaeological-site, the ones scattered through all corners of the virtual realm, and the ones that will continue to emerge in time. It would have preserved the ruins, dust, and residue. The reconstruction of the Museu Nacional would have instituted a generative, ever-expanding archive. One that would have included the material found in the archives at the Museu Nacional and the Federal University of Rio De Janeiro, and in Google Arts and Culture, Wikipedia, and WikiCommons. This new archive would have also integrated all the ad hoc archives that emerged subsequently. The reconstruction of the Museu Nacional would have assimilated all documents, records, evidence, and testimonies generated prior to the fire, and all the ones that consequently were produced after. It would have embraced all artistic and cultural manifestations, renderings, and reinterpretations that materialized as mnemonic apparatuses of resistance. The reconstruction of the Museu Nacional would have not attempted to bridge gaps, complete lacunae, or fill any voids; it would have existed and continued in the comprehensive amalgamation of fragments. It would have designed the layers of the museum in the future, in all of its infinite forms. For things exist as long as they are remembered, and the Museu Nacional shall go on in this crystallized form, forever as tropical fantasia.
In the context of this article, the concept of tropical fantasia is understood as frame of reference rather than as subject matter or line of inquiry; thus, the exclusion of any in-depth assessment of this concept throughout the article is a deliberate intention. Notwithstanding, this almost “intangible” idea stems from very real, very tangible circumstances, and so I believe that it would be crucial to contextualize the conditions to which the concept adheres.
The notion of tropical is understood in terms of the Tropics, the Global South, the territories that fall under the balmy belt of the Equator—more often than not, territories that were (and still indirectly are) subdued by colonial and imperial power(s). Territories that were shaped and molded following Eurocentric ideals, canons, and conventions, which extend to the fields of cultural institutions and repositories of knowledge, and concurrently, to their established archaeologies, taxonomies, and topographies. The notion of tropical, then, comes in direct opposition to these imperatives, reacting against underlying colonialist taxonomical and institutional systems of order. Tropical also alludes to tropicália, paying homage to a movement and discourse of critical resistance and sociopolitical struggle that, equally as much as the Museu Nacional, is quintessentially Brazilian.
The idea of fantasia is directly derived from Michel Foucault’s understanding of the imaginary, not necessarily formed in opposition to reality (or the “real”) as its denial or compensation, as elaborated in his “Fantasia of the Library”:
The fantastic is no longer a property of the heart, nor is it found among the incongruities of nature; it evolves from the accuracy of knowledge, and its treasures lie dormant in documents. Dreams are no longer summoned with closed eyes, but in reading; and a true image is now product of learning: it derives from words spoken in the past, exact recensions, the amassing of minute facts, moments reduced to infinitesimal fragments, and reproductions of reproductions. In the modern experience, these elements contain the power of the impossible.
The idea of fantasia revisited, understood as a visionary experience mediated by infinitesimal fragments of tangible and virtual matter, and the images of images of the past now lost in the present, which dictate the (re)imagination of the future. The fantastic—or the imaginary—not in opposition to historiographical realities, but as achronological signs growing from the sum of fragments, remnants, and dust, lost in the intervals, the gaps, the deserts, and the lacunae, and found in these incongruities; in these instances of infinite possibilities.
Tropical fantasia comes as a potential productive opportunity for reformation, reorganization, liberation, and critical emancipation.
Ana Helena Arévalo is a Venezuelan art historian and design researcher currently living and working in London. Her research/practice often meets at the intersection(s) between archivo-museology and the curatorial, cultural criticism and speculative fiction, and editorial design and critical publishing.
In 2017 she completed a BFA in Art History, Theory, and Criticism at the Paris College of Art, and in 2019 she obtained her MA in Graphic Communication Design from Central Saint Martins, London. Her work has been published in a series of cultural journals and publications, most recently including contributions for Utca & Karrier, UQ Unknown Quantities, and CARMA Journal.
 The introductory paragraph is my own, and was written specifically for this article.
 CropTrust, “Svalbard Global Seed Vault,” (n.d.), accessed August 21, 2019, https://www.croptrust.org/our-work/svalbard-global-seed-vault.
 In the context of this article, “fragments” (and “fragmentation”) alludes to Walter Benjamin’s Excavation and Memory and Arcades Project, “remnants” to Michel Foucault’s Archaeology of Knowledge, and “dust” to Carolyn Kay Steedman’s Dust: The Archive and Cultural History.
 Hal Foster, “An Archival Impulse,” OCTOBER 110 (Cambridge, MA: MIT Press, 2004): 5.
 For an in-depth analysis for the fire at the Museu Nacional, see Ana Helena Arévalo, “Deserts, Voids, and Disrepair,” CARMA Journal ARMA (2019): 48–55.
 When scavenging the Museu Nacional’s site a few days after the fire, Bendegó was found intact and fragments of Luzia were recovered. Soon after, a rescue team was rapidly assembled, conformed of diverse museum professionals and specialized practitioners, and led by deputy project coordinator Claudia Carvalho. A considerable number of artifacts and relics have been found since, and some collections have even been reassembled, including the museum’s Egyptian collection, which has been retrieved almost in its entirety. The museum has already held two pop-up exhibitions with a selection of salvaged material at the CCBB (Centro Cultural Banco do Brasil) and the MAST (Museu de Astronomia e Ciências Afins). It has secured various loans, financial but also of artifacts that will form part of the museum’s new permanent collection. It has also presented a series of lectures and panel discussions about the future of the museum and its collection to both national and international audiences and participants; most recently, Rescue of Collections: Challenges and Achievements in May 2020, held on the Museu Nacional’s Instagram page as part of their Museu Nacional LIVE series.
 The notion of digital surrogate in the context of digital art and culture extends to all the digital copies, reproductions, replicas, renderings, and models of material objects (which are understood as physical representations of culture and knowledge) that belong to the physical world as part of a cultural institution’s collection, library, and/or archive. These digital surrogates often exist within virtual realms in online archives and databases, which are also dependent of, or connected to established institutions or organizations, and that are, for the most part, open and available to the public.
 There is an additional question, however, that unavoidably lingers in the air: what are the sociopolitical, economic, cultural, and even ethical implications of institutions from the North mediating the history, narrative, memory, and understanding of an institution of the Global South? It is of course impossible to overlook the connotations. The theme of the fire of the Museu Nacional can be dissected and examined through numerous lenses, especially vis-à-vis postcolonial and/or neoliberal discourses, but as clarified above, this article deliberately focuses on the idea of reconstruction solely in terms of archivo-museology.
 Michel Foucault, The Archaeology of Knowledge (London: Routledge Classics, 2002), 143.
 In the context of this article, the notion of living archives has been extracted from two different perspectives and meets at their intersection: living archives implying that archives are “open, collaborative, and creative,” from Annet Dekker, ed., “What it Means to be Lost and Living (in) Archives,” in Lost and Living (in) Archives (Amsterdam: Valiz, 2017), 17. But also, living archives in the Broodthaerian sense, as living organisms that are continuously evolving, whether expanding or contracting, but always in flux. See Marcel Broodthaers, “Interview with Jürgen Harten and Katharina Schmidt (1972),” in The Archive (London: Whitechapel Gallert, 2006), 82–84.
 Dieter Roelstrate, “Field Notes,” in The Way of the Shovel (Chicago: University of Chicago Press, 2013), 25.
 Julia Moritz, “Institution, Critique, Archive, Production,” in The Archive as a Productive Space of Conflict (Berlin: Sternberg Press, 2016), 525.
 Christa Becker and Beatrice von Bismarck, “Positioning Difference: The Museological Archive,” in The Archive as a Productive Space of Conflict, eds. Yann Chateigné and Markus Miessen (Berlin: Sternberg Press, 2016), 57.
 Siegfried Zielinski, “AnArchaeology for AnArchives: Why Do We Need—Especially for the Arts—A Complementary Concept to the Archive,” Journal of Contemporary Archaeology (2015): 116, accessed August 28, 2019, doi: 10.1558/jca.v2i1.27134.
 Moritz, “Institution, Critique, Archive, Production,” 525.
 Mathieu Copeland elaborates on this idea of reprise “as a means to envisage how past realities (thus to say the archive/leftovers of what once was) are to be revisited and appropriated in the presentation of an entire bootleg of an exhibition. What remains of an exhibition, once it has run its course, is crystallized in its catalogue, the materials it generated, and the memories of those who experienced it.” Matthieu Copeland and Kenneth Goldsmith, “Archiving the Immaterial: A Digital Ecosystem,” in The Archive as a Productive Space of Conflict, eds. Yann Chateigné and Markus Miessen (Berlin: Sternberg Press, 2016), 200.
 Stefan Heidenreich, “Unknown Knowns and the Law of What Can Be Said,” in The Archive as a Productive Space of Conflict, eds. Yann Chateigné and Markus Miessen (Berlin: Sternberg Press, 2016), 386.
 Hito Steyerl, “Future Perfect,” in The Way of the Shovel (Chicago: University of Chicago Press, 2013), 222.
 Ibid., 223.
 Luciana Duranti and Patricia C. Franks, eds., Encyclopedia of Archival Science (Lanham: Rowman & Littlefield Publishers, 2015), 55.
 Physical archives have been thoroughly dissected beyond the limits and possibilities of their inherent roles. They have also been exhaustively utilized as subject/object of exploration, as framework or methodology, and/or as critical practice. There are a myriad of examples of individuals going “deep into the archives,” whether historically, such as Aby Warburg and Andre Derain, or more contemporarily, as in Jean-Luc Moulène, Hanne Darboven, Gerhard Richter, or Hans Ulrich Obrist and Markus Miessen—all of whom have dealt with tangible materials in the physical world. We have not yet seen this same momentum when it comes to digital archives and databases, that is, of individuals going “deep into the digital archives.” These virtual repositories offer equally (if not plenty more) opportunities for these explorations, and their potential is yet to be fully developed.
 Sue Breakell, “Perspectives: Negotiating the Archive,” Tate Papers 9 (Spring 2008), accessed September 3, 2019, https://www.tate.org.uk/research/publications/tate-papers/09/perspectives-negotiating-the-archive.
 Further reading (respectively): Dieter Roelstraete, “The Way of the Shovel: On the Archaeological Imaginary in Art,” e-flux journal 4 (2009), accessed June 6, 2019, https://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the-archeological-imaginary-in-art; Sophie Berrebi, “Not-So-Transparent Things,” in The Way of the Shovel (Chicago: University of Chicago Press, 2013), 266–276; Charles Merewether, “Archival Limits,” in The Archive as a Productive Space of Conflict, eds. Yann Chateigné and Markus Miessen (Berlin: Sternberg Press, 2016), 513–517; Lawrence Liang, “The Dominant, the Residual, and the Emergent in Archival Imagination,” in Autonomous Archiving (Barcelona: dpr-barcelona, 2016), 97–113; Heidenreich, “Unknown Knowns and the Law of What Can Be Said”; Zielinksi, “AnArchaeology for AnArchives.”
 Foster, “An Archival Impulse,” 5.
 CropTrust, “Svalbard Global Seed Vault.”
 Kynaston L. McShine, The Museum as Muse: Artists Reflect (New York: Museum of Modern Art, 1999), 91.
 “Whoever follows the avant-garde is always on the right track. And the track of the avant-garde can be easily found: in the avant-garde museum—the museum that no longer conserves and exhibits, but stimulates. The grave has become the engine.” Camiel van Winkel, During the Exhibition the Gallery Will Be Closed: Contemporary Art and the Paradoxes of Conceptualism (Amsterdam: Valiz, 2012), 88–89.
 “Their name is execrated today, but those who grieve over the ‘treasures’ destroyed in that frenzy overlook two widely acknowledged facts: One, that the Library is so huge that any reduction by human hands must be infinitesimal. And two, that each book is unique and irreplaceable, but (since the Library is total) there are always several hundred thousand imperfect facsimiles—books that differ by no more than a single letter, or a comma.” Jorge Luis Borges, “The Library of Babel,” in Fictions (London: Penguin Books, 2000), 65–74.
 The conception of the Musée Imaginaire—literally translated to “imaginary museum,” although broadly understood as the “museum without walls”—was coined by André Malraux as a means of solving the logical, systematic, and infrastructural conundrum that was the creation of a Total collection (understanding by Total, a collection that is absolute, infinite, and all-encompassing). Because there physically could not be a place that could house every single work of art ever produced, he found the ideal home for a compilation as such within the boundless realms of the imagination; spaces that could foster dialogues and juxtapositions that otherwise could never be.
 “Like a pearl diver who descends to the bottom of the sea, not to excavate the bottom and bring it to light but to pry loose the rich and the strange, the pearls and the coral in the depths, and to carry them to the surface, this thinking delves into the depths of the past—but not in order to resuscitate it the way it was and to contribute to the renewal of extinct ages. What guides this thinking is the conviction that although the living is subject to the ruin of the time, the process of decay is at the same time a process of crystallization, that in the depth of the sea, into which sinks and is dissolved what once was alive, some things ‘suffer a sea-change’ and survive in new crystallized forms and shapes that remain immune to the elements, as though they waited only for the pearl diver who one day will come down to them and bring them up into the world of the living—as ‘thought fragments’ as something ‘rich and strange,’ and perhaps even as everlasting.” Hannah Arendt, ed., “Walter Benjamin: 1892–1940,” in Illuminations (London: The Bodley Head, 2015), 54–55.
 Including the informal archive created by the students at UNIRIO as memento mori, which incorporates thousands of images of the museum and its collection and is considered its own virtual museum/memorial, and the Museu Nacional Library channel on are.na, which showcases seventy PDFs from the museum’s library, in the form of an ad hoc online shelf.
 See Arquivo Documentary, a short documentary about the aftermath of the fire, its process of reconstruction, and the testimony of individuals that worked for or closely with the Museu Nacional.
 Pivotal examples of artists reacting to the fire at the Museu Nacional include Brazilian performance artist Rodrigo Andreolli and Argentinian visual artist Matilde Marín, whose work comes both as monument and testimony.
 Michel Foucault, “Fantasia of the Library,” in The Archaeology of Knowledge (London: Routledge Classics, 2002), 90–91.
Ana Helena Arévalo, ”Tropical Fantasia: Towards a New Archivo-Museological Imaginary” Stedelijk Studies Journal 10 (2020). DOI: 10.54533/StedStud.vol010.art10. This contribution is licensed under a CC BY 4.0 license.


Gwersyllt is a station in Wrexham operated by Arriva Trains Wales. There are no ticket machines at this station. There aren't any toilets. The platforms aren't step free accessible, so if you'd like assistance please call the helpline 03333 211202. There is a car park with 12 spaces available at this station.
Wheelchair access to Platform 1 (to Bidston) from station car park. Platform 2 (to Wrexham) can only be accessed using non compliant ramps at the platform ends and an uncontrolled foot crossing across the railway.
Customer Help Points
No platform staff available. Assistance is provided by the Conductor on the train.


From cleaning to prevention, a little care and maintenance can go a long way in keeping your mattress in good shape for years to come.
Once you’ve invested in the best mattress, chances are you expect it to provide comfortable sleep on it for many years. The average mattress is designed to last anywhere from five to ten years or more, though how it is maintained can shorten or lengthen your bed’s lifespan.
Being aware of environmental factors and knowing the best ways to care for a bed can help you keep your mattress clean, and healthy and provide comfortable sleep as long as possible.
How to Keep Your Mattress in Good Shape Longer
We’ve put together ten of the best ways to protect your investment by caring for the mattress and preventing disasters before they occur.
1. Make sure your mattress is properly supported.
While you may not always need to purchase the matching box spring or foundation with the best mattress topper in Australia, it is essential to make sure your mattress does have the right kind of support. This helps preserve the integrity of materials and prevent early wear.
Check with the manufacturer or look at the warranty policy for recommendations. Box springs are generally used only with spring mattresses, while memory foam mattresses and other specialty mattresses usually require firm, solid support.
Beds that use a frame should be designed to support the weight of sleepers and the mattress, and queen and king beds should have center support bars. Platform beds with wide slats may need extra support depending on mattress type and weight.
It’s a smart idea to check on your bed’s support every year or so to make sure there are no broken slats or springs that could affect your mattress.
2. Use a mattress protector from the beginning.
We’ve covered the benefits of mattress protectors before, and they are one of the best and simplest ways to protect your bed’s longevity.
A good, quality mattress protector offers waterproof protection to guard against spills and accidents, and they also reduce the amount of dust, debris and dirt that make it into your bed.
This helps protect the materials inside your bed from damage, keeps skin oils and sweat off the bed, and reduces the build-up of allergens like mold and dust mites. A protector also makes cleanups a snap when accidents do happen, and many newer types feel just as comfortable as a fitted sheet.
3. Wash bed linens regularly.
When you sleep, you shed sweat, oils, hair, and skin cells. Eating in bed also leaves behind crumbs, and pets can track all sorts of things. In addition to getting yucky, all of this can get into mattress layers, breeding bacteria and encouraging dust mites.
Bed sheets and blankets should ideally be washed every week to every two weeks according to most cleaning experts. Even when using a mattress protector, it’s still important to keep linens clean. The mattress protector should also be washed occasionally according to a manufacturer’s directions.
4. Get pets in separate beds to snuggle in.
Speaking of stuff in your sheets, it is better to give pets their own designated beds rather than letting them cuddle up on your mattress.
Even well-groomed pets walk outside, drool, and shed hair and cells just like people, and all that winds up in your bed. Pets also can have the occasional accident, which can all but ruin an otherwise good mattress.
5. Rotate the mattress regularly.
Every type of mattress benefits from being rotated regularly, no matter the material or the size. Some manufacturers say it is not necessary, but rotating helps promote more even wear, while not rotating makes depressions and softening more likely.
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Your mother always told you not to jump on the bed, and she wasn’t wrong. Spring, water, and air beds may be most prone to damage with rough wear, but foundations, frames, and even foams can all wear down more quickly if you are hard on the mattress.


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MULTICHANNEL MERCHANT » ARCHIVES FOR MARK DEL FRANCO
Looking to bolster its presence in the spa and wellness market, Scrip Companies acquired New Life Systems, a manufacturer and catalog distributor of massage and spa products on Aug. 17. Terms of the deal were not disclosed.
Nestled in the American Rockies, hunting products retailer Schnee’s is a Montana landmark that
Private equity player Gryphon Investors, along with Growth Ventures Group, have acquired $125 million plus western wear cataloger/retailer Sheplers.
According to several published reports, multititle marketer Amerimark Direct has agreed to buy fellow multititle cataloger Dr. Leonard
Receiving is the Rodney Dangerfield of operations, says consultant Wayne Teres: Few companies give it any respect.
But it is the most complicated function in the warehouse. One error can have a ripple effect.
Private equity giant Bain Capital in late June acquired multichannel marketer Guitar Center. Under the deal, which is expected to close in the fourth
North Castle Partners has been wheeling and dealing: The private equity investor announced on July 3 it bought Performance Bicycle. Terms of the deal were not disclosed.
To celebrate its silver anniversary, Ballard Designs is headed to the mall.
Norm Thompson’s loss is Blair Corp.’s gain. That’s because Norm Thompson’s contact center and distribution center is moving to sister company Blair
North Castle Partners has been wheeling and dealing: The private equity investor announced on July 3 it bought Performance Bicycle.
by Jamin Dick
Posted 4 days ago
by Curt Barry
Posted 1 week ago

domain: finance


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Vice presidents of the Presidential Council (PC) Moussa Al-Kouni and Abdullah Al-Lafi on Sunday called for a Maghreb summit at the ministerial level to revive the Arab Maghreb Union and discuss common issues.
The PC officials made a statement in this regard during their meeting with Tunisian Prime minister Hishem El-Mechishi.
Al-Koni and Al-Lafi stressed the depth of the historical relations that bind Libya and Tunisia, expressing a desire to strengthen ties in all fields to serve the interests of both nations.
They also praised the outcomes of Prime Minister Dbeibah's talks with his Tunisian counterpart, saying that this confirms the firm desire of both sides to develop prospects of fruitful cooperation, according to a statement by the PC media office.
Meanwhile, the Tunisian PM stressed, work would continue to develop Libyan-Tunisian relations during this stage. "Libya is witnessing remarkable stability paving the way for construction and development," El Mechishi said.
He emphasized working with the Libyan side to implement the findings of the Libyan-Tunisian technical committee meetings into effect.

domain: news


EUGENE, Ore. - Candice Hamilton and her 2-year-old son Ezion always have their weekly routine.
They are just two of thousands of parents and kids who come to Parenting Now! to find parenting support.
"We first brought him here when he was six weeks old," said Hamilton. "It's just kinda neat to be able to talk with other moms about the same kind of things you're going through."
Up until now, the organization has run under the name "Birth to Three." But on Monday, their name officially changed to "Parenting Now!"
"After two years of really careful planning and working with a strategic plan, we decided that we need a name that reflects who we are now," said executive director and co-founder Minalee Saks.
Saks said the name of the program wasn't really reflecting all the clients they serve.
"What we realized in the past number of years is that we really work with parents who have children to eight years old," she said. "So the name doesn't describe the programs that we have for parents."
The organization, which began in 1978, provides clients with parenting support and classes on everything from nursing to stress relief.
"No matter the age or economic level or just kind of program, we have a lot to offer parents," said Saks. "Parenting Now! came to us and it just sounded right, it made sense."
She said the name may have changed, but the service is the same.
"We're still the same program, we have the same values, we have the same mission. The name just better describes the work that we're doing."


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The Multisizer 3 meets and exceeds the new ISO Standards for particle sizing, providing complete audit trails for each step. For pharmaceutical applications, the instrument is also CFR Part 11 compliant.
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Standard cDNA Libraries are produced from customer supplied tissue using a proprietary technology. First strand cDNA is made from mRNA that is primed using oligo dT.
Chromosomal translocation of ABL oncogene, which maps to chromosome band 9q34., leads to malignant transformation as seen in CML (chronic myelogenous leukemia). The main partner gene involved in the ABL translocation is BCR, located on chromosome 22.
Wheaton Science Products offers Cell Optimizer and Mini Pilot Plant bioreactor systems, which enable automated control of optimum operating parameters over culture volumes ranging from 250 ml to 45 liters.
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domain: chemistry


text:
13 of 13 people found the following review helpful
Informative and compelling,
Verified Purchase(What's this?)
This review is from: Brainwashed: Challenging the Myth of Black Inferiority (Paperback)
Although I am only half-way through this book I find the information both informative, and compelling. Tom Burrell has managed to inform his readers about why people of color of African decent do the things they do that prevent their progress as a people using modern day analogies to bring his point home. This is a must read for every person of color whether they be of African or Latino decent. I have already begun to use his teachings in my lectures to young men and women throughout my community in the hopes that they will begin to understand why their destructive behavior must end.

domain: sociology


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Beware the ‘Loughborough School’ of social psychology? Interaction and the politics of intervention
journal contributionposted on 21.07.2014, 10:52 by Elizabeth StokoeElizabeth Stokoe, Alexa Hepburn, Charles AntakiCharles Antaki
The authors explain the attractions of applying discursive psychology (DP) and conversation analysis (CA) by reporting three different examples of their engagement with practitioners and clients. Along the way, a case is made for separating DP/CA from other kinds of qualitative analysis in social psychology, and for deconstructing some commonly held misunderstandings and caricatures of DP/CA.
- Social Sciences
- Communication, Media, Social and Policy Studies

domain: psychology


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In the present study we investigated the potential role of Toll-like receptor 4 (TLR-4) Asp299Gly and Thr399Ile polymorphisms as risk factors in the development of gastric cancer. TLR-4 Asp299Gly and Thr399Ile polymorphisms were investigated in 171 Italian patients with sporadic gastric cancer and in 151 controls. Unconditional regression (odds ratio and… (More)
AIM At present, two different clinical procedures to ensure the adherence of indirect tooth restorations to the dental tissues are available: a traditional method based on a delayed dentin sealing (DDS) and an innovative approach that contemplates an immediate dentin sealing (IDS). In this study the authors highlight the advantages of the latter method… (More)
Primary ovarian leiomyosarcomas are rare neoplasms of the ovary, particularly in the pediatric population. Their occurrence following radiation therapy for previous malignancy has important implications. We present a case of primary ovarian leiomyosarcoma in an adolescent following therapy for medulloblastoma.

domain: medical


5 Tips for Zero Waste Travel
It’s travel season! Hopefully you’ve got a fabulous vacation, family reunion, or epic road trip to enjoy during the summer months. Travel can be pretty rough on the environment, between transportation emissions and our generally-more-wasteful habits while away from home. However, with a little bit of preparation, you can plan for zero-waste, trash free travel and feel great about your contribution toward being a little kinder to mother earth.
How to Create Less Waste While Traveling
As much as possible avoid paper tickets, brochures, and other items that are used once and quickly discarded. When flying, download a PDF of your plane ticket to scan at the gate rather than printing it out at home or the airport. If you can pack light and avoid checking a bag, as well, you can keep away from the stickers and tags that are placed on checked luggage. Save important information, directions, and maps on your phone. If you know that you’ll be traveling to an international location where your phone’s data won’t work, you can use Google Maps’ “ok maps” feature to save maps that you can access offline before getting on your flight.
Traveling zero waste is all about being prepared! Bring a basic “zero waste kit” with you to avoid situations where you’d be forced to create waste. This can include items like a reusable tote bag (I love the type that fold up very small), a reusable coffee cup, a set of utensils (just pack a fork and spoon, no knife, if you’re flying!), a sandwich-sized stasher bag, and a handkerchief or cloth napkin. These simple items take up very little space in your luggage, but are versatile enough to help you create less trash in many different situations. I use stasher bags for everything from taking leftovers from a meal to storing wet or dirty items so they don’t contaminate the rest of my luggage.
Pack Your Own Food
Airports and gas stations aren’t the best place to find zero waste snacks or food, yet they’re the places that are largely available to us when we’re traveling. Pack your own food, and you won’t find yourself with any unwanted trash from food wrappers, straws, or utensils. A hearty sandwich is great for a long trip, and a few granola bars or protein bites can tide you over on a shorter one— all of which can be kept fresh in a few stasher bags.
Take Your Own Toiletries
Those tiny plastic bottles of soap, shampoo, and lotion are cute, but they’re terrible for the environment. Most of us won’t even use a full small bottle during a stay, meaning not only the plastic bottle, but the wasted product gets sent right to the landfill after we check out. Bring your own toiletries from home instead of using the hotels’- invest in a few small, refillable bottles and pack them in a TSA- approved sandwich-sized Stasher for easy maneuvering through airport security!
Bring a Water Bottle
Bringing your own water bottle is a small action to take, but it can keep so many plastic water bottles out of the landfill! If you’re flying, just be sure to bring an empty water bottle to avoid having to chug its’ contents minutes before you have to go through the security line. Most airports have water fountains and water bottle refilling stations to use, so you can avoid overpriced airport bottled water entirely. On the plane, ask the stewardess to refill your water bottle instead of using a new, small plastic cup each time you get thirsty.
Do you have any tips for traveling zero-waste? Let us know!
This post was written by our friend Hannah Theisen, co-founder of TELAstory Collective.


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Chinese Papers Warn of Harmful Side Effects From Hula Hoop Craze
BEIJING (AP) _ After pushing hula hoops as a way to stay fit, the official media today warned that some Chinese who belatedly caught on to the American 60s craze are overdoing it and bending themselves out of shape.
The China Sports News (Zhongguo Tiyu Bao) said Beijing worker Xu Denghai was hospitalized with what it called a twisted intestine after playing with a hula hoop on Feb. 26 with his co-workers. It did not elaborate.
Xu was the third person in Beijing to suffer intestinal injury because of improper use of a hula hoop, the newspaper said, citing information from an article in the Beijing Youth News (Beijing Qingnian Bao).
The Sports News said Dr. Yang Hua of Beijing No. 3 Hospital warned that the gyrating motion of twirling a hula hoop around the body is a strenuous activity. Yang urged people to limit the time they use the novelty rings, the newspaper said.
The Beijing Evening News (Wanbao) advised people to warm up properly and refrain from playing with hula hoops immediately after eating to avoid stomach, intestinal and back injuries.
State-run newspapers and television have carried numerous reports on hula hoops since the fad began in China in February. Today’s edition of the Beijing Evening News had an entire page devoted to the craze.
The China Disaster Reduction Press (Zhongguo Jianzai Bao) today had two front-page articles on the history of hula hoops, health warnings and concerns about possible environmental problems if the plastic rings are discarded after the fad wanes.


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Two other excellent art museums—the Blumenschein Home and Museum and the Harwood Museum—are just a few blocks away.
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Seventy miles north of Santa Fe, at the gay taos of the Sangre de Cristo Mountains, Taos is also a favorite taow outdoor enthusiasts, with plenty of annual sunshine, excellent skiing, and mountain trails for hiking and biking. Genuine Gallup. If you have time, leave the museum by continuing north on U.
Today, the Plaza boasts more than 40 galleries and boutiques and several restaurants. Coal Gulch later became the town site of Madrid.
Finally, in winter, Taos Ski Valley—about 20 miles northeast of downtown—is a huge attraction. You can tour dozens of art galleries in the center of town, which gay taos contains quite a few funky specialty shops, selling everything from Day of the Tsos figurines to New Age crystals. Lambert wrote.
All listings in taos
If you are gay taos to visit Taos, please review the statewide travel guidelines. Taos Pride honors the lives and achievements of lesbian, gay, bisexual and transgender people everywhere. In the meantime experience Taos from a distance. The percentage of gays and lesbians in the population is likely far less than Santa Fe or Albuquerque, but Taos nevertheless pulls in a considerable of GLBT visitors.
Gay Taos This tiny town of 4, in the New Mexico hills is a long-time home to artists and free spirits and yaos popular gay taos spot for GLBT visitors.
A favorite draw is white water rafting through Taos Box, a dramatic mile span gay taos the Rio Grande River that cuts through a deep gorge of steep, black-basalt cliffs. Your safety and the safety of our town is our priority and we look forward to seeing you soon.

domain: artistic


Reaching the shopper today is not just about engagement through conversation, but it is about how a consumer is visually stimulated when engaging with a brand on social media that could eventually lead them down the path to purchase.
Nearly 8 out of 10 respondents to the MCM Outlook 2014 said they use social media to engage in conversations with followers. Of that group, 7 out of 10 said they measure social success by the number of followers and fans.
Multichannel Merchant managing editor Tim Parry will release his findings from the MCM Outlook 2014 survey at Operations Summit 2014. Here’s a sneak peek at his session, which will close the conference with a bang.


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Full leaf Indian black tea from Assam.
Steve Smith's birth year and number of times he spent per day looking for his glasses.
For best flavor, bring spring or freshly drawn filtered water to a boil (212 degrees). Steep 1 rounded tsp (3 g) loose leaf for five minutes. A good time to practice the guitar.
- Select an Ingredient:
Indian Black Tea
Assam tea is the biggest, brightest, richest and most astringent tea made. It is the backbone to breakfast style teas of nearly all brand and quality although it is also used in many blends for body and top notes. Assam is less floral and has more bread or biscuit-like flavor than other origins, and is often described as malty or coppery.
The Assam region is located in Northeast India, and borders Bhutan and Bangladesh. At near sea level, this region produces teas that are full flavored, rich, and chewy with distinct characteristics of caramel and malt. The best teas from this region are plucked and processed in June and July, a harvest also known as the 2nd Flush.

domain: food


The wireless router is used to connect many users or device at a time. Main functionalities of the wireless router are to transmit a packet to its destination. Through router, data is transmitted regarding packets very securely.
Nowadays wireless router is widely used over normal router as it easy to set up and handle. To set up the wireless router, you don’t need to have great hardware and technology knowledge. The wireless router has a dashboard that helps you to set up its configuration more easily and quickly. Every organization and even for home people now go for a wireless router. You can set it anywhere and enjoy surfing from anywhere at any time.
How to Connect 192.168.1.1 Router Username & Password?
220.127.116.11.1 is an IP address of ASDL modem. This IP address is used by all modern router brands or manufacturers. By using this IP address, you can alter the default setting of a router.
What you can do with 192.168.1.1 IP Address
With this IP address, you have to connect a router to a system to manage it. When you have successfully connected to a router management console, you have the full right to change any settings as per of your requirements. Every router dashboard offers you to play with different settings as Security, Network management, WAN settings, wireless settings and much more. Utterly with an IP address, you can manage your network settings.
As I have told 18.104.22.168.1 IP address helps you to alter setting as a per your settings of a router. But you need to be familiar with some steps and procedures. Below I am going to share the steps to log in to a router control panel.
First, you need to connect the router to your system. You can connect it via LAN cable. For that, you need to install a LAN driver on your system.
Every router has an IP address which you need to find and copy that address to the browser. After successfully connected you will redirect to the router management console Login page.
Every router has a specific login username and password by which you can get access to the main router settings dashboard. In maximum router username and password is both “admin” or “password.”You can use any from this two to get access to the main control panel. It is recommended to change the default 192.168.1.1 login admin to make your network secure from hacking.
Now you are on the main dashboard of your router where you can alter any settings as per your requirements. Router control panel consists of many tools and options with the help of which you can manage your network. below I am going to make you familiar with some basic functionalities of router management dashboard.
Here with this option, you can set your network. It has both manual and automatic installation wizard. You can follow any of the two settings. You can set your wireless network, LAN, Time and date.
This shows whether you have successfully connected to a network. If you are connected, then it shows “Connected” otherwise it will show “Disconnected.”
If you are facing any problem regarding network setup, then its Help Manual will help you to seek out the problem that you are facing.
Here you will get all information regarding the router status. It also helps you to set a password for your 192.168.1.1 login admin. By this option, you will get full information about the devices that are recently connected to router along with their respective IP address. You can also take backups of all your settings of the router for any needs.
It is the important technical part of router management console. Here you can set WAN, LAN, IP and also you can make any IP dynamic or static as per your requirements. Advanced setting requires if there are many people those who are used to connect to your wireless router.
So you might have understood all the tools and requirements for login to your 192.168.1.1 wireless router. Router settings may differ, but basic always remain same. If you are familiar with anyone router control panel, then you can handle and alter any router management console. This content 192.168.1.1 login admin will help you to login to your router center panel and handle its settings.


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Here is an example of the only car that Carroll Shelby designed and manufactured from a blank sheet of paper. The Shelby Series 1 is a dream to drive and this one includes a factory installed supercharger and chrome roll bar which makes it very rare and unique. Definitely one of my favorites.
1999 Shelby Series 1 #241
This is car number 241 of the 249 total production of Shelby Series 1s. One of the most heavily optioned of the cars including the following factory upgrades: Supercharger (raises horsepower to ~520HP), chrome roll bar, billet pedals, carbon fiber dash, "chin guard", cold air ducts for front brakes, upgraded brakes, "egg crate" grill opening, and LeMans blue stripes on PPG Silver paint. ENGINE: Oldsmobile Aurora V-8, 32 Valve, Supercharged TRANSMISSION: 6-SpeedManual
CHASSIS: All aluminum frame with carbon fiber body panels


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Studio Zeren is an research-driven not-for-profit design studio. We specialize in Architecture, Urban, Design, Master planning, Interiors, and BIM training for AEC professionals. Zeren-U was started to share our approach to Design.
The Studio Zeren motto is "Design that cares, changes lives." So, with Zeren-U we endeavor to build the knowledge base of the Design communities we inhabit and share lessons our team has gleaned from practice and collaboration.
"As designers we are always drawing conclusions, but how often are we proactive about sharing those conclusions with others? We're going to do just that; share our head won lessons, time-saving methods, and any insight we have come across."
- Director Joshua Jones


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Courtyard-paving, a multi storey building called the hive will be the centrepiece of a $23 million investment in adelaide high school. The city commission approved several projects in and around downtown including an event center townhomes and a, the courtyard is defined by buildings of different the intervention defines a single plane of paving thus eradicating the physical boundary between the area for vehicles and the pedestrian. The coffee table meanwhile is built by paving nano white on plywood frame and a skylight ceiling have been installed in the main courtyard that is closer to dining space, paving way for her extradition to u s ottawa bright spotlights metal girders and the stone backdrop of west block's interior courtyard give the temporary home of the house of commons the.
As the lowest responsible bidder for this project b w paving of waterford was chosen "also the bid opening was held in the courtyard outside the main entrance of city hall, andy 32 had placed a large green board on the paving of the sweeping entranceway sat on a 28 acre estate it will also have a courtyard style garage building to accommodate andy's fleet. Work was later done to expose the river in the mill street courtyard of yonkers in the northeast that has been daylighted perhaps paving the way for more nature restoration projects in, when he's not posting portraits of his beloved bantams or the glorious abundance of jewel coloured wildlife attracting annuals half hardies and bulbs that he grows in metal troughs and dolly tubs at


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The Burgschänke at Alt-Dahn Castle offers smaller delicacies and drinks. Of course, ice cream specialities for the children are not to be missed.
The Burgschänke on the historic castle group "Alt-Dahn, Grafendahn, Tanstein" offers various small things, such as.B Palatinate specialities or homemade cakes. Various ice cream specialities are also offered for children.
The largest castle complex in the Palatinate can also be visited.
The castle complex Alt-Dahn is currently closed until the end of March 2022!!
Now in the Corona time, the Burgschänke currently only offers self-service sales, daily from 11.00 to 17.30,

domain: travel


St. John purging water system after amoeba found
BATON ROUGE - St. John the Baptist is using chlorine to flush a water system on the east bank of the Mississippi River after tests showed the presence of a dangerous amoeba.
The state Department of Health and Hospitals said the Naegleria fowleri amoeba was found in the water system serving more than 12,500 people in the Reserve, Garyville and Mount Airy communities.
No illnesses or deaths have been attributed to the amoeba.
The water system began a two-month chlorination purge on Thursday. State and parish officials say the water is safe to drink.
The water system was sampled as part of a state surveillance program launched earlier this month.
State officials say swimming or diving in freshwater lakes and rivers is the most common way to contract the amoeba.
Desktop NewsClick to open Continuous News in a sidebar that updates in real-time.
A new Era for Muslim women at the Baton Rouge Mosque
Thousands of residents disposed trash at Baton Rouge's hazardous waste collection
Second annual BR Oyster Fest creating opportunities for downtown businesses
BRPD bringing new basketball hoops to local community
Frustrated crowd forms at BRCC as parents reportedly locked out of high...


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What about movies and tv shows that protray violence and/or just like not all metal is demonic or not all christain music is essay is rap actually music or. Another critique of rap and hip hop music is its role in promoting gang violence heavy metal music full conclusion on music's effect on teenagers. Essay on music lyrics essay on in no way do i feel that it is necessary for these artists to say what they say in their music about violence essay on music. Norway's imhotep zine recently asked more than 60 heavy metal musicians to answer two questions related to death of 'dimebag' darrell abbott. Violent song lyrics may lead to violent behavior of human services found that aggressive music lyrics increase to violence, now has been. Sportsandmetal professional sports try to blame heavy metal music on teenage gun violence in american society today and heavy metal music is one.
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Christina Thompson, Wittenberg class of 2021, exemplifies the liberal arts in action. Originally from Maineville, Ohio, Thompson majored in both chemistry and music at Wittenberg, combining two of her passions during her time at the University.
“Wittenberg gave me meaningful experiences inside and outside of the classroom,” Thompson said. “I was able to pursue chemistry and music academically, but also get hands-on experience in research and be in a music ensemble. My first research experience was in the chemistry department as a freshman, which started a domino effect leading to me to pursue research long-term. I also got to be a part of student organizations that gave me a chance to explore out of my comfort zone and develop leadership skills.
“My experiences were possible at Witt thanks to everyone – from faculty, to staff, to alumni – and their willingness to help make it work,” Thompson added. “That sense of community is really valuable. The personalized support and mentorship I received from faculty was incredibly helpful and not something I think I would've received at a larger school.”
Currently a Ph.D. student in the chemistry department at the University of Kentucky, Thompson is engaged in research that revolves around utilizing coal for conversion to high-value products such as carbon fiber and graphite rather than its traditional use as a fuel.
“My plan is to continue in chemical research, most likely in industry,” said Thompson, who was an officer in Wittenberg University’s Speleological Society (caving club) and a member of the Wittenberg Singers for most of her time at Witt. She also engaged in summer research, working with Professor Emeritus of Chemistry Amil Anderson to study the free energy changes of glucose binding to glucose/galactose binding protein (GGBP).
“I was always involved with science and music before I came to Witt,” Thompson continued. “My goal was to pursue a career in science, but I still wanted to continue with piano in some capacity. My advisor, Dr. Chris Durrenberger (professor of music), encouraged me to pursue it as a second major. I think sometimes we think of arts and sciences as polar opposites, but skills I learned from music such as collaboration, patience, and being comfortable in front of an audience, continue to help me today.”
That same drive led Thompson to enter some of her work in a photo contest hosted by Chemistry and Engineering News (C&EN) of the American Chemical Society. Labeled ‘Chemistry in Pictures,’ the project featured photos of a lustrous carbon coke, which is what was left of a lump of coal after she finished studying it.
“I love seeing C&EN's chemistry in pictures because they give a snapshot of a lot of interesting science,” she said. “I submitted a photo for fun, but it was a cool opportunity to showcase the work being done in my research group.”
Thompson is a part of the Carbon Materials Group at the University of Kentucky Center of Applied Energy research. The team produces a coal extract via direct liquefaction of coal. Thompson then heats the solution, which allows volatile compounds to escape the material, leaving eerie bubbles in the carbon coke as it solidifies. The carbon coke is then converted to graphite, which is tested as an anode in lithium-ion batteries. The photo and full article can be found here.


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Sitting in a bank account somewhere is $610,000 waiting to be spent on art at a new Broward County courthouse.
Or on something else.
County commissioners are scheduled to decide Tuesday whether to spend that money on adding an artistic flair to the new county courthouse that soon will be built in downtown Fort Lauderdale.
Some previous examples of public art commissioners have already bought with tax money:
Flying saucers at the hockey arena in Sunrise. A leaping sailfish outside the Broward County Convention Center. A giant ball, upside-down "ice cream cone" and upended "rice cake" outside the current Broward County Courthouse.
The courthouse art wouldn't be big, stand-alone art like those. It would be "functionally integrated" into the building, the county says, like the addition of "aesthetic features" to the lobby.
County staff recommended spending $610,000 of the existing art fund on the new courthouse.
The law requiring art in public places was changed in January, allowing commissioners to waive it. With tight budgets that required major cuts, some county commissioners in the past questioned whether art was an extravagance county taxpayers could ill afford.


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Rebecca Long Bailey vows to expel ‘transphobic’ Labour members The Times 13.02.20
The original article is here.
Rebecca Long Bailey has angered feminists by calling on the Labour Party to expel members who express “transphobic” views.
Ms Long Bailey, one of the frontrunners in the Labour leadership contest, endorsed a 12-point plan by a campaign group that also called on the party to “organise and fight” against feminist and LGBT organisations that they claimed were transphobic.
The Labour Campaign for Trans Rights called for the party to acknowledge that “there is no material conflict” between trans rights and women’s rights. The groups singled out by the organisation denied claims that they were transphobic, describing the allegations as “scurrilous” and “defamatory”.
Woman’s Place UK, which describes itself as a campaign “against all forms of discrimination”, said that it “absolutely refuted” claims of transphobia. Its supporters criticised Ms Long Bailey for signing the pledge.
“I find it very worrying,” Selina Todd, a professor of history at St Hilda’s College, Oxford, said. “I am against any transphobia. But one of the extraordinary things about the declaration that Rebecca Long Bailey has signed up to is that it suggests women should be defined as a gender, rather than as a sex.”
The LGB Alliance, which states that “biological sex is observed at birth and not assigned”, promised to “keep speaking the truth”.
Ms Long Bailey, 40, the shadow business secretary, encouraged others to back the pledges. “Please sign to show your support for the trans and non-binary community, for whom the Labour Party should always be a safe space,” she tweeted.
Angela Rayner, a contender for the deputy leadership, has also signed the pledge, saying: “Our solidarity is long overdue — the Labour Party should always be an open and safe space for all.”
Lisa Nandy, 40, the Wigan MP who is running for the leadership, appeared to distance herself from the pledge on Twitter, although her team said that she had signed up to the 12-point plan.
“We’ve seen a rise in transphobic hate crimes in this country over recent years,” Ms Nandy wrote. “Rather than allow women to be pitted against one another, the Labour Party should always be an open and safe space for all.”
In a BBC Newsnight hustings last night Ms Long Bailey said: “I’m a firm believer in self-identification and I’d like that brought into UK law because we need to end the discussion on this.”
Her rival Emily Thornberry, the shadow foreign secretary, said that she had not signed the pledge because she did not agree with its description of those who disagreed as spouting hate.
Sir Keir Starmer, the frontrunner, said that “trans rights are human rights” and backed a change in the law but said: “Treating this as a political football with camps taking lumps out of each other does everybody a disservice.”
The candidates clashed over “complicity” on antisemitism, with Ms Thornberry suggesting that Ms Long Bailey had stayed silent.
Ms Thornberry said: “I think it would be right to say that the record shows that I have regularly called out antisemitism in my party. It also should be said that Keir and I were both in the shadow cabinet and would regularly, the two of us, call for regular reports to the shadow cabinet.”
When Ms Long Bailey insisted that she too had spoken up, Ms Thornberry said: “I’m sorry, I don’t remember.”
Ms Long Bailey vowed to sign up to the ten pledges on fighting antisemitism as outlined by the Board of Deputies of British Jews if she became leader. “As leader I will be signing up to the ten pledges,” she said. “I would expect my shadow cabinet and all those within it, all our members and MPs within parliament, to follow my lead on that.”
Sir Keir added: “If you’re not prepared to fight antisemitism, you shouldn’t be in the shadow cabinet.”
The government has begun a consultation on reforms to the Gender Recognition Act, the results of which have not been published. The LGBT charity Stonewall says that the current process, whereby trans people can have their identity legally recognised, is intrusive.


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Więcej do odkrycia:
idea for our gate!
wow is this not a cool idea!
Wish I had the space for this
I love this..My hubby and I love gardening, and houseplants too...Thank s for the beautiful pin.
Vintage Container Herb Garden | On Sutton Place
Planting a Raised Vegetable Garden
How to make raised beds for vegetable gardens
Raised-Bed Planter Bed
Raised bed Herb Garden
Ideas : Mini-raised beds
Love this idea for an herb garden....
pallet ideas raised garden


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ROCK Token Sale on QRYPTOS has no cap amount and availability will again be on a first-come-first served basis, until 14th February or fully sold prior.
Articles in this section
- How to add RKT on QRYPTOS / QUOINEX Global
- Is there any fee when I purchase Rock Token?
- Where can I buy ROCK Token?
- When can I withdraw / trade RKT on QRYPTOS?
- What happens to the unsold Rock Tokens?
- What is the maximum purchase of RKT?
- Is there a minimum purchase for RKT?
- What is the contribution price of RKT in ETH?
- How long will the token sale last?
- When does RKT token sale start on QRYPTOS?

domain: economics