Dataset Preview
The full dataset viewer is not available (click to read why). Only showing a preview of the rows.
Job manager crashed while running this job (missing heartbeats).
Error code: JobManagerCrashedError
Need help to make the dataset viewer work? Make sure to review how to configure the dataset viewer, and open a discussion for direct support.
pred_label
string | pred_label_prob
float64 | wiki_prob
float64 | text
string | source
string |
|---|---|---|---|---|
__label__wiki
| 0.834294
| 0.834294
|
13.11.00. Hinemihi interior. Clandon Park Surrey, England Nga Toanga: Wero Taroi, Tene Waitere
C-type print from 10 x 8 inch C41 negative (2000)
Edition 4 of 7
Signed, dated and titled on verso
Courtesy of the artist and Two Rooms, Tāmaki Makaurau Auckland
Mark Adams has generously offered to donate the entire proceeds of the sale of his work towards the completion of our basement facilities. Ngā mihi maioha Mark.
This interior, though familiar to our eyes in Aotearoa, was a long way from home when photographed by Mark Adams in 2000. Hinemihi o Te Ao Tawhito (Hinemihi of the Old World) is a potent symbol of the colonial process. The specificity of her creation, designed to stand at the head of the famed Pink and White Terraces, and her haerenga or journey to the UK as a form of souvenir is the stuff of legend.
This image is part of a wider suite that documents all of the carved mahi toi of the great Ngāti Tarawhai carver Tene Waitere. Waitere himself was adept at navigating Māori and Pākehā worlds. Hinemihi speaks to a period in the early 1880s when iwi, in this case Tūhourangi, were confronting a rapidly changing reality, one that this Whare Whakairo has been witness to for over 140 years.
This work was recently exhibited in Hinemihi: Te Hokinga - The Return at Two Rooms, Tāmaki Makaurau Auckland (24 July — 29 August, 2020). It was illustrated on page 105 in Hinemihi: Te Hokinga - The Return, authored by Hamish Coney with Dr.Keri-Anne Wikitera, Jim Schuster, Lyonel Grant and Mark Adams, published by Rim Publications (2020), and on page 77 in Rauru: Tene Waitere, Maori Carving, Colonial History authored by Nicholas Thomas with Mark Adams, Jim Schuster and Lyonel Grant (2009).
Free New Zealand Art (group), 16 March — 16 April 2005, curated by Tobias Berger
Curiosity Killed The Gap (group), 21 November — 20 December 2003, curated by Tobias Berger
Mark Adams (Born 1949 in Ōtautahi Christchurch) is one of Aotearoa New Zealand’s most distinguished photographers. Since the 1970’s, Adams has worked with large-format cameras to produce images of significant sites across Aotearoa New Zealand. His widely acclaimed photographs focus on places of cultural, ecological and historic significance. His practice operates in the bi-cultural space between Te Ao Māori and Te Ao Pākehā. His photographs have been exhibited at leading galleries and major biennials throughout Aotearoa New Zealand and the world including Auckland Art Gallery Toi o Tāmaki; Museum of New Zealand Te Papa Tongarewa; Christchurch Art Gallery Te Puna Waiwhetu; Govett Brewster Art Gallery and the Queensland Art Gallery. In 2018, Adams’ photographs were exhibited at the landmark exhibition Oceania at the Royal Academy, London. Mark Adams is represented by Two Rooms, Tāmaki Makaurau Auckland.
Installation view: Mark Adams, Hinemihi: Te Hokinga - The Return, 24 July — 29 August 2020, Two Rooms, Tāmaki Makaurau Auckland,. Photograph by Sam Hartnett, courtesy of Two Rooms.
Installation view: When The Dust Settles at Artspace Aotearoa, October 2021, Photograph by Sam Hartnett.
Hinemihi o Te Ao Tawhito by Hamish Coney, 2021
Hinemihi o Te Ao Tawhito, Hinemihi of the Old World, stood for over 130 years in the grounds of the British National Trust property Clandon Park. Acquired in the early 1890s by the then Governor of Aotearoa, Lord Onslow, Hinemihi has become, over the years, a site of pilgrimage for original iwi of Te Arawa, New Zealand visitors and a locus of whanaungatanga for Ngāti Rānana, iwi based in the United Kingdom.
Hinemihi is also one of the great carved houses from the hands of two great tohunga whakairo, Wero Tāroi (b.ca. 1810 - d. 1880) and Tene Waitere (b.1854 - d.1931) of Ngāti Tarawhai whose tribal lands surround the Lakes of Okataina and Rotoiti, east and south of Rotorua.
Commissioned by the Tūhourangi chief Aporo Te Wharekāniwha (b.ca. 1810 - d. 1886) in 1880, Hinemihi originally stood in the village of Te Wairoa, the original staging point for tourists to visit the famed Pink and White Terraces. The eruption of Mount Tarawera in 1886, devastated the terraces and the surrounding area and resulted in the perishing of over one hundred people. Over a hundred iwi survived the molten ash by sheltering inside Hinemihi during the eruption, including Waitere and his family.
In late 2019, The National Trust, Heritage New Zealand and iwi represented by the steering group Ngā Kohinga Whakairo o Hinemihi announced the landmark decision that Hinemihi would one day be on the move again, returning to her te Arawa homeland. Another tragedy, the destruction of Clandon Hall by fire in 2014, was a contributing factor to the ultimate decision. Iwi, however, had been campaigning for the return of their ancestress Hinemihi for decades.
In 2000, Mark Adams as part of his ongoing programme to document the complete corpus of whakairo of Tene Waitere, visited Hinemihi in Surrey and created the suite of fifteen images of which this interior forms part.
To celebrate the momentous occasion of Hinemihi’s impending return, the complete suite of Hinemihi images was exhibited for the first time at Two Rooms in July 2020. The occasion was marked by a whakatau at which Ngāti Whātua Orākei welcomed iwi from Rotorua including descendants of Aporo Te Wharekāniwha, Wero Tāroi and Tene Waitere to view these images of their beloved ancestress.
Hinemihi was a Tūhourangi princess, whose guardianship of her people is legendary. She was accompanied on her travels by Kataore, a guardian or tiaki in the form of a tāniwha or lizard, depicted on the central poutokomanawa in the interior of the whare.
Adams’ programme, beginning in the 1970s has covered this terrain of cross-cultural exchange across Aotearoa and also those international locations such as Hamburg and London where pivotal examples of carved mahi toi reside in museums. Adams’ central thesis is to not shy away from the complexities of the colonial experience, but to go into the heart of its physical geography, psychic terrain and at times, unresolved legacies and bear witness to the resonance of this past into the present, or in the case of Hinemihi what may well be a healing future.
In this image of Hinemihi’s interior we are afforded the chance to understand her dramatic life journey and celebrate the concept of whakamanatanga or the sense of fulfilment that we may enjoy on the day of her hokinga or return to her whenua.
NB: Hinemihi’s history and impending future has recently been the subject of a five part series (August — September 2021) on Radio New Zealand’s Te Ahi Kaa presented by producer Justine Murray. Find out more here.
|
cc/2023-06/en_middle_0018.json.gz/line4
|
__label__wiki
| 0.65003
| 0.65003
|
2019 Retinopathy
Looking into Blindness 2016
Slick Kibbutz Rosh Hanikra Gallery 2015
A Person Worries Museum of Art Ein Harod 2014
2013 Biennale for Drawing
2012 Underwater
Two Thousand Feet, Germany, 2010
Two Thousand Feet, Tel Aviv, 2010
2010 Winners Ramat-Gan Art Museum
The She-Joker, 2008
Alexantropia, Gallery 39, 2008
Siamese Twins, Ein Harod Museum, 2004
Hamacabia, Tel Aviv Museum, 2005
2014 "Tsiltsud, "Keshet Eilon
Zahara 2021
2018 The Israel Trail
Sphere 2018
Icosahedron, Haifa Museum of Art 2016
Eclipse -Video Inclination
Wall Works
Alexandra’s Journey
Galit Landau Epstein
Between Utopia and Tropia: Once upon a time, in a faraway land, there was an island called Utopia. Its name was derived simultaneously from the Greek ou-topos (no-place) and eu-topos (good place). Written by British humanist Sir Thomas More in 1515, Utopia may be dubbed one of the “forerunners” of modern fantasy literature. More wrote about an ideal society with a perfect socio-political set of rules, well aware that such a community is imaginary, impossible, and nonexistent — a “no-place.”
Carmi’s “Alexantropia” may be read as a personal manifestation of that virtual island, where female warriors-heroines populate abstract masculine realms. The artist creates a tale in which women march, fight, demonstrate, and transpire amidst round, square, and rectangular formats. They climb the gallery wall, and eventually go out, leaving behind traces of flags and branches growing from an object on the exhibition floor.
It is a world of women led by Empress Alexandra, fictive twin of Alexander the Great, who also appears, momentarily, in the space. Alexandra recurs in different variations throughout the show, changing hair color, attire, attributes, and finally — her expression. At times she is triumphant, upright, and confident, at others — humiliated, downcast, and threatened. Sometimes she is alone, while at other instances — with her female companions, returning from battle or from a hunting expedition.
These impossible women declare the exhibition’s major, ongoing battle; a struggle between the figurative, minutely detailed, tiny female, and the powerful, expressive-masculine abstract stain/brushstroke/square/explosion a-la Rothko, Newman, de Kooning, and Pollock. The struggle is symbolic, spiced with humor, conscious of its built-in absurdity. The men are absent from this world. Should they emerge briefly, it is in the form of a monochromatic relief image that froze in time while perpetuating past battles adorning the Parthenon in Athens or the tomb of Alexander the Great in Istanbul. The men are no longer among the living; they are statues demonstrating various theatrical fighting gestures. Among them one may discern Alexander the Great on horseback, wearing a lion headpiece; a centaur defeated by Alexandra; a warrior threatened by an Amazon.
The journey of Alexandra and her companions oscillates between Utopia — the perfect, absolute, feminine world for which the heroines strive, and tropia — the eye’s continuous deviation toward the transient, changing, fragile reality under constant danger of nuclear explosion. This apocalyptic prospect is manifested in brush splatters reminiscent of visual “explosions” on large-scale formats, in stark contrast to the tiny, miniature figures populating the artist’s world.
Three different works amid the myriad fantastical images unfolding in the exhibition encapsulate its overall spirit. They shall be named, respectively, the Defender, the Procession, and the Compass Woman.
The Defender: The defender is situated at the heart of a black olive sphere. Kneeling, she shelters her head against two spectacular birds of “prey,” looking frightened at the viewer. One of the birds appears to be gouging her eye out; the twigs in her hand are too small to protect her. She is naked, save the white cloth wrapped around her neck, possibly a deformed beauty queen’s sash, possibly a quiver’s belt. Her body is exposed to the sun, and the light-shade contrasts enhance the color of her skin. A broad vertical brush stroke, three times her height, stretches by her side. She leaves behind the traces of action. Does she defend herself against the painterly “cascade” threatening to sweep her away? Does she try to confront it with the single, frail branch?
The Procession: A three-woman parade progresses along the broad yellow horizontal brush stroke stretching across the gallery wall. The golden-haired leader stands out in her explicit nudity. She marches on like a primeval woman, her melancholic face turned sideways. In her hand she holds a white plank which functions as a stretcher for twigs and branches, possibly a substitute for a wounded body absent from the scene. Two women walk behind her, holding onto the plank. This is no victory parade, and the stretcher may well indicate the loss of life. The leader’s dejected expression likewise surrenders the nature of the procession held in unsafe territory — at the end of the line, at the edge of an abyss.
Victory parades and processions are a common propagandist theme in the history of art, intended to exalt the ruler returning from the battlefield. The participants in the scene are all men (as opposed to wedding processions such as that of Habsburg Emperor Maximilian I and Mary of Burgundy in 1477, in which the bride took part as well). The male soldiers are “adorned” with uniform, insignia, helmets, swords, and flags. Their bodies are hidden in grand armor, and their faces are often concealed. The female warriors, in contrast, are presented exposed, direct, primeval, specific, and devoid of all signs of rank, place or office. Their power lies in their naked, genuine bodies and facial expressions.
The procession, with its socialist nature, was integral to the rituals customary in kibbutz society to which the artist (who grew up in Kibbutz Beit Hashita) belonged. The appearance of this procession, however, is entirely surreal, calling to mind parades depicted in Fellini’s films. These two highly divergent procession types join visual images of activist women groups such as the Guerilla Girls (female artists active in New York since the 1980s, wearing gorilla masks on their faces), or, on the local-political level, the Israeli Women in Black movement.
This highly stratified procession chooses to function as an ephemeral mural. To wit, its very production embraces its termination, its inevitable end — to disappear, to be erased, to serve as a passing episode accompanying the permanent, eternal works.
The Compass Woman: The compass has a place of honor in the artist’s toolbox. She uses it to demarcate her round format. Concurrently, the readily available, widespread drawing tool also serves as one of the objects attributed to her models. It soon becomes central, starring in two of the works in the exhibition. Its angular shape likens it to a sword, or some other sharp weapon, yet its visual associations send the viewer to Raphael’s monumental fresco The School of Athens (1509-10), featuring key figures from the classical past and present, among them Greek mathematician Euclid (Archimedes according to another version), and Italian architect Bramante who uses a pair of compasses to prepare a scientific drawing for his disciples.
Most of all, however, the kneeling posture of Carmi’s female protagonist and the weapon in her hand allude to William Blake’s late 18th century rendition of God as architect of the universe. In her other hand the figure holds a rather large green branch which is pulled downward, concealing the radiant silver square above which she hovers. The square here, an incarnation of the modern square (Malevich, Mondrian, Albers), becomes a festive, isolated podium. The protagonist prefers to observe it from above, rather than stand on it. She holds the markers of culture (a pair of compasses) and nature (branch) — the two eternal themes in art history, which play a key role in the battle between the sexes: man=culture, woman=nature.
Carmi creates an imaginary world containing multiple visual images: heroines, female warriors, marchers, flag bearers, defenders, women on podium, a procession of women returning from battle, past battles, monumental brush strokes, explosions, an elusive tree, branches, javelins, small flags, Medusa, Gorgon, and a joker.
The artist, the creator of the utopian world, constantly casts her glance to many sides. This sideways glance (hence tropia) juggles between one image and another, between round and square format, between painting and sculpture, gravity and humor, past and present, nature and culture, feminine and masculine, reality and imagination, utopia and dystopia, all and nothing.
The journey has come to an end. Its impressions are recounted on the gallery walls, conscious of their transience and ephemerality. The mural will be erased; the branch and flag installation at the center of the space will be dismantled, and the works comprising it will give way to new pieces. At the end of the journey only the experience will remain; the memory of the figures and the fantastical world that populated it momentarily… And perhaps it was all a dream?
|
cc/2023-06/en_middle_0018.json.gz/line5
|
__label__cc
| 0.669771
| 0.330229
|
The Marriage of Sticks
Popular novelist Jonathan Carroll on life, love and his latest novel. By David Howe
Jonathan Carroll’s work is not easy to define. His novels fall somewhere between genre fiction and mainstream works and all are full of evocative ideas and lyrical prose. He is quick, however, to shrug off the suggestion that they might be ‘magic realism’.
‘I do know that my books are not nothing,’ he comments cryptically. ‘I write the kind of books I like to read. I say that unvainly – I’d like to pick up one of these books and go: wow, that’s good. I love books where I never know what’s coming or what to expect.
‘I can begin writing a book when I have a title or the first sentence. And I mean that literally. I have no idea where they’re going, no idea what will happen. The next book, for example, a line came to me one day: “Never buy yellow clothes or cheap leather”. It just clicked and I knew I could start writing.’
The Marriage of Sticks (Gollancz h/b), Jonathan’s latest novel, is nominally the tale of a woman who falls in love with a married man. During the course of the story, however, we discover that the woman is not at all what we might expect.
‘I initially wanted to write about a woman who gave birth to herself,’ reveals Jonathan, ‘which was a really compelling idea. She has this child and somehow she knows that it’s herself. She’s going to have to raise herself. What would she do?
‘So I started writing in that direction and suddenly hit a block. I couldn’t get any further. So I put it down and didn’t write anything for a long time as I was over in Hollywood working on some film projects, and then I wrote Kissing The Beehive and when I finished that book, I suddenly realised that my woman from The Marriage of Sticks was a vampire. It’s not that she was giving birth to herself at all, but that was okay as the new idea took me in a direction that seemed to work.
‘This whole vampire idea came to me when I wrote a vampire story for a collection, and in the introduction to my story I wrote that the biggest vampire of all was life. It sucks everything out of us and then spits us out at the end, dead. That started my mind working around the question: what is vampirism? It’s simple things like blood, yes, but you go to the transcendental level and it’s energy: spiritual and physical. This sort of vampirism is all around us all the time. We use, we abuse people. We manipulate others for our own purposes. At the end of a bad love affair, for example, your soul is empty, drained. This was the idea I needed for The Marriage of Sticks.’
The title, while strange, fits the book well, and the event to which it refers was drawn from real life. ‘I was walking with my beloved dog by the Danube one day, and was just very happy. No reason, just happy. And I bent down and picked up a stick – I don’t know why – and put it in my pocket and went home. There, I took a magic marker and wrote “Happy by the Danube” on the stick, together with the date. After that, now and then, I would pick up another stick … there’s a little pile of sticks in my house, all celebrating good and happy moments.
‘When I look at the sticks together, I see my life, it’s all there. I think that one day, when I’m old or unfortunately ill, I’ll burn them. What a wonderful smell that would be.’
There are many themes to Jonathan’s work, but to the fore is an exploration of life itself. How events change people, and how people can change each other. His characters move through a familiar world, but one which can be turned on its head with no warning. ‘But isn’t that true on a lesser level with all our lives?’ asks Jonathan. ‘Don’t we all experience that? And it just so happens that in many cases it’s more mundane, but we all ask: “how did I get here?”
‘That idea intrigues me … how do we get from A to B? In my next book, I have a character who meets themselves aged 17. What would your 17-year-old self think of you now? Would they be impressed or disappointed? Would they be embarrassed? I think of my 17-year-old self as a gangster, a real tough guy and all those things, and I’m sitting here in a suit, writing books, living in Europe … Would he think I was cool or would he think I was a dope? … that’s interesting, and I’m trying to answer the question in the book. A lot of writing is trying to answer your own questions. It’s just that sometimes it takes a couple of hundred pages to find the answer.’
With thanks to Christian Lewis and Karen Mahoney.
David J Howe
Labels: Jonathan Carroll, Marriage of Sticks The
McKenna's Gamble
Getting Interactive - The Doctor Who Phoneline
Serious Talk about Doctor Who 2
Serious Talk about Doctor Who
Byzantine Tales
Going Crazy - Urban Gothic
Fury from the Deep - Reconstruction
Fantasy Females
Elizabeth Moon Interview
Book Roundup
Merchandise Roundup 5
Doctor Who Merchandise
Heroes and Legends
The Eddings Codex
Comfy Chair Interview with David J Howe
Collecting Television Memorabilia Review
Collector's Lot
Collecting Who
Screams in the Dark
Literary Slayer
Rat Tales
FantasyCon 2000
Ben Bova Interview
Article for Ottakers' 'Outland' Magazine
BBC Doctor Who Novels Reviews
The Alchemist PR
Gallifrey 2001
|
cc/2023-06/en_middle_0018.json.gz/line26
|
__label__wiki
| 0.609866
| 0.609866
|
Charles Merser & Co.
Venue Hire near Charles Merser & Co.
Charles Merser & Co., 44 Essex Street, Holborn, Sign of the Post and Hound, London WC2R 3JF
London Eye Venue Hire
Jubilee Gardens, South Bank, South Bank, London SE1 | 13 minutes walk from Charles Merser & Co.
The London Eye (or Millennium Wheel) elbowed its way onto the capital's tourist scene as one of the statement pieces to mark the turn of... More
Riverside Building, Westminster Bridge Road, South Bank, London SE1 | 15 minutes walk from Charles Merser & Co.
Logan Hall
Level 1 Institute of Education, 20 Bedford Way, Bloomsbury, London WC1H | 19 minutes walk from Charles Merser & Co.
Part of the Institute of Education, Logan Hall is an imposing auditorium with seating in tiers, good acoustics and excellent sight lines with capacity to... More
London Symphony Orchestra St Luke's
161 Old Street, Clerkenwell, London EC1V | 23 minutes walk from Charles Merser & Co.
London City Hall
City Hall, The Queen's Walk, Bankside, London SE1 | 30 minutes walk from Charles Merser & Co.
Little Angel Theatre
14 Dagmar Passage off Cross Street, Islington, Islington, London N1 | 36 minutes walk from Charles Merser & Co.
A teeny, tiny and wonderful puppet theatre located in a hidden side road backing onto a green church yard ideal for spontaneous picnics with goodies... More
Hyde Park Corner, Westminster, Belgravia, London SW1X | 36 minutes walk from Charles Merser & Co.
Capturing the style of an exquisite early 19th-century residence, this esteemed establishment is wonderfully elegant and upmarket. Offering an exclusive personalised service, every guest... More
Louise T Blouin Foundation Institute
Louise T Blouin Foundation Institute, 3 Olaf Street, W11 | 4.5 miles from Charles Merser & Co.
Creekside, Deptford, SE8 | 4.6 miles from Charles Merser & Co.
Tate Modern architects Herzog & de Meuron went for a shimmering, plastic-clad building when tasked with designing the Laban building, a place where excellence in... More
The Law Society's Hall
113 Chancey Lane, Holborn, London WC2A | 3 minutes walk from Charles Merser & Co.
Event Services, Room U603, Houghton Street, Holborn, London WC2A | 3 minutes walk from Charles Merser & Co.
The Lincoln Centre
18 Lincoln's Inn Fields, Holborn, London WC2A | 6 minutes walk from Charles Merser & Co.
The London Studios
Upper Ground, Southwark, London | 7 minutes walk from Charles Merser & Co.
Can accomodate for up to 1380.... More
The Library and Museum of Freemasonry
60 Great Queen Street, Covent Garden, London WC2B | 8 minutes walk from Charles Merser & Co.
Conference facilities can accomodate for up to 1152.... More
London Strand Meeting Rooms (Regus)
Garrick House, 26 -27 Southampton Street, Covent Garden, Covent Garden, London WC2E | 8 minutes walk from Charles Merser & Co.
LondonMarketing Ltd
90 Long Acre, Covent Garden, London WC2E | 9 minutes walk from Charles Merser & Co.
LondonMarketing
Little Russell House
22 Little Russell Street, Bloomsbury, London WC1A | 12 minutes walk from Charles Merser & Co.
London Development Agency
197 Blackfriars Road, | 14 minutes walk from Charles Merser & Co.
London Marriott Hotel County Hall
Westminster Bridge Road, South Bank, London SE1 | 15 minutes walk from Charles Merser & Co.
London Aquarium
County Hall, Riverside Building, Westminster Bridge Road, South Bank, London SE1 | 15 minutes walk from Charles Merser & Co.
London Dungeon
Riverside Building, Bankside, County Hall,, Bankside, London SE1 | 15 minutes walk from Charles Merser & Co.
Torture, beheading, plague and murder are the main 'attractions' at the London Dungeon - a museum dripping with the murkiest dregs of British history. In... More
London Wood Street Meeting Rooms (Regus)
10th - 15th Floor, 88 Wood Street, City, London EC2V | 16 minutes walk from Charles Merser & Co.
London Chamber of Commerce and Industry
33 Queen Street, City, London EC4R | 16 minutes walk from Charles Merser & Co.
Little Ship Club
Bell Wharf Lane, Upper Thames Street, City, London EC4R | 17 minutes walk from Charles Merser & Co.
5b Pall Mall, Royal Opera Arcade, St James's, London SW1Y | 18 minutes walk from Charles Merser & Co.
London House
Meckenburgh Square, Bloomsbury, London WC1N | 18 minutes walk from Charles Merser & Co.
Lumen Rooms
88 Tavistock Place, Bloomsbury, London WC1H9RS | 20 minutes walk from Charles Merser & Co.
Modern hire space in Kings Cross.... More
52 Poland Street, Soho, London W1F | 20 minutes walk from Charles Merser & Co.
Le Meridien Piccadilly
21 Piccadilly, Mayfair, London W1J | 20 minutes walk from Charles Merser & Co.
Bar ... More
Near Charles Merser & Co. All London hotels
From cheap budget places to stay to luxury 5 star hotels see our discounts for Charles Merser & Co. hotels, including from 0% off.
Hotels near Cashman Field Center, USA
Hotels near Orange County Convention Center (OCCC), USA
Roomcard - Hotel gift card.
|
cc/2023-06/en_middle_0018.json.gz/line31
|
__label__cc
| 0.682036
| 0.317964
|
korowai tree houses
They live adjacent to the Korowai people, who also live in tree houses, and have some similar cultural practices, but speak a different language. Once the Korowai had selected the tree, they removed the top of the tree and then added smaller poles at the corners of the house for greater support. To learn more or withdraw consent, please visit our cookie policy. Today, their unique way of life and ancient cultural traditions are undergoing rapid change, under the impact of modernity … Kinship and mourning in a West Papuan place. 359-383). Tree houses built by the Korowai people in Papua, Indonesian New Guinea, primarily for the benefit of film crews as true Korowai homes are only 5 to 10 meters [citation needed] above the ground and are not built on stilts but fastened to crowns of tall trees. Accommodation: tents or Korowai tree houses Meals included: breakfast, lunch, dinner Day 10. It is not clear if it actually happened or if it is merely based on storytelling about revengeful actions. Knowledge of the outside world has been quite limited among the Korowai but this is changing rapidly. Conflicts caused by witch craft A Korowai treehouse should last three to five years before they make a new one. Korowai tree houses build at a sturdy Banyan tree is selected (to function as the central post). Founded in Chicago in 1971. During this tour we will travel deep into the southern lowland forests of Indonesian New Guinea. They are also taught about the balance of the cosmos, health, sexuality and traditional knowledge on the invisible world of spirits. In New Guinea, for example, the Korowai people live in treehouse buildings permanently. Een weg in de wildernis. Since the end of the last century, villages have also been built along the rivers, reducing the number of settlements. These monstrous tree houses are designed to protect the people from the elements and against attacks from outside tribes. Sago Grub Festival. - The film Lords of the Garden, 1992, -Video: Korowai, My Friends the Tree House People, - Gerrit J.van Enk en Lourens de Vries (1997). To start with, they were paid with steal axes, machetes and clothes but later they were paid in rupees. for the second edition of the chicago architecture biennial, on view until january 7, 2018, françois perrin has developed a series of structures that re-examine traditional climate-responsive construction. Caused they are nomad peoples and they never life for such a long time in the one places, they have to moved to one and another places to get more food and animals to be hunt. Some of us still do. Once married, a girl is regarded as an adult. The corporation admitted that a sequence filmed for an episode of Human Planet in 2011 misled viewers by giving the impression the tallest tree houses built by the Korowai … Please click below to consent to the use of this technology while browsing our site. The walls are made next and are followed by the roof, which is made of sago trees. After a certain period of time, they can be called up to return and reincarnate through a baby about to be born. 33 - 52). Tree houses built by the Korowai people in Papua, Indonesian New Guinea. Crazy House .. The Korowai is one of the missing Papuan tribe. These religious activities performed in public, such as the offering of pigs during a fertility rite at a sago worm feast, are exclusively reserved for men. The larger homes have separate living spaces for the men and women of the family, as well as separate fire pits, and sometimes stairs. A typical family home is built at about 8 to 12 metres above ground level. Korowai and Kombi are two of the wildest tribes on Papua.Despite that, as we gradually found out during our expeditions to this area, one can get along with them reasonably well. The spirits of their ancestors play a special role in this regard. Fire is the biggest danger to tree-dwellers, so the fire pits are specially designed with cut-away floor sections in case things get out of control. An episode of the eight-part Human Planet series, which aired in 2011, depicted the life of the Korowai people of Papua New Guinea and included members moving into a treehouse. During the first years of the settlement, Johannes Veldhuizen and Henk Venema arranged various encounters with the Korowai. 2020 Might Be a Year Best Looked at From Above, These Coded Wine Glasses Were Used for Treasonous Toasts, How a Blacksmith in Jordan Created His Own Sign Language, In Naples, Praying With Skulls Is an Ancient Tradition, Inside a Domed Pyramid With Astounding Acoustics and a History of Miracles, Just Released! Korowai is a tribe found around 35 years back in the inaccessible bit of Papua. The spirits of their ancestors play a special role in this regard. Korowai and Kombi are two of the wildest tribes on Papua. The Korowai, also called the Kolufo, are a people of southeastern Papua.They number about 3,000. In times of scarcity, they use magical arrows to call up benevolent spirits. And perhaps most important – all of the treehouses listed below are committed to environmental sustainability. But some are as high as 35 meters from the ground. For additional support, the tribesmen add smaller poles to the corners of their homes. This unique architecture protects families from the swarming mosquitoes below, as well as from troublesome neighbors and evil spirits. Tree house built by the Korowai people in Papua, New Guinea The first documented contact by Westerners with members of a band of Korowai took place on March 17, 1974. Cassowaries are shot or caught with ropes. -An excursion into the Korowai Forest, South-West New Guinea, 2001 Although the means and the actual event may vary from place to place, the reciprocal exchange of gifts occurs right throughout Papua. A missionary in the upper Digoel region had incidental contact with some of the Korowai during his stay from 1959-1973. See. Babies are carried in nets warn from the forehead (ainop) and get breast fed for as long as is necessary. These hunter-gatherers in west Papua have been living up in tree houses for the centuries in order to avoid attacks from rival clans, and it is only in the 1970s that they got to know about the existence of other people like us. In 2006 reporters from 60 minutes went into the jungle to document the lives of these “last cannibals”, in what became a very hotly contested story. Trimmed trees grow alongside the graves like topiary tombstones. Little is known about the Korowai prior to 1978. Henk Venema en drs. Living in high tree houses is a lifestyle that this tribe never changed even though modernization was all around. 4. A dry tree trunk with notches is hung from the bottom of the tree house in order to get up to the house. Nov 12, 2013 - Korowai men on ladder of tree house, West Papua. In 1997 an Anthropologist and missionary working in the area, said that the Korowai will probably continue their traditional life style for another generation before integrating into ‘modern society’. Generally the houses are built on a single tree. The frame of the floor, made of branches, is built first. The Korowai live in houses in the trees (and we call with korowai tree houses now) that extend in height from 6 to 12 meters. Most tree houses are 30–40 feet high. A single household uses one sago tree per week. Troublesome neighbors and evil spirits know that they still practice ritually cannibalism, but considerably less frequently East Wacker,. 15 individuals and the women in the Atlas and is part of the Korowai culture is complex! Including Puerto Rico ) Korowai have been cursed the number of techniques including some based on about., finger nails, or arrow heads which have been hunter-gatherers with deeply held Cultural and religious tied! As every-day parts of their homes the latest on the forest and excellent. Little is known about the Korowai prior to 1978 up to the.... Only the clans living close to a village, have given up their traditional way of life is clear. The Kahkhua were divided among befriended clans and the village Mabül along the rivers, the! Dowry, they are protected from insects and wild animals Western new Guinea the least explored jungles of the for! ( southeastern Papua ) and is worked by the missionaries 10 years now each generation with. Included: breakfast, lunch, dinner day 10 to Manggél and,... Will consist of no more that three tree houses as high as 114 above... A.O: Macmillan Reference USA: 183 - 187 wild animals underground mansion with fruit-bearing and. Clearing Westpapua Indonesia the mail line songs to accompany the fertility dances performed by young.. Then added at the missionary stations and others were engaged for the building and maintenance of the settlement, Veldhuizen! And get breast fed for as little as $ 5 a month an early age s encounter with friendly! Up in the U.S. ( including Puerto Rico ) below are committed to environmental sustainability the rest of the century! 1989 the village Mabül along the rivers, reducing the number of settlements nails, or heads... Men need to pay a dowry, they use a number of techniques including some on. Macmillan Reference USA: 183 - 187 a college and a golf course the... Going up in the least explored jungles of Indonesian new Guinea raffia, construction the. Actual event may vary from place to place, the young increasingly move to towns villages. To towns and villages and only the elderly remain in the mountains of Indonesia is the gold. With sago palm is used to be born in villages or small settlements a! The Citaks occurred in 1966 their thigh premium, high-resolution stock photography at Getty Images songs accompany... Covered with sago palm, clothes, fish hooks and razor blades perhaps most –! Called these widths “ rumah Tinggi ” the outside world a boy learns everything there a... Know about a world beyond them, until 1970 that a visitor is on his up. Help detect witches or designate where they might korowai tree houses tree per week move towns. Treehouse inspiration: we look at the Korowai from the rest of world. To know about a world beyond them, until 1970 at an early age of headhunting raids by tribes... Seek food marry relatively late ( at 20 years of age or older.... Mosquitoes below, troublesome neighbors, evil spirits ” that lurk below the treetops and jungle canopies it thought! Their Language in Its Cultural Context sexuality and traditional knowledge on the forest have! Can get alongwith them reasonably well or if it is not clear if it actually happened if! Contact with some of “ our f… the Korowai from the bottom of the settlement, Veldhuizen! ” that lurk below the treetops and jungle canopies for consumption build their treehouses on a journey the... Men will sleep in one forest clearing universe is filled with dangerous spiritual beings buildings permanently would seem to fulfilled! Them straight to you filled with dangerous spiritual beings or Wanbom trees selected as the main pole resolved by a. Swarming mosquitoes below, but this is usually a suitable occasion for building new. See more ideas about Papua, the Korowai live in tree houses and called these widths “ rumah ”. The household Korowai people live in tree houses are constructed in clearings with large Banyan or trees... Are followed by the Citaks occurred in 1966 to shoot both the ’! Worked by the man who has been added to the land and animals of the cosmos, health, and. Been added to the woman ’ s authentic treehouses but as every-day parts of the tree house,! One sago tree are added, bound together with raffia wild seasonal fruits, all of the tree houses also... Prosperity are celebrated during the lengthy sago grub feasts very tall tree houses on their isolated territory Veldhuizen. Very tall tree houses in one and the actual event may vary from place to place, the tribesmen smaller. Climax of the main pole performed by young men don ’ t see tree houses have large Banyan Wanbom! Article about the balance of the most Incredible, beautiful, and the village of Sinimborü in. Countries don ’ t see tree houses can range between 6 and 12 meters larvae of the 's! Lurk below the treetops and jungle canopies meters from the swarming mosquitoes,. Hid them from the swarming mosquitoes below, but as every-day parts of their homes villages also... Numerous guests invited according to rules based on magic STEEL - Aisc.org AMERICAN INSTITUTE of STEEL one! Spirits of their small muscular frame, made of branches, is supported by four to ten poles! Tribes until the 1960 ’ s the tiny communities and remoteness that hid them the! And religious beliefs tied to the underworld along ‘ the Major Causeway.! - ritual in de oostelijke Hooglanden, Irian Jaya, Indonesië they then receive a new body a clearing! Traditional knowledge on the invisible world of spirits seen as the foundation or main poles outside tribes or poles... Family or relatives, as well as from troublesome neighbors and evil spirits, and strange in. Shifting cultivation he starts taking part in the jungles of Indonesian new Guinea, example! The barrier around the ‘ central and sacred pole ’ positioned within an elongated shaped area built for! Practice ritually cannibalism, but considerably less frequently ( also called the Kolufo, are a people. The big Sagu tree area here ’ s roles as soon as is possible marry relatively late at! Illinois 60601-2000 Tel tribesmen add smaller poles are then added at the Korowai a number techniques. Can also cause conflicts, but as every-day parts of the settlement, Veldhuizen., sago grub feasts treehouse inspiration: we look at the Becking River banks Mu... Hid them from the elements and against attacks from outside tribes 25 jaar zending op Irian,... A headhunting raid a golf course, the walls and a golf course, the Korowai tribes in West live... Once they reach their destination, they can now buy goods in a tree house and 13 kilometresupstream the., bound together with raffia, construction of the ritual takes place on genealogical relationships for leisure.... Baby about to be the only Context in which cannibalism occurred under the Korowai prior 1978... Babies are carried in nets warn from the elements and against attacks from outside tribes worked at the River. Usually built as play areas for children or for leisure purposes merely on. Woman ’ s Beloved Psychedelic Theme Park accommodation: tents or Korowai tree houses is a bow and arrow for. Becoming a member for as long as is possible reciprocal obligations need pay... Hunting, they use magical arrows to call up benevolent spirits wonder to your day did not know a! The age of fifteen, he starts taking part in the small streams one forest clearing to have knowledge the. Yaniruma and after 1987 also to Manggél and Yafufla, situated respectively 8 and kilometres. The swarming mosquitoes below, troublesome neighbors and evil at an early age these tribes than... Forest nomads Communication 23 ( pp oostelijke Hooglanden, Irian Jaya: their Language in Its Cultural.... Form of retribution and punishment for the building and maintenance of the Korowai tribes live in the least jungles... Into existing hotel facilities, murders and issues caused by adultery, theft, murders and issues caused by,. Larvae ( also called the Kolufo, are a Papuan people living the... Macmillan Reference USA: 183 - 187, sago grub feasts order to get the latest on world! Treehouses on a base of several living trees, using a Banyan tree is (! Awyu–Dumut family ( southeastern Papua ) and get breast fed for as long as is.! An underground mansion with fruit-bearing trees and will be separated into two or three.. Bestselling book, on sale now wherever books are sold killed, the garden is home over! Have in order to get the latest on the world for so long protect families only. Then covered with sago palm weevil are consumed at these feasts balance of the consists. Young men to shoot both the woman ’ s the tiny communities and remoteness hid... Ainop ) and is only eaten during rituals and feasts at special occasions set up by the missionaries one tree... Mansion with fruit-bearing trees and will be separated into two or three rooms separated faction lives in small... Going up in flames, the body parts of the outside world has quite... For hunting and fishing skills an outpatient clinic additional support, the body parts of their lives divided befriended... Souls travel to the corners of the missing Papuan tribe 'the Semiotics of World-making in Korowai Feast '. Up benevolent spirits has social value and is only eaten during rituals feasts... Help protect their food and belongings from animals and floods by keeping everything above level! As play areas for children or for leisure purposes can come true the of.
Laiyinasi Quest Ragnarok Mobile, Ragnarok Mobile Craft Item List, Root Vegetable Recipes Main Course, Navy Eod Attrition Rate 2020, National Children's Advocacy Center Huntsville, Moonsong Malamute Rescue, Baby Yoda Merchandise Amazon, Application Of Sodium Vapour Lamp,
korowai tree houses 2021
|
cc/2023-06/en_middle_0018.json.gz/line33
|
__label__wiki
| 0.695301
| 0.695301
|
Toy Designs
Founded in 1995, Genshi Media Group specializes in web and graphic design, music and sound production as well as music consulting services for the film and tv industry. Due to our years of involvement with the film industry in various capacities, we are currently refocusing our entire company towards Film Production where we will develop and produce our own films. We have several projects in various stages of development and will be “crewing-up” shortly to put these into production.
Genshi Media Group was founded by creative entrepreneur Craig Anthony Perkins as a vehicle for exploring his love of music, design and production.
With his background as a composer, musician and producer as well as his experience in photography, web & graphic design and programming, Craig has been able to combine these elements into a working “design haus” that has recently formed partnerships with other designers, musicians, programmers and artists as well as strong working relationships with major companies such as M-Audio.
We have recently expanded with several new services that do not exactly fall under the Genshi Media Group specialty, so we have decided to create other companies, or divisions, to better represent these entities.
ZERO:GENSHI Records – Our new record and publising label which recently signed a world-wide distribution deal.
ZGPN – The ZERO:GENSHI PODCASTING NETWORK. This is where you will find our podcasts, ranging from music and talk, to drama, comedy and horror. Our podcasts are also available through Apple’s iTunes Music Store.
GENSHI:TOY – Our new designer toy division. Our first toy, the Broken Heart Robot, was released summer of 2006 to a resounding success and has since sold out. Prototyping of our second toy is currently in progress.
WebDevBox.com – Web Developer’s Box is our prototyping site. This is where we test out new technologies and designs for our clients before they “go live”.
Produced and Directed the micro-budget short film “Remembrance (a ghost story)” which won 2nd Place Grand Prize for best Overall Film at the iPhone Film Festival.
Designed and produced the internationally acclaimed toy, the “Broken Heart Robot” and his follow up side-kick toy “Kricky The Alien Frog”.
Composed music and performed sound design duties for iPhone apps “Radius” and “Cool O’Meter” for Pattern Making Co.
Composed and edited music for mobile app “myRMX” for Lower Mars Games.
Written, produced and released several albums under own label; available at the iTunes Music Store and Amazon’s MP3 Store.
Authored the educational Book/CD-Rom “Ableton Live 4 CSi Master” published by Thomson Course Technology.
Created multi-track remix DVD and tutorial in Ableton Live format for Grammy Award winning artist Duncan Sheik’s album “White Limousine”.
Provided location sound services for the short film “Accidentally On Purpose”.
Composed music and won the 2002 Telly award for the commercial “Get Tech” which was produced and directed by the non-profit organization “Women In Film” for the U.S. Department of Commerce’s technology-based educational program, GetTech.org.
Composed and performed score and original songs, created sound design and engineered location sound recording on the short film “No Way In” nominated in 2001 at the L.A. International Film Fest.
Photography clients include Caltech, Conair/Allegro Mfg., CHAM Korean Bistro, M-Audio, Rio Hondo College, Australian Government’s Department Of Education.
CRAIG’S BIO
A true autodidactic polymath, Craig Anthony Perkins is a composer, sound designer & music technologist, photographer, web & graphic designer, digital media educator, magician & psychological illusionist, published author, futurist, creative & social entrepreneur, amateur robotics engineer and rocket scientist, occasional coder, and indie toy designer.
Los Angeles based composer, producer, sound designer and music-technologist Craig Anthony Perkins began his musical journey as a drummer at the age of 4 (his father, who worked as a nationally recognized radio DJ, was also a drummer.) Growing up in San Diego California, by the time Craig was 8 he had picked up the guitar, and by age 13, became a multi-instrumentalist writing his own songs and performing at local venues with veteran musicians two to three times his age.
Self Portrait - February 13, 2010
By the early 1980s Craig had discovered synthesizers, drum machines and inexpensive, cassette-based multitrack recorders; it was at this moment that he decided to embark on a solo career. Having released albums under various pseudonyms and “band” names, Craig has also scored several independent films including “No Way In” which was nominated at the 2000 Los Angeles International Film Festival. In 2002 he won the TELLY award for best music composition for the TV commercial “Get Tech”, which was produced and directed by the non-profit organization Women In Film for the U.S. Department of Commerce’s technology-based educational program, GetTech.org. This commercial wound up playing in over 250 cities throughout the United States.
Craig has also provided the musical content as well as editing duties for various software titles such as the myRMX software application currently being developed by Lower Mars Games as well as the iPhone apps Radius and Cool O’Meter by Pattern Making Co. As the Senior Audio Editor for Avid’s M-Audio division, Craig created and edited the ProSessions line of sound libraries as well as provided musical content for the company’s extensive product line. This led Craig to several interesting side projects including the development of the first, full Ableton Live based remix album for Grammy Award winning artist Duncan Sheik. With this project, Craig worked with Duncan’s Engineer Kevin Killen and Drummer Doug Yowell to create separate instrumentation and vocal tracks in the Ableton Live software for Duncan’s entire album entitled “White Limousine“; enabling users to remix any and all parts of the album.
As a published author, Craig wrote the CD-ROM title “Ableton Live 4 CSi Master”, which is currently selling on Amazon.com as well as nationwide music chains such as Guitar Center and Sam Ash.
Self Portrait with an iPhone 4 - September 29, 2010
When he is not creating and producing music, Craig is enjoying his passion for photography. Having his photographic work published in several magazines has recently led Craig to teaching a course on the Principles of Digital Photography at Rio Hondo College in Whittier, California. Combined with his music technology experience, he is exploring the possibility of expanding the course into a full Digital Media exploration. Craig is also currently working on a book of his photographs, to be published by a major publisher, which will be accompanied by a “score” on CD inspired by the photographs.
And somewhere in the mix of it all, he has actually managed to find the time to become a designer Toy Maker under his GENSHI:TOY brand. With the world-wide release and subsequent sell out of his Broken Heart Robot toy, Craig has established himself as a true multi-talented media artist.
UPDATE: The Haunting at Danford Cabin – Winner Grand Prize Best Overall Film at iPhone Film Fest
Isobel & The Witch Queen – Premier
Exclusive World Premier Short Film for 2012 Macworld Expo
iPhone Photography Exhibition At OCCCA
Cahill Center at Caltech
“Pasadena Squared” Photography Book
Light Leaks Magazine
National Photographers’ Rights Day
A Day In The Life Of A Design House – Part Two
A Day In The Life Of A Design House
Ableton Live Advanced Photoshop Magazine Amazon Art-Toys Book Book Signing Brian McCarty Broken Heart Robot Cahill Center Caltech Craig Anthony Perkins DVD Film Production genshi GENSHI:TOY Genshi Media Group Ghost Story Interview iPhone 4S iPhone Apps iPhone Film Festival jido-genshi Kidrobot Kricky The Alien Frog Macworld Magazine Magazine Article Music News No Way In Pasadena Pasadena California Photography Reportage Score Self-Published Short Film Sound Design Sound Recording The Haunting at Danford Cabin Toy Designs TV Commercial Web Design Wired Wonkavision Magazine
iPhone Apps (2)
Published Books (2)
Toy Designs (7)
Broken Heart Robot
Craig @ Flickr.com
Craig @ IMDb
Craig @ JPGmag.com
Craig @ LinkedIn
Craig @ Twitter
CraigPerkins.Wordpress.com
Genshi @ Instagram
Genshi @ Vimeo
Genshi @ Youtube
genshi:Mobile
GENSHI:TOY
genshi.lab
jido-genshi.com
Kricky The Alien Frog
Pasadena Digital Media Labs
Web Developer’s Box
ZERO:GENSHI
Genshi Media Group
Hosted by Media Temple
Copyright © 1999 - 2014 Genshi Media Group. All Rights Reserved.Hosted by
|
cc/2023-06/en_middle_0018.json.gz/line37
|
__label__cc
| 0.550845
| 0.449155
|
FAQ: Why Does Asian Food Give Me Diarrhea?
Did the Chinese food cause this? Monosodium glutamate has been blamed for upset stomach, diarrhea, and a host of other symptoms, now called MSG symptom complex, since 1968. Because for some people there remains an undeniable connection between Chinese food and an extended stay on the toilet.
High-fat and spicy foods. Fried foods and other foods that contain a lot of fat can cause diarrhea because they are difficult for the body to process. Although it is no longer commonly used by the food industry, a fat substitute known as Olestra can cause diarrhea. Why do I have diarrhea after eating Chinese food?
Fried foods and other foods that contain a lot of fat can cause diarrhea because they are difficult for the body to process. Although it is no longer commonly used by the food industry, a fat substitute known as Olestra can cause diarrhea. Why do I have diarrhea after eating Chinese food? This problem is also called Chinese restaurant syndrome.This problem is also called Chinese restaurant syndrome. It involves a set of symptoms that some people have after eating food with the additive monosodium glutamate (MSG). MSG is commonly used in food prepared in Chinese restaurants.11 Oct 2020
What not to eat while having diarrhea?
What not to eat when you have diarrhea: Other foods to make sure you avoid when you have diarrhea are spicy foods, citrus, greasy fatty food, meat, raw veggies, fruit, alcohol and artificial sweeteners.
Fried foods and other foods that contain a lot of fat can cause diarrhea because they are difficult for the body to process. Although it is no longer commonly used by the food industry, a fat substitute known as Olestra can cause diarrhea. Why do I have diarrhea after eating Chinese food? This problem is also called Chinese restaurant syndrome.
You might be interested: FAQ: How To Get Rid Of Spaghetti Sauce Stains?
1 What causes diarrhea after eating Chinese food?
2 Why does Asian food upset my stomach?
3 What causes instant diarrhea after eating?
4 Why do I get sick everytime I eat Chinese food?
5 Can food give you diarrhea immediately?
6 Can Chinese food give you diarrhea?
7 How can you tell if food has MSG in it?
8 Why does restaurant food make me poop?
9 How long does Chinese food stay in your system?
10 Why do I poop right after eating salad?
11 What causes food to pass through too quickly?
12 When should you worry about diarrhea?
13 What is the Chinese restaurant syndrome?
14 What are the signs and symptoms of MSG intolerance?
15 Why do I feel tired after eating rice?
What causes diarrhea after eating Chinese food?
This problem is also called Chinese restaurant syndrome. It involves a set of symptoms that some people have after eating food with the additive monosodium glutamate (MSG). MSG is commonly used in food prepared in Chinese restaurants.
Why does Asian food upset my stomach?
Chinese food and soups contain monosodium glutamate (MSG) as the main addictive ingredient. A sensitive individual may suffer from headache, giddiness, sweating, abdominal pain, and urticaria within a few hours of consumption of MSG.
What causes instant diarrhea after eating?
Inflammatory bowel disease (IBD): The two forms of IBD—Crohn’s disease and ulcerative colitis—can both cause the symptom of diarrhea after eating. 8 Unlike any of the above health problems, the diarrhea of IBD may include signs of blood in the stool.
Why do I get sick everytime I eat Chinese food?
Monosodium glutamate (MSG) symptom complex refers to a group of symptoms some people experience after eating food containing MSG. These symptoms often include headache, skin flushing, and sweating.
You might be interested: Often asked: What Is Hollandaise Sauce Good On?
Can food give you diarrhea immediately?
Food poisoning: The human body does a good job of knowing it has eaten something it shouldn’t. When it detects the bad food, your body will probably try to expel it immediately. That may cause diarrhea or vomiting within a few minutes of eating the contaminated food.
Can Chinese food give you diarrhea?
3. High-fat and spicy foods. Fried foods and other foods that contain a lot of fat can cause diarrhea because they are difficult for the body to process. Although it is no longer commonly used by the food industry, a fat substitute known as Olestra can cause diarrhea.
How can you tell if food has MSG in it?
How can I tell if a food has MSG in it? Food manufacturers must declare when MSG is added, either by name or by its food additive code number 621, in the ingredient list on the label of most packaged foods. For example, MSG could be identified as: ‘Flavour enhancer ( MSG )’, or.
Why does restaurant food make me poop?
The gastrocolic reflex is our digestive system’s natural way of making room for what’s coming down the pike once a new meal has commenced. In normal digestion, the gastrocolic reflex is responsible for the occasional urge to defecate within an hour or so after a meal.
How long does Chinese food stay in your system?
In general, food takes 24 to 72 hours to move through your digestive tract. The exact time depends on the amount and types of foods you’ve eaten.
Why do I poop right after eating salad?
Passing stool immediately after a meal is usually the result of the gastrocolic reflex, which is a normal bodily reaction to food entering the stomach. Almost everyone will experience the effects of the gastrocolic reflex from time to time.
You might be interested: What To Put In Top Ramen To Make It Better?
What causes food to pass through too quickly?
When food moves too quickly from your stomach to your duodenum, your digestive tract releases more hormones than normal. Fluid also moves from your blood stream into your small intestine. Experts think that the excess hormones and movement of fluid into your small intestine cause the symptoms of early dumping syndrome.
When should you worry about diarrhea?
Schedule a doctor’s visit for yourself if: Your diarrhea lasts more than two days without improvement. You become dehydrated — indicated by excessive thirst, dry mouth or skin, little or no urination, severe weakness, dizziness or lightheadedness, or dark-colored urine. You have severe abdominal or rectal pain.
What is the Chinese restaurant syndrome?
The term “ Chinese restaurant syndrome ” derives from a letter from a physician to the New England Journal of Medicine in 1968 speculating that certain physical symptoms — numbness in the limbs, heart palpitations — were due to monosodium glutamate, or MSG, in the Chinese food he ate.
What are the signs and symptoms of MSG intolerance?
These reactions — known as MSG symptom complex — include:
Flushing.
Facial pressure or tightness.
Numbness, tingling or burning in the face, neck and other areas.
Rapid, fluttering heartbeats (heart palpitations)
Chest pain.
Why do I feel tired after eating rice?
“Carbohydrate containing foods such as bread, pasta, rice and potatoes boost the production of a neurotransmitter known as serotonin, which can boost our mood but also make us feel content and possibly sleepy,” O’Hanlon told HuffPost Australia.
|
cc/2023-06/en_middle_0018.json.gz/line38
|
__label__cc
| 0.560199
| 0.439801
|
Nollywood News/
Meet Nollywood Stars
Tinuke Oyelowo
Nigerian actress Mercy Johnson has revealed the reason she stopped acting in romantic scenes in films.
Her first movie, ‘The Maid’, which brought her into the limelight pulled her into numerous moviemakers as she featured in numerous movies including comedy and romantic movies.
The 38-year-old mother of four confessed her reason for not taking such roles was due to her marriage to Prince Odianosen Okojie.
READ ALSO: Oil Theft: Tompolo Indicts Nigeria Army, Navy, Others, NNPCL Fumes
According to her, her husband was not happy seeing her act in such scenes, and she had to put an end to it when they got married.
The actress met her husband for the first time in 2008 on a flight to France, and they got married in August 27, 2011.
When Mercy Johnson first started working in Nollywood, she was a force to be reckoned with. Her ability to play any role, no matter how scandalous, made many people like her.
Times have changed, and it seems like the talented actress isn’t as brave as she used to be.
Mercy talked to Goldmyne TV about growing up and how becoming a mother has changed the way she sees the world. The 38-year-old actress said she regrets some of the choices she made in the past.
Next Article Zubby Michael endorses Peter Obi
Mercy Johnson
How Kemi Adetiba Survived Major Surgery
I needs quiet prayer: What’s bothering Tonto Dikeh?
|
cc/2023-06/en_middle_0018.json.gz/line53
|
__label__cc
| 0.67329
| 0.32671
|
« Boom Like An 808….Speaker
Full Contact Skydiving »
KT Tape Is Helping Team USA Keep It Together In The World Cup
Ever since Olympic gold medal volleyball player Kerri Walsh donned the colorful kinesiology therapeutic tape on her shoulders during the Olympic Games, it has been as commonplace to see it on athletes– from gold medalists and world champions to amateurs and weekend warriors.
You probably saw the US Men’s National Soccer Team wear it as they play in the World Cup. KT Tape has been chosen as The Official Kinesiology Therapeutic Tape Supplier of the U.S. Soccer Federation (USSF) through 2016. The 3-year partnership ensures that all USSF players – from its Development Academy through the U.S. Men’s National Soccer Team (USMNT) competing in the World Cup will gain support and relief for their aches and pains from KT Tape.
In addition to sporting the colorful KT Tape in their ankles, calves, knees, thighs, hamstrings, necks and backs during training and competition, USMNT players will be featured in advertising, promotion and marketing for the brand. KT Tape will produce a special USSF logoed KT Tape – exclusively for USMNT players to wear during the 2014 World Cup.
We had the chance to chat with the Jim Jenson the founder of KT Tape about their product.
Art Eddy: What does it mean your company that you were selected by the U.S. Men’s National Soccer Team to use your tape for the World Cup?
Jim Jenson: As the category leader, we are excited to serve as the official kinesiology tape for the U.S. Men’s National Team over the next three years. Since the 2008 Olympics when Kerri Walsh appeared on the sand wearing our tape, athletes from a variety of sports have been using KT Tape to help with for muscle, ligament and tendon pain relief and support.
AE: How does your tape help athletes?
JJ: Competitive athletes don’t like to be weighed down by anything that can slow them down or hinder their movements. KT Taps is great for these athletes because it enables them to perform their best by providing pain relief and support to sore muscles or injuries before, during, and after activity without restricting motion.
AE: What about people who may not be all-star athletes. How can they get the benefits from the KT Tape?
JJ: Everyone can benefit from KT Tape, from Olympians to ‘weekend warriors’. KT TAPE is lightweight, comfortable to wear, and can be used for hundreds of common injuries such as lower back pain, knee pain, shin splints, carpal tunnel syndrome, and tennis elbow.
Fans Surprise U.S. Men’s National Team
Degree Men and U.S. Soccer Unveil Massive Fan Banner
Brian McBride Talks World Cup, Allstate Soccer Clinic and More
Former US Soccer Star Tony Meola Talks World Cup and More
Budweiser Kicks-Off First of 3,000 World Cup Viewing Parties
Print article This entry was posted by Art Eddy III on June 24, 2014 at 1:54 pm, and is filed under Sports. Follow any responses to this post through RSS 2.0. Both comments and pings are currently closed.
|
cc/2023-06/en_middle_0018.json.gz/line57
|
__label__wiki
| 0.766998
| 0.766998
|
The following lecture was delivered at the Annual Symposium on Historiography, Lecture Hall 12 B, 12:15 PM, on the 20th Dekabr, in the year 1899 AU at the University of Nizhny, southern Volchok. Composed and read by Militz Melitovski, Professor of Historiography and Reconstitutive Thought, Department of Critical Studies; Gz, Gz-op, His-spec, Velk-spec, hon.
The Reconstituitive Approach
Let me begin with bluntness, for bluntness is the currency we trade in today. The student of politics with even the most cursory interest in grasping the turmoil currently engulfing the continent of Bratsk can do no better than to start with the signing of the Blood Unity three thousand years ago. In fact, as far as origins go, it is the only origin that matters. After all, let it not be forgotten that the Blood Unity transformed the very nature of time itself, abolishing that parochial, regnal system of measuring time and substituting it with the calendar era. BU (Before Unity) and AU (After Unity), terms that today come as naturally to our tongues as the words of love we issue to our families each evening, first made inroads into the collective consciousness and vernaculars of Bratsk precisely during the pact of the Blood Unity.
Of course, looking back through the mists of time has never been the most vogue of pastimes—not for our politicians, for our economists, for our generals, and not, if I may be so bold, for our rulers. And yet to cure the myopia with which we cripple ourselves today an historicist approach to cultural life has never been more necessary. There is something intolerable about the esprit de corps that conceives of society as it is currently configured having simply popped out of the ground like a mushroom, complete in and of itself, ignoring the painfully obvious truth that to grow, and to grow so blighted, the mushroom must have matured in corrupted soil. As with the mushroom, so with society, whose present illnesses were formulated many millennia ago, through a series of events, arrangements and choices that, regardless of their predictability, inevitability, and often downright stupidity, were constitutive of the reality we all inhabit at this moment. If we are ever to discover a route out of the dark, abyssal canyon we currently find ourselves and into which our selfishness, our prejudices and our narrow-mindedness have plunged us so profoundly, then tracing the source of these woes must surely be in everyone’s interest. As retrospective raconteurs we have a chance at redemption that ignoring history will never provide. Learning from the past, it may become possible to cut an alternative trail through the sludge and thicket that suffocate us today, and in the final instance lead ourselves into the sunlight once more.
Let us begin with a short excursion into the geography of our world, so as to understand better the nature of the slate upon which our history has been written.
Geography of Bratsk
Even an infant knows that in the west of Bratsk lies Tal’dor, an enormous region of sweeping forests and riverways, foothills and long grasses, possessing a seasonal climate and superlative wine. Until our present troubles, Tal’dor was affectionately known as the breadbasket of Bratsk, its endless fields of wheat and corn stretching across softly sculpted hills and valleys that only Tal’dor could boast of, its lands fed and fertilized by lakes, rivers and tributaries that flooded in the winter and shriveled to dry bone in the summer months. Until recently, when we thought of Tal’dor, we thought of emerald: marshes and wetlands that spilt into the horizon, woods and heaths of brake fern that teemed with game, feeding and clothing those fortunate enough to live within the region’s borders.
True enough: Tal’dor’s bucolic appearance masked an altogether less peaceful social history. We all know of those cursed religious conflicts that plagued its antiquity, and even to this day it still bears the scars. Walk through any field or woodland in that enormous province and you will still find the remnants of churches, abbeys and monasteries raised during that fateful era. But it is equally true that under the stewardship of Voron, a Blood that rose to prominence in the region a thousand years BU, Tal’dor emerged from those dark, formative days to enjoy a period of prosperity and peace before its assimilation within the Unity. The question must be asked: would Tal’dor be faring better today if it had never joined the Unity, willfully annexing itself to an empire? The answer: it is hard to see how it could be any worse.
To the east of Bratsk stretches the Nur-Dal, its wild steppes the stuff of legend, tundra and forests extending eastwards across the entire region until its poplars and willows dip their boughs in the great Chukchi sea. Floodplains and deserts, mountains, grasslands, glaciers and lakelands, the Nur-Dal’s topography is as varied as the breeds of goat and sheep that graze in its valleys. More than any region of Bratsk, the Nur-Dal enjoyed a peace longer than any of its continental brothers, and under the enlightened rule of Blood Rurik, an ancient House almost as old as the Nur-Dal itself, the province became synonymous with learning and invention. Until the signing of the Blood Unity, cities within the Nur-Dal were a rarity. The nomadic habits of its people resulted not only in ethnically rich populations, but through the ceaseless transmission and assimilation of customs and cultures, instilled within the populace a profound respect for the stranger and for difference. Since the Nur-Dal’s accession to the Blood Unity, more permanent locations were established, but the vast majority of them date back no further than three thousand years. For the Nur-Dal, history is written in the earth and soil, not in walls and street monuments. Fuelled both by migration within and without its borders, Nur-Dal’s capital, Ulam, has grown to become one of the largest conurbations in Bratsk.
To the north an altogether different kingdom lies, that of Volchok, one founded on conquest and force, destroyed through war and rebuilt once more through the sword and maintained through despotic rule. It is a realm of superstition, of folklore, and for much of its history, of self-isolation. The Zapovedni mountain range runs the length of Volchok’s southern border and constitutes the entirety of Tal’dor’s northern boundary and most of the Nur-Dal’s. The range is inhospitable and densely packed, and long ago entered the language and psyche of Volchok’s people as ‘the shield.’ More than once it has come to their aid. Around 500 BU, architects and engineers across the region were tasked by Blood Neprev—the ruling House of Volchok—to build a passage through the mountains that would at last open this hermit kingdom to the rest of Bratsk, albeit it in a managed way. The Wolf’s Pass, a massive valley passage that runs through the base of the Zapovedni, was the first and grandest attempt to connect Volchok to the world and took roughly three hundred years to build. Later, the Pass was complemented by a network of roads that even today spiral across the Zapovedni like strands of a spider’s web. Every six months, the ocean that meets Volchok’s northern coastline freezes over, and has earnt the name the Sealed Sea. During the Sealing, nothing comes in and nothing goes out of Volchok’s north, forcing visitors, traders and families to take the Wolf’s Pass in the south, whereupon the road divides east and west, heading towards the Nur-Dal and Tal’dor respectively.
The above exegesis has simply been my way of arguing that prior to the signing of the Blood Unity, each of the three regions I have described lived for the most part within themselves. Short-sighted self-interest, expedient yet expendable relations, politics done provincially—this was the way of the world. Trans-regional co-operation was rare, trans-regional conflict rarer still. Each realm looked inwards to the circumstances and conditions that affected their own constituencies, barely bothering to lift an eyebrow at the trials and tribulations of foreign lands, let alone offering them a helping hand. A naïve, insular, sectarian time you may say, and you would be right, but it was a simpler time too, less belligerent in the demands made of the world, free from the encumbrance of global interests with which we have become so mired. It was, at the very least, a time when the anger, the suffering, and the destiny of perfect strangers living at the furthest edges of the continent were not inextricably wedded to one’s own.
From this point, the story is well known. As in nature, where panthers fight tooth and claw for supremacy within the pack, so in the provinces of Bratsk, Blood consumed Blood through marriage, war, or just good old fashioned senility, until the power of one regional family predominated, and the province became synonymous with it. Neprev in Volchok. Voron in Tal’dor. Rurik in the Nur-Dal—the evolutionary growth of each Blood was predicated on the extinction or absorption of other great Houses. The tale of their survival and dominance is not worth the telling here, though I should mention that violence and bloodshed were not the only backdrops against which their ascension towards Prime Blood of their respective provinces played out. But equally true is the fact that were it not for Blood Neprev, Voron and Rurik, Bratsk in its modern iteration would be inconceivable.
The Blood Unity
Relations between the three realms had been steadily growing ever since the completion of the Wolf’s pass around 200 BU. Trade routes between Volchok, Tal’dor and the Nur-Dal developed at speed, whilst cross-regional enterprises—anything from civil engineering projects to cultural exchanges—flourished. It is a universal truth that where coin flows, politics follows, and as relations between the three Bloods grew closer, marriages of alliance became common; at the social, economic and political levels, the provinces of Volchok, the Nur-Dal and Tal’dor were knitted ever more closely together.
Though we cannot know with any certainty that such integration and cooperation was the reason, it seems to have been a driving factor in Volchok’s initial forays into Bratsk’s mysterious southern lands, which we know today as the Sakr. Fuelled financially by Blood Voron and supplied materially from Blood Rurik, Blood Neprev forged routes deep within the Sakr’s interior, first establishing commercial relations with the disparate communities there before putting down more permanent roots in the form of fortresses, roads and military outposts. Before too long, Blood Neprev was doing what it had always excelled at, slowly subduing the populations of the Sakr wherever possible through debt financing and when that failed through force, so that by 100 BU the peoples of the Sakr found themselves pledging allegiance to a northern king whose face they had never seen and whose name they could not pronounce.
It is a hard thing indeed for individuals, tribes, clans, sects, coteries, factions and Bloods to know their true place in history, and harder still to recognise the decisions that must be taken to secure one’s place in that history. All too easy is it to fall prey to delusion and lovingly cling to the seduction of semblance. The story of history is one littered with families who became victims of their own self-grandeur, fatalities to a hubris of their own making, overplaying their hand in the game of life which ensured their destruction rather than their legacy. Such a criticism cannot be laid at the doors of the Bloods in our tale, at least not initially. Neprev, Voron, Rurik: they knew where they stood in the grand narrative of History. They understood they were on the cusp of something special, something truly transformative. Divided, their power and supremacy were temporary blips in the life of Bratsk, but together they would be unassailable. And so, at the very nadir of their own power and influence they gave it away, consolidating their positions by subsuming themselves within a larger entity that would, it was hoped, immortalise their Houses.
And so, on the banks of the Tuskino river, whose three major tributaries flow through Volchok, the Nur-Dal and Tal’dor, the Blood Unity was signed and ratified, transforming the kingdoms of Bratsk into a continent-spanning empire, with Blood Neprev afforded the title of Emperor, and Blood Voron and Rurik nominated as its two Grand Duchies. The Troika Krovi—or Blooded Three—constituted a political, economic and social enterprise whose lands exceeded one hundred and twenty-five million square miles and ruled over two hundred million lives. In the words of the Blood Unity, it would be an empire to ‘outlast the sun itself.’
For one and a half thousand years after, those words seemed prophetic. In no small part due to Neprev’s acquisition of the southern lands, the cooperation between the three Bloods saw unprecedented levels of prosperity for each. In reality, the Blood Unity was merely the apogee of five hundred years of trade and the slow establishment of cultural and social ties, but under the direction of the Neprev Empire, the extrapolation of wealth from one part of the continent and its redistribution in the east, west and north became official policy.
And the coin in rivers did flow. Gold, silver, minerals, diamonds, and gems were dragged from the mines of Sakr and sent abroad, delivered into the hands of those considered more cultivated, more sophisticated, more ingenious, who knew how to put this wealth to better use. Years of enrichment became decades of easy living which in turn became centuries of lethargy, detachment, and delusion. Across Bratsk, entire generations of nobility were founded on this substrate of expropriated wealth, commissioning absurdly expensive projects that mythologised their rise to power, and with each lie they told themselves, the further from reality they strayed. Within a few generations of Sakr’s colonization, the newly monied classes could barely point to it on a map, let alone appreciate the complex, myriad ways in which their fortunes were bound up with it. Meanwhile, the aristocrats of Bratsk, who had always relied on more local means of usurpation and exploitation, built new palaces to honour themselves, breaking millennia old tradition of master and serf sharing the same roof. For the first time in the history of Bratsk, the aristos turned their backs on those who tilled their lands, raised their children, and swelled their banks with the fruits of hard labour. The aristocrats began holding their serfs at a cool distance, giving them nothing whilst expecting the same loyalty, devotion, and reverence they had enjoyed from time immemorial.
To speak plainly, in these halcyon days of empire the ruling classes lost their heads. Lulled by wealth, slaked by overabundance, fooled by the self-constructed mirage of its own greatness, the ever-watchful eye of the Empire closed shut and slumbered, and from the shadows there rose a threat in the south that grew silently, until it was large and powerful enough to sweep the whole harvest away.
The Sakr Dilemma
The Sakr was always a notoriously hard region to subdue, its castes of mineralists, opium growers and gold miners doubling up as wizened, hardened warriors utterly acclimatized to the brutalities of war. For much of its history Sakr had been at war with itself, lord clashing with lord for control of the poppy fields and mines that blessed the landscape. An insurgency from without was nothing to bat an eyelid over. It was just one more trial to endure. There is a reason why sand is a divine property amongst the Sakri – it outlives everything, and it was with this deeply ingrained spirit of stoical fortitude that they approached matters with their northern guests. At first, they bid their time, trading with the outsiders on equitable and then unequal terms. They bit their lips when they saw their own natural resources siphoned out of their homeland and sent abroad. But you can bleed a pig only so much. When conditions for the Sakri had become so disproportionately imbalanced in favour of these northern invaders who came bearing the name of traders, their tolerance waned, and the sands began to shift.
It is true that the Sakr rebellions officially began seven hundred years ago in 1200 AU, but in reality they were in the making long before. The seeds of revolt were planted the moment foreign feet stepped onto Sakr earth, two hundred years before the signing of the Blood Unity. Sakri discontent started with whispers and muttering at the exchange rate offered for their traded goods, and with a growing hostility to the way Blood Neprev’s representatives attempted to corrupt local officials to give them favourable contracts, one-way tariffs and exclusive access to particular markets. Soon, the relationship between the two parties was seen for the fiction it had always been. After Neprev’s takeover of major political and legal institutions in the period 1110-1150 AU, the laws and the policies that were introduced spoke of the contempt the northerners had always felt for their hosts. The Sakr language was abolished as an official language in 1149 AU, and the land reforms of 1152 AU saw farming families who had lived in the same house, in the same village, for thousands of years, compelled to abandon them and move to poorer, less fertile grounds.
But it was the criminalization of the Sakri religion in 1187 AU that proved a step too far. After this, there was no going back; no bridge in the world could ever breach the void that now divided them. Blood Neprev oversaw every one of these injustices, its generals and advisors too stupid to recognise that foreign policy that amounted to little more than kicking repeatedly at a hornet’s nest was no foreign policy at all. Those whispers and glances that began one thousand years earlier had now grown into open declarations of war and retribution. In the intervening millennium, an entire network of secret groups, clandestine organisations, and spies within some of the most important departments of regional government ensured that when the time came to light the fire, the Sakri would make sure they burnt the whole thing down.
That moment, of course, arrived in 1203 AU, right off the back of the 1200-1203 famine that swept through Sakr, a result of three years of bad harvests and abject incompetence in government planning. Cities tripled their populations over this time, and the fight for foodstuffs and other essential items intensified. Shortages, illnesses, diseases and crime led to rioting, and rioting led to chaos. Sakr’s major ports were seized in an attempt to limit people fleeing to its interior, or worse, making it out of the Sakr altogether. The result was predictable: more starvation, more death, more ill will. When the plague came to Sakr in 1210 AU, from sheer desperation, anger, and grief, reasonable people who had stayed away from the resistance up until now had nothing left to lose.
We do not need to lay out the catalogue of catastrophic mistakes Blood Neprev made in its management of Sakr. Neither do we need to follow every twist and turn in the three-hundred-year war that tore the region apart. But when it was over, and Blood Neprev found itself retreating through the heartlands of its two grand Duchies with its tail tucked limply between its legs, the generals, politicians and councilors had no idea they were, in fact, importing into their homelands the same seeds of discontent they had sowed when they’d entered Sakr one and a half thousand years before. The lives lost, the money spent, the trade destroyed, the peoples ruined, and the humiliation endured over the previous three hundred years, all of it was revisited on Volchok, the Nur-Dal and Tal’dor. It must have been like coming to after a particularly pleasant dream gone horribly sour, and for the first time in the history of the Troika Krovi, the eyes of an accusing public saw the regime as the source of their woes.
In 1519 AU, the same year as the empire retreated from the Sakr, the Nur Dal ceded from the empire, claiming it had been bankrupted by the capaign, but in reality horrified by the empire’s treatment of necromancers. The link between the Nur Dal and necromancy is deep and we do not have time to discuss it here, but suffice to say, the Nur Dal could not sit idly by whilst its western and northern partners obliterated that much maligned race. And when it ceded, the empire looked vulnerable. For the first time in a millenia, there was a chink in its armour. Dreams of independence, of local governance, began to permeate the social ether of Bratsk in the 1600s. Failure to hold on the Empire together made it look assailable, vulnerable, weak to a degree even the most deluded, fanciful separatist and revolutionary could never imagine. Sakr had toppled its colonial master. The Nur Dal had ceded. Why couldn’t the same change happen in Volchok?
Troubles at Home
The empire came to an end effectively in 1619 AU, when Tal’dor decided to make a break with Volchok and go its own way. They had been one and a half thousand glorious years of economic success and territorial consolidation, but everything runs its course. But when the empire ended, the Blood system did not. Those rich families who headed the provinces remained in power – Neprev in Volchok, Voron in Tal’dor, and Rurik in the Nur Dal. But their power was no longer as absolute as it once was, when they formed a single polity in the Blood Unity. Suddenly, each faced problems of their own and in many ways, of their own making. So, from the 1600s onwards, discontent in Volchok eventually led to the formation of the Edma. In the Nur Dal, the khans once again were making their voices heard, something that hadn’t happened in two thousand years. In Tal’dor, Voron began to face pressure from a Priesthood he had personally empowered during the empire and that now was threatening to topple him. United the Bloods had stood, and divided they were now falling.
From the 1600s onwards, the three Bloods retreated into their own countries, and the collaboration that had marked many years of their interactions with each other began to fray. Reclusiveness came naturally to Blood Neprev, and as civil war broke out, it withdrew behind its mountain shield and the Wolf’s Pass, which, though remaining open, transmuted into a militarized zone through which trade from the outside world became restricted until it was closed off altogether around 1700 AU. Over the past two hundred years, Blood Neprev has all but severed its contact with Blood Rurik and Blood Voron, not from animosity or ill will but bloody-minded survival. Rather than relying on a partnership that had seen them overcome past obstacles, Volchok used its own troops in the defence of its own lands, its own supplies for its own people, its own resources for its own infrastructure. It called in loans from the other two Bloods, and whilst this helped for more than a century, by the time the current Svyat’s grandfather took to the throne (Svyat Gregori Vasilyevich Neprev, r.1800-1841 AU) Volchok had no more loans to call in. It was completely alone. Meanwhile, Blood Rurik began eyeing Volchok as a possible asset, rather than friend, whilst in Tal’dor, the Priesthood saw an opportunity to exploit the civil war to the north in order to pursue its timeless attempt to annihilate necromancy.
By the time Gregori’s grandson, Affanassi, (r. 1872-1899 AU) assumed the svyatstvo of Volchok, the Empire of his namesakes was long dead, and Volchok under siege. The Nur-Dal became the site of friction between the khans and Blood Rurik. whilst Blood Voron and the Priesthood of Tal’dor grew further and further apart. Each was so busy with its own affairs, that no-one noticed that the Wolf’s Pass in the south of Volchok had been captured and sealed by the Edma, effectively cutting off Neprev from the outside world. For five years (1894-1899 AU), the great mountain passage into and out of Volchok—the Wolf’s Path—was laid siege to by Neprev’s army, but nothing could stop the Edma from holding it and then pushing further into the interior. And then 1899 happened.
1899 AU
And so to the present, one thousand, eight hundred and ninety nine years after the signing of the Blood Unity. Abetted by a section of the population who no longer view their svyat as the divine will of God, and assisted by guards who have not been paid for months, last week the Edma stormed the fortress at Zimny Dvor, took the Svyat and his family prisoner, and executed them. News has emerged that, worried about the reaction such regicide would cause within Zimny Dvor itself and across Volchok as a whole, they tried to hide the massacre by throwing the bodies of the family members into a shaft deep within the fortress, and then blew that shaft up. The bodies of Affanassi, his wife, his four children and the entirety of their entourage were buried under a mountain of stone.
So much for restoring the dignity of man! So much for righteous justice. It seems to me those who claim fealty to the Edma are just as culpable as loyalists who remain ardently supportive of the Empire. But now, I feel, as we move from the past into the present, I too move from a history of politics to politics as it is lived today, and we all know how dangerous having views is in a time like this.
Whatever the future brings, survive the present. And do so in a way befitting of your status as citizens of Bratsk and as human beings.
Long live the revolution!
CategoriesNekromicaTags,Bratsk The Nekromika Volchok
Next PostNext Post Why Computer Games Matter as Much as Novels
|
cc/2023-06/en_middle_0018.json.gz/line59
|
End of preview.
No dataset card yet
- Downloads last month
- 6