text:
U.S. Supreme Court Will Decide Firearms 'Straw Purchaser' Case
The U.S. Supreme Court has agreed to adjudicate a case involving a firearms purchase and subsequent resale to a family member. The case of Abramski v. United States, arises from the prosecution of Bruce James Abramski, Jr., a former Virginia police officer, for allegedly making a "straw purchase" of a Glock handgun. Abramski had lawfully purchased a Glock pistol in Virginia, then later resold the Glock to his uncle, a resident of Pennsylvania. Both purchases were conducted through FFLs, with full background checks, and both parties were legally entitled to own a handgun. Abramski arranged the sale in this fashion to take advantage of a discount available to him as a law enforcement officer.
Abramski was indicted and prosecuted for violating Federal laws against "straw purchases", specifically making a false declaration on BATFE Form 4473, which is a violation of 18 U.S.C. § 922(a)(6). Abramski challenged the indictment, but the District Court ruled against him and the U.S. Fourth Circuit Court of Appeals upheld the District Court's decision. However, the Fourth Circuit acknowledged that there was a split of authority among the Circuits as to whether § 922(a)(6) applied in a case like this one, where the ultimate recipient of the firearm was lawfully entitled to buy a gun himself. The Fourth Circuit's ruling conflicts with previous decisions by the Fifth Circuit holding that "straw purchaser" laws are NOT violated if both the original purchaser and secondary buyer are legally entitled to own a firearm. See United States v. Polk, 118 F.3d 286 (5th Cir. 1997).
The key issue is whether Abramski committed a crime by buying a gun, and then promptly re-selling it to another person who was legally entitled to own the firearm. The government argues that Abramski broke the law when he checked a box on Form 4473 indicating he was the "actual transferee/buyer of the firearm".
Arguably, Abramski's purchase and subsequent resale did not violate the intent of the law, since the Glock never ended up in the hands of a criminal (or someone who was otherwise barred from gun ownership). The John Floyd Law Firm explains this argument:
"Attorneys for Abramski sought to have the indictment dismissed on the legal premise that because Abramski and the uncle were both legally entitled to purchase a firearm, Abramski could not be a 'straw purchaser.' Attorneys further argued that Abramski's 'yes' answer to question 11(a) on the 4473 that he was actual buyer of the Glock was never intended to be punished under the Gun Control Act of 1968 if the buyer had a legal right to purchase the weapon. The attorneys theorized that the intent of Congress in passing this Act was 'to make it possible to keep firearms out of the hands of those not legally entitled to possess them.'
Second Amendment proponents strongly believe there is nothing wrong with a nephew purchasing a weapon he is legally entitled to purchase with the specific intent to sell it to an uncle who is also legally entitled to purchase a weapon. The Fifth Circuit says such a purchase is legal because both parties are legally entitled to purchase and possess a firearm. The Sixth and Eleventh Circuits [and now the Fourth Circuit] say these legal entitlements do not matter."
Soon the U.S. Supreme Court will decide which interpretation of the law is correct.
CLICK LINKS Below to Read Briefs Filed in Abramski v. U.S.
Proceedings and Orders
Jun 21 2013 Petition for a writ of certiorari filed.
Jul 25 2013 Brief amici curiae of Steve Stockman, et al. filed.
Jul 25 2013 Brief amicus curiae of NRA Civil Rights Defense Fund filed.
Aug 26 2013 Brief of respondent United States in opposition filed.
Sep 9 2013 Reply of petitioner Bruce James Abramski, Jr. filed.
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Q: Way to pass multiple arguments to a function directly from input method
Suppose there is a function funxwhich takes multiple arguments(like funx(item, quantity, price) ) and outputs respective values.
Now what i can normally do is call function and pass args with it like this: funx(Lays, 2, 40)
But what i'm trying to do is something like this(this throws error though)
funx(item, quantity, price = input("use format 'Lays, 2, 40', use commas : ").split(','))

to take user input this one time...
I could have done this(and i know its cleaner):
def funx(item, quantity, price):
    print(item, quantity, price)

def input_funx():
    item, quantity, price = input("use format 'Lays, 2, 40', use commas : ").split(',')
    return(item, quantity, price)

funx("Monaco", 3, 30)
funx(input_funx())
#but I want some different approach coz i won't be using this input_funx later

and could have called funx(input_funx()) and job done, BUT just exploring if something similar is possible or not.
Here's the error: funx(input("enter in this format '' Lays, 20, 200 ''...use commas for separation  :  ").split(','))
TypeError: funx() missing 2 required positional arguments: 'quantity' and 'price'
Note: I explored about lambda functions if it can be used but found it returns single parameter.(correct me if wrong) :3

Is there a way something like this...funx(item, quantity, price= input("%s,%d,%f")) ... or any intuitive way(using dictionary or list or anything) which gets job done in SINGLE LINE.
Any help is welcomed. Thank you in advance.

A: You can use argument expansion and avoid all that:
def funx(param1, param2, param3):
    print("Called with params: {}, {}, {}".format(param1, param2, param3))

funx( * input("use format 'Lays, 2, 40', use commas : ").split(","))
# or if you insist on whitespaces:
# funx( * (a.strip() for a in input("use format 'Lays, 2, 40', use commas : ").split(",")))

That being said, there is no reason to make your code unreadable and hard to debug.

A: You need to unpack the 'tuple' that is returned from .split() using *input(...):
>>> def funx(a1,a2,a3):
...     print(a1,a2,a3)
...
>>> funx(*input("enter in this format '' Lays, 20, 200 ''...use commas for separation  :  ").split(','))

Output:
Lays  2  2

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text:
Olive Garden Team Member Takes Skills Overseas
At Darden, it's more than just a job- it's a chance to build long-term, rewarding careers through endless opportunities. Check out how one Olive Garden team member's career is taking him to Southeast Asia.
Ever dream that your career could take you to exciting and exotic locations? For one Olive Garden team member, this dream is becoming a reality. Tremain Thomas, a culinary professional and trainer at the Olive Garden in Panama City Beach, will soon head across the world to help open the first Olive Garden location in Malaysia.
This is just one of the many examples of how at Darden, it's more than just a job. We're committed to providing opportunities for our team members to build long-term, rewarding careers. As a Darden Restaurants employee for more than 25 years, Thomas has helped train line cooks at numerous locations across the country, but this will be his first time opening a restaurant outside the U.S.
"It will be a little bit different, but I'm up for the challenge," Thomas told the Panama City News Herald. "I'm psyched out about it... I'm going to show them how we do it the Olive Garden way."
The "Olive Garden way" references the idea that when you work at Olive Garden, you're family. This honors the expression of the spirit at Olive Garden called Hospitaliano! – the passion for 100% guest delight.
Thomas said he is eager to do some exploring and spread the word about the Olive Garden brand.
"We want to take those high standards and take them over there and raise the bar even higher."
Learn more about team member opportunities by visiting our career page HERE.

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Cook 1 1/2 cups brown rice according to package directions, but using low sodium chicken stock instead of water.
Slice and saute 8 oz mushrooms–salt/pepper/garlic/seasonings of choice.
Defrost one cup of frozen corn, one cup froze peas, and one cup of frozen broccoli.
Combine with one-ish cup of shredded rotisserie chicken (I like to buy a whole chicken, shred it into one cup servings, and freeze for future use).
Melt four tablespoons of butter in a large skillet–add garlic and onion, saute until soft. Stir in 5 Tablespoons of flour, cook one minute. Slowly pour in one quart of skim milk; cook until thickened. Add favorite cheese (I did 2-ish oz. parm, 2-ish oz cheddar + scoop of light cream cheese) and salt/pepper/seasonings of choice.
Combine all and pour into greased 9 x 13, sprinkle with bread crumbs, and bake at 375* until heated through (mine took forever because I made in the night before and it went in the oven cold).
Overall, a successful made-up recipe. I would add a lot more garlic next time and perhaps test out a flavored creme cheese.
Posted in CasseroleTagged bread crumbs, broccoli, brown rice, butter, casserole, cheese, chicken, chicken and rice, chicken stock, corn, garlic, leftovers, milk, mushrooms, onion, peas, rice, roux, saute, Sunday, Sunday SupperBookmark the permalink.


Scammers are trawling Facebook for victims using a convincing twist on the notorious 'Nigerian 419' scam.
Normally, 419 scams are easy to spot and involve email requests for money from supposedly rich individuals in countries such as Nigeria, from which the fraud gets its name. The latest Facebook attack is much craftier, however, because it hijacks the identities of real people known to Facebook members, asking for money under an apparently plausible guise.
An  Australian news site  reports that one Google Australian employee who was contacted using the social networking site by a person known to her, asking for $500 dollars to allow him to return home from Lagos, Nigeria, where he claimed to be stranded.
She became suspicious that the contact was bogus only after noting subtle irregularities in the fraudster's use of Australian English. "After chatting further, words such as "cell" instead of "mobile phone" tipped Wells off that she was not talking to her friend but someone who had taken over his account," the report said.
"Many Facebook users don't even know how many friends they have on the site, let alone what they are all doing and where they are, and this is providing the scammers with a new vector of attack" said Graham Cluley of Sophos, the company that unearthed this particular scam.
"Unfortunately this is just the latest skirmish in an ongoing battle taking place between Facebook users and cybercriminals intent on exploiting the site and its members for their own financial gain."
Social networking's insecurities are many-headed. Emails from domains such as Facebook are more likely to reach an individual's inbox because they come from trusted domains; hijacking such domains to create fake email accounts been one of the year's growing problems on webmail systems such as Google, Hotmail and yahoo.
As it is, Facebook users have a reputation for  giving up personal information  too easily, while such sites have also been  under attack  from a range of information-farming direct exploits.
A secondary problem is that social networking offers scammers the ultimate prize of being able to hijack the identity of a trusted person to execute fraud. The Facebook 419 scam is an example of this, using plausibility and a demand for a modest amount of money to overcome suspicion. If social networking systems become infected by such trust-based fraud to any degree they will likely become unviable in their current form.
"Unless people take more care when securing their computers and personal data, there's no doubt that we'll see more electronic conmen using stolen Facebook identities to steal money from the innocent by posing as their online buddies," said Cluley.


FREE Online Youngs Literal Translation. Genesis Chapter 21:1-34.
21:4 and Abraham circumciseth Isaac his son, `being' a son of eight days, as God hath commanded him.
21:12 and God saith unto Abraham, `Let it not be wrong in thine eyes because of the youth, and because of thy handmaid: all that Sarah saith unto thee -- hearken to her voice, for in Isaac is a seed called to thee.
21:15 and the water is consumed from the bottle, and she placeth the lad under one of the shrubs.
21:16 And she goeth and sitteth by herself over-against, afar off, about a bow-shot, for she said, `Let me not look on the death of the lad;' and she sitteth over-against, and lifteth up her voice, and weepeth.
21:21 and he dwelleth in the wilderness of Paran, and his mother taketh for him a wife from the land of Egypt.
21:28 and Abraham setteth seven Lambs of the flock by themselves.
21:31 therefore hath he called that place `Beer-Sheba,' for there have both of them sworn.
21:34 and Abraham sojourneth in the land of the Philistines many days.


Angel investors can be an option for start-ups with the potential to earn high profits.
Expect close scrutiny. Many angels are former entrepreneurs and like to be involved and give business advice.
Angel investors tend to specialize, so look into their investing history to ensure there's a good match.
Small businesses looking for financial help from an "angel" often turn to individuals willing to invest in promising, start-up opportunities. Angel investors can be a good funding source to consider after you've tapped your friends and relatives. But angels usually don't write blank checks. They'll want to see progress and a way to exit the deal down the line with meaningful profits. So expect angel investors to do a lot of research and careful investigation into your business plan.
Be thoughtful in approaching potential investors. Biotech investors, for example, don't want to hear about a clothing manufacturer. A scattershot approach is likely to turn them off. Industry associations, local trade groups or, in some states, business-incubator centers can help point to potential angels.
Angel investors often invest through groups or networks. These provide due diligence, extra research, access to potential deals and shared expertise that one person operating alone generally doesn't have. For instance, one member of an angel group might have background in a particular industry or the know-how to set up deal terms, sharing that knowledge with the other investors.
Because they'll own a part of your company, they'll likely want a say in major decisions, and they'll watch to see whether you listen to them. Don't expect them to write a check and walk away. Many angel investors are former business owners who want to help people like themselves. They may be able to provide good advice based on their previous experiences.
Getting funding from angel investors isn't easy, but it can be done if you take the right approach and are a good match with their interests. And the benefits can beyond the money for your business, but their expertise in both in business operations and your industry niche.
Bplans' Free Sample Business Plans -- Dozens of example business plans from Palo Alto Software, a seller of business-planning software.
Finance Primer: A Guide to SBA's Loan Guaranty Programs -- An online training course on financing for a small business and loans from the U.S. Small Business Administration, a federal agency.
Angel Capital Foundation's Listing of Angel Groups -- Links to dozens of angel networks, capital databases and matching services, and other resources, from an organization founded by the Ewing Marion Kauffman Foundation, a promoter of entrepreneurship.
National Business Incubator Association -- A directory of business incubators.


text:
Margrit Knabenhans (20 mei 1935) is een Zwitserse voormalige zwemster. Ze nam deel aan de Olympische Zomerspelen van 1952.

Belangrijkste resultaten

Olympische Zomerspelen

Zwitsers zwemmer
Zwitsers olympisch deelnemer

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Next up is gold, which looks even stronger. Here, we have a false breakout below the trend line and a horizontal support along with a daily hammer and a breakout of the horizontal resistance. Demand for this commodity looks really strong!
Last, but not least, is the AUDUSD pair, which has formed an inverse head and shoulders pattern at the long-term horizontal support. We've already broken the neckline and tested that as a support. From a technical point of view, everything is ready for a further rise.


Our favourite Vancouver-created bouncy thing is on a cross-Canada tour spreading a message of inclusion, connection and, of course, love.
The Big Love Ball's We Are Here tour is an expansive interactive art installation that will appear in Oakridge Centre in Vancouver until March 24th, 2019. Come and pose in photos (super for IG), chat with the BLB team and participate in writing "You Are Loved" notes to add to the 400,000 that have already been composed and shared! According to BLB creator Wendy Williams Watt, "Shopping centres are the public square where people meet to share trends in fashion, culture and art ... a deeper experience rather than simply consuming. ... Big Love Ball is an excuse to connect. And the world can't wait."


text:
Niah National Park, located within Miri Division, Sarawak, Malaysia, is the site of the Niah Caves limestone cave and archeological site.

History
Alfred Russel Wallace lived for 8 months at Simunjan District with a mining engineer, Robert Coulson, who had explored what is now northern Sarawak for mineral ores. Coulson later wrote to Wallace about finding bones in a number of caves in Sarawak. On further enquiry, Wallace learned that one cave in question "was situated in the district between Sarawak and Bruni (Brunei), on a mountain some distance inland." In March 1864, Wallace favoured Coulson to explore the caves. However, later in May 1864, G. J. Ricketts, a British Consul to Sarawak was appointed to undertake the work.  Ricketts did not remain in the post for long and subsequently Alfred Hart Everett was chosen to undertake the work. Everett surveyed 32 caves in three areas, including Niah/Subis (near Miri) and "Upper Sarawak Proper" (to the south of Kuching).

In the 1950s, Tom Harrisson, the curator of Sarawak State Museum was searching for evidence of ancient human activity in Sarawak. He came across Niah Cave, which showed no evidence of ancient human activity in the area. However, he inferred that since the cave was cool and dry and there were millions of bats and swiflets which can used as food, ancient humans could have lived in the cave. Therefore, in October 1954, Harrisson with his two friends, Michael Tweedie and Hugh Gibb spent two weeks examining the Niah. They found evidence of long term human occupation, habitation, and burial. In 1957, the Sarawak museum organised a larger expedition with transport and equipment from Brunei Shell Petroleum and Sarawak Oilfields Ltd (Shell).  Eathernware, shell scrapers, shell ornaments, stone pounders, bone tools, and food remains were found. Radiocarbon dating of the charcoal layers put the site at 40,000 years old, dating back to the Paleolithic era. The expedition team led by Barbara Harrisson discovered the "Deep Skull" in the "Hell Trench" (for its unusually hot condition) at 101 to 110 inches below surface in February 1958. It is a partial skull with maxilla, two molar teeth and a portion of the base of the skull. The skull is highly fragile and is not fossilised. The morphology of the skull is suggestive of belonging to a female in her late teens to mid-twenties. Near the skull, a complete left femur and right proximal tibia were found which belongs to the same individual. Tom Harrisson also discovered Neolithic burial sites from 2,500 to 5,000 years ago. The discoveries led to more expeditions in 1959, 1965, and 1972.

In 1960, Don Brothwell concluded that the Deep Skull belonged to an adolescent male who may be closely related to an indigenous Australian from Tasmania. In the 1960s, 122 human remains from Niah were brough to Nevada, United States. There is lack of paleogeography, stratigraphy, and archeological relationships to support Tom Harrisson's work. Therefore, more fieldwork was conducted by University of Leicester, in collaboration with other universities from Britain, Australia, United States and Sarawak State Museum from 2000 to 2003 to establish a more detailed history of Niah Caves. It was known as the "Niah Cave Project". Another dating of the charcoal and the Deep Skull itself was done in 2000. It showed that the age of the skeleton to be 37,000 years old. In 2006, studies from the Niah Cave Project found out that the ancient humans living in the Niah Caves probably already used mammal and fish trapping technologies, projectile technology, tuber digging, plant detoxification, and forest burning. In 2013 to 2014, uranium–thorium dating also confirmed the age of the skull. In 2016, another research done by Darren Curnoe noted that the Deep Skull was more resembling of a female adolescent and is more closely resembling the indigenous people of Borneo rather than Tasmanians or the two layer hypothesis  which stated that original population of Southeast Asia were emigrated from Australia and later integrated with people from China.

In 2010, 2019, and 2022, the Sarawak state government nominated the park for an UNESCO's World Heritage Site title. In 2020, all the 122 pieces of Niah human remains were returned to Sarawak.

Geography
Niah Caves is located on the northern edge of a limestone mountain named Gunung Subis (Mount Subis). The entrance is located at the west mouth of the cave. The location is 15 km from the South China Sea and 50 m above sea level. The west mouth of the Niah Caves is 150 m wide and 75 m high.

Archaeology
The cave is an important prehistorical site where human remains from 40,000 years ago have been found. This is the oldest recorded human settlement in east Malaysia. More recent studies published in 2006 have shown evidence of the first human activity at the Niah caves from ca. 46,000 to 34,000 years ago.  Painted Cave, situated in a much smaller limestone block of its own, some 150 metres from the Great Cave block's south eastern tip, has rock paintings dated as 1,200 years old. Archeologists have claimed a much earlier date for stone tools found in the Mansuli valley, near Lahad Datu in Sabah, but precise dating analysis has not yet been published.

Items found at Niah Cave include Pleistocene chopping tools and flakes, Neolithic axes, adzes, pottery, shell jewellery, boats, mats, then iron tools and ceramics and glass beads dating to the Iron Age. The most famous find is the human skull dated at around 38,000 years BCE. Painted Cave has paintings and wooden coffin 'death ships'.

Between 1954 and 1966, approximately 750,000 fragments of animal bones were excavated here. One of them was identified as the metacarpal bone of a young tiger.

Vegetation
Pearce (2004) recognises six vegetation types:

Limestone vegetation on karst.

Mixed Dipterocarp Forest.

Seasonal Swamp Forest on clayey marl soils.

Seasonal Swamp Forest on peat soils.

Riparian Forest.

Regenerating Forest.

Current activities
The caves are also well known for the bird's nest industry. They are a popular tourist destination in Sarawak. Every section of the ceiling in the caves where there are swiftlets roosting is privately owned and only the owner has the right to collect the nests. Collection is done half-yearly (usually in January and in June). The collector climbs up hundreds of feet on a single pole to the cave ceiling and scrapes off the nest in flickering candlelight.

Gallery

See also
 Prehistoric Malaysia

References

Further reading
 Kennedy, Kenneth A. R., "The Deep Skull of Niah: an Assessment of Twenty Years of Speculation Concerning its Evolutionary Significance", Asian Perspectives, XX(I), 1977

External links

 Tourism Malaysia - Niah National Park
 A short description of the caves as a touristic destination.
 Summary of the article "A short history of birds' nests management in the Niah caves (Sarawak)." by Quentin Gausset from the "Borneo Research Bulletin" published in 2002.
 Another version from the Sarawak Forestry with a map of the caves
 Article with a picture of some paintings and death ships.
 Picture of some cave paintings.

Miri Division
Caves of Sarawak
Limestone caves
Wild caves
Archaeological sites in Malaysia
National parks of Sarawak
Borneo lowland rain forests


The future seemed to disappear in Eastern Europe during the years of Soviet rule. Over the decades, writers, artists and ideologists were, it seems, less and less prepared to offer clear images of the world to come. This might be of little importance, save the fact that one of the root justifications for Marxist-Leninist rule was that the One-Party-State claimed to have the practical means and the superior understanding of the forces of History to bring about a better future, that of 'full-blown communism'. This, after all, was the utopia just over the horizon for which hardship and struggle in the present were being endured. Over time the precise nature of this state of perfection grew increasingly hazy in official futurology. This process began in the Soviet Union in the 1930s. Stalin conducted a '"fantasectomy" of the imagination, banning futurological art and literature in part because science fiction had been a vehicle for expressing early doubts about the possibility of utopia. The Prozac aesthetic of Socialist Realism offered insipid visions of the world to come: the predictable mises en scène of paintings and novels in the Stalin years were factories and building sites illuminated by the light of the remote 'radiant sun' of Communism. What existence might actually be like in this distant future was hardly suggested: perhaps its most vivid expression were the blueprints for socialist realist urban schemes and plans for leafy parks of culture and rest presented in reconstruction programme across Eastern Europe in the 1940s. Rooted in nineteenth century utopian socialism, this was a thin and rather retrospective form of futurology, particularly when compared to the cosmic dreams of the avant-garde of the 1920s. Kasimir Malevich, for instance, had imagined flying satellite towns moving freely circling the Earth and Vladimir Tatlin dedicated many years to designing the Letatlin (1929-32), a fantastic human-powered 'air bicycle'.
The poverty of Stalinist futurology was not much improved when, during the height of the Cold War, ideologists in the Soviet Union and the people's republics adopted images of modernity furnished by the West. Khrushchev set dates by which socialism would overtake capitalism. 1980 was, for instance, identified at the Twenty-Second Congress of the Communist Party of the Soviet Union in 1961 as the red-letter year when Soviet citizen would enjoy superior living standards over their counterparts in the USA. When the future was measured in terms of refrigerators and cars, Soviet futurology lacked the motivating force which it had once perhaps possessed, even in the misery years of the 1940s. By the 1970s self-proclaimed modernisers like Edward Gierek in Poland and János Kádár in Hungary placed an overweening emphasis on the needs of present. The communist rhetoric of investment ('work / fight / study hard today and mankind will reap the benefits tomorrow') was traded for one of immediate reward ('consume'). Hilton hotels in Budapest and elsewhere in the Bloc; licensing deals with Western manufacturers like FIAT and the spread of hard-currency stores selling western goods for hard currency were signs of disinvestment in the communist future.
If utopianism was a spent force by the mid 1970s, when, one might wonder, was the last time it was still an article of faith, particularly on the part of Eastern European artists, architects, film-makers and writers who had once undertaken to provide images which might hasten its arrival? And, after the dreamworld of communism withered, was it still possible to practice futurology in the Eastern bloc? If the utopian vision of human happiness through technological progress had faded, what else might dreams of advanced technology be?
The various nations which were corralled into a 'Bloc' in the late 1940s have differing histories. Nevertheless, Moscow's influence had common effects. This was not just a reflex of authoritarian rule: Stalin's death in 1953 and the revelations of the violence and cruelty of his regime by Nikita Khrushchev in his so called 'Secret Speech' of February 1956 was felt as common trauma across the Bloc. To exorcise the ghosts of Stalinist irrationalism and violence, post-Soviet authorities turned to science, technology and other 'rational' measures of modernisation. The Scientific Technological Revolution announced by Soviet Premier Nikolai Bulganin in July 1956 was, for instance, a programme intended to shape a new Soviet consciousness. A scientifically literate and technically expert society would be better able to conduct the Cold War competition with capitalism declared by First Secretary Khrushchev. The principal symbols of the era – space flight, atomic power and modern telecommunications – broadcast the triumphs of Soviet engineering and science to the world. Sputnik, launched in October 1957 initiated a series of 'firsts' in space exploration, including Yuri Gagarin's pioneering orbit around the Earth in 1961 and the first probe on Venus, the Verena 3, four years later. Closer to home, the Soviet Union sought other spectacular achievements to renew its claims to be a force of progress. In 1959 the Soviet Ministry of Communications, for instance, commissioned a new television tower to serve the Soviet capital. Moscow's Ostankino Tower – hub of the all-Union network, then the world's largest broadcasting complex – was completed eight-years. Symbol and instrument, it was then the tallest structure in the world.
The real achievements of Soviet science and technology were trailed by fantastic images on screen. Science fiction films – uncommissioned under Stalin – became a privileged genre again. The first post-war sci-fi movie released in the Soviet Union after Stalinism was not, however, a Soviet creation. 'Der Schweigende Stern' (The Silent Star) was a 1960 East German production made by the famous DEFA studios with an international cast.
It was based on a short story, The Astronauts (Astronauci), by Polish writer Stanisław Lem. Internationalism was not just a way of harnessing movie-making talent: it was the theme of the film. On the screen, communism has swept the planet and mankind enjoys the benefits of nuclear technology and biological engineering. International rivalries are a thing of the past. A threat to this happy utopia comes in the form of a mysterious object that, when decoded by 'the world's largest computer', seems to threaten the destruction of the Earth. A spaceship is dispatched to Venus, the source of this 'cosmic document'. There, the international crew find the ruins of a warlike civilization that had itself already perished in a nuclear civil war. Drenched in pathos, the film's message was unmistakable.
One member of the international crew exploring the surface of Venus for signs of alien life was a French cybernetician, the creator of a chess-playing robot with a computer for a brain. In 1960 cybernetics was a new front of post-Stalinist science. Introduced to the world by American mathematician Norbert Wiener in his seminal book Cybernetics, or Control and Communication in the Animal and the Machine (1948), this science had been largely prohibited during the Stalin years. Originating in the West, it was represented as an ideological weapon which would deprive mankind of its humanity. The fact that earliest application of cybernetics by Wiener was in a feedback system used in the tracking system for US anti-aircraft gunnery lent fuel to its Soviet enemies. For exploring man-machine parallels, cybernetics was cast as a zombie science which would replace humans with docile machines. 'The process of production realized without workers!' screeched one Soviet critic with the pen name, 'Materialist'. 'Only with machines controlled by the gigantic brain of the computer! … what an enticing perspective for capitalism!' Consequently, this adolescent science went underground with its early adepts camouflaging their interest with specialist jargon. In his 1955 novel about inter-stellar travel, The Clouds of Magellan (Obłok Magellana), Lem – for instance – substituted the term 'mechanioristics' for cybernetics in an unsuccessful attempt to avoid censorship.
In an effort to draw real benefits from the cybernetic imaginary, experimental institutes were established throughout the Soviet Union. Science cities like Akademgorodok were initiated in the East by the Soviet Academy of Science in 1957 to explore the potential cybernetics (and exploit the enormous resources of the 'Virgin Lands'). Populated with brilliant minds with access to the latest international scholarship, Akademgorodok was to be an accelerator of the Scientific-Technological Revolution. New computing centres and research institutes like VNIITE, the All-Union Scientific Research Institute of Industrial Design were also established across the Soviet Union. Within five years VNIITE had fifteen branches and almost two hundred design 'laboratories' connected to high-tech industries. Unconstrained by the requirements of the Central Plan, their number one task was to supply the nationalized industries with new prototypes for manufacture.
Alongside cybernetics, ergonomics and behavioural sciences, art played a central role in many of these self-consciously experimental enterprises. Located in research institutes and off the radar of the Soviet art establishment, artist-scientists avoided the attacks on abstraction which periodically featured in official proclamations on culture. Moreover, their official status meant that they enjoyed privileged access to Western specialist publications where the work of kindred spirits like artist Nicholas Schöffer was reported.
The synthesis of different technical means and art forms is [an] important side of our searches. An artist must take all the basic means that exist in nature-light-color, sound, movement (not just in time and space), scents, changing temperatures, gases and liquids, optical effects, electromagnetic fields .. .., etc. All depends on the creative fire of the individual.
This sense of excitement is captured in early works like Infante's 1963 'Space-Movement-Infinity', an exercise in geometry in which a series of two-dimensional crystal forms are overlaid. Turning in an infinite space, they seem to recede to a luminous red point. Subtitled 'Design for a Kinetic Object', Infante developed his 'design' into a sculpture fashioned from revolving cubes illuminated with small lights. What its purpose might be was never made clear. By eschewing questions of application or factura, Dvizhenie's art formed a connection back to Malevich's Suprematism and El Lissitzky's Prouns (artworks which were hardly accessible in the Soviet Union at the time but could be seen in the Moscow apartment of pioneering collector George Costakis).
Members of the group enjoyed prominent commissions, particularly at the time of the fiftieth anniversary of the October Revolution in 1967. Nusberg designed a public light-sculpture in Leningrad to mark 'Fifty years of Soviet Power'; whilst Infante was commissioned to create a kinetic sculpture in the 'Exhibition of Scientific Creative Works of Youth' in Moscow's main exhibition grounds (VDNKh).
. "] He installed a 3m-high crystalline structure entitled Galaxy in front of the gilded Stalin-era pavilions. This kinetic sculpture was fashioned from metal struts and synthetic string (a clothes line). Electric motors animated the heart of the structure, changing its angular forms to the accompaniment of music, and at night Galaxy was illuminated with coloured lights. The piece represents the aspiration of the group to imagine new models of public sculpture for the new urban centres being planned across the Soviet Union. On the eve of a visit from senior figures in the Moscow Party hierarchy, Galaxy was the subject of an 'ideological' inspection. Infante and his colleagues were judged to have gone too far in their enthusiasm for the abstract beauty of geometry, and were required to dismantle the artwork.
TODAY'S child is already the cosmic generation.
The stars have come nearer. Then let ART draw people together through the breath of the stars!
In space exploration, Dvizhenie deduced not man's command of science but his encounter with its mysteries.
In 1966-67 Dvizhenie planned a 'Cybertheatre' for Leningrad, an installation which would be populated with human-scale 'cyber-creatures', pulsating lights and concrete sounds, cascading pools of water and vaporous gases.
It is of course an aesthetic fantasy, perhaps with prophetic overtones. Is not Man himself creating more and more of his environment on the planet Earth (using matter in the same way as a sculptor uses clay for his sculptures)?
We observe … the astonishing speed with which the new mythologies displace the old ones. In the intellectual life of a society in which the mechanism of tradition faith has become corroded, new myths proliferate with the greatest ease, even though they may originate in technical advances or scientific discoveries. Thousands of people fondly imagine that the friendly inhabitants of other planets will one day solve the problems from which humans cannot extricate themselves. For others the words 'cybernetics' embodies the hope of resolving all social conflicts.
If one product of destalinisation in the USSR had been the Scientific-Technological Revolution and the formation of experimental institutes across the Bloc, another, in the People's Republic of Poland, had been doubt. Destalinisation in the second half of the 1950s had been a traumatic affair there with artists, film makers and writers – including some of the most ardent champions of socialism – demanding autonomy from the interests of ideologues and the operations of the censor. In the years that followed, the Polish intelligentsia struck an uneasy peace with the State, sometimes enduring censorship and repression and, at others, enjoying its 'gifts' in the form of publishing contracts, commissions and exhibitions. An existential mood prevailed in which modernist fantasies of the autonomy of the artist and auteurisme combined uncomfortably with a growing sense of the failing modernity of Polish socialism. Kołakowski's own writing during this period was strongly concerned with discovering the individual – an active figure, conscious of his or her actions and capable of shaping events – in the debris of Stalinism. For this man, skepticism was more valuable than faith: the needs of the present were more pressing than challenge of imagining the future.
Kołakowski reprieved this theme when he reviewed the writings of novelist, futurologist and champion of cybernetics in Eastern Europe, Stanisław Lem. Already a successful novelist (whose story The Astronauts had provided the narrative of 'Der Schweigende Stern'), Lem set out to examine cybernetics in Dialogues (1957) and the effects of as yet unknown future technologies in Summa Technologiae (1964). An influential book in Eastern Europe, Summa Technologiae was translated into Russian in 1968 and appeared in East Germany in the 1970s. In it, Lem explored the long-term trajectories of technology including cyborgization of the body with, for instance, artificial digestive-regulative systems which would allowing for adaptation to diverse cosmic environments or the use of radio communication devices as prostheses: 'If the question of speech has to be solved "cosmically" – by continuous use of radio communication,' wrote Lem, 'the mouth will disappear.' Fascinated by cybernetic concepts of communication and control, Lem announced the idea of breeding or growing information which would, one day, fill the world like swarming clouds. He also anticipated the future possibility of telepresence that he called 'Phantomology'. Wired to the phantomat, a person would be able to enjoy any possible sensation by the neural manipulation. Indifferent to the limits set by ideology or by current science, he later described Summa Technologiae as 'an attempt to predict what could not be predicted'.
Summa Technologiae presented an image of man dissolved in technology. Anticipating Posthumanism, Lem sketched worlds populated with various types of genetically, and biochemically modified human beings as diverse as 'the various kinds of ants'. His concept of 'Phantomology' disturbed all the conventional metaphysics of humanism: a mind could be stimulated into the perception of being somewhere else or multiple individuals could be networked to a single brain. In the same spirit, Lem also accused other science fiction writers and film-makers of anthropocentrism by imagining the cosmos populated with human-like beings and earth-like landscapes. His 1961 novel Solaris (famously made into a movie by Andrei Tarkovsky in 1972) deals with that possibility that other forms of intelligence may be radically alien to the humans who encounter them.
Kołakowski wrote a long response to Summa Technologiae. Celebrating Lem's imagination, the philosopher was nevertheless sharply critical. He called the futurologist 'a 'leading ideologist of scientific technocracy' and accused him of trading in fantasies. Adapting Merleau Ponty's question 'What has remained of philosophy in the wake of the encroachments of modern science?' Kołakowski supplied his own answer – 'nothing'. In other words, Lem was too wired to technology to ask deep questions of existence or, for that matter, immediate ones about the present: 'I think that consideration of intergalactic transport can profitable even in our world where real dreams lead us to conjure up actual technologies 'wrote Kołakowski. 'One day humanity will invent telephones with which you can call Pruszków from Warsaw easily, build an elevator which will work for weeks without breaking down, as well as glue suitable for gluing and razors suitable for shaving.' These were real problems.
Although perhaps few grasped it at the time, Summa Technologiaehad inoculatory approach to progress: Lem's hyperfuturism was an inoculation against technocracy, whether in Soviet stripes or any other kind. One contemporary who seemed to share a similar viewpoint was Polish artist Krzysztof Wodiczko. At the end of the 1960s Wodiczko began producing cybernetic artworks which shared Lem's critical perspective on technocratic rationalism and anthropocentrism. These artworks – that he called 'products' – included 'Personal Instrument' (1969), an electronic device worn on the head and hands.
Wodiczko made this work whilst working as a designer for Unitra, the main state electronics conglomerate in Warsaw. Responding to the movements of the wearer, the Personal Instrument allowed the individual to amplify or diminish the flow of sound from the environment. A sensor on the glove turned the hand into a microphone. Headphones privatised the experience. In wearing it, the user excluded himself or herself from the collective (Wodiczko specified that the 'Personal Instrument' was 'for the exclusive use of the artist which created it'). Here was a materialisation of Lem's vision of the mouth replaced by radio. An allegorical device alluding to surveillance and anomie in the People's Republic, the Personal Instrument was not anti-modern but it was critical. In its futurism, it pointed – perhaps darkly – to a world where the voice was no longer a human faculty.
Others saw different promises in technology. At the end of the 1960s Jerzy Rosołowicz in Wrocław, Poland, promoted his concept of the Neutrdrom.
This was to be a 100m-high inverted cone set on an open plain, near a large town. Travelling in an elevator at the core of the tower, visitors would shoot through darkness into the dazzling luminosity of the circular platform on top of the structure. Standing on a mirror, they would be bathed in a cosmic symphony of light. Others could enter into a 35m diameter sphere rolling around the foot of the tower. Filled with light and sound, this was to be a closed universe of sensation.
Due to the contemporary communications media the range of applications of conscious neutral action is unlimited, as corroborated by the exemplary peak in the domain of space travel and exploration achievements, in which all mankind has indirectly participated. The official and generally unequivocal interpretation of these exploits, summing up all the current knowledge and ability of man, allows us to hope that they will not be turned to our destruction – in spite of the fact that they have always, most virulently, have been made to do exactly that.
In the Neutrdrom, the visitor would to be 'creative man' (czlowiek tworczy) rather than a consumer (czlowiek konsument) or user (uzytkownik), his destructive counterparts.
Piotr Piotrowski has characterized Rosołowicz schemes as 'an ironic take on the engineering utopias that are generally created with a certain "goal" in mind'. This was, after all, the age of the telecommunications tower and the satellite. But it is not certain that Rosołowicz was forcing open the disjunction between expression and meaning that characterises irony. Nor had he given up on the future. The Neutrdrom might be better understood as what Theodor Adorno called a 'negative utopia', i.e., a condition or experience which resists the foreclosure of the possibility of a completely new way of being. As a negative utopia, the Neutrdrom maintained an implacable opposition to the technocratic futurism on offer in the People's Republic of Poland: anything form of compromise would have been a betrayal. In other words, the Neutrdrom 'guaranteed' its utopian status by being unbuildable.
Clear intellectual and aesthetic parallels can be drawn between Rosołowicz's Neutrdrom and the work of Slovak artist Alex Mlynarčik and architects Ľudovít Kupkovič and Viera Mecková, members of VAL (Voies et Aspectes du Lendemain/Ways and Aspects of Tomorrow), who imagined a new city perched like a bird's nest on the tops of mountains.
"] Their Heliopolis Project, a ring-shaped megastructure at 2,150m above sea-level that could house 60,000 people, was a mechanism to protect the natural environment from its greatest threat, man. The project took shape when it was proposed to hold the Olympics in the Tatra mountains. Floating high in the peaks forming the Polish-Czechoslovak border (which only recently had been the entry point for Soviet-led forces suppressing the Prague Spring), the landscape would be left pristine below. In fact two of the six zones specified by the architects in their scheme were to be left untouched and inaccessible, a natural 'counter-monument' to man's destructive capacities. Like El Lissitzky's Prouns produced in the Soviet Union in the early 1920s, this architecture was a gesture of impossible perfection. The relationship of utopian architecture built from the dystopian logic of environmentalism was particularly provocative in the setting of the Eastern Europe in the 1960s, where to question the limits of progress was to issue a challenge to official futurology.
Dvizhenie's Cybertheatre, Rosołowicz's Neutrdrom and VAL's Heliopolis seem to point to an early and growing sense of environmental anxiety, one of the factors which motivated anti-communist dissent in Eastern Europe in the 1970s and 1980s. Historically, they were produced at the last moment when utopianism still had a hold on the Eastern European imagination (even if inflected as negation). Utopianism was about to be swept away in the pervasive culture of irony which was to absorb much intellectual life in the Bloc in the 1970s. As enthusiasm for the communist project faltered in the face of stagnation, corruption and the renewed censorship which marked the Brezhnev years, irony seemed like the only adequate response.In fact, utopianism itself was to become the subject of some of the most tart commentaries of communist rule. The parodies of the Stalinist 'good life' by Soviet Sots-artists Vitaly Komar and Alex Melamid are well known. At the beginning of their career in the USA, they also promoted 'Super Objects — Super Comfort for Super People' (1976), a portfolio of 36 color photographs and text panels describing impossible Soviet consumer products and devices. One product – with the brand 'Olo' – was tongue ring ornamented with a pearl.
Only objects devoid of the dead weight of utilitarian function soar high aloft above the lowly world of daily life. The forms and dimensions of the figures we offer you are not fortuitous ones. They have been arrived at by mathematical computations that link together the dimensions of the Moon and of the human body … Buy the circles, squares and triangles manufactured solely by Renowned Artists of the Twentieth-Century Seventies, Moscow.
Written just over ten years after Dvizhenie's announcement the birth of a 'new cosmic child', Komar and Melamid ridiculed not only the constructivist avant-garde but also the faith of the preceding generation.
For Zinovyev, the dream of cybernetic communism had become little more than an alibi for failure.
 Richard Stites Revolutionary dreams: utopian vision and experimental life in the Russian Revolution (Oxford, 1989) 235.
 David Crowley, 'Architecture and the Image of the Future in the People's Republic of Poland' in The Journal of Architecture, v. 14, n. 1 (February 2009) 67-84.
 On this theme see various essays in David Crowley and Susan E. Reid, Pleasures in Socialism. Leisure and Luxury in the Eastern Bloc (Evanston, IL; 2010).
 Sonja Fritzsche, "East Germany's Werkstatt Zukunft: Futurology and the Science Fiction Films of defa-futurum." German Studies Revie, vol. 29, no. 2 (May 2006) 367-386.
 Cited in Willis H. Ware and Wade B. Holland, eds., 'Soviet Cybernetics Technology 1959-1962' (Rand Corporation report prepared for the US Air Force, June 1963) 11.
 Jane Sharp 'The Personal Visions and Public Spaces of the Movement Group (Dvizhenie)' in David Crowley and Jane Pavitt, eds., Cold War Modern (London, 2008) 237.
 Francisco Infante in conversation in Moscow, 2007.
 Lev Nussberg, Manifesto of Russian Kineticists (1966), as translated in Igor Golomshtok and Alexander Glezer, Soviet Art in Exile (New York, 1977)164.
 Lev Nusberg, 'Cybertheater' in Leonardo, Vol. 2, No. 1 (January 1969) 61-62.
 Michael Kandel, "Stanislaw Lem on Men and Robots," Extrapolation 14 (1972-73) 19.
 Jerzy Rosołowicz, 'On Neutral Action' in Paweł Polit and Piotr Woźniakiewicz, ed.,s Refleksja konceptualna w sztuce polskiej. Doświadczenia dyskursu 1965-1975 (Warsaw, 1998) 230.
 Piotr Piotrowski, In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945-1989 (London, 2009) 201.
 1969 Czech sculptor Hugo Demartini pointed to the failure of utopianism, 'overridden through technological possibilities. Inhabitants of space stations, future towns on the sea, under the ground, suspended in space, cease to be a fantasy.' Demartini (1969) cited in Ludmila Hájková and Rostislav Švácha, 'Where Will Live Tomorrow' in Acke Slovo Pohyb Prostor. Experimenty v Umění Šedesátých, exh. cat. Galerie Hlavního Města Prahy (Prague 1999), p.397.
 Alex Mlynarčik and architects Ľudovít Kupkovič and Viera Mecková, VAL. Cesty a aspekty zajtrajsška (Zilina 1995), pp.15–25.
 Anatoly Vishevsky, Soviet Literary Culture in the 1970s: The Politics of Irony (Gainesville, 1993).
 Alexander Zinovyevm The Yawning Heights (Penguin, 1981) 519.


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The Sunken Island Adventure Map is an example of an amazing imagination and amazing terra forming skills. If your not aware terra forming is basically sculpting the land in your own way using Mods such as MCEdit World Editor or similar Mods. Some people decide to make Maps and creations from scratch. The developer of the Sunken Island Custom Map said he was inspired by a picture.
The Map is a desert island with a beach around the out side of the island with two huge mountains being the main focal point. The whole island is surrounded by a circle of water falls so there is no escape! After the Map got released it quickly became really popular as its an amazing creation, so the developer started changing the Map in a number of ways so it can be played as an Adventure Map. The Sunken Island Custom Map now has a full story line. The adventure sees you finding hidden chests which will help you on your adventure.
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How Curious is Facebook about Search?
Through an article BuseinessWeek proclaimed that Facebook is intending to drive towards search. So, lets see, in forseeable future either it will be limited to enhanced site search or proved to be more comprehensive.
However, it is apparent that Facebook has determined for enhanced internal search as well as the internal team has keep this as their first objective. According to BusinessWeek, the former Googler Lars Rasmussen put a statement that in nigh future searching the social network would be far better and efficient.
Nothing to argue that an enhanced search capability will verily benefit Facebook in several distinct ways. Eventually, it lead to encourage users for improved search activity and in consequence they would be awarded with great experience compelling to self-reinforcing. Moreover Facebook would also offer a PPC ad opportunity and that is too advantageous to disregard.
However, Facebook will be capable to market for keyword-based PPC ads in search result as most probably there is stifled demand for such application. It is not abnormal for a website and provide an opportunity of monetization that will compelled Facebook to implement.
In near term, it is improbable to predict for Facebook that in context of web search it will challenge Google directly. However, the first reason that sits behind this is the relationship of company with Bing, that check to render the near term. The second one is that it is likely to congregate a huge resource commitment from Facebook.
Enhanced search on Facebook with captivating layout and presentation of result wouldn't stand anywhere as confounded as regular web search. Literally, it would welcomed by both users and advertisers in account of PPC opportunities.
With reference of comScore data, BusinessWeek article states that, approx 336 million search queries were performed by Facebook users in February. So, if Facebook fixed search then that number might be turned into hundred of millions of dollars exponentially.