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janeduck · 2 months

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North Sea, Texas 🌊

This movie is so underrated guys. I hope this reaches the very few people that know it or will know it in the future :)

This is a post where I drop all the details I’ve noticed/theories I have. I include stuff from the book as well as movie and update this every once in a while.

The only other fan I know exist:

@delusionaltogether

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North Sea Texas (2011) is a Belgium movie based of André Sollie’s novel Nooit gaat dit over (this is Everlasting) from 2005.

Wikipedia synopsis (spoiler alert):

A young Pim and his mother, Yvette, live in the Belgian countryside with their dog named Mirza. The mother, a lonely divorcee, plays a piano accordion, and patronizes a local bar called Texas.

One day Pim and his mother attend a fair, where they meet a traveling carny named Zoltan. Zoltan is kind to the younger Pim, and Pim is infatuated. Zoltan rents a room in Yvette's home intermittently, but later stops coming to town. Meanwhile, Yvette begins spending time with a man named Etienne, who is brutish and macho, and whom Pim immediately despises.

Pim loves to dress up and put on his mothers make up, wich she doesn’t mind. Yvette is an absent mother and the extremely introverted Pim doesn’t talk to her at all.

As time passes, Pim develops a close friendship with the slightly older Gino, who becomes his best friend. Pim falls in love with Gino, an Italian boy who wears leather jackets and has a motorcycle. Gino explores his sexuality with the adoring Pim, and the two become increasingly intimate. They both agree to keep their sexual relationship a secret, although Pim seems to have different expectations and hopes for their future than Gino.

Meanwhile, Gino's sister Sabrina develops feelings for Pim, and Gino secretly spends the night with a girl he is seeing named Françoise. Pim, seeing Gino kiss Françoise, commits an act of vandalism as revenge and a rift forms between the two friends. Sabrina subsequently finds out that Pim is gay, and Yvette breaks it off with the boorish Etienne. Around this time, the enigmatic Zoltan unexpectedly returns. Gino, growing uncomfortable with the complicated circumstances, begins pushing Pim away, telling him their relationship was just a game.

Compounding the emotional roller coaster for Pim, he goes to Zoltan's room one evening, hoping to spend the night with him, only to find Zoltan out of his room and down the hall having sex with Pim's mother. Zoltan was Pims ticket out and he told Gino he was going to leave with Zoltan. Now he’s stuck again.

A distraught Pim runs off into the night. He returns home to find his mother has left with Zoltan and left him a note. Pim takes Mirza and moves in with Sabrina, while Gino is living out of town with Françoise.

Marcella, the mother of Gino and Sabrina dies from unknown illness. On het deathbed, she grabs the hands of Gino and Pim and clasps them together.

Following the funeral of Marcella, Pim and Sabrina are seen living together, although the living arrangement is clearly platonic. On a rainy day, Gino returns. After Pim tells Gino that his sister isn't home, Gino tells Pim that it was he who Gino came home for. Gino gently grabs Pim and moves him against the wall. Gino returns a cloth with special meaning to them both to Pim, telling him to tie a knot in it so that he will never forget him. He then proceeds to kiss Pim on the neck and the two embrace one another passionately. Pim tells Gino to "stay," and the film ends with the two of them embracing each other, suggesting a happy ending for the young couple.

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I’m not really gonna dive into why I think this movie is so good, but I can tell you it’s a very quiet, dreamy movie with not a lot of dialogue. Some people will need to watch it multiple times to understand what’s going on. I did so and noticed a lot of little things. Since I’m Dutch I also read the book and I’m going to include details and quotes from that too.

Details and theories (spoiler alert):

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~general:

-The reason the characters don’t change appearance throughout the entire movie even though 3 years have passed is because we see the movie through Pims eyes. Pim is a dreamer and tends to live in his own romanticised world. He doesn’t seem to think (or maybe want) that he and Gino aged or changed at all.

(Director Bavo Defurne initiated this in an interview)

-The reason why there is no footage or even mention of the kids going to school or having other friends than eachother is because, according to author Sollie:

“the book would become about their opinions about Gino and Pim and their relationship. It would become about homofobia and pain and I wanted the book to have a positive message. It’s about Gino and Pim and what the rest of the world might think about it doesn’t matter.”

I also think that, since the movie is seen through pims perspective, he might’ve ‘cut’ out boring parts of his life (such as school) out of his memory and the movie is just a series of key moments in his relationship with Gino, who is the person that means the most to him and he also thinks of as the most interesting.

-The scene near the end of the movie when Marcella is dying and with her last energy grabs both Gino and Pims hands and clasps them together -showing them that she accepts their relationship and in a way saying ‘you love eachother and it’s okay’ was so important and emotional that the noise that was recorded couldn’t be used because the actors hearts were all beating so loudly.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Pim:

-pim is kind of an asshole. As an abandoned, only-child he is pretty selfish and completely locked up in his own world. Gino gives him the love he has always wanted and Pim becomes completely blind for everyone else and their feelings, such as Sabrina’s.

-Pim collects things that have belonged to people he cares about (gino, zoltan, his (younger) mother) in a shoebox and kind of uses them as an replacement for the actual person because all of these people leave and/or betray him in the end and he needs something to hold onto.

For example, he trades his and gino’s knives, wich are identical, but he just likes the idea that it belonged to Gino.

By the end of the movie, Pim realizes that he doesn’t want to live like that anymore and burns the box.

-he wears converse :)

-he parts his hair the same way as Gino.

-he calls himself ‘paper-boy’ when he comes into his neighbours house because he always brings the newspaper to Marcella when his own mother has finished reading it. Marcella is too poor to subscribe to the paper herself.

-(book detail) He usually spends his nights at local bar ‘Texas’ where his mother sometimes sings and plays the accordeon. When he’s there, he likes to draw the customers on and the bar-keeper hangs his drawings up on the wall.

-Throughout the movie, Pim becomes more and more like Gino, who used to be his hero. For example, in the beginning of the movie Pim would have never hurt Gino or drank beer, and later on he does do these things. Maybe he’s trying to prove that he can be ‘tough’ and not only a boy who likes dressing up.

-(book detail) He refers to himself as a princess and Gino as Prince. In the movie, he instead uses ‘the beauty and the beast.’

-(book detail) He also thinks that Gino is like ‘a landscape he will never get tired of seeing’

-Sabrina and Marcella talk about how their grandmother is going to make fries and when Pim is told he can’t come with them he makes fries at home.

-(book detail) he does the counting down the alfabet thing in front of the mirror because he sees it as a way to transform to a princess when dressing up and then transform back to a normal boy.

In the movie, he counts down until he reaches the ‘G’ from Gino or the ‘Z’ from zee (sea).

-On Marcella’s deathbed he calls her ‘mother’ for the first and last time.

-(book detail) he was going to give Gino the drawing he made of him but heard about gino dating Françoise that same evening and forgot about it.

In the movie, Pim rolls up the towel and a picture of a motorcycle and it seems that he wants to give this to Gino as a present, but again never does because Gino is cheating on him.

-he fixes his hair and/or jacket every time he’s about to enter Gino’s house.

-the song he and Sabrina dance to is ‘teach me tiger’ (1961) by April Stevens.

-he has dry flowers and butterflies on his desk :)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Gino:

-he has never known his father, just like Pim.

-Although Gino doesn’t get many lines on screen, he seems to be a pretty witty and funny guy (‘the last news of yesterday 🙄’) who is stubborn and direct. (When pims ask him if he can come with him he straight up tells him ‘no.’ ☠️)

-he likes to dance (wish we would’ve got a dancing scene with him and Pim)

-although he may usually seem like the ‘masculine’ leader in his and Pims relationship, he’s actually way more insecure than Pim, who has always been sure about his sexuality and isn’t afraid or ashamed of it.

-he always calls Pim ‘Pimmie’, a nickname that shows that he sees Pim as young and ‘innocent.’

-In every intimate scene, he is the ‘leader’/top, and it seems that he does this to keep control over the situation because he’s afraid of his feelings. The last kissing scene, where Gino lets go of controlling his feelings and accepts Pim kissing and embracing him, is an exception.

-he wears low rise jeans (seriously they looked like they were about to fall off his ass the entire time lmao).

-the puzzle he, Sabrina and Pim make om one of the first scenes hangs above his bed in later ones. 2 pieces are missing: one is in Pims shoe-box, but where the other piece went is unclear.

-The love language of the characters seems to be souvenirs but I think Sabrina might have took the second piece. At the time, Gino wasn’t in love with Pim yet (at least I hope so because Pim was like 10 and Gino 14) but Sabrina was the same age and already started to like Pim very early on.

(It’s also possible that it just fell on the ground and got lost obv☠️)

-Although there seems to be a happy ending for Pim and Gino, author André Sollie (a gay man himself) said in an interview that there are many straight boys that play sexual games with their friends.

Yea no this definitely doesn’t count for Gino look at the way bro looks at Pim ☠️ (bad picture but if you watch the scenes you’ll know what I mean) also would a straight boy leave his gf to kiss another guy and tell him to never forget him? Yea no 💕

-gino’s ‘boyish’ personality gets established by what his room (more specifically his drawer) looks like. (Are those boxing-gloves?)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Sabrina:

-(book detail) sabrina is introduced in the book by the sentence ‘Sabrina wore green pants and with her long legs she was just like a fourteen-year-old Barbie doll.’

-In the movie she only wears flower dresses.

-when Sabrina is still in love with Pim, she offers him lemonade every time he visits their house, but Pim never ‘accepts’ the lemonade or says thank you. After she finds out he was in love with her brother all along she only offers him water, and now he accepts, like they finally understand each other.

-she and Pim are actually really similar: both in love with someone that isn’t in love with them too (anymore), and yet they don’t realize that about eachother.

-after her mothers death Sabrina takes on a job in the local supermarket, although her salary is by far not enough to pay the rent and food with. Sabrina worries about this in the book, not the movie.

-(book detail) although in the movie she may only seem a cringy girl that’s obsessed with Pim, in the book she’s actually quite smart. When Gino says Françoise couldn’t come to the funeral because she felt sick Sabrina’s first thought is that she is pregnant. In the movie she just calls Françoise a bitch lmao.

-after she caught Gino and Françoise having sex Gino gives her money so that she won’t tell Marcella about it. Sabrina immediately goes into his room after he left and puts the money under his pillow. In the book, she is disgusted by how Gino is sneaking Françoise in and out just to have sex and she thinks about how it “didn’t match with her idea of love.”

-(book detail) she dreams of Pim and his ‘nice ass’ (pls lmao 😭) saving/taking her away from the poor, depressing neighbourhood.

-(book detail) Although shocked at first she seems supportive of her brother and friends relationship and thinks to herself: “the boys will always find each other again. not even Françoise can stop them from doing so.”

-(book detail) in the hospital room where her mother died, Sabrina realizes that she lost both Gino and Pim to eachother.

-the shots of her room specifically show toys and ‘childish’ stuff to show how childlike and naive she is (at first).

-she seems to like reading magazine’s and cutting out pictures.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I would love to keep talking about all this, but I’ve reached the max. pictures and it’s currently 3 am ☠️

You can watch North Sea, Texas on sites like soap2day & it’s on Yt.

Here’s the only North Sea, Texas edit I’ve ever seen:

#North Sea Texas #gay love #movie analysis #I’m not sure if this is healthy #nah just kidding I just pay a lot of attention #i hope this will reach everyone that has ever seen it

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doomedandstoned · 4 years

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The End Is Nigh: A Conversation With OFFICIUM TRISTE Frontman Pim Blankenstein

~By Shawn Gibson~

I was first introduced to OFFICIUM TRISTE when Mors Viri came out in 2013 and I have been a fan ever since! At the time, I had a radio show and got an email from HammerHeart Records with promo and played some songs off of that album.

The Dutch band's music has also pushed me through tough times, mentally and emotionally. There is sadness in their songs, as there is great beauty. Each song has its own dynamic sound with piano, organs, violins, cellos, etc. Officium Triste's albums are heavy as mountains, but have parts within that soar like eagles!

Recently, I had the privilege of longtime singer Pim Blankenstein, who has been with the band since 1994.

Mors Viri by Officium Triste

Officium Triste has been making music since 1994! How does that feel to be with this band now and the current state of affairs?

It feels as exciting as it was when we started out. Of course, a lot has changed in 25 years, but for us as a band our values are still the same. We love slow, heavy and melodic music and we still write this kind of music. Over the years we of course have grown as a band and you keep learning. After the last couple of line-up changes I totally feel this is the best line-up we've had. We're all on the same page and actually things couldn't be better.

What does the name Officium Triste mean?

If you put it in Google translate, it says it means the baleful. Back when we started out our then guitarist Johan Kwakernaak came up with the name, which he got from a Latin dictionary. The combination of words means something like a "sad gathering," such as a funeral.

You are from the Netherlands right? What are some other bands from the Netherlands you guys love?

Yeah, we are from the Netherlands and when we started out there were quite some doom bands we dug like early The Gathering, Celestial Season, Castle or Beyond Belief. Having said that, the doom scene never was that big but we always had killer bands. Just think of Deinonychus or newer acts like Facade, Treurwilg or Beyond Our Ruins.

In other genres we have (and had) great bands, too. Death metal was especially huge. Pestilence, Pentacle, Asphyx, Sinister, Thanatos, Severe Torture, Bodyfarm, Gorefest. I could go on and on. Bottomline is that the Dutch scene always has been and still is great. We know quite a lot of bands personally and we get along real fine.

We are all Doomed! Are you Stoned?

Nope. Used to smoke a lot. Not anymore though. But that doesn't change the fact we indeed are doomed!

The Death of Gaia (Atmospheric Death/Doom Metal) by OFFICIUM TRISTE (Netherlands)

Your latest album 'The Death Of Gaia' came out December 13 2019. What has influenced the writing of this album?

As far as the music is concerned, our core values are still present, which is writing slow, heavy, melodic and melancholic music. I like to say we are still inspired by the bands that showed us the way in the '90s, like Paradise Lost, Anathema, Katatonia or Type O Negative. Along the way, also a band such as Shape Of Despair inspired a bit but also film scores, shoegaze or dream pop.

Lyrics are about subjects such as the decline of our planet, loneliness, insomnia, guilt, and stuff like that -- basically what is happening around us. So the reality of life inspired us in that department.

Throughout the years of your albums there is always great range and depth of song with varied instruments. Are there any instruments you haven't used yet, but would love to include in a song?

From a personal perspective, I'd like to include some percussive elements. I can totally imagine us using some proper timpani for that ultimate heavy sound.

Who did the artwork for 'The Death Of Gaia'?

When we figured out we wanted something different as artwork on this album and moved away from our earlier art, we got in touch with Chris Smith of Grey Aria Design from the US. We liked what he had done for Solstice from the UK and we really wanted that Art Nouveau-type art. Chris totally delivered what we were after.

Art by Chris Smith/Grey Aria Design

What makes you guys laugh?

We actually laugh a lot. We get along really well and joke around a lot making fun of each other. Other than that we are totally into dark, sarcastic humour. Or stand-up comedians like Steve Hughes of Jim Jefferies. Writers like Bukowski or Brusselmans (a Belgian writer). Ren & Stimpy, Pinky & The Brain, Invader Zim. There's plenty of stuff that makes us laugh.

What has been an awkward moment for Officium Triste?

Probably being too drunk on stage in our early years could be considered as awkward. Other than that, not much. Maybe some awkward moments on behalf of our previous bass player, but I won't get into details on that because it's better to let that rest.

You have a long history of making death doom and are in the same boat as other established bands such as My Dying Bride, Katatonia, Paradise Lost. What is in the future for Officium Triste? Will there be another 25 years?

Well, we take it as it is. Our current label Transcending Obscurity is quite happy with us it seems and has been asking if we want to do another album for them. We are gathering new song ideas as we speak, so you can expect another album in the future. Not sure if we'll last another 25 years, as we will be considered as elderly people by then. As long as we're having fun we keep doing what we like to do.

Who is in the band Officium Triste and what do they do in the band?

Right now it is the founding members Martin Kwakernaak on keyboards. He used to be our drummer, too. Gerard de Jong on lead guitars and I (Pim Blankenstein) on vocals. We have Niels Jordaan on drums, William van Dijk on rhythm guitars and Theo Plaisier on bass.

With the varied sounds in your music do you have several session players to record? Sometimes it sounds like you have a symphony accompanying your music!

Actually, this time around we used some session musicians. We decided to record some real string instruments, as opposed to using the sounds from the keyboard, so we asked Chris Davies to record violins. We knew Chris from Eye Of Solitude where he used to play bass and he played violins with Clouds, in which I am involved, too, in a way. He did a great job. On cello we asked Eliane Anemaat. She is quite known for her work with bands, such as Celestial Season, Mayan or Delain. She also did an outstanding job.

What are some bands from the beginning that have influenced Officium Triste? Who are some current bands that catch your attention?

I more or less mentioned some bands in an earlier answer, but we initially were heavily influenced by Paradise Lost, Anathema, Celestial Season, My Dying Bride, Katatonia, and Type O Negative. But also Metallica, Edge Of Sanity, Dismember or Winter influenced us to some extent. Later on, also bands such as Evoken, Mournful Congregation or Shape Of Despair impressed us. Currently, there's not a lot of bands that caught our attention and actually had an impact on us, but we do like bands that mix things up like what In Solitude, Tribulation, Alcest or Chapel Of Disease are doing, to name just a couple.

Film by Buzau Live Music

Beyond doom and death, what other music styles do you like and listen to?

We listen to quite a lot of varied stuff. Like heavy metal, classic rock, shoegaze, indie rock, new wave, movie scores, retro wave. As long as it is good music we listen to it.

Will you ever tour in the states?

Hopefully. If we ever get a proper invitation and stuff is sorted out, well we definitely would like to come. We are crossing the Atlantic in a couple of months to play a one-off in Mexico.

For me, I have felt positive things from the lyrics and the heavy music amidst the doom. I guess its nice to be able to relate to songs and feel the music with your soul. The balance of heavy and almost symphonic and atmospheric music still blows my mind! Officium Triste is one of very few with clean vocals accompanying death growls I love. Most clean vocals fuck me up.

Cheers for that!

"Burning all Boats and Bridges" is my jam! Fuck it all and starting clean! My life has to take another turn! A fresh start is what I yearn for! Please tell me a little about this song.

Actually, this song is basically the only one where we could use music provided by our previous bass player. But since he fucked things up I have a hard time listening to this particular track. I did write the lyrics, though, and I usually start with a song title. I'm not sure where I got it from, but the lyrics are about having a fresh start and cut all ties with your past. It's not something that happened to any of us personally. But I guess everyone can relate to the subject, so I wrote lyrics about this.

"The End Is Nigh." Do you think this song is relevant to current world events?

That's what inspired it. But to be honest, this world has been a shithole for centuries. So, when I wrote the lyrics I did think about the current state of affairs, as well as stuff from the past. I think everyone can decide for themselves what we talk about, whether it is politics, the environment or overpopulation. It all goes hand in hand, in a way. For the lyrics, I took the Four Horsemen of The Apocalypse as a metaphor. And the second song on the album World In Flames continues with the subject.

Pim, thank you very much for your time! It is a pleasure and an honor!

Thank you, Shawn, for the interview. Much appreciated. Hope your readers will check us out if they haven't done so yet.

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#D&S Interviews #Officium Triste #Rotterdam #The Netherlands #Doom #Metal #Doom Metal #sludge #death doom #blackened doom #Shawn Gibson #Doomed & Stoned

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sonjawdkaportfolio-blog · 5 years

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Dutch Design Week

Prototyping

For Prototype we had to visit the Dutch Design Week and document installations we find inspiring and beautiful.

Saar Scheerlings:

A series of watercolour collages, sculptures and a throne are among the most recent props for a new, fictional culture that Scheerlings designs. Inspired by ethnographic collections in museums, textile crafts and construction methods, the work is a search for a sense of inspiration and meaning as we know it from ancient cultures and religious artefacts such as Talismans. For this collection Scheerlings mixes everyday forms and materials with traditional crafts, both from the Netherlands and other places in the world. For example, the shapes of the Talisman series are derived from unfolded tea boxes from the paper bin. The materials are mostly second-hand; the foam mattresses come from a bankrupt holiday park, the fabrics are remnants of theaters and fashion houses or old clothing from the thrift store, and an old sari was torn into strips to knot with.

In contrast to today’s fast and technological society, this work radically opts for accessibility through craftsmanship and everyday (also unexpected) material culture that can come from everywhere and therefore wants to be for everyone. The making process is unpredictable, because the making itself stands above a well-thought out step-by-step plan. Components can therefore always transform into a different form, a different material or scale, both autonomous or more functional.

I couldn’t take my eyes of her work. I love colorful art, so this installation was very inspiring for me to see. The way she worked with texture and color is very nice.

Pierre Azalbert, Benton Ching, Karlijn Sibbel: Re:flex:

A reflex is an action that is performed without conscious thought in response to given stimuli. Re:flex is a reconfigurable, programmable material that changes its shape in response to heat.

Natural materials and structures constantly respond and adapt to changes in the environment. This makes organisms resilient to change. Yet our built environment is static, and does not morph in response to changing conditions as natural structures do. The idea of a living, breathing material world has captured the imagination of people for centuries. Advancements in smart material technology have allowed us to pursue this vision of active matter. However, where are these materials in our everyday lives? Inspired by natural processes of homeostasis, we set out to create an intelligent material that could be embedded into the everyday. Re:flex is a thermally responsive material. You can heat it, deform it into a temporary shape, and cool it down to freeze it in place. When heated again, it remembers and returns to its original shape. With re:flex, we imagine a world where the materials we use are no longer inert, allowing objects to be reshaped by users to suit their needs.

What caught my attention was that it was very colorful. After talking to the designers for a while, it also turns out to be very durable! Re: flex is a new type of material that can be transformed by heating it. This way you can turn something into a whole new object.

Vlisco & Co Presents: The Youth of Africa:

Vlisco&co continuously seeks to work with young experimental creative talent from a range of African countries. This exhibition is centered around the works of fashion designers, filmmakers, photographers and graphic designers from Ghana, Ivory Coast and Nigeria. Through their work we learn, listen.

Vlisco Netherlands established a new venture in 2017 which it named Vlisco&co. The name speaks not only of Vlisco and its partners but also of collaboration and cooperation. The presence of Vlisco prints in Africa since the end of the 19th century could never have happened without the collaboration and cooperation of the African traders and without those who turned the fabric into clothing of extraordinary self-expression. That is how Vlisco’s past developed and still continues today, largely in the same vein. So when Vlisco looks to the future it is normal for it to think of future partners and future collaboration and cooperation. This means engaging with the youth of Africa. Vlisco decided to seek young, creative and experimental talent to form a network of young people across Africa. This network would interact to debate and define modern African culture and to discuss how the role of printed fabric would evolve in the years to come. 56 young people of outstanding vision and creativity already form the basis of a growing network.

This was an impressive installation. When you see the pictures in the installation it tells a story. It inspires me because my theme is also about culture and was about young creatives across Africa to express modern culture. They combine the new generation kids with their old culture In Africa.

Supertoys Supertoys:

Inspired by each other, Supertoys Supertoys and Studio Pim Top explore the space between inanimate and animate matter, interrogating modernity and designing within an animistic narrative. The result is a cross-dimensional dialogue between whimsical furniture-like objects and otherworldly images.

Supertoys Supertoys dreams of a world where we are more and more connected with the objects around us in a reciprocal way, a loving way. Where objects, furniture and spaces become alive. For this project Supertoys Supertoys asked artist and photographer Pim Top to dream along. The studios mutually inspired each other and explored the concept of animism, the space between inanimate and animate matter, between life and non-life, interrogating modernity and designing within an alternative narrative. An anti-modernist narrative where there is no distinction between culture, technology and nature, between humans and things, between the self and the world.  The result is a cross-dimensional dialogue between whimsical furniture-like objects and otherworldly images, inviting the viewer to rethink our ongoing entanglement of “being human through things” to rather “being human among things”.

I really liked this furniture. I like how they play with almost childish shapes and colors.

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steveramsdale · 6 years

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Well, What Happened Blog

Well, what happened? Blog

Sort of something, but not quite.

This blog starts with the exciting development for which we have waited but then goes…..ahhh.

We’ve bought a van! On Sunday, almost as planned (it was supposed to be Saturday) the deal was sealed. That sentence was easier to write that the actual process was to complete.

I think I had explained that I needed to meet the owner at the office of a notary (notarious) who had to witness the deal and prepare the formal documents. I had also been told I would need an interpreter. I asked if this needed to be some kind of official person but was told, no, I could bring a friend. Our very good friend and local colleague, Kate, agreed to help us. This turned out to add a small complication!

Why does it go…..ahhhh? I am not allowed to drive the van until I have been to register for number plates at a local police station and then purchased insurance. So I have not driven anywhere this week. Doniyor, who sold the van to me is coming today (Saturday) to help me again to find the police station and get my number and have his number plates removed. This means that I may be driving later today – that is one more complication! There is also a positive development. But first, the sign over story.

You know that my original contact was with the father who ‘owned’ the van although it was legally in the name of his youngest son who was in Moscow. You also know that the middle son is the most fluent English speaker with whom I have been communicating for the most part. He contacted me about what I would need – including an interpreter- but on Friday asked if we could do the deal on Sunday instead of Saturday.

On Sunday morning, the two brothers and, as it transpired, the wife of the younger brother, were heading my way. I put Kate in touch with them to arrange meeting places. The brothers were in two cars so middle brother picked up Kate and younger brother and Mrs Brother came for us. She is also a primary teacher (and has a class of forty Y3 children).

We all met at the office which is further to the west of the city than we have previously been. It is fair to say that it is an old and well used building. It was also very busy. I will not offer a prize to anyone who has guessed that we were there for nearly three hours! During that time, many people came and went – all transactions in the realms of car sales, house buying, rental agreement etc are conducted through a notary, so the services are in demand.

The brothers went to start proceedings with the admin side and suggested to me that the use of an unofficial interpreter might, in fact, be problematic and that I should give the impression that I was practically fluent in Russian. This is about 20 years from being the case. We shortly has our first meeting with the notary who inquired as to my understanding. I was unwilling and unable to deceive him. He asked Kate about her qualifications and was satisfied as long as he could see her diploma. She had not been asked to bring this. He agreed that a picture of if from her father would suffice. We then left this first meeting.

The middle brother then had to leave on other business. Kate had to negotiate with and coach her father on the electronic transmission of a picture of her relevant certificate- another easier said than done event. As the rest of the procedure was progressing slowly, this was not a particular problem. However, in the end he had to seek the assistance of their neighbour for the task to be completed.

There was much back and forth for the younger brother to the admin office and various questions – such as had I had my passport translated in to Uzbek (no). This gave us time to chat to his wife (you may have guessed that I have forgotten her name). You may also be wondering if she had simply come for a morning out (no).

Eventually we were summoned back to the office of the notary. Questions were asked. Documents were scrutinised. Various forms were signed and stamped. It was revealed to me that when a man sells his car, his wife has to be there to confirm that she gives permission for the sale(!). We are not, generally, living in the midst of gender equality, it is fair to say, but this is one, small mark in the positive column.

I had to sit with Doniyor on a small sofa and hand over the cash. He had to count it – no, that was not the longest part of the transaction. And finally, the documents were handed over, hands were shaken, I chose the wrong Uzbek farewell ‘greeting’ to use with the notary and we were able to leave the building that was starting to feel like home.

Briefly breathing the fresh air, we then had to go the 20km or so to their house to get the van which Doniyor would then drive back home for us. Of course there was tea. We were also given somsa, fried eggs and fried potatoes, home made jams, bread, home-produced honey and apricot juice and more tea. Dad explained a few quirks of the van and we generally had a pleasant time. The drive back – about 30 minutes- was great.

What of the other complication? Do you have time to hear of it? Ok.

Later on Sunday, I had a very little drive around our compound. I had forgotten about the joys of driving before power steering was invented. But it was fun. I reversed in to our garage, which is now not just a cat refuge. On Monday I did not start the engine but did have a good look at some jobs that might be priorities in the conversion process. On Tuesday I did decide to start the engine and drive around the estate again but I could not start the engine. I remembered that on our first viewing, they had trouble also and used a power pack to jump start it. I had bought one and brought it back with me, but this would not help. I decided that the battery was done. So on Wednesday, we went to buy a new battery – which entailed another several sentence story I will not relate. However, this still did not enable me to start it. I am confident that Doniyor will get it started on Saturday and show me the technique. I also have a mechanic coming to see it and make a list of jobs that need doing. This story will run and run.

The other positive development began on Monday evening at choir practice. Our American friend in the choir drives a diesel Land Rover so I was asking him where he gets fuel and we discussed my purchase. He then told me about someone he has met. This man, who is either Dutch or Scandinavian, runs a business and a few sidelines – for example, he employs craftspeople who are reupholstering Pete’s furniture. However, this man (Pim) drives a vintage car he has restored. He has workshops which include such this as welding equipment. Pete felt sure he would be interested in and able to help me. I called Pim and he is indeed ready to get involved. Those who know me well know I am not a talented DIY type person. I also lack any tools. Our aim had been to do very basic conversion work so the van was fit to drive home as a simple camper and then do a more thorough conversion in the UK. Now it seems we may be able to do a unique Uzbek conversion that will last. We shall see. It begins.

I was just going to add – ‘I saw EB’ and leave it at that as this was turning into a longer than usual blog. But then…. I have to admit that I was predicting EB for mid to late February but I thought I saw one on Sunday then definitely saw one on Monday. However, on Thursday, one of my taxis was an EB and it had the total new car smell, unlike the, as yet unnamed, van. (Suggestions on a postcard.)

If is as well that I did not even leave НБУ – our little estate- on Saturday and that not one child said one interesting thing, otherwise, this blog would never end. As it is, that’s it. Until next time.

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stopkingobama · 7 years

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Firearms technology and the original meaning of the Second Amendment

Photo: KAZ Vorpal/Flickr (cc by-sa 2.0)

Gun-control advocates often argue that gun-control laws must be more restrictive than the original meaning of the Second Amendment would allow, because modern firearms are so different from the firearms of the late 18th century. This argument is based on ignorance of the history of firearms. It is true that in 1791 the most common firearms were handguns or long guns that had to be reloaded after every shot. But it is not true that repeating arms, which can fire multiple times without reloading, were unimagined in 1791. To the contrary, repeating arms long predate the 1606 founding of the first English colony in America. As of 1791, repeating arms were available but expensive.

This article explains why the price of repeating arms declined so steeply. Then it describes some of the repeating arms that were already in use when the Second Amendment was ratified, including the 22-shot rifle that was later carried on the Lewis and Clark expedition.

James Madison and Firearm Innovation

One of the men to credit for why repeating arms became much less expensive during the 19th century is James Madison, author of the Second Amendment. During Madison’s presidency (1809-17), Secretary of War James Monroe (who would succeed Madison as president), successfully promoted legislation to foster the development of firearms technology. In particular, the federal armories at Springfield, Mass., and Harpers Ferry, Va., were ordered to invent the means of producing firearms with interchangeable parts.

To function reliably, repeating firearms must have internal components that fit together very precisely — much more precisely than is necessary for single-shot firearms. Before President Madison and Secretary Monroe started the manufacturing revolution, firearms were built one at a time by craftsmen. Making a repeating arm required much more time and expertise than making a single-shot firearm. How to make repeating arms was well-known, but making them at a labor cost the average person could afford was impossible.

Thanks to the technology innovation labs created at Springfield and Harpers Ferry, inventors found ways to manufacture firearms components at a higher rate, and with more consistency for each part. Instead of every part being made by hand, parts were manufactured with machine tools (tools that make other tools). For example, the wooden stocks for rifles could be repetitively manufactured with such precision that any stock from a factory would fit any rifle from the factory, with no need for craftsmen to shave or adjust the stock.

In New England, the Springfield Armory worked with emerging machinists for other consumer products; the exchange of information in this technology network led directly to the Connecticut River Valley becoming a center of American consumer firearms manufacture, and to rapid improvements in the manufacture of many other consumer durables. The story is told in: Ross Thomson, Structures of Change in the Mechanical Age: Technological Innovation in the United States 1790-1865 (2009); Alexander Rose, American Rifle: A Biography (2008); David R. Meyer, Networked Machinists: High-Technology Industries in Antebellum America (2006); David A. Hounshell, From the American System to Mass Production, 1800-1932 (1985); Merritt Roe Smith, Harpers Ferry Armory and the New Technology: The Challenge of Change (1977); Felicia Johnson Deyrup, Arms Makers of the Connecticut Valley: A Regional Study of the Economic Development of the Small Arms Industry, 1798-1870 (1948). By the 1830s, manufacturing uniformity was sufficiently advanced that repeating arms were becoming widely affordable, and no longer just for the wealthy.

Centuries of Repeating Arms

What kind of repeating arms were available before 1815, when the Madison-Monroe mass production innovation program began? The state of the art was the Girandoni air rifle, invented around 1779 for Austrian army sharpshooters. Lewis and Clark would carry a Girandoni on their famous expedition, during the Jefferson administration. The Girandoni could shoot 21 or 22 bullets in .46 or .49 caliber without reloading. Ballistically equal to a firearm, a single shot from the Girandoni could penetrate a one-inch wood plank, or take an elk. (For more on the Girandoni, see my article “The History of Firearms Magazines and Magazine Prohibitions,” 88 Albany L. Rev. 849, 852-53 (2015).)

The first repeaters had been invented about three centuries before. The earliest-known model is a German breech-loading matchlock arquebus from around 1490-1530 with a 10-shot revolving cylinder. M.L. Brown, Firearms in Colonial America: The Impact on History and Technology, 1492-1792, 50 (1980). Henry VIII had a long gun that used a revolving cylinder (a “revolver”) for multiple shots. W.W. Greener, The Gun and Its Development, 81-82 (9th ed. 1910). A 16-round wheel lock dates from about 1580. Kopel, at 852.

Production of repeaters continued in the seventeenth century. Brown, at 105-6 (four-barreled wheel-lock pistol could fire 15 shots in a few seconds); John Nigel George, English Guns and Rifles, 55-58 (1947) (English breech-loading lever-action repeater, and a revolver, made no later than the British Civil War, and perhaps earlier, by an English gun maker).

The first repeaters to be built in large quantities appear to be the 1646 Danish flintlocks that used a pair of tubular magazines, and could fire 30 shots without reloading. Like a modern lever-action rifle, the next shot was made ready by a simple two-step motion of the trigger guard. These guns were produced for the Danish and Dutch armies. Brown, at 106-7.

In Colonial America, repeating arms were available for people who could afford them, or who were skilled enough to make their own. For example, in September 1722, John Pim of Boston entertained some Indians by demonstrating a firearm he had made. Although “loaded but once,” it “was discharged eleven times following, with bullets in the space of two minutes each which went through a double door at fifty yards’ distance.” Samuel Niles, A Summary Historical Narrative of the Wars in New England, Massachusetts Historical Society Collections, 4th ser., vol. 5, 347 (1837). Pim’s gun may have been a type of the repeating flintlock that became “popular in England from the third quarter of the 17th century,” and was manufactured in Massachusetts starting in the early eighteenth. Harold L. Peterson, Arms and Armor in Colonial America 1526-1783, 215-17 (Dover reprint 2000) (Smithsonian Institution 1956). Another repeating flintlock, invented by Philadelphia’s Joseph Belton, could fire eight shots in three seconds. Idem, 217. Pim also owned a .52 caliber six-shot flintlock revolver, similar to the revolvers that had been made in England since the turn of the century. Brown, 255. A variety of multi-shot pistols from the late eighteenth century have been preserved, holding two to four rounds. Charles Winthrop Sawyer, Firearms in American History: 1600 to 1800, 194-98, 215-16 (1910).

Devastation at Short Range

The repeaters described above were not the most common arms. It would take two decades for the program begun by President Madison to result in repeating arms beginning to become affordable to the middle class. So in the seventeenth and eighteenth centuries, a person who could not afford an expensive repeater, but who wanted to be able to fire more than one bullet without reloading, would often buy a blunderbuss. The blunderbuss was the size of a very large handgun. Its muzzle flared outward slightly, like a bell. This made it easier to load while bouncing in a stagecoach, or on a swaying ship. The blunderbuss could fire either one large projectile, or several at once. Most often it was loaded with about 20 large pellets, and so it was devastating at short range. The name seems an adaptation of the Dutch “donder-buse” or “thunder gun.”

Excellent for self-defense at close quarters, the blunderbuss was of little use for anything else, having an effective range of about 20 yards. Militarily, it was used by sailors to repel boarders. Stagecoach guards and travelers carried blunderbusses, and it was also a common arm for home defense. For more on the blunderbuss, see Brown and George, above.

High-Capacity Printing Presses

No one would dispute that modern arms are much improved from 1791 in terms of reliability, accuracy, range and affordability. But the gap from the 22-shot Girandoni (powerful enough to take an elk) to a modern firearm is pretty small compared with the changes in technology of “the press.” Compared to the one-sheet-at-a-time printing presses of 1791, the steam and rotary presses invented in the 19th century made printing vastly faster — a speed improvement that dwarfs the speed improvement in firearms in the last 500 years. When the First Amendment was written, a skilled printer could produce 250 sheets in two hours. Today, a modern newspaper printing press can produce 70,000 copies of a newspaper (consisting of dozens of sheets) in an hour. Now, with digital publishing, a newspaper article can be read globally within minutes after it is written.

This means that irresponsible media can cause far more harm today than they could in 1791. For example, in 2005, Newsweek magazine published a false story claiming that American personnel at Guantanamo Bay had desecrated Korans belonging to prisoners there. Eventually, Newsweek retracted the story. But the phony story had already spread worldwide, setting off riots in six countries, in which over 30 people were killed. Had Newsweek been using 18th-century printing presses, the false story would have mostly been read by several thousand people in the New York City area, where Newsweek is based. It would been months — if ever — before the Newsweek issue with the false story was read by anyone in Pakistan or Afghanistan.

We do not limit any constitutional right to the technology that existed in 1791. In District of Columbia v. Heller, the court observed:

Some have made the argument, bordering on the frivolous, that only those arms in existence in the 18th century are protected by the Second Amendment. We do not interpret constitutional rights that way. Just as the First Amendment protects modern forms of communications, e.g., Reno v. American Civil Liberties Union, 521 U. S. 844, 849 (1997), and the Fourth Amendment applies to modern forms of search, e.g., Kyllo v. United States, 533 U. S. 27, 35-36 (2001), the Second Amendment extends, prima facie, to all instruments that constitute bearable arms, even those that were not in existence at the time of the founding.

This is an accurate statement of constitutional law, but it understates how truly frivolous the argument against modern firearms is. The people who ratified the Bill of Rights certainly did not anticipate the invention centuries later of the Internet or of thermal imaging sensors. The American people of 1791 did not have to anticipate the invention of repeating arms, because such arms had been in existence for centuries.

Republished from the Washington Post.

David B. Kopel

This article was originally published on FEE.org. Read the original article.

#gun rights #second amendment #Constitution #Gun Rights #Second Amendment

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americanlibertypac · 7 years

Text

Firearms technology and the original meaning of the Second Amendment

Photo: KAZ Vorpal/Flickr (cc by-sa 2.0)

James Madison and Firearm Innovation

Centuries of Repeating Arms

Devastation at Short Range

High-Capacity Printing Presses

We do not limit any constitutional right to the technology that existed in 1791. In District of Columbia v. Heller, the court observed:

Republished from the Washington Post.

David B. Kopel

This article was originally published on FEE.org. Read the original article.

#gun rights #second amendment #Constitution #Gun Rights #Second Amendment

4 notes · View notes

joshuajacksonlyblog · 7 years

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Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication

Amsterdam, January 4, 2018: Icecat, a listed company in The Netherlands and exploiting a unique and global open content catalog in the e-commerce market, is working on the creation and issuance of a so-called “2.0” cryptocoin, ICURY. The ICURY, Icecat CryptocURrencY, will be a cryptotoken that is accepted by Icecat, and will play a role in payments and content creation in Icecat’s existing ecosystem. It is a 2.0 coin in the sense that the token is issued by an existing and profitable business with substance, running operational services and a track record. Icecat is not just a startup with only a business idea.

ICURY is defined as a cryptotoken to decentralize Icecat’s existing global product content syndication network, which already facilitates 18 billion downloads per year by tens of thousands of e-commerce companies. Icecat wants to use the token as pre-pay for its services at a minimum value. Next, the token can be used to incentify decentralized content production and syndication. Currently, Icecat produces around one million product data-sheets per year. In a decentralized set-up, including token incentives, Icecat expects that the production can increase to tens of millions of product data-sheets annually. In its token ecosystem, independent Proof-Of-Quality checks are seen as critical, as users demand standardized and verified product content.

For the technical creation and issuance of the ICURY, Icecat is collaborating closely with the Tacxe/Ledgable blockchain team. As soon as the technical pilot is concluded, Icecat will announce its time schedule for the Initial Coin or Token Offering (ICO/ITO) of the ICURY.

About Icecat NV Icecat NV, stock noted at Dutch NPEX, is a global publisher and syndicator of product information for the e-commerce market. Icecat NV, founded in 2009, works with some 68,000 webshops and hundreds of brands such as Philips, Sony, Samsung, HP, P&G, Lego, and L’Oréal.

Icecat includes the subsidiaries Icecat LLC (Icecat Ukraine) and Icecat Content Sourcing OÜ (Icecat Estonia), Iceshop BV, and participation Hatch B.V. The cost centers Icecat Ukraine and Icecat Estonia are responsible for hiring editor and software developer capacity. Hatch BV delivers smart “Buy Now” buttons that help manufacturers to turn their websites into measurable lead generators for their online retailers. Iceshop is specialist in e-commerce-integrations and Product Information Management (PIM) solutions.

More information:

http://ift.tt/2E7MTFE

Telegram ICURY group: http://ift.tt/2EU4fXF

ICURY blog: http://ift.tt/2E64MV5

Contact Name: Martijn Hoogeveen Email: [email protected] Mobile: +31654256476 https://twitter.com/mjhoogeveen

The post Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication appeared first on NewsBTC.

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#IFTTT #Cryptocracken Tumblr

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brettzjacksonblog · 7 years

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Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication

More information:

http://ift.tt/2E7MTFE

Telegram ICURY group: http://ift.tt/2EU4fXF

ICURY blog: http://ift.tt/2E64MV5

Contact Name: Martijn Hoogeveen Email: [email protected] Mobile: +31654256476 https://twitter.com/mjhoogeveen

The post Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication appeared first on NewsBTC.

from CryptoCracken SMFeed http://ift.tt/2lV05GZ via IFTTT

#IFTTT #CryptoCracken SMFeed

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michaelbennettcrypto · 7 years

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Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication

More information:

http://ift.tt/2E7MTFE

Telegram ICURY group: http://ift.tt/2EU4fXF

ICURY blog: http://ift.tt/2E64MV5

Contact Name: Martijn Hoogeveen Email: [email protected] Mobile: +31654256476 https://twitter.com/mjhoogeveen

The post Icecat Works on 2.0 Cryptocurrency ICURY for Content Syndication appeared first on NewsBTC.

from Cryptocracken WP http://ift.tt/2lV05GZ via IFTTT

#IFTTT #Cryptocracken WP

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architectnews · 4 years

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MVRDV to convert disused Shenzhen factory into creative office space

Dutch architecture firm MVRDV has announced its plans to renovate a deteriorating concrete building in Shenzhen, China, to create the If Factory offices and a maze-like roof garden.

Located in the historic district of Nantou, the 11,000-square-metre disused factory will be transformed into rentable workspaces for creative companies and a home for the Urban Research Institute of property developer Vanke.

MVRDV has revealed its plans to renovate a disused factory in Shenzhen, China

Rather than demolishing the factory, MVRDV's priority for the scheme is to preserve its history by restoring its original concrete frame, which has become exposed as the building has deteriorated.

The studio will then reconfigure its interior layout and insert a giant central staircase, before adding a rooftop garden called The Green House.

The building will be converted into a creative office block named If Factory

Once complete, If Factory will be enveloped by the original building's existing grid-like frame, which will be treated to resist ageing and punctured by large windows.

"This preserves the traces of the building's history, keeping the concrete frame that is now exposed due to the building's dilapidated state – in line with principles of sustainability and the circular economy," explained the studio.

MVRDV will preserve the original structure and add a large staircase that leads to a roof garden

Inside, the office spaces will be set back from the concrete exterior to make space for balconies and circulation around the building's perimeter.

This excludes the main staircase that MVRDV will build at the heart of the building to connect the ground floor to the rooftop.

Described by MVRDV as the "most notable new addition" to the building, the central staircase will protrude from the facade on the fourth floor and be clad in wood to contrast with the concrete-dominated material palette.

It will also be lined with windows that provide views into the office spaces and filled with neon signage to pay homage to Shenzhen.

All other circulation will be placed around the building's perimeter

"Windows built into the staircase provide glimpses into the work being done in the offices, ensuring that this creative hub acts with transparency and remains connected to the community life of Nantou," explained MVRDV.

"Inside the staircase, mirrored glass and vibrant neon signage offer an aesthetic reminder of the early days of Shenzhen's urbanisation."

Some of the offices will be available to rent by creative companies

Another key part of the If Factory is The Green House, a rooftop garden that will be lined with greenery and bamboo arranged like a maze.

Nestled within the network of paths and hedges will be The Green Rooms, a series of spaces for visitors to relax that are each focused on a different activity – ranging from dancing and exercising to reading, dining and gathering.

A temporary facade mimics the If Factory proposal is currently wrapped around the building

An expected completion date is yet to be disclosed, but construction work has begun and a temporary canvas facade by MVRDV will remain in place until its opening.

This fabric facade is an image of "how the building will look once complete", disrupted by a large zipper graphic that opens to a ground floor entrance where there is currently an exhibition. Following the building's completion, the canvas will be recycled into tote bags.

According to MVRDV, If Factory forms a part of a wider masterplan and ambition to transform Nantou into a cultural and creative hub.

It also marks the second time MVRDV has carried out a project within the factory, following its Vertical Villages exhibit at the 2017 Bi-City Biennale of Urbanism and Architecture.

"Nantou is a special and fascinating place," said MVRDV founding partner Winy Maas. "It's really rewarding to return to this building after we exhibited here during the Shenzhen Biennale in 2017 with our 'Vertical Villages' and ideas for the future of cities," he continued.

"Our proposal draws on that ambition to make this part of Shenzhen a creative force, but it also remains in touch with the people of Nantou, their needs, and the history of the place."

The canvas facade will be transformed into tote bags when the project is completed

If Factory was commissioned by the Shenzhen Nanshan District Bureau of Public Works and Chinese property developer Vanke. MVRDV has collaborated with the Urban Research Institute of Vanke, vaLue Design, and the Shenzhen Bowan Architecture Design Institute on its design.

It is one of a number of renovation projects proposed by Vanke in the city, which will all be developed by local and internationally renowned architects.

MVRDV is an architecture studio based in Rotterdam, founded in 1991 by Maas, Jacob van Rijs and Nathalie de Vries.

Elsewhere in Shenzhen, the studio is also developing an "urban living room" called Shenzhen Terraces as well as a 250-metre-tall skyscraper that was also commissioned by Vanke.

Visuals are courtesy of MVRDV and photography is by Gao Yu.

Project credits

Architect: MVRDV Founding partner in charge: Winy Maas Partner: Wenchian Shi Design team: Lorenzo Mattozzi, Guang Ruey Tan, Peter Chang, Cai Zheli, Echo Zhai, Pim Bangert, Elien Deceuninck, Daehee Suk, Monika Wiecha, Alberto Menozzi, Alexis Lode, Anamarija Vrzina, Enrica Perrot, Luca Beltrame, Michele Tavola and Hengwei Ji Visualisations: Antonio Coco and Pavlos Ventouris Director MVRDV Asia: Steven Smit Strategy and development: Jammy Zhu Project planning and design management: Urban Research Institute of China Vanke; vaLue Design Co-architect: Shenzhen Bowan Architecture Design Institute Landscape architect: Yuanye Landscape Design Lighting designer: GD-Lighting Design Facade consultant: PAG Local interior architect: Biaogao Design

The post MVRDV to convert disused Shenzhen factory into creative office space appeared first on Dezeen.

#Architecture – Dezeen

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itsdiyparts · 4 years

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Nest T3016US - 3rd Gen-Pro Learning Thermostat, Wi-Fi Programmable, Black

Nest T3016US - 3rd Gen-Pro Learning Thermostat, Wi-Fi Programmable, Black The Nest Learning Thermostat is designed to be easy to use. It learns what temperatures you like and builds a personalized temperature schedule to help keep you comfortable and help save energy. Use the ring to control your thermostat Use it just like a normal thermostat, turn the ring up when you want it a little warmer, and turn it down when you want it a little cooler. Press your thermostat ring towards the wall to open the menu. Turn the ring to select a menu option and press the ring towards the wall to confirm your selection. The Nest Thermostat does not have a touchscreen. The screen at a glance You'll be able to tell what your thermostat is doing by the color of the background. The screen will be orange when your heating is on or blue when your cooling is on. When your heating and cooling are idle the background will be black. Features:

Built-in rechargeable lithium-ion battery

Wall mountable

Switch to other temperature modes: Eco Temperatures, Heating vs. cooling, Off mode

Learning and scheduling: How it programs itself, Auto-Schedule, Eco Temperatures, Sunblock, Filter reminders, Manual scheduling

Display: Take a tour of the screen, Quick View, Time to Temperature, Farsight (3rd Gen)

Energy use: Nest Home Report, Nest Leaf, Increase energy savings, Rebates and reward programs, Locking your thermostat

Homes and users: Home/Away Assist, Family Accounts, Multiple homes

Nest app: Android, iOS, or use a computer. By using the Nest app, you can control your thermostat and view Energy History.

2-Year Limited Warranty

Compatibility: The Nest Learning Thermostat works with 95% of 24V heating and cooling systems, including gas, electric, forced air, heat pump, radiant, oil, hot water, solar and geothermal.

Heating: 1, 2, and 3 stages (W1, W2, W3)

Cooling: 1 and 2 stages (Y1, Y2)

Heat pump: with auxiliary and emergency heat (O/B, AUX, E)

Humidifier or dehumidifier (HUM, DEHUM)

Fan (G)

Power (C, RH, RC)

Sensors:

Temperature

Humidity

Near-field activity

Far-field activity

Ambient light

Pro Elite Members Only Enter your Nest Pro ID to activate the following Extended Warranties:

5 year extended warranty (total coverage), Includes 3 year warranty extension + standard 2 year warranty

Name Nest T3016US - 3rd Gen-Pro Learning Thermostat, Wi-Fi Programmable, Black

Manufacturer Product Number T3016US

SKU - PIM Number 1084308077318813

ERP Number 369627

Unit of Measure EA

Weight 8.6 Pounds (Lb)

Length 3.3 Inches (In)

Width 3.3 Inches (In)

Height 1.2 Inches (In)

Country of Origin CHN

Brand Nest

Voltage 24 VAC

Electrical Connection Wired

Electrical Rating 24 VAC

Power Method Battery and Hard Wired

Batteries Included Yes

750mV Compatible No

Auto Changeover Yes

Built In Wi-Fi Yes

Change/Check Reminders Yes

Daylight Savings Time Ready Yes

Digital Yes

Digital-Non Programmable No

Digital-Programmable Yes

Display Yes

Display Options 24-bit Color LCD

Displays Outdoor Temperature Yes

Heat Pump Compatible Yes

Humidification Yes

Indoor Remote Sensor Yes

Language UK English, US English, Spanish, Canadian French (Québécois), French, Dutch, Italian

Low Battery Indicator Yes

Programmable Fan Yes

Stages Cool 2

Stages Heat 3

Vacation Mode Yes

Battery Backup Yes

Ambient Temperature Range 32°F to 104°F (0°C to 40°C)

Application Whole House

Color Black

Dual Transformer Compatible Yes

Fan Switching Yes

Manual Yes

Mounting Wall Mount

Operating Temperature Range 32°F to 104°F (0°C to 40°C)

Removable Interface Yes

System Switching Yes

Temperature Range 32°F to 104°F (0°C to 40°C)

Terminal Designations AUX, C, E, G, O/B, RH, RC, W1, W2, W3, Y1, Y2

Warranty Offered Yes

#thermostats #wifi-thermostat #Home Automation

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rawshoesblog · 5 years

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Mercer Amsterdam

Mercer Amsterdam is a high end sneaker label started by Dutch native Pim Dresen. The label makes high-end footwear and accessories for men and women. Dresen came with the name Mercer Amsterdam from two places that are special to him. Mercer comes from Mercer Street, NYC where Pim bought his first pair of sneakers at the age of ten. Amsterdam is the capital of Mr. Dresen’s beloved Netherlands.

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populistmedia · 6 years

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Geert Wilders: "We Are At War"

Monday, a Dutch Populist posted his reaction to a Yahoo article about Islamic violence, on his Facebook page and Twitter account. "We are at war. Innocent people are murdered. Worldwide. In the name of Islam. And it will never stop as long as we refuse to label Islam as malicious and hostile," said Geert Wilders founder and leader of the Party For Freedom, Netherlands. "THE DUTCH TRUMP"

Wilders is a Former candidate for Prime Minister of the Netherlands. Upon losing, his brother Paul, spoke to the Atlantic and they reported the conversation: "In fact, according to Paul Wilders, losing the bid to become prime minister may be the optimal electoral outcome for Geert, who has campaigned on a platform of leaving the European Union, tolerating “fewer Moroccans,” imposing a “head rag tax” on hijab-wearing women, and paying settled Muslims to leave the Netherlands—promises on which it would be difficult to deliver." Wilders often comments on photos like this from his social media: "Islam=violence," he said.

THE ARTICLE ON YAHOO The article on Yahoo that Wilders was responding to was about a Terrorist attack that killed 4 people on Monday. "The Islamic State jihadist group on Monday claimed an attack that killed four foreign cyclists in Tajikistan in what was originally reported as a hit-and-run road accident. The victims, two Americans, a Swiss and Dutch citizen, were struck by a car and attacked on Sunday while on a popular cycle route in the Danghara district, about 100 kilometres (60 miles) south of the capital Dushanbe," reported Yahoo news. https://twitter.com/geertwilderspvv/status/1024043351975362561 HIS RECENT TWEETS https://twitter.com/geertwilderspvv/status/1024053492250497026 https://twitter.com/geertwilderspvv/status/1023947476510883842 https://twitter.com/geertwilderspvv/status/1023149416411291648 FIGHTING FOR WESTERN CIVILIZATION FOR YEARS In 2015 Wilders During a Dutch parliamentary debate about how the Netherlands should respond to the refugee crisis, Wilders described the movement of refugees as “asses of young men in their 20’s with beards singing Allahu Akbar across Europe. It's an invasion that threatens our prosperity, our security, our culture and identity.” BACK TO THE INTERVIEW WITH WILDERS' BROTHER "Anti-Islam started becoming his cause after Theo Van Gogh, a Dutch filmmaker, was murdered by a Dutch-Moroccan Muslim, and Pim Fortuyn was assassinated, and 9/11 happened. This combination provided a gap over here in the Netherlands, politically, and he noticed that. So from that moment on, anti-Islam became his core issue," his brother told the Atlantic, in an article titled, 'This Is Exactly What He Wants': How Geert Wilders Won by Losing." WATCH Dutch Populism https://www.youtube.com/watch?v=cj-vduCTkUw Read the full article

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