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astro-vogue · 6 months

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● In astrology, there are 10 celestial bodies commonly considered "planets": Sun, Moon, Mercury, Venus, Mars, Saturn, Jupiter, Uranus, Neptune & Pluto

● Planets act like the roles a character [see the 12 zodiac signs] interpret in a movie, and each of them represents specific characteristics, that will eventually adapt to the zodiac sign they occupy

⎯ The Sun & Moon are called "LUMINARIES", as they're the brightest ones, they define the fundamental traits of a chart/personality and all the chart moves around them.

● Planets are divided in 3 categories: PERSONAL, SOCIAL & GENERATIONAL

⎯ Sun, Moon, Mercury, Venus, & Mars are called PERSONAL/INNER PLANETS and they are the most important in a chart as they are the fastest moving ones in the sky and can change more rapidly than Generational/Outer ones. They are the roots of one's personality, the core of each individual.

⎯ Saturn & Jupiter are the SOCIAL PLANETS as their orbit is neither slow or fast and are intermediaries between personal and generational, they represent both individual and social themes, such as morals, values ethics and ideals, as well as society structure and boundaries.

⎯ Uranus, Neptune & Pluto are the GENERATIONAL/OUTER/SPIRITUAL PLANETS and can be considered as secondary to the Personal Planets due to being way slower and can take years to change from sign to sign, indicating characteristics of entire generations/that apply on a larger scale.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

Most of the following descriptions are based on "The Contemporary Astrologer's Handbook" by Sue Tompkins and "Hellenistic Astrology" by Chris Brennan

☉ SUN (I am) - ego, one's identity, the self, our perception of ourselves, creativity, the person we think we are, how we want to be seen and recognized, our vitality, goals, what makes us "spark", bodily vigour and how healthy/unhealthy the body looks, your talents, your life purpose/mission, your attitude towards leadership, our general and fundamental temperament, our confidence, our self esteem, our inner hero, the father and the relationship with masculine figures or authorities, what is important to us, the heart, our sense of generosity, leadership and attitude to command (along with Mars), attention we seek/or whetere we seek attention, gold.

☾ MOON (I feel) - emotions, how people face their emotions, one's habits, emotional needs, the mother, the caretaker, feminine figures in general (along with Venus), our experience with our own mother/caretakers, one's sources of nourishment, vulnerability, the inner child, the comfort zone, our natural/instinctual/immediate reactions and behaviours to things, what makes people feel safe, our mood, our attachment style, how we express emotions, our roots, our past/memories, our home (both literally and materially), what feels like home, the public/the masses, food and eating habits, water and bodily fluids, menstruations, silver.

☿ MERCURY (I think) - communication, the way of expressing opinions and ideas, the intellect and its related characteristics, short term travel, thoughts, how we talk and dialogue with others, what we tend to think about the most, swiftness, our voice and how it can be described, language(s), kind of intelligence people have, siblings, negotiation, deals and making them, selling, transportation means except airplanes (cars, bus, metro, bycicle, motorcycles...), theft, trachery, lying, misleading, youth, light-heartedness, fun, always active and moving, commerce, postal and telephone services, smartphones, trading, social media to some extent.

♀ VENUS (I love) - charm, enjoyment, pleasure, happiness, beauty, attraction, seduction, what we find beautiful, what's beautiful about us, what we find pleasurable to do, our charm/what we find charming, what we enjoy doing, pleasing, feminine energy (but not motherly as the moon), desire, desire to give, affection, money, luxury, what feels like luxury, flowers, jewelry, how we give and receive affection/love, diplomatic behaviour, peacemaker, envy, good manners, courtesy, jealousy, insecurity that leads to rivalry, self evaluation/how we see ourselves/self-worth, how we attract others, physical magnetism, taste, how we dress, fashion, vanity, the arts, music, venous blood and female genitalia, copper, sex.

♂ MARS (I act) - action, competitiveness, independence, aggression, boldness, he's the defender, the protector, the god of spring, agriculture and war, easily provoked, vengeful, passion, one's passions, drive, ambition, how we act on a day to day basis, sports, strength, courage, assertiveness, our goals and how we reach them, defense, how we defend ourselves and others, iron (and iron deficiency), defensive behaviour, fighting, crimes, the uncivilised part of a human, hunting, survival instinct, go-getting, forcefulness, sex (not romantic/sexual as Venus), the penetration, what we like sexually, physical raw eroticism (along with Venus), male genitalia, muscles, the army, military.

Venus: "I make love" vs. Mars: "I f*ck"

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

MASTERLIST

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ladytabletop · 9 months

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Do you have any suggestions for a two person letter writing games? I've seen a couple on itch but haven't ever tried one. One of my ttrpg friends moved states and we still play online but something physical and asynchronous could be fun

Oh heck yeah do I have recommendations for you.

If you want something setting-agnostic:

Ephemeron by ephemeron

It functions as a collaborative world building exercise between player/s and GM, in which letters and other ephemera are used to create and describe a world and a series of events that might transpire within it.

If you want something with romance (pining involved):

Empanel by Bogus Cheesecake

Empanel is a two-player narrative roleplaying game based around telegrams and queer yearning.

Beyond Reach by Annie Johnston-Glick

Beyond Reach is a two person play by post game about falling in love with someone unattainable to you. One player is a mech, the other their pilot.

If you want sci-fi generation ships:

Signal to Noise by LunarShadowDesigns (this is a personal favorite of mine)

One player takes on the role of the Explorer, one of the lucky few chosen to join the generation ship while the other takes on the role of the Earther, forced to stay behind as their companion departs the solar system.

The Wanderers by Adventure by Mail

YOU AND YOUR FRIEND wait to board two ARK-4 Civilian Class Shuttles charted for new colonies in the hinterlands of space.

If you want observers outside of time:

The Reaper's Almanac by Mitch Schiwal

The players will portray Reapers who write to one another after reaping a human in order to keep them alive in memory.

chronicle by A. Fell

The CHRONICLER documents a world, neither part of it nor detached from it. The WITNESSES find their artifacts some time later, and reflect, and remember.

if you want something specifically designed for messaging instead of mail:

When the Messages Began by Law of Names Media

You live in the dark. Or you did, until the computer came to life.

What's a Vaporwave? by fen slattery

One player is Casey, who kinda knows what vaporwave is. Another is Grandpa, who loves Casey and wants to understand their life. Played via text message.

and finally some miscellany:

A Response to the Esteemed Dr. Crackpot by Emily Jankowski

A game of academic squabbles for two or more players. Fight for your hypothesis in a series of responses published by one of the journals in your field. Defend your academic integrity at all costs. Everyone needs to know your rival is wrong.

Epistolary by En Sattaur

In Epistolary, the player characters work together to solve a mystery and prevent something terrible from happening.

Your Friend in Witchcraft by Kay Marlow Allen

One player will portray the Novice: you are new to witching; there are no other witches in your community who can advise you. The other player will portray the Expert: you're an old hand at witching, and have knowledge to share.

And if you need more to whet your appetite, you can check out the Step Up for the Postal Service game jam!

#the lady answers

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thatswhywelovegermany · 1 year

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October 29, 1923: The first radio broadcast in Germany goes on air

Radio had a rough start in Germany. At the end of World War I, where the German army was among the pioneers in radio communication, during the November Revolution, revolutionary workers occupied the headquarters of the German press and news service, falsely claiming the victory of the communist and socialist revolutionary forces. This made the social democratic government to impose harsh restrictions on radio broadcast, which severely hampered the development of the new medium in Germany:

Only the state had the sovereign right of to set up and operate transmitting and receiving systems

Private individuals were prohibited to receive any radio broadcast

Receivers were limited in their technical characteristics, supported by a requirement for state approval for any new model

This led to the state-controlled postal service becoming a monopolist serving a small number of (mostly public) institutions. Nonetheless, the first entertainment broadcast was distributed at Christmas 1920, when postal employees brought instruments to the broadcast center in Königs Wusterhausen (south of Berlin), played music and recited poems.

After heavy lobbying by radio pioneers such as Hans Bredow, complaints and public discontent and increasing numbers of illegal self-made private receivers, which frequently caused interferences, the harsh restrictions were finally lifted in 1923. Each owner of a state-approved receiver had to register as a "radio participant" and pay a license fee. In autumn of 1923, at the height of the inflation, a license cost 780 billion Mark per year, a sum that only very few were able and willing to afford. Thst's why the first broadcast by Funk-Stunde Berlin from a studio in the Vox House on October 29, 1923 has no (paying) listeners. The first registered participant was Berlin tobacco retailer Wilhelm Kollhoff, who received his license and his radio on October 31.

Rapidly, a number of radio stations opened throughout Germany, which were consolidated under the umbrella organization "Reichs-Rundfunk-Gesellschaft".

Infamously, radio became the main propaganda instrument of the Nazis, who quickly forced all radio stations into line, sending the liberal radio pioneers to the first concentration camps. The development and widespread distribution of a cheap radio receiver, the "Volksempfänger" ("people's receiver"), made radio a medium for the masses. Nonetheless, only 46.9 % of the German households had a radio in 1937, compared with the USA or the UK, which had already a density of 78.3 % and 66.1 %, respectively.

After World War II, radio developed differently in East and West Germany. Radio in East Germany remained state-controlled, sending communist propaganda now. In the West, organizations under public law were founded in the federal states, funded by fees of radio users and controlled by bodies in which the relevant societal groups are equally represented. In the 1980s, private radio stations were allowed.

Because Germany received only very few AM frequencies as part of the sactions after World War II, development of FM radio was accelerated, leading to new standards in the quality of transmission and HiFi stereo radio. Radio established itself as a promoter of culture in the area of literature and music. The stations set up symphonic and dance orchestras, big bands, choirs, and elaborate audioplay studios. They were also pioneering promoters of electronic music. In the recent years, however, the importance of radio as promoters of high culture has diminished more and more. With the exceptions of a few stations, radio is regarded as background entertainment for people who cannot stand silence.

In the future, it is expected that the split between music and entertainment, high culture, and information will will deepen. Radio as a promotor of culture will probably not play a role any more. Taking over podcast productions may revive the role of radio as an opinion-forming medium. Radio is still unrivalled as the fastest medium, being able to provide the latest news virtually in real-time.

#german history #radio

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allastoredeer · 6 months

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Hello! It's the Archangel anon again! I finally found the time to type out some "general" headcanons I have about the Archangels! Also, I'm sorry that even when trying to keep things short and sweet, I still ended up writing a damn novela🥲

Okay! A quick refresher first! Before he fell, Lucifer was an Archangel, along with his father (the Metatron) and his five siblings (Michael, Raphael, Uriel, Gabriel, and Zadkiel). We see, presumably, the other six Archangels during Lucifer's brief flashback in episode 5. I headcanon that the two angels with the biggest, most ornate halos are the Metatron (the leader of the Archangels) and Michael (the Metatron's second in command). The Metatron is on Lucifer's right, and Michael is on his left.

There! Nice and refreshed! Now for the others. The angel standing directly behind Lucifer, I feel, is Zadkiel. The angel on Michael's left is Uriel, and the one on his right is Gabriel. This means Raphael is the tall angel standing between Zadkiel and the Metatron.

Now for more detailed general headcanons. These are all a hodgepodge of actual attributes I found after researching the Archangels, along with ideas I liked and thought would work. To keep from going on and on about their personalities and stuff, I made lists of characters that reminded me of the siblings. Hopefully, that will give you a quicker idea of what I think these guys are like.

Michael (He/Him): Patron Archangel of Warriors (also chivalry, the sick, the poor, the suffering, and tradesmen ((grocers, bakers, fishermen, etc.))

Characters I associate with Michael: Zuko (AtlA), Hunter (The Owl House), Alucard (Netflix's Castlevania), Miles Edgeworth (Ace Attorney), Donatello (Rise of the TMNT)

Associated color: Royal Blue

Primary weapon: Shortsword

Bonus:

Tells everyone his favorite instrument is the harp

(it's actually the accordion)

(Lucifer is the only one who knows this)

Raphael (He/She/They): Patron Archangel of Healing (also travelers, lovers, the blind, and children/young people)

Characters I associate with Raphael: Katara (AtlA), Nani Pelekai (Lilo & Stitch), Willow Park (The Owl House), Martin Blackwood (The Magnus Archives)

Associated color: Green

Primary weapon: Pike

Favorite weapon: Bo staff

Bonus:

Favorite instrument is the bugle

Is the "wine mom" sibling

(Keeps a secret flask on them at all times)

(Uriel is the only one he shares his booze with)

Uriel (She/They): Patron Archangel of Wisdom, Truth, Purification, and Devine Flame (also the arts and sciences; ALSO also, was assigned by the Metatron patronage over "Light" after Lucifer's Fall)

Characters I associate with Uriel: Garnet (Steven Universe), Luisa Madrigal (Encanto), Yasha Nydoorin (Critical Role: Campaign Two), Daria Morgendorffer (Daria)

Associated colors: Red, Yellow, and Purple

Primary weapon: Claymore

Bonus:

Favorite instrument is the lyre

Gabriel (He/Him): Patron Archangel of Messengers, Postal Services, Communication, and Communication Services (👈 remember this one, I'm gonna send a separate ask later, going into more detail...😈)

Characters I associate with Gabriel: Literally every single blue character Ben Schwartz has ever voiced, specifically Rise of the TMNT's Leonardo (I don't know why, but I feel in my bones that Hazbin Gabriel is a Ben Schwartz Blue Guy™️. Maybe it has to do with the association I have between Gabriel and the Greek messenger god Hermes?🤷)

Associated colors: White (and light blue)

Primary weapon: Glaive

Bonus:

Favorite instrument is the trumpet

Lilies are his favorite flower (likes to wear them in his hair)

Stamp collecting is a secret hobby of his

Zadkiel (She/Her): Patron Archangel of Mercy, Forgiveness, and Freedom (most well known for being the angel that stopped Abraham from killing his son Isaac)

Characters I associate with Zadkiel: Luz Noceda (The Owl House), Keyleth (Critical Role: Campaign One), Jester Lavorre (Critical Role: Campaign Two), Charlie Morningstar (Hazbin Hotel)😊💖🌈

Associated color: Violet

Primary weapon: Dagger

Bonus:

Favorite instrument is the drums

Goes by the nickname "Kiki" (Keekee, the cat is named after her)

Second most skilled Archangel at hand-to-hand melee combat

Out of all her dad's siblings, Charlie clicks with her Aunt Kiki the best

Pre-Fall Lucifer, aka "The Light-Bringer" (He/Him): Patron Archangel of Humility, Music, and "Light" (both literal and metaphorical)

Associated colors: Gold and Pink

Primary weapon: His FISTS (the most skilled Archangel at hand-to-hand melee combat)

Bonus:

Favorite instrument is the violin (he calls it a fiddle to annoy Mike)

Loves all his siblings but is closest to Mike and Kiki

In the event of a prank-war, he can either be your greatest ally or your worst nightmare

Can always get his siblings to smile and laugh no matter how down they are

Is his father's second biggest mistake

And that's the six siblings down! All that's left is the Metatron. But, to be perfectly honest, that piece of work is gonna need an entirely separate ask dedicated solely to him. Plus, I have another separate headcanon ask about Gabriel that I desperately want to type out first. So I'll have to get back to you about Old Man Meta at a later date.

I will say this, though, out of all the shitty dads that exist within the Hellaverse, the Metatron is on a completely separate level all his own.

Oh! Also, he and Roo have MAJOR beef with each other. The Metatron and the Root of Evil go way, WAAAAAY back🙂

Whoa O.O That is...that is indeed a lot.

I am writing them down. I might not use all of them, but they seem like a very good foundation to build on. I like all the little tidbits and fun facts about them too XD And specific relationships they have with each other.

Also, everytime I see Metatron I read it as Megatron and I'm surprised by it each time. What are Transformers doing in the Bible. Hahah, but yeah, I didn't even know of the Metatron until "Good Omens." Very interesting that he and Roo have some beef that goes WAY back.

It makes sense, in a way, but still 👀 I like it.

Thank you for these!!

#asks #headcanons #archangels #archangel headcanons #i can't tag each individual character T.T #there's too many #but thank you for these!!#It was very interesting to read!#anonymous #anon

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cosmosbeelover · 2 months

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 4/? (Rewrite)

This is a continuation from Part 3, this is on the broadcasting in Korea that the Yeonhui Professional Quartet performed on and many other acts during the Japanese Colonial Period.

The birth and demise of broadcasting stations

This text provides an overview of the broadcasting stations in Korea from the period prior to liberation through the 1980s and 1990s.

The emergence and dissolution of broadcasting stations in Korea hold significant historical importance. This narrative includes the pivotal moment of Korea's liberation from Japanese colonial rule, the media consolidation measures implemented in 1980, instances where private broadcasting entities failed to obtain approval from regulatory bodies, and the various factors contributing to the closure of these stations, including economic challenges and shifts in international circumstances.

Gyeongseong Broadcasting Station (JODK)(경성방송국)

I previously refrained from discussing this broadcasting station because I was still unfamiliar with Korean history research and believed there was insufficient information available. Consequently, I thought including it would not be beneficial. However, I will incorporate it now, as I have discovered intriguing details about its significant role in the Korean industry, particularly in supporting the promotion of both historical and contemporary Korean acts.

The Gyeongseong Broadcasting Station (JODK) (경성방송국; 朝鮮放送協會), established during the Japanese colonial period, was the first broadcasting entity to halt operations after Korea's liberation. Its operational timeline is February 16th 1927 till August 5th 1948. Although the name Gyeongseong Broadcasting Station was discontinued post-liberation, a significant question arises regarding whether the subsequent broadcasting organization should be viewed as a continuation of the original station or as the founding of a new entity.

The first broadcasting station in Korea established by Japanese, Gyeongseong Broadcasting Station (JODK, 1927-1947)

On November 30, 1926, the Gyeongseong Broadcasting Station received permission from Japanese nationals and the Japanese Government-General of Korea to operate broadcasting and wireless telephone services as a corporate entity. It subsequently registered with the Gyeongseong District Court on December 11. This establishment was presented as a means to promote the cultural development and welfare of the peninsula's residents, which led to the approval of the 'Gyeongseong Broadcasting Station' and a 'broadcasting culture facility.'

First broadcast site (Gyeongseong Broadcasting Station site), 1-76 Jeong-dong, Jung-gu, Seoul (inside Deoksu Elementary School).

As a result, the Gyeongseong Broadcasting Station, which opened on February 16, 1927, became the first broadcasting station in Korea and the forerunner of today's KBS. Established by Japanese individuals with support from the Japanese Government-General, the station aimed to meet the informational and cultural needs of the Japanese community in Korea while also promoting compliance among Koreans with the Japanese colonial regime.

The board of directors was entirely composed of Japanese members, one of whom was responsible for nominating a chairman, subject to the approval of the Director of the Postal Bureau of the Government-General. Ultimately, the Gyeongseong Broadcasting Station operated as a non-profit organization that primarily advanced Japan's interests in reinforcing its colonial agenda in Korea, neglecting the aspirations of the Korean people.

What is JODK?

The call sign JODK was assigned to Gyeongseong Broadcasting Station, making it Japan's fourth station after the ITU designated the prefix JO, following Tokyo (JOAK), Osaka (JOBK), and Nagoya (JOCK). The Government-General of Korea initially opposed the use of the call sign DK by the Japanese Post Office, arguing it contradicted Japan's colonial policy of integrating domestic and foreign stations, leading to the designation of DK as the fourth call sign.

Formation policy in the early days of the country

The inception of the Gyeongseong Broadcasting Station coincided with the nascent phase of broadcasting in Japan, characterized by a lack of established programming principles, which hindered the organization of programs according to any systematic policies.

Article 6 of the Japanese "Summary of Research" emphasizes that broadcasting management in Japan should prioritize practical reporting—covering aspects such as time, weather, awards, and news—while relegating music to a secondary role.

Instrumental ensemble that appeared on Gyeongseong Broadcasting Station

This principle was inevitably imposed on Korea, a colony, albeit with an additional programming directive aimed at appeasing the Korean populace, which proclaimed the enhancement and development of Korean culture as an ideal. Despite the Gyeongseong Broadcasting Station's assertion of a mission focused on cultural advancement and public welfare, it effectively functioned as a crucial instrument of national policy in the governance of the peninsula.

Early alternate broadcasting (mixed broadcasting)

Upon its inception, the broadcasting system was characterized by an unusual structure, featuring alternating Korean and Japanese broadcasts on a single channel. Initially, the ratio of Korean to Japanese broadcasts was set at 1 to 3; however, following criticism from various media outlets, this ratio was adjusted to 2 to 3 in July of that year, maintaining the alternating format.

This approach, referred to as mixed broadcasting, manifested in four distinct formats: first, simultaneous broadcasting of Korean and Japanese programs within the same time slot; second, grouping programs for alternating broadcasts centered around time reports; third, separating programs to air on alternate days; and fourth, scheduling Korean broadcasts late at night after the conclusion of all Japanese programming.

Implementation of double broadcasting

In the initial phase of broadcasting, the disparity in the availability of Korean and Japanese languages created dissatisfaction among listeners. To remedy this issue, a dual broadcasting framework was established on April 26, 1933, which featured Japanese as the primary language for the first broadcast and Korean for the subsequent one. This initiative resulted in the formation of a dedicated Korean-language channel that developed content specifically for Korean audiences, while news was predominantly delivered in Japanese and subsequently translated into Korean.

There were concerted efforts to maintain traditional Korean culture through various educational and entertainment programs, some of which garnered positive reception from Japanese listeners. Nevertheless, the growth of Korean broadcasting was curtailed by the onset of the Sino-Japanese War in 1937, as radio became a means for the Governor-General’s administration to galvanize nationalistic sentiments.

English - Han Seong-jun, Im Bang-ul, Lee Hwa-jung, Jeong Jeong-ryeol, Park Nok-ju, and Kim So-hee appeared on Gyeongseong Broadcasting Station Korean - 경성방송국에 출연한 한성준·임방울·이화중선·정정렬·박녹주·김소희

In 1941, with Japan intensifying its military engagement in the Pacific War, the Tokyo Broadcasting Corporation refined its radio offerings by focusing on immediate news reporting, much of which was designed to propagate militaristic and imperialistic narratives. Radio became an essential tool in sustaining the wartime governance framework. A notable event transpired in December 1942, when several individuals were apprehended for secretly tuning into the prohibited Voice of America shortwave broadcasts at the Kaesong Broadcasting Station, resulting in the temporary halt of the second broadcast in June 1943.

Discussion on the duration of the Broadcasting Station

The Gyeongseong Broadcasting Station's timeline is unclear due to its ongoing operations through various changes, rather than a clear closure and reopening, resulting in differing interpretations of its post-liberation history.

The U.S. Military Government initially took control of the Gyeongseong Broadcasting Station, including JODK, integrating it into the Public Information Department while the Ministry of Post and Telecommunications managed broadcasting technology and facilities, as per Military Government Ordinance No. 64 on March 29, 1946. The station was restructured into a broadcasting department and reestablished as a station in October of the same year.

The timeline of Japanese control over the broadcasting station is crucial. After liberation on August 15, the Japanese military occupied the station on August 17 for security until September 8. On September 15, following the dismissal of the Government-General of Korea's directors by the U.S. Commander, Japanese officials resigned, leading to the full transfer of the Korean Broadcasting Association to Korean management under U.S. Military Government oversight.

An additional criterion for evaluating the Gyeongseong Broadcasting Station's call sign 'JODK' is its duration of use. The call sign KBS was first used with the regular broadcasting system on October 18, 1946. Before this, broadcast schedules were known only to staff, and a 15-minute quarter system later required a call sign after each segment. The lengthy English call sign KBS (Korea Key Station of the Korean Broadcasting System) was used. Additionally, the call sign 'HL' was assigned on September 3, 1947, during the International Radiocommunication Conference and began broadcasting in Korea on October 1, 1947 (Korean Broadcasting Association, 1997).

While there are various views on the timeline of the Gyeongseong Broadcasting Station's operation, the author suggests September 15, 1945, when the Joseon Broadcasting Association and Gyeongseong Central Broadcasting Station were fully transferred to Korean control, as the definitive reference point.

Negative evaluation of Gyeongseong Broadcasting Station

There is both negative and positive of the evaluation of the Gyeongseong Broadcasting Station.

Critical perspectives question the classification of Gyeongseong Broadcasting Station as the origin of broadcasting in Korea, primarily due to its establishment being a product of Japan's colonial agenda rather than a reflection of Korean initiative. This colonial context underpins the argument against recognizing Gyeongseong Broadcasting Station as a legitimate Korean broadcasting entity.

Initiated by Japanese broadcasting professionals and utilizing Japanese technology, Gyeongseong Broadcasting Station served as a tool for the exploitation of the Korean Peninsula during the colonial era, with its initial audience comprising government officials and Japanese merchants aligned with colonial interests.

A scene from the Gyeongseong Broadcasting Station broadcasting a song in the 1930s.

Park Ki-seong (박기성) (1985) identifies several characteristics of radio broadcasting as a mechanism of colonial control, including its role in implementing colonial policies, undermining Korean culture, facilitating mass persuasion, showcasing Japanese cultural superiority, creating a market for Japanese broadcasting, and fostering internal unity to support Japan's militaristic expansion.

Consequently, there is a prevailing argument that Gyeongseong Broadcasting Station should not be regarded as a Korean broadcasting station, with the date of September 3, 1947, when Korea received its call sign 'HL' from the International Radiocommunication Conference, being proposed as the true inception of Korean broadcasting.

Positive evaluation of Gyeongseong Broadcasting Station

Conversely, some individuals view Gyeongseong Broadcasting Station positively, noting its significant contributions despite being established by the Japanese. It advanced broadcasting technology, promoted a standardized Korean language, supported children's emotional development through songs, preserved traditional music like Aak and Pansori, and laid the groundwork for the evolution of broadcast content, including dramas.

Unfortunately, numerous recordings produced by Gyeongseong Broadcasting Station from its inception until the 1940s were either lost or destroyed during the Korean War.

#kpop #90s kpop #boy group #10s #20s #60s #70s #80s #90s #2000s #2010s #Japan #history #korean history #Korea #South Korea #korean music history

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dailyanarchistposts · 22 days

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I.4.15 What will the workplace of tomorrow look like?

Given the anarchist desire to liberate the artist in all of us, we can easily imagine that a free society would totally transform the working environment. No longer would workers be indifferent to their workplaces, but they would express themselves in transforming them into pleasant places, integrated into both the life of the local community and into the local environment. After all, “no movement that raises the demand for workers’ councils can be regarded as revolutionary unless it tries to promote sweeping transformations in the environment of the work place.” [Murray Bookchin, Post-Scarcity Anarchism, p. 88]

A glimpse of the future workplace can been seen from the actual class struggle. In the 40 day sit-down strike at Fisher Body plant #1 in Flint, Michigan in 1936, “there was a community of two thousand strikers … Committees organised recreation, information, classes, a postal service, sanitation … There were classes in parliamentary procedure, public speaking, history of the labour movement. Graduate students at the University of Michigan gave courses in journalism and creative writing.” [Howard Zinn, A People’s History of the United States, p. 391] In the same year, during the Spanish Revolution, collectivised workplaces also created libraries and education facilities as well as funding schools, health care and other social necessities (a practice, we must note, that had started before the revolution when anarchist unions had funded schools, social centres, libraries and so on).

The future workplace would be expanded to include education and classes in individual development. This follows Proudhon’s suggestion made during the 1848 revolution that we should ”[o]rganise association, and by the same token, every workshop becoming a school, every worker becomes a master, every student an apprentice.” [No Gods, No Masters, vol. 1, pp. 62–3] This means that in a free society “Workers’ associations have a very important role to play … Linked to the system of public education, they will become both centres of production and centres and for education … The working masses will be in daily contact with the youthful army of agricultural and industrial workers. Labour and study, which have for so long and so foolishly been kept apart, will finally emerge side by side in their natural state of union. Instead of being confined to narrow, specialised fields, vocational education will include a variety of different types of work which, taken as a whole, will insure that each student becomes an all-round worker.” [Proudhon, Selected Writings of Pierre-Joseph Proudhon, p. 87]

This would allow work to become part of a wider community, drawing in people from different areas to share their knowledge and learn new insights and ideas. In addition, children would have part of their school studies with workplaces, getting them aware of the practicalities of many different forms of work and so allowing them to make informed decisions in what sort of activity they would be interested in pursuing when they were older.

Obviously, a workplace managed by its workers would also take care to make the working environment as pleasant as possible. No more “sick building syndrome” or unhealthy and stressful work areas for “can we doubt that work will become a pleasure and a relaxation in a society of equals, in which ‘hands’ will not be compelled to sell themselves to toil, and to accept work under any conditions Repugnant tasks will disappear, because it is evident that these unhealthy conditions are harmful to society as a whole. Slaves can submit to them, but free men [and women] will create new conditions, and their work will be pleasant and infinitely more productive.” [Kropotkin, The Conquest of Bread, p. 123] Workplaces would be designed to maximise space and allow individual expression within them. We can imagine such places surrounded by gardens and allotments which were tended by workers themselves, giving a pleasant surrounding to the workplace. There would, in effect, be a break down of the city/rural divide — workplaces would be placed next to fields and integrated into the surroundings:

“Have the factory and the workshop at the gates of your fields and gardens, and work in them. Not those large establishments, of course, in which huge masses of metals have to be dealt with and which are better placed at certain spots indicated by Nature, but the countless variety of workshops and factories which are required to satisfy the infinite diversity of tastes among civilised men [and women] … factories and workshops which men, women and children will not be driven by hunger, but will be attracted by the desire of finding an activity suited to their tastes, and where, aided by the motor and the machine, they will choose the branch of activity which best suits their inclinations.” [Kropotkin, Fields, Factories and Workshops Tomorrow, p. 197]

This vision of rural and urban integration is just part of the future anarchists see for the workplace. As Kropotkin argued, ”[w]e proclaim integration… a society of integrated, combined labour. A society where each individual is a producer of both manual and intellectual work; where each able-bodied human being is a worker, and where each worker works both in the field and the industrial workshop; where every aggregation of individuals, large enough to dispose of a certain variety of natural resources — it may be a nation, or rather a region — produces and itself consumes most of its own agricultural and manufactured produce.” [Op. Cit., p. 26]

The future workplace would be an expression of the desires of those who worked there. It would be based around a pleasant working environment, within gardens and with extensive library, resources for education classes and other leisure activities. All this, and more, will be possible in a society based upon self-realisation and self-expression and one in which individuality is not crushed by authority and capitalism. To quote Kropotkin, the future workplace would be “airy and hygienic, and consequently economical, factories in which human life is of more account than machinery and the making of extra profits.” [Op. Cit., p. 197] For, obviously, “if most of the workshops we know are foul and unhealthy, it is because the workers are of no account in the organisation of factories”. [The Conquest of Bread, p. 121]

“So in brief,” argued William Morris, “our buildings will be beautiful with their own beauty of simplicity as workshops” and “besides the mere workshops, our factory will have other buildings which may carry ornament further than that, for it will need dinning-hall, library, school, places for study of different kinds, and other such structures.” [A Factory as It Might Be, p. 9] This is possible and is only held back by capitalism which denounces such visions of freedom as “uneconomic.” Yet such claims ignore the distribution of income in class society:

“Impossible I hear an anti-Socialist say. My friend, please to remember that most factories sustain today large and handsome gardens, and not seldom parks … only the said gardens, etc. are twenty miles away from the factory, out of the smoke, and are kept up for one member of the factory only, the sleeping partner to wit.” [Morris, Op. Cit., pp. 7–8]

Pleasant working conditions based upon the self-management of work can produce a workplace within which economic “efficiency” can be achieved without disrupting and destroying individuality and the environment (also see section I.4.9 for a fuller discussion of anarchism and technology).

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hms-no-fun · 2 years

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I've been really enjoying your take on Girlboss Jane which I don't see people run with very often. What drew you to digging into that angle on the character as opposed to going another route with her?

jane's turn towards fascism in the epilogues was quite controversial in the fandom (despite the fact that it's entirely in-character, i mean literally the first thing we see her do in the comic is threaten to buy and privatise the us postal service), so as with a lot of character choices around the periphery of the truly *central* cast of godfeels, i wanted to play with that tension.

should be plainly obvious at this point i wrote godfeels to be sort of a distorted mirror of the epilogues. early on i was asking myself a lot, how can i do something *different* with these characters that doesn't come across as a fix-it of the epilogues, but rather as something that adds to them in some retrospective sense. so in the candy timeline you've got fascist jane and bolshevik-lite revolutionary karkat at war with each other... my thought was, okay, what if the universe conspired to match them up together at an early enough age that they could have some kind of influence on each other's politics? and janekat, i dunno, it's such a cursed ship, it's like scientifically engineered to annoy a particular subsect of homestuck fans who think davekat is sacred. no one in this fandom appreciates divorce fever enough btw, that's why i made sure to shatter rosemary. death to endgame ships!!!

anyway janekat is so obnoxiously cursed i saw it as a challenge. because the thing is that the epilogues have several VERY cursed ships. difference is i find they lean a bit too hard into a sort of meanness about them, so the most important thing for me was to do it in a way that felt GENUINE. blackrom forced-communization janekat has some gas. but it can't be easy, you know? it goes so much deeper than just whether or not jane has money or is a CEO. because capitalism on earth c is a weird superfluous ghost that i don't think functions in any meaningful sense? when she says it's a cultural thing i don't see that as entirely ingenuine. ideology runs deep, and what makes jane perfect for this role at this particular moment in godfeels is that we can peel back her layers with karkat before things get too far-gone for that to make a difference.

but all that aside i just think girlboss jane is fun to write. it's actually amazing how far i've come from early godfeels, when the prospect of writing the alphas TERRIFIED me. i think my earliest roxy shows that in a big way, though i also think that's metatextually quite fitting given her voidy thing. now i LOVE writing the alphas! jake and jane especially have become treasured inclusions, precisely because they're just so fucking obstinate. they put up such a Face and refuse to acknowledge that it's performance. it is a really gratifying challenge as a writer, just overall, trying to keep all of these goddamned characters feeling unique and themselves. i don't know if i always pull it off but it's so much fun to try!

#godfeels #homestuck #jane crocker #sarahposts

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somesaygeart · 1 year

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Junk Mail Letters

Mail art started in the late 1950’s pioneered by Dadaists and Italian Futurists, consists of collaged post cards and letters, rubber stamps and bedazzled envelopes. The main, central trait is that mail art used the postal service - was mailed to other people/artists. One core person to contemporary mail art is Ray Johnson, who in the 50’s sent “moticos”, collages which sometimes had instructions. These letters were supposed to be responded to, creating a correspondence chain.

However, its 2023, and post is no longer the primary form of long-form communication: digital messaging is. With the 21st century, as email and texting becoming more accessible, and with the occurrence of the Global Financial Crisis spanning 2007-2009, the total domestic letters the Australian post has decreased by 65% by 2020/21, and it hasn’t up-ticked in the past two years, especially with the height of the COVID-19 pandemic. With the economic instability caused by quarantining and non-essential retail closer, the postal service also reduced mail being sent to one another.

I grew up within the declining of postal mail, with the only mail in my childhood (from memory) was Christmas cards and my parents bills, but not really correspondence between family and friends. Why would you, when you can just call them, or text them? For a while, I didn’t think about this. It was just how life is. But recently, I have been religiously checking my mail, because I’m anticipating a document that is supposed to be mailed to be. And because I was checking the mail religiously, I noticed the mundanity of mail. Bills, junk mail, and housing marketing flyers. It dawned on me; mail, the thing one thinks of when it comes to communication between people on an intimate level, doesn’t happen anymore. And so, this birthed Junk Mail Letters.

Junk Mail Letters is a mail art project, in which each week, for 5-10 weeks, envelopes made from the pages of junk mail are dropped into the mail boxes of my neighbourhood, each holding a letter with a positive message. This is to discuss the loss of connection and community which can be gained through the physical letter. The envelopes plays a slightly different role: the role of subversion. Junk mail is not something people expect to enjoy and like, so to use it to hold a positive message subverts expectations.

Mail, in some ways, is more intimate and connected to people than digital messaging is. Letters are written (or printed, if you own a printer) with the goal of talking about your life and checking in on other people, hand-crafted and hand-folded. Whether its mail about yourself, or a surprise gift to someone else, the touch of a hand made them, and you can touch the letter yourself, hold it for as long as possible. Mail holds connection through touch, from its physicality. You can’t touch an individual text, its just the screen of the phone, with that spot touched also touching a word document, YouTube, this Tumblr post. Mail is impactful though its physicality.

Information on Mail Art’s History (brief)

The state of Australian Postal Service

#mail art #original art #Junk Mail Letters #new project of mine #should go well #:)

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lboogie1906 · 2 years

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Willie M. Pickett (December 5, 1870 – April 2, 1932) was a cowboy, rodeo, Wild West show performer, and actor. In 1989, he was inducted into the ProRodeo Hall of Fame. He invented the technique of bulldogging, the skill of grabbing cattle by the horns and wrestling them to the ground He was born in the Jenks Branch community of Williamson County, Texas. He was the second of 13 children born to Thomas Jefferson Pickett, a former enslaved person, and Mary "Janie" Gilbert. By 1888, the family had moved to Taylor, Texas. In 1890, he married Maggie Turner, the formerly enslaved daughter of a white southern plantation owner. The couple had nine children. In 1971, he was inducted into the Rodeo Hall of Fame of the National Cowboy and Western Heritage Museum. In 1989, he was inducted into the ProRodeo Hall of Fame. Concert promoter Lu Vason founded the Bill Pickett Invitational Rodeo in 1984. The touring rodeo celebrates Black cowboys. In 1987, a statue of him performing his signature "bulldogging" maneuver, was presented to the city of Fort Worth. The statue is installed in the Fort Worth Stockyards Historic District. The USPS chose to include him in the Legends of the West commemorative sheet unveiled in December 1993. One month later, his family informed the Postal Service that the likeness was incorrect. Its source material was a misidentified photograph of Bill Pickett's brother and fellow cowboy star, Ben Pickett. In October 1994, the USPS released corrected stamps based on the poster for The Bull-Dogger. In They Die by Dawn (2013), he is portrayed by Bokeem Woodbine. In March 2015, the Taylor City Council announced that a street that leads to the rodeo arena will be renamed to honor him. On June 2, 2017, a new statue of him was unveiled in his hometown of Taylor. It is prominently displayed at the intersection of 2nd and Main Streets downtown. On August 6, 2018, he was inducted into the Jim Thorpe Association's Oklahoma Sports Hall of Fame. In The Harder They Fall, his role was played by actor Edi Gathegi. #africanhistory365 #africanexcellence https://www.instagram.com/p/ClzuPtnLy2I/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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mariacallous · 2 years

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Earlier this month, Russia’s State Duma and Federation Council passed a new military conscription law. The bill, approved on an expedited basis, was designed to close the remaining loopholes that until then permitted the most determined of draft-dodgers to escape military duty. The new law enables the Defense Ministry to distribute digital summonses, also restricting the draft evaders’ ability to leave the country. Russia is now set to develop a unified digital register containing comprehensive personal data on every male citizen subject to military duty. Observers were quick to call the new system a “digital gulag,” but government officials greeted the new data project with enthusiasm, not least thanks to its gargantuan anticipated budget. Meduza’s correspondents Andrey Pertsev and Svetlana Reiter investigate who will benefit from building a new digital system of mass control.

Russia’s Ministry of Digital Development is undertaking a new task, thanks to the new conscription law requiring the creation of a unified information system for comprehensive data on every male citizen subject to military duty. The data, it’s expected, will be at the Defense Ministry’s fingertips during the regular seasonal conscription drives, as well as in the event of possible mass mobilization.

An informed source in the government, as well as a second speaker in the telecommunications sector, both told Meduza that Rostelecom, the Digital Development Ministry’s largest data systems contractor, is bruited to be tasked with the new government data project.

Two government insiders were able to further tell Meduza that the Rostelecom subsidiary RT Labs will be directly responsible for building the military conscription register. On April 11, when the new conscription law was passed by legislators, RT Labs was quick to post a number of new jobs available in the company, including, for instance, a data engineer position specifically mentioning work on the state bureaucracy website Gosuslugi (“State Services”). Under the new law, this website has a critical new function of distributing electronic draft summonses via its built-in messaging system.

RT Labs already services Gosuslugi and other state data systems, as well as the Unified Identification and Authentication System (“ESIA”) used by a number of branches of the digital state bureaucracy. RT Labs’ motto, “State Services R Us,” is quite clear about its role in government data systems.

The present CEO of RT Labs, Tengiz Alania, joined the company after serving as the deputy director of Moscow’s Regional Center for Information and Communication Technologies, another data-management enterprise servicing the government. Another top executive still working at the center, Evgeny Kovnatsky, shares a full name with someone who had been in charge of Donbas Post, a postal service started by the Russia-sponsored separatist governments in Ukraine back in 2015.

Another major player in the creation of the conscription register is Maksut Shadayev, the former RT Labs CEO and now Russia’s Minister of Digital Development. Shadayev’s career trajectory included a stint as an advisor to Vladimir Putin’s Deputy Chief of Staff Sergey Kiriyenko, and later a stretch of working at Rostelecom. When appointed minister in 2020, Shadayev championed the Gosuslugi Stop Coronavirus QR-code verification program. Early in his appointment, he also proposed giving the state law-enforcement and security apparatus complete access to Russian citizens’ personal data. (Later, he denied having ever suggested this, claiming others had misunderstood him.)

A government insider who spoke with Meduza told us that federal officials led by Prime Minister Mikhail Mishustin and his deputy, Dmitry Chernyshenko, greeted the idea of a unified conscription register with “great enthusiasm.” It was Mishustin, after all, who had digitized Russia’s tax service prior to being appointed prime minister. During a closed meeting within the Presidential Administration, Mishustin and Chernyshenko assured the Defense Ministry that the comprehensive register the military wanted could be created in practice. “Of course we can! We’d be happy to make it,” they said there and then.

This eagerness, the same speaker tells us, can hardly be separated from the truly gargantuan budget reputed to be allocated for the new data project. This is likely to be “tens of billions or rubles,” he says. Forbes Russia also estimates that the project will cost “billions of rubles” (that is, hundreds of millions of U.S. dollars).

A telecom industry insider who spoke with Meduza believes the contract is going to be a major “headache” for Shadayev and his team. “The deadlines are unreal, and the responsibility is huge. The FSB is overseeing all the work, but if the deadline is broken, they’ll just blame the Digital Development Ministry and Rostelecom,” he says. (Shadayev himself had said that the earliest the new system could be expected to go live would be the fall 2023 conscription drive.)

Despite the hasty adoption of the new conscription law, the Kremlin insiders who spoke with Meduza still disclaim any knowledge of any high-level talk about another round of mobilization. At the same time, mobilization and mandatory conscription appear to be the only way to achieving the Defense Ministry’s recruitment goals, particularly if its plan really is to recruit 400,000 men, as reported by Bloomberg back in March.

A government insider in one of Russia’s largest regions explains that the Kremlin is still hopeful about recruiting enough contract soldiers to avoid a new round of mobilization. “We have ads and banners everywhere,” he says, adding that “the task” is to “maximally motivate” men to join the army.

An informed source close to the Putin administration says that around 10,000 contract servicemen were recruited since last winter in the Moscow region alone. “People keep coming in,” he said, adding: “The draft offices see 200–300 people coming in on their own, every day. They come for the money.”

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automateaddressapis · 4 days

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Improve Data Quality and Customer Experience with Address Verification API

In today's data-driven world, businesses increasingly rely on accurate information to deliver seamless customer experiences. One critical aspect of this is address accuracy. Ensuring that addresses are verified and correct at the point of entry is essential not only for logistics but also for improving data quality across business systems. This is where an Address Verification API comes into play. By automating the process of address validation, companies can improve customer satisfaction, reduce errors, and increase operational efficiency.

What is an Address Verification API?

An Address Verification API is a software tool that automatically checks and validates postal addresses in real-time. By integrating this API into your website or CRM system, you can verify addresses as customers input them. The system cross-references the input with a global database of standardized addresses from postal services like the USPS or Royal Mail. It ensures that the address exists and is formatted correctly, improving the accuracy of your data.

Why Data Quality Matters

Data quality plays a crucial role in the success of any business. Poor data quality can lead to failed deliveries, incorrect customer information, and increased costs. Inaccurate addresses contribute to undeliverable packages, wasted resources, and customer dissatisfaction. According to studies, businesses lose up to 20% of their revenue due to poor data quality.

By using an Address Verification API, businesses can ensure that every address in their system is accurate and up-to-date. This not only enhances operational efficiency but also helps create a seamless customer experience by reducing delivery errors, improving communication, and fostering long-term customer relationships.

Benefits of Using an Address Verification API

Improved Customer ExperienceA seamless checkout experience is crucial for customer satisfaction. Nothing is more frustrating for a customer than having their package delayed or lost due to incorrect address entry. An Address Verification API ensures that customers enter accurate addresses at checkout, reducing the chances of shipping errors. This results in faster deliveries, happier customers, and fewer support inquiries related to lost or delayed shipments.

Reduced CostsFailed deliveries cost businesses time and money. When packages are returned due to incorrect addresses, companies incur additional shipping costs. In some cases, the items may even be damaged or lost in transit. An Address Verification API helps minimize these costs by ensuring that packages are sent to valid, verified addresses.

Streamlined OperationsAutomating the process of address validation allows businesses to streamline their logistics and shipping processes. This reduces manual intervention, prevents data entry errors, and ensures that packages are delivered to the correct location the first time. Furthermore, the API ensures that the addresses are standardized, making it easier for businesses to maintain consistent records across multiple systems.

Enhanced Data Quality Across SystemsAn Address Verification API improves the quality of the data in customer databases. Verified addresses ensure that communications, such as marketing materials, invoices, and promotions, are delivered accurately to the intended recipients. This helps avoid duplicate mailings, incorrect invoices, and missed opportunities.

Faster Data EntryMany Address Verification APIs come with autocomplete features that speed up the data entry process. This is especially useful for e-commerce businesses where customers input their address details during the checkout process. Autocomplete helps users select the correct address quickly, reducing keystrokes and improving user experience.

Key Features of an Address Verification API

Real-Time Validation: The ability to validate addresses in real-time ensures that users can instantly correct any errors before submitting the form.

Global Address Support: An effective Address Verification API supports addresses across multiple countries and regions, making it ideal for businesses with international customers.

Autocomplete Functionality: This feature simplifies address entry by suggesting accurate addresses as the user types.

Postal Code Verification: The API can cross-check postal codes to ensure they correspond to the correct city and region.

Batch Processing: Some APIs offer batch processing capabilities, allowing businesses to validate large datasets of addresses at once.

SEO Impact of Using Address Verification

Implementing an Address Verification API can also positively impact your SEO. How? By improving customer experience and reducing bounce rates. When customers have a smooth experience during the checkout process, they are more likely to complete their purchase. This decreases cart abandonment, which is a signal to search engines that your website offers a great user experience.

Additionally, improving delivery accuracy ensures that customers are more satisfied, leading to positive reviews and fewer complaints. These elements contribute to an enhanced online reputation, which can indirectly affect your site's authority and rankings on search engines.

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API To Automate Address – Wix

#automateaddressapis #Youtube

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puthearalom · 7 days

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Understanding Phnom Penh Postal Codes: Your Guide to Cambodia’s Postal System

In today’s interconnected world, understanding the postal system is crucial for both individuals and businesses. The Phnom Penh postal code is an essential component of the city’s mailing system, allowing for efficient delivery services. With the growing need for accurate postal information, particularly in Cambodia, this article will provide insights into the postal codes of Phnom Penh, their significance, and how to navigate them effectively.

The Importance of Postal Codes

Postal codes play a vital role in streamlining mail delivery and logistics. They ensure that letters and packages reach their intended destinations without delay. In Phnom Penh, the postal code system is essential for residents, businesses, and delivery services to facilitate accurate address identification.

Overview of Phnom Penh Postal Codes

Phnom Penh, as the capital city of Cambodia, is divided into various districts and communes, each with its specific postal code. Here’s a closer look at some of the key areas:

Sangkat Nirouth: This area is known for its residential neighborhoods and local businesses. The postal code for Sangkat Nirouth ensures that mail reaches its intended recipients without any issues.

Krang Thnong: A bustling district, Krang Thnong’s postal code plays a crucial role in maintaining efficient postal services, supporting both commercial and residential mail.

Stueng Mean Chey: This area is one of the more populated districts, and its postal code is essential for local deliveries, helping to manage the high volume of mail.

Tuol Sangke: Known for its mix of residential and commercial areas, Tuol Sangke’s postal code helps streamline deliveries and maintain organization in the postal system.

Sangkat Veal Sbov: This district benefits from a clear postal code system, enabling quick and reliable delivery services for residents and businesses alike.

Khan Sen Sok: As a rapidly developing area, Khan Sen Sok has a designated postal code that supports the influx of new residents and businesses.

Sangkat Chrouy Changva: With its growing population, the postal code in this area is vital for ensuring that mail is delivered efficiently.

Krong Ta Khmau: As a neighboring city, Krong Ta Khmau’s postal code system is aligned with Phnom Penh to facilitate intercity mail delivery.

Sangkat Phnom Penh Thmei: This area’s postal code is critical for both residential and commercial mail, ensuring timely deliveries.

Khan Tuol Kouk: The postal code in Khan Tuol Kouk helps organize mail for its diverse community, making delivery more efficient.

Toul Kork Postal Code: The postal code here supports a blend of educational institutions and residential areas, contributing to organized mail distribution.

Boeng Tumpun: With its unique mix of businesses and residences, Boeng Tumpun relies on its postal code for effective delivery.

Sangkat Khmuonh Phnom Penh: This area’s postal code assists in managing the local mail efficiently, supporting the needs of residents and businesses.

Understanding Cambodia Postal Codes

The Cambodia postal code system is a 6-digit format that helps categorize different regions and areas. The first digit typically identifies the province, while the following digits specify districts and communes. For those wondering, “What is Cambodia postal code?” the answer lies in this organized system designed to facilitate accurate and timely mail delivery.

How to Find Your Postal Code

To determine the postal code: Phnom Penh 2024, or to find a specific area’s postal code, one can refer to the official postal service website or use postal code lookup tools available online. These resources provide updated information, ensuring that residents and businesses stay informed about their postal codes.

Conclusion

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