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Hart Island

Hart Island, sometimes referred to as Hart's Island, is located at the western end of Long Island Sound, in the northeastern Bronx in New York City. Measuring approximately 1 mi long by 0.33 mi wide, Hart Island is part of the Pelham Islands archipelago and is east of City Island.

The island's first public use was as a training ground for the United States Colored Troops in 1864. Since then, Hart Island has been the location of a Union Civil War prison camp, a psychiatric institution, a tuberculosis sanatorium, a potter's field used for both individual and mass burials, a homeless shelter, a boys' reformatory and workhouse, a jail, and a drug rehabilitation center. Several other structures, such as an amusement park, were planned for Hart Island but not built. During the Cold War, Nike defense missiles were stationed on Hart Island. The island was intermittently used as a prison and a homeless shelter until 1967; the last inhabited structures were abandoned in 1977. The potter's field on Hart Island was run by the New York City Department of Correction until 2019, when the New York City Council voted to transfer jurisdiction to the New York City Department of Parks and Recreation.

The remains of more than one million people are buried on Hart Island. Since the first decade of the 21st century, however, there have been fewer than 1,500 burials a year. Burials on Hart Island include individuals who were not claimed by their families or did not have private funerals; the homeless and the indigent; and mass burials of disease victims. Access to the island was restricted by the Department of Correction, which operated an infrequent ferryboat service and imposed strict visitation quotas. Burials were conducted by inmates from the nearby Rikers Island jail until 2020 and the COVID-19 pandemic. The Hart Island Project, a public charity founded by visual artist Melinda Hunt, worked to improve access to the island and make burial records more easily available. Transfer to the Parks Department in 2019 had been sought for over twenty years and was hoped to ease public access to the Island. Burials in the island's Potters' Field continued after the transfer.

Toponymy
There are numerous theories about the origins of the island's place name. One theory posits that British cartographers named it "Heart Island" in 1775 due to its organ-like shape but the 'e' was dropped shortly after. A map drawn in 1777 and subsequent maps refer to the island as "Hart Island". Other names given to the island during the late 18th century were "Little Minneford Island" and "Spectacle Island", the latter because the island's shape was thought to resemble spectacles.

Another theory, based on the meaning of the English word "hart", which means "stag", is that the island was named when it was used as a game reserve. Another version holds that it was named in reference to deer that migrated from the mainland during periods when ice covered that part of Long Island Sound.

Geography
Hart Island is approximately 1 mi long by 0.33 mi wide at its widest point. It lies about 0.33 mi off the eastern shore of City Island. The island's area is disputed; according to some sources, it is 101 acre,  while others state that it is 131 acre. Hart Island is isolated from the rest of the city: there is no electricity and the only means of access is via ferryboat.

Early history
Before European colonization, Hart Island was occupied by the Siwanoy tribe of Native Americans, who were indigenous to the area. In 1654, English physician Thomas Pell purchased the island from the Siwanoy as part of a 9,166 acres property. Pell died in 1669 and ownership passed to his nephew Sir John Pell, the son of British mathematician John Pell. The island remained in the Pell family until 1774, when it was sold to Oliver De Lancey. It was later sold to the Rodman, Haight, and Hunter families, in that order. According to Elliott Gorn, Hart Island had become "a favorite pugilistic hideaway" by the early 19th century. Bouts of bare-knuckle boxing held on the island could draw thousands of spectators.

The first public use of Hart Island was training the 31st Infantry Regiment of the United States Colored Troops beginning in 1864. A steamboat called John Romer shuttled recruits to the island from the Battery at the southern tip of Manhattan. A commander's house and a recruits' barracks were built; the barracks included a library and a concert room; it could house 2,000 to 3,000 recruits at a time, and over 50,000 men were ultimately trained there.

In November 1864, construction of a prisoner-of-war camp on Hart Island with room for 5,000 prisoners started. The camp was used for four months in 1865 during the American Civil War. The island housed 3,413 captured Confederate Army soldiers. Of these, 235 died in the camp and were buried in Cypress Hills Cemetery. Following the Civil War, indigent veterans were buried on the island in soldier's plots, which were separate from the potter's field and at the same location. Some of these soldiers were moved to West Farms Soldiers Cemetery in 1916 and others were removed to Cypress Hills Cemetery in 1941.

Addition of cemetery

The first burials on Hart Island were those of 20 Union Army soldiers during the American Civil War. On May 27, 1868, New York City purchased the island for $75,000 from Edward Hunter, who also owned the nearby Hunter Island. City burials started shortly afterward. In 1869, a 24-year-old woman named Louisa Van Slyke, who died in Charity Hospital, was the first person to be buried in the island's 45 acre public graveyard. The cemetery then became known as "City Cemetery" and "Potter's Field".

By 1880, The New York Times described the island as "the Green-Wood of Five Points", comparing an expansive cemetery in Brooklyn with a historically poor neighborhood in Manhattan. The newspaper also said of Hart Island, "This is where the rough pine boxes go that come from Blackwell's Island", in reference to the influx of corpses being transported from the hospitals on modern-day Roosevelt Island. The potter's field on Hart Island replaced two previous potter's fields on the current sites of Washington Square Park and New York Public Library Main Branch in Manhattan. The number of burials on Hart Island exceeded 500,000 by 1958.

Juxtaposition of uses
Hart Island was used as a quarantine station during the 1870 yellow fever epidemic. In that period, the island contained a women's psychiatric hospital called The Pavilion, which was built 1885, as well as a tubercularium. There was also an industrial school with 300 students on the island. After an 1892 investigation found the city's asylums were overcrowded, it was proposed to expand those on Hart Island from 1,100 to 1,500 beds.

In the late 19th century, Hart Island became the location of a boys' workhouse, which was an extension of the prison and almshouse on Blackwell Island. A workhouse for men was established in 1895, and was followed by a workhouse for young boys ten years later. By the early 20th century, Hart Island housed about 2,000 delinquent boys as well as elderly male prisoners from Blackwell's penitentiary. The prison on Hart Island grew; it had its own band and a Catholic prison chapel. The cornerstone for the $60,000 chapel was laid in 1931 and it was opened the following year.

In 1924, John Hunter sold his 4 acre tract of land on Hart Island's west side to Solomon Riley, a millionaire real estate speculator from Barbados. Riley subsequently proposed to build an amusement park on Hart Island, which would have served the primarily black community of Harlem in Manhattan. It was referred to as the "Negro Coney Island" because at the time, African Americans were banned from the Rye Playland and Dobbs Ferry amusement parks in the New York City area. Riley had started building a dance hall, boardinghouses, and a boardwalk, and purchased sixty steamboats for the operation. The state government raised concerns about the proposed park's proximity to a jail and hospital, and the city condemned the land in 1925. Riley was later paid $144,000 for the seizure.

After World War II
The prison population of Hart Island was moved to Rikers Island during World War II, and Hart Island's former workhouse was used as a disciplinary barracks by the United States Armed Forces. Rikers Island soon became overcrowded with prisoners. The New York City Department of Correction reopened Hart Island as a prison following the war, but the facilities were considered inadequate. The New York City Board of Estimate approved the construction of a homeless shelter on the island in 1950; it was intended to serve 2,000 people. The homeless shelter operated from 1951 to 1954; it was also used to house alcoholics. Residents of nearby City Island opposed the inclusion of the homeless shelter. The New York City Welfare Department closed the homeless shelter and the Department of Correction regained control of the island. The Department of Correction opened an alcoholism treatment center on Hart Island in 1955. A courthouse, which ruled on cases involving the homeless, was opened on Hart Island. The island housed between 1,200 and 1,800 prisoners serving short sentences of between 10 days and two years.

In 1956, the island was retrofitted with Nike Ajax missile silos. Battery NY-15, as the silos were known, were part of the United States Army base Fort Slocum from 1956 to 1961 and were operated by the army's 66th Antiaircraft Artillery Missile Battalion. The silos were underground and were powered by large generators. Some silos were also built on Davids Island. The integrated fire control system that tracked the targets and directed missiles was at Fort Slocum. The last components of the missile system were closed in 1974.

Construction of a new $7 million workhouse on Hart Island to replace the existing facility was announced in 1959. A baseball field was dedicated at the Hart Island prison the following year. It was named Kratter Field, after Marvin Kratter, a businessman who had donated 2,200 seats saved from the demolished Ebbets Field stadium. The seats deteriorated after being outdoors for several years, and by 2000, had been donated to various people and organizations.

The island continued to be used as a prison until 1966, when the prison was closed due to changes in the penal code. After it closed, a drug rehabilitation center was proposed for Hart Island. The center became Phoenix House, which opened in 1967; it quickly grew into a settlement with 350 residents and a vegetable garden. Phoenix House hosted festivals that sometimes attracted crowds of more than 10,000 people. Phoenix House published a newsletter known as The Hart Beat and organized baseball games against other organizations such as City Island's and NBC's teams. In 1977, after regular ferry service to Hart Island ended, Phoenix House moved from the island to a building in Manhattan.

Since then, proposals to re-inhabit the island have failed. In 1972, the city considered converting it into a residential resort but the plan was abandoned. New York City mayor Ed Koch created a workhouse on the island for persons charged with misdemeanors in 1982 but not enough prisoners were sent there. Six years later, another proposal called for a homeless shelter and a workhouse to be built on Hart Island, but this plan was abandoned because of opposition from residents of City Island.

Use as cemetery, abandonment of structures
Originally, City Cemetery occupied 45 acre on the northern and southern tips of Hart Island, while the center two-thirds of the island was habitable. In 1985, sixteen bodies of people who died from AIDS were buried in deep graves on a remote section of the southern tip of the island because at the time it was feared that their remains may be contagious. An unnamed infant victim of AIDS is buried in the only single grave on Hart Island with a concrete marker that reads SC (special case) B1 (Baby 1) 1985. Since then, thousands of people who have died of AIDS have been buried on Hart Island, but the precise number is unknown.

From 1991 to 1993, New York artist Melinda Hunt and photographer Joel Sternfeld photographed Hart Island for their book of the same name, which was published in 1998. Hunt subsequently founded the Hart Island Project organization in 1994 to help the families and friends of those buried on Hart Island. Another media work, the 2018 documentary One Million American Dreams, documents the history of Hart Island and delves briefly into the lives of various individuals buried there.

Prior to the 2022 demolitions, there had been a section of old wooden houses and masonry institutional structures dating back to the late 19th and early 20th centuries, but these buildings had fallen into disrepair. Military barracks from the Civil War period were used prior to the construction of a workhouse and of hospital facilities.

In the late 2010s, the Hart Island Project and City Island Historical Society started petitioning for Hart Island to be listed on the National Register of Historic Places (NRHP). The New York State Office of Parks, Recreation and Historic Preservation labeled the island a "site of historical significance" in 2016, given that Hart Island met three of the four criteria for being listed on the NRHP. The island was significantly affected by Hurricane Sandy in 2012, and some of the shoreline was eroded, which exposed many of the skeletons buried on the island. Following this, the city announced a restoration of the shoreline. The federal government gave $13.2 million toward the shoreline project in 2015, but the work was delayed for several years. The start of restoration was initially slated for 2020, but in August 2019, the city announced that shoreline work would begin the following month.

Transfer to NYC Parks
Control of the island passed to the New York City Department of Parks and Recreation (NYC Parks) in December 2019. Burials in the Potters' Field continued after transfer, but they were conducted by city contract workers. In June 2021, the New York City Department of Buildings issued an emergency order authorizing the demolition of eighteen buildings on the island, which the city deemed to be severely deteriorated. Sixteen of these buildings had been identified for demolition in a March 2020 report but, even then, some of these structures were also identified as being easy to repair. The New York City Department of Social Services awarded a $3.3 million contract to JPL Industries in October 2021 for the demolition of the deteriorated structures.

City officials announced in March 2023 that the island would be opened to the public at some point that year, and a touchstone memorial on the island was approved the same month. By that year, the city reported having razed and removed 15 of the island's 19 structures. NYC Parks explained that its plans for the island are to create a safer environment for island visitors to visit the island's cemeteries, but not to create a full-fledged public park.

Cemetery
Hart Island contains New York City's 131 acre potter's field, or public cemetery. The potter's field is variously described as the largest tax-funded cemetery in the United States, the largest-such in the world, and one of the largest mass graves in the United States. At least 850,000 have been buried on the island, though since the 2000s, the burial rate has declined to fewer than 1,500 a year. According to a 2006 New York Times article, there had been 1,419 burials at the potter's field during the previous year: of these, 826 were adults, 546 were infants and stillborn babies, and 47 were dismembered body parts.

One-third of annual burials are infants and stillborn babies, which has been reduced from a proportion of one-half since the Children's Health Insurance Program began to cover all pregnant women in New York State in 1997. By the 2020s, those buried on the island came from a wider range of economic and social classes. In 2022, The Washington Post wrote that the island's recent interments included "a professional ballet dancer, a nurse, a software engineer, a scuba instructor and an acclaimed musical composer."

Burials
The dead are buried in trenches. Babies are placed in coffins, which are stacked in groups of 100, measuring five coffins deep and usually in twenty rows. Adults are placed in larger pine boxes placed according to size, and are stacked in sections of 150, measuring three coffins deep in two rows and laid out in a grid system. There are seven sizes of coffins, which range from 1 to 7 ft long. Each box is labeled with an identification number, the person's age, ethnicity, and the place where the body was found, if applicable. Prior to civilian contractors doing the actual burials which began in 2020, inmates from the nearby Rikers Island jail were paid fifty cents an hour to bury bodies on Hart Island.

The bodies of adults are frequently disinterred when families are able to locate their relatives through DNA, photographs and fingerprints kept on file at the Office of Chief Medical Examiner of the City of New York. There were an average of 72 disinterments per year from 2007 to 2009. As a result, the adults' coffins are staggered to expedite removal. Children, mostly infants, are rarely disinterred. Regulations stipulate that the coffins generally must remain untouched for 25 years, except in cases of disinterment.

Approximately half of the burials are of children under five who are identified and died in New York City's hospitals, where the mothers signed papers authorizing a "City Burial." The mothers were generally unaware of what the phrase meant. Many other interred have families who live abroad or out of state and whose relatives search extensively; these searches are made more difficult because burial records are currently kept within the prison system. An investigation into the handling of the infant burials was opened in response to a criminal complaint made to the New York State Attorney General's Office in 2009.

Burial records on microfilm at the Municipal Archives indicate that until 1913, burials of unknowns were in single plots, and identified adults and children were buried in mass graves. In 1913, the trenches were separated to facilitate the more frequent disinterment of adults. Coffins are stacked three deep with 150 coffins assigned to each plot, and marked with GPS coordinates. The potter's field is also used to dispose of amputated body parts, which are placed in boxes labeled "limbs". Ceremonies have not been conducted at the burial site since the 1950s. In the past, burial trenches were re-used after 25–50 years, allowing for sufficient decomposition of the remains. Since then, however, historic buildings have been demolished to make room for new burials. A tall, white peace monument was erected by New York City prison inmates at the top of a hill that was known as "Cemetery Hill" following World War II and was dedicated in October 1948.

Disease victims' burials
Hart Island has also been used for burials of disease victims during epidemics and pandemics. During the 1980s AIDS epidemic, those who had died from AIDS were the only people to be buried in separate graves. At first, bodies were delivered in body bags and buried by inmate workers wearing protective jumpsuits. When it was later discovered that the corpses could not spread HIV, the city started burying people who had died of AIDS in the mass graves. In 2008, the island was selected as a site for mass burials during a particularly extreme flu pandemic, available for up to 20,000 bodies.

During the COVID-19 pandemic in New York City, Hart Island was designated as the temporary burial site for people who had died from COVID-19 if deaths overwhelmed the capacity of mortuaries. At the time, deaths at home within the city had increased significantly, though the corpses were not tested for COVID-19. Preparations for mass graves began at the end of March 2020, and private contractors were hired to replace inmate labor for mass grave burials. Although several media sources reported in April 2020 that burials had begun, New York City mayor Bill de Blasio clarified that Hart Island was only being used to bury unclaimed corpses, as well as the bodies of those who chose it as a burial place. In 2021, the website The City published an analysis that found there was a sharp increase in the number of interments between 2019, when 846 corpses were buried on the island, and 2020, when 2,334 corpses were buried.

Records
Many burial records were destroyed by arson in late July 1977. Remaining records of burials before 1977 were transferred to the Municipal Archives in Manhattan; while records after that date are still kept in handwritten ledgers, these are now transcribed into a digital database that is partially available online. A Freedom of Information Act (FOI) request for 50,000 burial records was granted to the Hart Island Project in 2008. A lawsuit, concerning "place of death" information redacted from the Hart Island burial records, was filed against New York City's government in July 2008 and was settled out of court in January 2009.

Notable people buried
Those interred on Hart Island are not necessarily homeless or indigent. Many of the dead either had families who could not afford the expenses of private funerals or were not claimed by relatives within a month of death. Notable burials include the playwright, film screenwriter, and director Leo Birinski, who was buried there in 1951 after dying alone and in poverty, and painter Mihri Müşfik Hanım, who was buried in 1954 after dying penniless. The American novelist Dawn Powell was buried on Hart Island in 1970, five years after her death, after her remains had been used for medical studies and the executor of her estate refused to reclaim them. Academy Award winner Bobby Driscoll, who was found dead in 1968 in an East Village tenement, was buried on Hart Island because his remains could not be identified in a timely fashion. T-Bone Slim, the labor activist, songwriter, and Wobbly, was buried on Hart Island after his body was found floating in the Hudson River. The composer Noah Creshevsky was interred on Hart Island at his own request because, according to his husband David Sachs, Creshevsky wanted to protest the trappings and cost of traditional funerals.

Hart Island Project
Founded by New York artist Melinda Hunt in 1994, the Hart Island Project is a nonprofit organization devoted to improving access to the island and its burial data. The organization helps families obtain copies of public burial records; arranges visits to grave sites; and operates a website to help people find relatives interred on the island. Historian Thomas Laqueur writes:

"Woody Guthrie's song about the unnamed Mexican migrant dead has had a long resonant history. Hunt, in an emotionally related gesture, has researched, for years, in order to publish the names of as many as 850,000 paupers who lie in 101 acres of Hart Island where the city buries its anonymous dead."

Since 2009, the city has given burial records for the island to the Hart Island Project. In turn, the organization maintains an online database of burial records from 1980 onward. The project has led to reforms of access to Hart Island such as opening the island monthly to everyone and legislation that requires the Department of Correction to publish burial records online.

The Hart Island Project has digitally mapped grave trenches using Global Positioning System (GPS) data. In 2014, an interactive map with GPS burial data and storytelling software, "clocks of anonymity" was released as the "Traveling Cloud Museum", which collects publicly submitted stories of those who are listed in the burial records. Traveling Cloud Museum was updated in 2018 to include a map created with GeoTIFF images collected by a drone. The map displays nearly 69,000 intact burials and allows people who knew the deceased to add stories, photographs, epitaphs, songs and videos linked to a personal profile, as well as identify those who died of AIDS-related illnesses.

In 2012, Westchester Community College hosted an art exhibition of people whose graves were located through the Hart Island Project with Hunt's help. The Hart Island Project also collaborated with British landscape architects Ann Sharrock and Ian Fisher to present a landscape strategy to the New York City Council and the Parks Department. Sharrock introduced the concept that Hart Island is a natural burial facility and outlined a growing interest in green burials in urban settings.

In 2023, the podcast Radio Diaries created an eight-episode series, "The Unmarked Graveyard: Stories from Hart Island," dedicated to telling the stories of people buried on the island, including the satirist writer and playwright Dawn Powell.

Legislation
On October 28, 2011, the New York City Council Committee on Fire and Criminal Justice held a hearing titled "Oversight: Examining the Operation of Potter's Field by the N.Y.C., Department of Correction on Hart Island". Legislation passed in 2013 requires the Department of Correction to make two sets of documents available on the Internet: a database of burials and a visitation policy. In April 2013, the Department of Correction published an online database of burials on the island. The database contains data about all persons buried on the island since 1977 and is composed of 66,000 entries.

Transfer to Parks Department
A bill to transfer jurisdiction to the New York City Department of Parks and Recreation was introduced on April 30, 2012. The Hart Island Project testified in favor of this bill on September 27, 2012, but the bill was not passed.

The bill was reintroduced in March 2014, and Bill 0134 had a public hearing on January 20, 2016. The bill ultimately failed because neither the Parks Department nor the Department of Correction supported the move. The Parks Department stated that the operation of an active cemetery was outside its purview while the Department of Correction preferred that another city agency take control of Hart Island.

In 2018, City Council member Ydanis Rodríguez and three colleagues re-introduced the bill a second time. In supporting the bill, Rodriguez stated that he wanted relatives of Hart Island's deceased to be able to access their loved ones' graves. The bill was passed in the New York City Council in November 2019, with most council members voting in favor of transferring jurisdiction to the Parks Department. The following month, mayor Bill de Blasio signed the legislation, as well as three other bills, including one that would allow the ferry service to be operated by the New York City Department of Transportation. NYC Parks finally assumed full control of the island in July 2021.

Access
The only access to Hart Island is by ferryboat. Hart Island and the pier on Fordham Street on City Island are restricted areas under the jurisdiction of the New York City Department of Correction. Family members who wish to visit the island must request a visit ahead of time with the Department of Correction. The city government allows family members to visit the island and leave mementos at grave sites, and maintains an online and telephone system for family members to schedule grave site visits. Other members of the public are permitted to visit by prior appointment only.

Ferry service
The city formerly operated a 24/7 ferry service between City and Hart islands, which ran every forty-five minutes during the day and less frequently at night. The ferries also transported corpses. By the 1960s, two ferryboats were used for the Hart Island ferry service; the Michael Cosgrove (built 1961) and the Fordham (in service 1922–1982). The service was extremely expensive to operate; in 1967, about 1,500 people per month used the service and the city spent $300,000 per year to keep it running. By 1977, the city had discontinued frequent ferry service and provided seven trips a day. The Department of Correction offered one guided tour of the island in 2000. Under legislation enacted in 2019, the New York City Department of Transportation was to operate the ferry at a higher frequency.

Loosening of restrictions
The process of visiting the island has been improved due to efforts by the Hart Island Project and the New York Civil Liberties Union. An ecumenical group named the Interfaith Friends of Potter's Field and another organization called Picture the Homeless has also advocated for making the island more accessible. The Department of Correction opposed further loosening of restrictions on accessing Hart Island; a 2016 The New York Times article quoted a Corrections official as saying: "As long as D.O.C. runs the facility, we are going to run it with the D.O.C. mentality".

In July 2015, the Department of Correction instituted a new policy, wherein up to five family members and their guests were allowed to visit grave sites on one weekend per month. The first visit took place on July 19, 2015. Visits to individual graves, which take place twice a month, are restricted to individuals who had a close relationship with the deceased. Monthly guided visits to Hart Island's gazebo were available to the general public. The ferry leaves from a restricted dock on City Island. In 2017, the city government increased the maximum number of visitors per month from 50 to 70. During the COVID-19 pandemic, the public was not allowed to visit Hart Island; though visits resumed in May 2021, the number of visitors allowed on each ferry trip was decreased to ten.

NYC Parks control
In July 2021, responsibility for the island was finally fully transferred from the Department of Correction to NYC Parks. As part of the Hart Island Transportation Study, which sought to improve access to the island, NYC Parks conducted public meetings in early 2022. Four alternatives were presented: a shuttle bus service from Orchard Beach to the Fordham Street ferry pier; a shuttle bus service from the New York City Subway's Pelham Bay Park station, stopping at Orchard Beach and Fordham Street; a new ferry service from Ferry Point Park to the island; and an extension of NYC Ferry's Soundview route from Ferry Point Park to the island.

Even after NYC Parks took over the island, Bloomberg reported in October 2021 that there had been little change in the conditions for visitors. The New York City Parks Department has explained that its plans for the island are to create a safer environment for cemetery and island visitors, but not to create a full-fledged public park.

title: Hart Island


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Secoisolariciresinol diglucoside

Secoisolariciresinol diglucoside (SDG) is an antioxidant phytoestrogen present in flax, sunflower, sesame, and pumpkin seeds. In food, it can be found in commercial breads containing flaxseed. It is a precursor of mammal lignans which are produced in the colon from chemicals in foods.

Extraction
Secoisolariciresinol diglucoside can be isolated from de-fatted (hexane extraction) flaxseed by extraction of the lignan polymer precursor with a water/acetone mixture, followed by acetone removal and alkaline hydrolysis.

Studies on biological effects
Secoisolariciresinol diglucoside slows the growth of human breast cancer in mice.

Secoisolariciresinol diglucoside may different roles in people. For example, due to 400-500Da size limit for Blood–Brain Barrier permeability, in one assessment of a Grade IV histology group of adult patients diagnosed with malignant glioma, high intake of secoisolariciresinol (for highest tertile compared to lowest tertile, in all cases) was associated with poorer survival.

In rabbits, SDG reduced hypercholesterolemic atherosclerosis and this effect was associated with a decrease in serum cholesterol, LDL-C, and lipid peroxidation product and an increase in HDL-C and antioxidant reserve.

SDG has been shown to counter oxidative stress in human colonic epithelial tissue and protect against mtDNA damage in vitro, by H2O2 exposure, in a dose-dependent manner, and counters (in-vitro) oxidative stress on heart cells caused by Iron overload.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Secoisolariciresinol diglucoside


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Zeleia

Zeleia (Ζέλεια) was a town of the ancient Troad, at the foot of Mount Ida and on the banks of the river Aesepus (both located in Turkey), at a distance of 80 stadia from its mouth. It is mentioned by Homer in the Trojan Battle Order in the Iliad, and later when Homer calls it a holy town. Zeleia led a force of warriors to aid Troy during the Trojan War, led by Pandarus, son of Lycaon (the latter Lycaon not to be confused with Lycaon, son of Priam. It is later related that the people of Zeleia are "Lycians", though the Zeleians are distinct from the Lycians who come from Lycia in southwestern Asia Minor, led by Sarpedon and Glaucus.

Arrian mentions it as the headquarters of the Persian army before the Battle of the Granicus, in May 334 BCE, where the Persian satraps held a council at Zeleia where they discussed how best to confront Alexander the Great. It existed in the time of Strabo; but afterwards it disappears.

Arthmios (Ἄρθμιος, Aryan-Luvian meaning truly mine or my perfect one) of Zeleia together with his family, was declared an outlaw in the territory of Athens and her allies, because he had brought the gold from Persian Empire into Peloponnese. Nicagoras (Νικαγόρας) of Zeleia, was a tyrant of Zeleia.

The site of ancient Zeleia is located near Sarıköy, Balıkesir, Turkey.

title: Zeleia


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Namaste

Namaste (, Devanagari: नमस्ते), sometimes called namaskār and namaskāram, is a customary Hindu   manner of respectfully greeting and honouring a person or group, used at any time of day. It is used in the Indian subcontinent, and among the Indian and Nepalese diaspora. Namaste is usually spoken with a slight bow and hands pressed together, palms touching and fingers pointing upwards, thumbs close to the chest. This gesture is called añjali mudrā; the standing posture incorporating it is pranāmāsana.

Etymology, meaning and origins
Namaste (Namas + te) is derived from Sanskrit and is a combination of the word namas and the second person dative pronoun in its enclitic form, te. The word namaḥ takes the sandhi form namas before the sound te.

It is found in the Vedic literature. Namas-krita and related terms appear in the Hindu scripture Rigveda such as in the Vivaha Sukta, verse 10.85.22 in the sense of "worship, adore", while Namaskara appears in the sense of "exclamatory adoration, homage, salutation and worship" in the Atharvaveda, the Taittiriya Samhita, and the Aitareya Brahmana. It is an expression of veneration, worship, reverence, an "offering of homage" and "adoration" in the Vedic literature and post-Vedic texts such as the Mahabharata. The phrase Namas-te appears with this meaning in Rigveda 8.75.10, Atharvaveda verse 6.13.2, Taittirya Samhita 2.6.11.2 and in numerous other instances in many early Hindu texts. It is also found in numerous ancient and medieval era sculpture and mandapa relief artwork in Hindu temples.

According to the Indologist Stephen Phillips, the terms "te and tvam" are an informal, familiar form of "you" in Sanskrit, and it is typically not used for unfamiliar adults. It is reserved for someone familiar, intimate, divine or a child. By using the dative form of tvam in the greeting Namas-te, there is an embedded secondary, metaphorical sense in the word. This is the basis of the pragmatic meaning of Namas-te, that is "salutations to the (divine) child (in your heart)", states Phillips.

In the contemporary era, namaḥ means 'bow', 'obeisance', 'reverential salutation' or 'adoration' and te means 'to you' (singular dative case of 'tvam'). Therefore, namaste literally means "bowing to you". In Hinduism, it also has a spiritual import reflecting the belief that "the divine and self (atman, Self) is same in you and me", and connotes "I bow to the divine in you". According to sociologist Holly Oxhandler, it is a Hindu term which means "the sacred in me recognizes the sacred in you".

A less common variant is used in the case of three or more people being addressed namely Namo vaḥ which is a combination of namaḥ and the enclitic second person plural pronoun vaḥ. The word namaḥ takes the sandhi form namo before the sound v. An even less common variant is used in the case of two people being addressed, namely, Namo vām, which is a combination of namaḥ and the enclitic second person dual pronoun vām.

History
Excavations at various Indus Valley Civilisation have revealed some male and female terracotta figures in namaste posture. These archaeological findings are dated to the Mature Harappan.

Anjali Mudra
The gesture of folding hands during a namaste is called the Añjali Mudrā. In addition to namaste, this mudra is one of the postures found in Indian classical dance such as Bharatanatyam, and in yoga practice. It is widely found in Indian temple reliefs and sculpture in mandapam, at entrances and iconography such as the Lingobhavamurti of Shaivism. The Anjali mudra differs from namaste by being a non-verbal gesture, while namaste can be said with or without any gesture. According to Bhaumik and Govil, the Anjali mudra and Namaskara mudra are very similar but have a subtle difference. The back of the thumbs in Anjali mudra face the chest and are perpendicular to other fingers, while the thumbs in Namaskara mudra are aligned with the other fingers.

Anjali mudra is described in Sanskrit texts such as in verse 9.127–128 of the Natya Shastra (200 BCE – 200 CE), in temple architecture texts dated after the sixth-century CE such as in verse 5.67 of the Devata murti prakarana and those on painting called the Citrasutras. The Natya Shastra, a classical Indian dance text, describes it to be a posture where the two hands are folded together in a reverential state and that this is used to pray before a deity, receive any person one reveres and also to greet friends. The Natya Shastra further states that for prayers inside a temple, the Anjali mudra should be placed near one's head or above, while meeting someone venerable it is placed in front of one's face or chin, and for friends near one's chest.

Uses
The gesture is widely used throughout the Indian subcontinent, parts of Asia and beyond where people of South and Southeast Asian origins have migrated. Namaste is used as a respectful form of greeting, acknowledging and welcoming a relative, guest or stranger. In some contexts, namaste is used by one person to express gratitude for assistance offered or given, and to thank the other person for his or her generous kindness.

Namaskara is one of the 16 upacharas (veneration practices) used inside temples or any place of formal puja (worship). Namaste in the context of deity worship, scholars conclude, has the same function as in greeting a guest or anyone else. It expresses politeness, courtesy, honor, and hospitality from one person to the other. It is used in goodbyes as well. This is sometimes expressed, in ancient Hindu scriptures such as Taittiriya Upanishad, as Atithi Devo Bhava (literally, treat the guest like a god).

Namaste is one of the six forms of pranama, and in parts of India these terms are used synonymously.

Since namaste is a non-contact form of greeting, some world leaders adopted the gesture as an alternative to hand shaking during the 2020 Coronavirus pandemic as a means to prevent the spread of the virus.

title: Namaste


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Burg AM transmitter

The AM transmitter in Burg, near Magdeburg, Germany, is a huge facility for longwave and mediumwave broadcasting. Its most dominant constructions are a 324-metre guyed radio mast and two 210 metre guyed steel tube masts.

The 324-metre-high mast is a grounded construction with triangular cross section. Until the early 1990s it had a highly effective fading-reducing transmitting antenna in the form of a special cage aerial developed in Russia, known as the ARRT-antenna. It was used for the 1000 kW-medium wave transmitter operated on 783 kHz, which was the strongest transmitter of the former GDR, as transmitting antenna. Today this mast has a cage aerial for long wave. Both the 210-metre-high tube masts are isolated from the ground. One of the two tube masts can be used as a toe-fed mast antenna for long and medium wave, while the other mast can be used only as a transmitting antenna for the medium-wave band.

As further antenna systems there are still three step-radiating antennas, each of which is supported by two freestanding steel framework towers and which served as transmitting antenna for a medium-wave transmitter on the frequency 1575 kHz (shut down at present) and a triangle plane aerial for medium wave.

From 1967 to 1976 there was also another 350 m radio mast for long wave, the steel tube lattice mast SL3, which was used for transmitting the program of Radio Wolga. In order not to affect the radiation field of the other masts, this radio mast was placed at a distance of 2.2 kilometres from the other masts near the road from Burg to Grabow, in the neighbourhood of Gütter, part of Burg. It collapsed on February 18, 1976, because of a defective bolt and was not rebuilt. As a replacement, one of the two 210 m steel tube masts was converted in such a way that it could also broadcast the program of Radio Wolga (and later also of Radioropa Info) in the long-wave range. There are still some remains of the basements of the radio mast SL3 today.

In the 1960s some propaganda transmitters, as German military transmitters, were operated on the site of the AM transmitter Burg.

title: Burg AM transmitter


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Raymond Goethals

Raymond Goethals (, ; 7 October 1921 – 6 December 2004) was a Belgian football coach who led Marseille to victory in the UEFA Champions League final in 1993, becoming the first coach to win a European trophy with a French club and also the only coach to win the Champions League with a French club.

Sometimes nicknamed "Raymond-la-science" ("Raymond-the-Science", previously the nickname of Belgian anarchist and Bonnot gang member Raymond Callemin), "le sorcier" ("the Wizard") or "le magicien" ("the Magician"), Goethals was known for his blunt way of speaking, his habit of mispronouncing players' names and his distinctive Brussels accent. A chain smoker, he was likened to TV police detective Lieutenant Columbo. He was the father of the referee Guy Goethals, who officiated at the 1992 European Championship and 1996 European Championship.

Playing career
Goethals began his career as a goalkeeper in the 1930s with Daring Brussels, making his way through the youth ranks of the club before joining Racing Club Brussel in 1947. He remained at Racing Club Brussel until 1948.

Early career
After a period spent playing for Renaisiènne, he moved into coaching with Hannutois and Waremme, and led Sint-Truiden to second place in the Belgian First Division in 1966.

Belgium national team
Goethals took charge of the Belgium national team in 1968. Belgium succeeded in qualifying for the 1970 World Cup in Mexico, although they were eliminated in the first round of the tournament. Belgium hosted the 1972 European Championship, having knocked out holders Italy in the qualifying stages, and defeated Hungary in the match for third place after losing in the semi-final to eventual tournament winners Germany. That marked Goethals' greatest success as national team coach. He also took great pride in the fact that Belgium had held the emergent Netherlands scoreless in both their meetings in 1974 World Cup qualifying. Belgium completed their qualifying campaign without having conceded a single goal, but lost out to the Netherlands on account of their inferior goal difference.

Return to club coaching
In 1976 Goethals' tenure as coach of the national side ended, and he joined Anderlecht as coach. In his first season, Anderlecht reached the final of the European Cup Winners' Cup, where they lost to German side Hamburger SV, but won the trophy the following year with a comprehensive victory over FK Austria/WAC. After spells coaching in France at Bordeaux and in Brazil with São Paulo, Goethals returned to Belgium to coach Standard Liège. Standard Liège were Belgian champions in 1982 and 1983, and they reached the Cup Winners' Cup Final in 1982, losing to Barcelona, who were at a considerable advantage in that the final was played at their home ground, Camp Nou.

Controversy and Goethals' return to Anderlecht
Standard Liège's 1982 championship win was to become the subject of great controversy in 1984. Seemingly preoccupied with winning his first Belgian title, Goethals had suggested and initiated the bribing of the Waterschei players prior to the teams' meeting in the final match of the season, in order to secure championship honours for Standard Liège and ensure that none of his players would miss their European final against Barcelona through injury. Goethals was forced to resign in the wake of the scandal, and he moved to Portugal to take charge of Vitória Guimarães. He then returned to Belgium to coach Racing Jet de Bruxelles before a second spell in charge of Anderlecht, where he won Belgian Cup trophy in 1989. Bordeaux again recruited Goethals, and they finished runners-up in the French championship in 1989–90 behind Marseille. Approaching 70 years of age, Goethals' greatest triumph as a coach was yet to come.

Marseille
In 1990, Goethals was named coach of Olympique de Marseille and was entrusted with the task of leading the club to European Cup success. In his first season, the club narrowly missed out on European glory, losing on penalties in the European Cup Final to Red Star Belgrade. There was recognition for Goethals' coaching abilities, as he was voted 1991 European Coach of the Year. In 1993, Marseille again reached the European Cup final, where they defeated favourites A.C. Milan with a headed goal by Basile Boli. Having achieved his primary objective at Marseille, Goethals left the club.

Marseille were later stripped of their 1993 French championship when it emerged that three Valenciennes players had been offered money to underperform in a crucial match against Marseille. The club were not allowed to defend their European title as a result, and were punished with relegation to the French second division.

Retirement
Goethals' coaching career ended at Anderlecht in season 1995–96, but he remained in demand as a television analyst for his insights into football. He died on 6 December 2004 of bowel cancer aged 83. In 2005, the year following his death, he was voted 38th in De Grootste Belg, a Flemish television programme based on the BBC's 100 Greatest Britons. The number 2 stand at F.C. Brussels' home ground, Edmond Machtens Stadium, was renamed in honour of Goethals in late 2005. He remains today as the oldest winning manager of UEFA Champions League.

Manager
Anderlecht
 * European Cup Winners' Cup: 1977–78, runner-up: 1976–77
 * European Super Cup: 1976, 1978
 * Belgian Cup: 1987–88, 1988–89, runner-up: 1976–77
 * Amsterdam Tournament: 1976
 * Tournoi de Paris: 1977
 * Jules Pappaert Cup: 1977
 * Belgian Sports Merit Award: 1978
 * Bruges Matins: 1988

Sao Paulo

 * Campeonato Brasileiro Série A: runner-up: 1981

Standard Liège
 * Belgian First Division: 1981–82, 1982–83
 * Belgian Super Cup: 1981, 1983
 * European Cup Winners' Cup: runner-up: 1981–82
 * Intertoto Cup Group Winners: 1982, 1984

Bordeaux

 * French Division 1: runner-up: 1989–90

Marseille

 * French Division 1: 1990–91, 1991–92
 * UEFA Champions League: 1992–93, runner-up: 1990–91
 * Coupe de France: runner-up: 1990–91

Belgium
 * UEFA European Championship: third place: 1972 '''

Individual

 * Panchina d'Oro: 1990–91
 * Panchina d'Argento: 1991–92
 * Onze d'Or Coach of the Year: 1991, 1993
 * Trofee Raymond Goethals: From 2011
 * Golden Shoe Lifetime Achievement Award: 2014
 * France Football 47th Greatest Manager of All Time: 2019

title: Raymond Goethals


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Ammerzoden

Ammerzoden is a village on the northern bank of the Maas river in western Gelderland, a Dutch province. The people of the village have strong connections with the people in the province of North Brabant, especially the nearby city of 's-Hertogenbosch. Since 1 January 1999, Ammerzoden has been part of the municipality of Maasdriel.

Ammerzoden has a famous castle, 'Kasteel Ammersoyen', built around 1300. It was heavily damaged by fire in 1590, and sustained damage during World War II. The castle was reopened in 1975.

Ammerzoden has two churches. The Protestant church, built between 1500 and 1547 as a Catholic church, was partly destroyed by the French in 1672. Some years before, the church became the property of the Protestants. Even today, most of the building is a ruin. Some parts are restored and in use.

In the nineteenth century, the Catholic people built a new church for themselves, named after St. Willibrord. This building was destroyed by the Germans in World War II. A new church with the same name has existed since 1953.

Until 1999, Ammerzoden was a separate municipality

Statistics
In 2001, the town of Ammerzoden had 2849 inhabitants. The built-up area of the town was 0.69 km2, and contained 1034 residences. The statistical area "Ammerzoden", which also can include the peripheral parts of the village, as well as the surrounding countryside, has a population of around 3180.

title: Ammerzoden


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Peabody Essex Museum

The Peabody Essex Museum (PEM) in Salem, Massachusetts, US, is a successor to the East India Marine Society, established in 1799. It combines the collections of the former Peabody Museum of Salem (which acquired the Society's collection) and the Essex Institute. PEM is one of the oldest continuously operating museums in the United States and holds one of the major collections of Asian art in the United States. Its total holdings include about 1.3 million pieces, as well as twenty-two historic buildings.

After opening newly expanded spaces in 2019, PEM now ranks in the top 10 North American art museums in terms of gallery square footage, operating budget and endowment. The PEM holds more than 840,000 works of historical and cultural art covering maritime, American, Asian, Oceanic and African art, Asian export art, and two large libraries with over 400,000 books and manuscripts.

History
In 1992, the Peabody Museum of Salem merged with the Essex Institute to form the Peabody Essex Museum. Included in the merger was the legacy of the East India Marine Society, established in 1799 by a group of Salem-based captains and supercargoes. Members of the Society were required by the society's charter to collect "natural and artificial curiosities" from beyond the Cape of Good Hope or Cape Horn. They were also required to personally circumnavigate the globe, and share navigational discoveries with other Society members, thereby increasing their chances of returning from their voyages safely. Due to the institution's age, the items they donated to the collections are significant for their rare combination of age and provenance.

The East India Marine Society built East India Marine Hall, a National Historic Landmark now embedded in the museum's facilities, in the 1820s to house its collection. This collection was acquired by the Peabody Academy of Science (later renamed the Peabody Museum of Salem) in 1867, along with the building, which continued to serve as a museum space through these mergers and acquisitions.

21st century
In 2003, the Peabody Essex Museum completed a massive $100 million renovation and expansion resulting in the opening of a new wing designed by Moshe Safdie. This more than doubled the gallery space to 250,000 square feet (23,000 m2), which allowed the display of many items from its extensive holdings, previously unknown to the public due to lack of exhibition space. At this time, the museum also opened to the public the Yin Yu Tang House, an early 19th-century Chinese house from Anhui Province that had been disassembled in its original village and reconstructed on the museum grounds.

In 2011, the Peabody Essex Museum announced it had raised $550 million, with plans to raise an additional $100 million by 2016. The Boston Globe reported this was the largest capital campaign in the museum's history, vaulting the Peabody Essex into the top tier of major art museums. The PEM trustee co-chairs Sam Byrne and Sean Healey with board president Robert Shapiro led the campaign. $200 to $250 million will fund the museum's 175,000 sqft expansion bringing the total square footage to 425,000 sqft.

In May 2012, the PEM confirmed that its expansion would not be finished until 2019, due to the unexpected death of museum architect Rick Mather in April 2012 and the search for his replacement. The firm of Ennead Architects (New York) was chosen after successfully completing the first phase of the building project, which included master planning and the renovation of the museum's Dodge wing, which was scheduled to open in November 2013.

On September 28, 2019, the museum opened a new 40,000 sqft wing designed by Ennead Architects, adjacent to East India Marine Hall. This addition included 15,000 sqft of Class A galleries as well as a 5,000 sqft landscaped garden designed by Nelson Byrd Woltz Landscape Architects.

Leadership
In 2021, Lynda Roscoe Hartigan, PEM's former deputy director and Chief Curator, became the first woman to be the Rose-Marie and Eijk van Otterloo Director and CEO of PEM.

The director and CEO from 1993 to 2019 was Dan Monroe. He was succeeded on July 15, 2019, by Brian Kennedy, who previously directed the Toledo Museum of Art.

African art
The Peabody Essex Museum's collection of African art includes approximately 3,600 objects as of 2014. The acquisition of these works began in the early 19th century, as members of the East India Marine Society collected objects from West and sub-Saharan Africa. These objects include ceremonial masks, pottery, woven baskets, and a significant collection of Ethiopian art—particularly Christian icons and metalwork, many of which are based in the traditions of Byzantine art. In 1812, Salem became the headquarters of the American Board of Commissioners for Foreign Missions, which went on to establish missions throughout the continent. These missions facilitated trade, particularly with the Zulu in South Africa, and contributed significantly to the growth of the collection.

American art
PEM's extensive collection of American art includes over 1,000 portraits, among them works by John Singer Sargent, Fitz Henry Lane, and James Bard. Furniture, folk art, and needlework are also prominent features of the collection. The museum's New England heritage has brought it an especially large array of decorative arts from the Northeastern United States. Many of these objects were initially collected by the Essex Institute, which was dedicated to preserving the cultural and physical history of Essex County.

Chinese art
The museum's collection of Chinese art, which includes over 6,000 objects, features contemporary and ancient works as well as works by minority nationalities within China. Ceramics, textiles, and calligraphy form the bulk of the collection, which began in the 18th century with exports acquired by New England traders. Even before the founding of the East India Marine Society, missionaries such as Reverend William Bentley were collecting sculptures, fans, and other pieces that would form the foundation of the museum's collection. The largest piece at the museum is the Yin Yu Tang House, a late 18th century home from the Anhui province of China. This house, constructed during the Qing dynasty, was acquired by Nancy Berliner, at the time PEM's curator of Chinese art and culture, before being taken apart and reassembled in Salem.

Fashion and textiles
Among the most important in the United States, the museum's American clothing collection, with examples dating from the early 18th century to the present, represents many of New England's prominent families, including Salem's Crowninshields, who helped establish the city as a seafaring hub. Among its areas of strength are military uniforms, a collection established by the Essex Institute following the end of the American Civil War in 1865, and significant holdings representing the work of notable designers, dressmakers and milliners, including Alexander McQueen, Rei Kawakubo, Jamie Okuma, and hundreds of pieces from legendary fashion icon, Iris Apfel.

Indian art
The Peabody Essex Museum's collection of Indian art includes over 5,000 objects. It also possesses numerous works of Tibetan and Nepalese origins, along with perhaps the most important collection of contemporary Indian art outside of India. PEM's Herwitz Gallery, opened in 2003 and named to honor art collectors Chester and Davida Herwitz, is the first American museum gallery dedicated to modern Indian art. PEM's collection spans a wide array of eras and mediums, forming a detailed record of India's artistic transformations during colonial rule and its aftermath. As PEM's ex-curator of South Asia and Korean Art Susan S. Bean observed, "the global development of industrial production brought machine-woven textiles, printed images, and photography into competition with handlooms, sculpture, and painting", all of which are art forms well represented throughout PEM's collection.

Japanese art
Featuring approximately 18,300 objects, PEM's collection of Japanese art began with the museum's inception in 1799. Its collections of work from the Edo period and Meiji period are particularly robust, featuring armor, sculpture, painted scrolls, furniture, and more. Much of the collection has its origins in the travels of Edward S. Morse, the third director of the museum, who acquired many pieces over the course of three trips to Japan. Morse also helped raise interest in Japanese art in Massachusetts and New England: as Midori Oka states, Morse was "instrumental in influencing the area intellectuals and connoisseurs to turn their interests to Japanese art".

Korean art
The Peabody Essex Museum has approximately 1,800 pieces of Korean art in its collection, including ceramics, textiles, and painted screens. The collection began in 1883, as the result of a collaboration between museum director Edward Sylvester Morse and Korean scholar Yu Kil-chun, who was a member of the first official Korean delegation to the United States. Much of the collection consists of art of the Joseon dynasty, which occupied the transitional period between the traditional Korean empire and modernity. Many of the pieces in the collection, particularly those from the Joseon period, display the centrality of art in the habits, rituals, and ceremonies of everyday Korean life. As former PEM curator Susan S. Bean observes, art objects were "essential to the conduct of social life because they conveyed values, fulfilled wishes, provided access to deities and ancestors, taught lessons and conferred prestige".

Maritime art
By the end of the 18th century, coinciding with the museum's 1799 founding, Salem was one of the nation's most prosperous seaports, and extensive trading of furs, spices, dyes, and other goods brought much wealth to the region. This long legacy of trade contributed greatly to the foundation and growth of PEM's maritime art collection, which is among the finest of its kind in the country. The collection includes over 50,000 objects, including paintings, model ships, scrimshaw, and more. Many diverse styles and periods of maritime art are on display in the collection, from navigational tools such as sextants to modern marine art, which addresses "nostalgic themes" and represents "the seafaring life of previous times". One significant feature of the currently installed collection is a recreation of a room in Cleopatra's Barge, an opulent yacht which was built by Salem's Crowninshield family and eventually became the royal yacht of King Kamehameha II.

Native American art
PEM's collection of Native American art includes over 20,000 objects, spanning a wide variety of tribal affiliations and time periods. The collection includes masks, textiles, jewelry, clothing, sculpture, and more, along with many pieces by contemporary Native American artists such as Frank Day and Kay WalkingStick. The origins of PEM's collection can be traced to even before the museum's 1799 founding: the maritime fur trade, as well as the trading of iron to local tribes, made the exchange of art objects a frequent occurrence. As Richard Conn writes, "in some cases, objects of considerable importance were given by their native owners as gifts to their European trading partners. The intent here was probably to enhance the trading relationship and to insure that the Yankee or British ship would return next year with more iron."

Oceanic art
Featuring objects from over 36 different groups of islands in Polynesia, Melanesia, and Micronesia, the Peabody Essex Museum's collection of Oceanic art contains over 15,000 objects in total. These objects, consisting of sculptures, weapons, clothing, and more, include pieces made from traditional Oceanic materials such as porpoise teeth, abalone, and human hair. Also worth noting is the museum's particularly substantial collection of Hawaiian art, which includes over 5,000 objects. While Salem had little direct trade with Hawaii during the 18th and 19th centuries, regional trade and donations from prominent sea captains led to the acquisition of many significant pieces, including some associated with Kamehameha I and James Cook.

Photography
PEM's collection of photography is its largest single collection by number of objects, featuring over 850,000 images. The collection began in 1840, just one year after the invention of photography. It includes work by pioneering photographers such as William Henry Fox Talbot and Antoine Claudet. It also features a collection of rare Civil War photographs by Matthew Brady, one of the first American photographers. The collection has a vast variety of subjects and styles, from records of native life in the Philippines to photographs by Walker Evans which document the Great Depression.

Library
The museum has extensive collections of rare books, manuscripts, and ephemera in the Phillips Library. On December 8, 2017, Dan L. Monroe, PEM's director and CEO, issued a press release announcing that 42,000 feet of historical documents would be permanently relocated to Rowley, Massachusetts; Plummer Hall and Daland House, the two historic buildings which had housed the Phillips Library, would be utilized as office and meeting space.

Architecture in the collection
The museum owns 24 historic structures and gardens, some of which are concentrated in the old Essex Institute grounds which now form the Essex Institute Historic District. Five of these buildings are National Historic Landmarks and eight others are listed on the National Register of Historic Places. Some are shown in the gallery below. The full set of buildings are: Daniel Bray House, Gilbert Chadwick House, Cotting-Smith Assembly House, Crowninshield-Bentley House, John Tucker Daland House, Derby-Beebe Summer House, East India Marine Hall (integrated into the main museum), Gardner-Pingree House and Gardner-Pingree Carriage House, Lyle-Tapley Shoe Shop, Dodge Wing of the Peabody Essex Museum, Asian Export Art Wing of the Peabody Essex Museum, Peirce-Nichols House, Samuel Pickman House, Plummer Hall, Quaker Meeting House, L. H. Rogers Building, Ropes Mansion, Andrew Safford House, Summer School Building, Vilate Young (Kinsman) House, and John Ward House. Some of these properties are open to guided tours.

American art
Among the American artists represented in the museum's collection:
 * Clifford Warren Ashley
 * James Bard
 * Frank Weston Benson
 * John Prentiss Benson
 * James E. Buttersworth
 * John Singleton Copley
 * Michele Felice Cornè
 * George Washington Felt (1776–1847)
 * Alvan Fisher
 * Fitz Hugh Lane
 * Charles Osgood
 * Frederic Remington
 * George Ropes, Jr. (1788–1819)
 * Robert Salmon
 * John Singer Sargent
 * William Pierce Stubbs
 * Charles Wilkes

title: Peabody Essex Museum


text:
Mlaḥsô language

Mlaḥsô or Mlahsö, sometimes referred to as Suryoyo or Surayt, is an extinct or dormant Central Neo-Aramaic language. It was traditionally spoken in eastern Turkey and later also in northeastern Syria by Syriac Orthodox Christians.

The Mlaḥsô language (Surayt of Mlaḥsô) is closely related to the Surayt of Turabdin but sufficiently different to be considered a separate language, with the syntax of the language having retained more features of Classical Syriac than Turoyo. It was spoken in the villages of Mlaḥsô (Yünlüce, Mela), a village established by two monks from the Tur Abdin mountain range, and in the village of ˁAnşa near Lice, Diyarbakır, Turkey.

Etymology
The name of the village and the language is derived from the earlier Aramaic word mālaḥtā, 'salt marsh'. The literary Syriac name for the language is Mlaḥthoyo. The native speakers of Mlaḥsô referred to their language simply as Suryô, or Syriac.

History and distribution
The language was still spoken by a handful of people in the 1970s. The last fluent native speaker of Mlaḥsô, Ibrahim Ḥanna, died in 1999 in Qamishli. His daughters, Munira in Qamishli, Shamiram in Lebanon, and son Dr. Isḥaq Ibrahim in Germany are the only speakers left with some limited native proficiency of the language. Recordings of Ibrahim Ḥanna speaking the language are available on Heidelberg University's Semitic Sound Archive which were done by Otto Jastrow, a prominent German semiticist who is credited as the modern "discoverer" of the language and published the first modern research papers on the existence of Mlaḥsô and its linguistic features.

On 3 May 2009, a historical event in the history of the Mlaḥsô Surayt language took place. The Suroyo TV television station aired the program series Dore w yawmotho, which was about the village Mlaḥsô (and the Tur Abdin village Tamarze). Dr. Isḥaq Ibrahim, the son of Ibrahim Ḥanna, was a guest and spoke in the Mlaḥsô language with his sisters Shamiram in Lebanon and Munira in Qamishli live on the phone. Otto Jastrow was also interviewed regarding his expertise on Mlaḥsô. Turabdin Assyrians/Syriacs viewers and those present at the show could for the first time ever in modern times hear the language live.

The extinction of Mlaḥsô can be attributed to the small amount of original speakers of the language, and them being limited to two isolated villages, resulting in a disproportionate loss of speakers during the Assyrian genocide compared to Turoyo and other variants of Neo-Aramaic.

Phonology
Mlahsô is phonologically less conservative than Turoyo. This is particularly noticeable in the use of s and z for classical θ and ð. The classical v has been retained though, while it has collapsed into w in Turoyo. Also sometimes y (IPA /j/) replaces ġ. Mlaḥsô also renders the combination of vowel plus y as a single, fronted vowel rather than a diphthong or a glide.

Vowels
Mlahsô has the following set of vowels:
 * Close front unrounded vowel –
 * Close-mid front unrounded vowel –
 * Open front unrounded vowel –
 * Open back rounded vowel –
 * Close back rounded vowel –

Morphology
Mlaḥsô is more conservative than Turoyo in grammar and vocabulary, using classical Syriac words and constructions while also preserving the original Aramaic form.

title: Mlaḥsô language


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X11vnc

x11vnc is a Virtual Network Computing (VNC) server program. It allows remote access from a remote client to a computer hosting an X Window session and the x11vnc software, continuously polling the X server's frame buffer for changes. This allows the user to control their X11 desktop (KDE, GNOME, Xfce, etc.) from a remote computer either on the user's own network, or from over the Internet as if the user were sitting in front of it. x11vnc can also poll non-X11 frame buffer devices, such as webcams or TV tuner cards, iPAQ, Neuros OSD, the Linux console, and the Mac OS X graphics display. x11vnc is part of the LibVNCServer project and is free software available under the GNU General Public License. x11vnc was written by Karl Runge.

x11vnc does not create an extra display (or X desktop) for remote control. Instead, it uses the existing X11 display shown on the monitor of a Unix-like computer in real time, unlike other Linux alternatives such as TightVNC Server. However, it is possible to use Xvnc or Xvfb to create a 'virtual' extra display, and have x11vnc connect to it, enabling X-11 access to headless servers.

x11vnc has security features that allows the user to set an access password or to use Unix usernames and passwords. It also has options for connection via a secure SSL link. An SSL Java VNC viewer applet is provided that enables secure connections from a web browser. The VeNCrypt SSL/TLS VNC security type is also supported.

Many of the UltraVNC extensions to VNC are supported by x11vnc, including file transfer.

Polling algorithm
x11vnc keeps a copy of the X server's frame buffer in RAM. The X11 programming interface  is used to retrieve the frame buffer pixel data. x11vnc compares the X server's frame buffer against its copy to see which pixel regions have changed (and hence need to be sent to the VNC viewers.) Reading pixel data from the physical frame buffer can be much slower than writing to it (because graphics devices are not optimized for reading) and so a sequential pixel by pixel check would often be too slow.

To improve the situation, x11vnc reads in full rows of pixels separated by 32 pixels vertically. Once it gets to the bottom of the screen it starts again near the top with a slightly different offset. After 32 passes like this it has covered the entire screen. This method enables x11vnc to detect changes on the screen roughly 32 times more quickly than a sequential check would (unless the changes are very small, say only 1 pixel tall.) If the X11 DAMAGE extension is present, x11vnc uses it to provide hints where to focus its polling, thereby finding changes even more quickly and also lowering the system load.

Input injection
When x11vnc receives user input events (keystrokes, pointer motion, and pointer button clicks) from a VNC viewer, it must inject them synthetically into the X server. The X11 programming interfaces,  , and   of the XTEST extension are used to achieve this.

For non-X11 managed devices (such as the Mac OS X graphics display) different programming interfaces must be used. x11vnc also provides an interface where the user can supply their own input injection program.

Interesting uses
Often special-purpose systems are built using the X Window System to manage the graphical display. x11vnc can be used to export the system's display for remote VNC access. This enables remote monitoring, control, and troubleshooting of the special-purpose system. Sometimes this saves sending a technician to a remote site or allows users to control equipment from their workstation or laptop. x11vnc is known to have been run on the following types of systems: Electron microscope, MRI and Radiology image analysis system, Power plant and Oil platform management consoles, Materials distribution control, Ship self-defense system testing, NMR systems, Silicon wafer analysis microscope, and Theater and concert lighting control. x11vnc is used to export the X11 displays in embedded systems such as Linux-based PDAs and Home theater PCs.

If x11vnc cannot be run on the special-purpose system, sometimes it can be run on a nearby computer and poll the X server frame buffer over the network. This is how proprietary X terminal devices can be accessed via x11vnc.

Xvnc emulation
Although x11vnc's primary use is for X servers associated with physical graphics hardware, it can also attach to virtual X servers (whose frame buffers exist in RAM only) such as Xvfb or a Sun Ray session. x11vnc has options ( and  ) to start Xvfb automatically, possibly as the Unix user that logged in. The interactive response of x11vnc and Xvfb may not be as fast as Xvnc, however this mode enables features that Xvnc does not have, such as SSL encryption and Unix usernames and passwords.

Client-side caching
The RFB (VNC) protocol is odd when compared to other network graphics protocols, such as X11 and RDP, in that there is no provision for viewer-side caching of pixel data. While this makes the client easier to implement, there is a price to pay in terms of interactive response. For example, every re-exposure of a window or background region needs to have its (compressed) pixel data resent over the network. This effect is particularly noticeable for windows with complex or photo regions (such as a web browser window) that gets iconified and deiconified or re-exposed often.

x11vnc has an experimental and somewhat brute-force implementation of client-side caching. It is enabled via the  option. When creating the RFB frame buffer in this mode, x11vnc allocates a very large scratch region below the top portion used for the actual (on-screen) pixel data. x11vnc can then use the RFB CopyRect command to instruct the viewer to move rectangles of pixel data into and out of the scratch region. These moves are done locally on the viewer side. In this way x11vnc can manage the scratch region to store and retrieve pixel data without having to resend it over the network.

x11vnc's client-side caching mode can give noticeable interactive response improvements for many activities. Since it uses the existing RFB CopyRect command, the scheme will work with any (i.e. unmodified) VNC viewer. There are some disadvantages, however. The first is that it consumes a large amount of memory. For good performance a scratch region 10 to 20 times larger than the actual screen should be used. So instead of using 5 MB for a 1280x1024 truecolor frame buffer, closer to 100 MB will be used (on both the VNC client and server sides). This is not so much of an issue on modern computers, but would not be possible on a low memory device. Second, the VNC viewer may treat the scratch region in ways that confuse the user, for example displaying it to the user or automatically panning down into it if the mouse reaches the bottom of the real screen. The Unix VNC viewer in SSVNC automatically hides the scratch region. Finally, x11vnc's  heuristics for caching and reusing window pixel data are not perfect and can lead to unexpected flashing of a window's contents and other undesired effects.

title: X11vnc


text:
Freddy the Pig

Freddy the Pig is the central figure in a series of 26 children's books written between 1927 and 1958 by American author Walter R. Brooks and illustrated by Kurt Wiese, consisting of 25 novels and one poetry collection. The books focus on the adventures of a group of animals living on a farm in rural upstate New York. Freddy is introduced as "the smallest and cleverest" of the pigs on the Bean farm. He is initially just one of the ensemble, but he becomes the central character shortly into the series. Freddy's interests drive the books as he becomes a detective, politician, newspaper editor, magician, pilot, and other vocations or avocations. A recurring villain is the slimy but dignified Simon, who leads a gang of criminal rats. Human characters include Mr. and Mrs. Bean (who own the farm), the population of local Centerboro, and human villains.

Much of the humor in the books is derived from the self-referential way in which the author acknowledges the unreality of talking animals, unlike other children's works in which they are accepted as normal. As the series progresses, the Bean Farm animals attain national fame for their ability to talk and read, and the humans whom they encounter are taken aback at first (though only momentarily) to find themselves conversing with animals. The animals and humans do not age, although the stories reflect the social conditions at the time of writing; for example, the books published during World War II feature scrap drives and victory gardens.

History
Brooks created his animals for To and Again, published in 1927 by Alfred A. Knopf. It took some time before their personalities were fully developed, along with their ability to talk to humans when they chose, beginning with the fourth volume in 1936. In the remainder of the series, the animals of the Bean Farm lead a highly developed life, variously operating a bank, a newspaper, the First Animal Republic, and Freddy's detective business, which follows the principles of Sherlock Holmes as Freddy knows them from his reading.

The books went out of print in the 1960s, despite their popularity in the 1940s and 1950s, but children's libraries continued to have them. In the past decade, they have been republished by The Overlook Press in response to plaintive requests from Freddy fans who treasure their combination of ingenious plots, well-drawn characters, literary allusions, and wholesome (but not cloying) moral lessons. The audio and film rights to the series have been sold. Audio versions of some books were made and, as of 2009, others are apparently in preparation.

Reception of books
Adam Hochschild describes the series in The New York Times Book Review as "the moral center of my childhood universe." He also observes that sales of the books have increased since when they were first written. Roger Sale sums it up in his history of children's literature: "If L. Frank Baum has a successor, it is Brooks." Columnist Nicholas Kristof named them among the best children's books ever and called them "funny, beautifully written gems."

Location of books
Nearly all the books focus on the Bean farm and Centerboro area, in Oneida County, upstate New York. Centerboro does not actually exist, nor do the other towns mentioned as being nearest (Aeschylus Center, Gomorrah Falls, South Pharisee, Plutarch Mills, and West Ninevah). However, other towns do exist, described as slightly farther away: Syracuse, Rome, Buffalo, and Utica, New York (mentioned, for example, in Freddy and the Baseball Team From Mars). This would put Centerboro somewhere east of Syracuse, close to where Brooks lived as a boy. However, in Freddy and Mr. Camphor, the nearby fictional lake Otesaraga is described as "thirty miles around, and only a mile across". This corresponds closely (and only) to Skaneateles Lake, some ten miles southwest of Syracuse. Regardless, the evidence supplied by Brooks points to the Bean farm being loosely within 30 miles southwest or generally east of Syracuse.

Illustrations
The series is illustrated by Kurt Wiese, who became an award-winning illustrator and author (although not for the Freddy series). The first book was originally illustrated by Adolfo Best Maugard but redone by Wiese when the book was re-released. After the first books, the pattern of illustration was established: a half-page black and white drawing at the beginning of each chapter, and a full page black-and-white drawing within each chapter. The covers are line drawings colored with watercolor, each emphasizing a dominant color. The endpapers are two-tone illustrations, loosely matching the cover's color theme. For example, the yellow background and blue drawing of the endpapers for Freddy Rides Again match the yellow and blue colors of the cover (Freddy, a horse, and a goat are yellow). Wiese drew more than 900 illustrations for the series.

Freddy books in order of publication
These are all 26 titles in the Freddy the Pig series. Five were originally published with other titles, in parentheses.

 * 1) Freddy Goes to Florida, 1927 (To and Again), ; re-issued as both Freddy Goes to Florida and Freddy's First Adventure in 1949
 * 2) Freddy Goes to the North Pole, 1930 (More To and Again), ; re-titled
 * 3) Freddy the Detective, 1932
 * 4) Freddy and Freginald, 1936 (The Story of Freginald); re-titled 1952
 * 5) Freddy and the Clockwork Twin, 1937 (The Clockwork Twin); re-titled
 * 6) Freddy the Politician, 1939 (Wiggins for President); re-titled 1948
 * 7) Freddy's Cousin Weedly, 1940
 * 8) Freddy and the Ignormus, 1941
 * 9) Freddy and the Perilous Adventure, 1942
 * 10) Freddy and the Bean Home News, 1943
 * 11) Freddy and Mr. Camphor, 1944
 * 12) Freddy and the Popinjay, 1945
 * 13) Freddy the Pied Piper, 1946
 * 14) Freddy the Magician, 1947
 * 15) Freddy Goes Camping, 1948
 * 16) Freddy Plays Football, 1949
 * 17) Freddy the Cowboy, 1950
 * 18) Freddy Rides Again, 1951
 * 19) Freddy the Pilot, 1952
 * 20) Freddy and the Space Ship, 1953,
 * 21) The Collected Poems of Freddy the Pig, 1953
 * 22) Freddy and the Men from Mars, 1954
 * 23) Freddy and the Baseball Team From Mars, 1955
 * 24) Freddy and Simon the Dictator, 1956
 * 25) Freddy and the Flying Saucer Plans, 1957
 * 26) Freddy and the Dragon, 1958

title: Freddy the Pig


text:
Talk:Cameron

Waiting in the wings

 * James Cameron (film director, producer, deep-sea explorer)
 * Cameron, Alan (NZ legal scholar)
 * Cameron, David, British actor (born 1933)
 * Cameron, Don
 * Cameron, Edward John (1887-1894)
 * Cameron, Iain (born 1943), British brigadier

 * Cameron, Silver Donald (born 1937), Canadian writer

The following pages link to Don Cameron:

 * Cameron Balloons
 * Kentucky Derby
 * Preakness Stakes
 * Belmont Stakes
 * USS Yorktown (1888)
 * 31st Canadian parliament
 * 1999 Ontario election

So how many people are called Don Cameron?  18:25, Dec 6, 2004 (UTC)

I'm adding a part that explains the meaning of "Cameron" and what language it comes from. Cameron Nedland 00:36, 11 December 2005 (UTC)

Im guessing your name is cameron and you live in ontario, canada KaranTheDestroyer (talk) 00:04, 12 January 2018 (UTC)

Please may you let me be truthfull about people called cameron KaranTheDestroyer (talk) 00:05, 12 January 2018 (UTC)

Im sorry, i did not realise it was aganst terms of service to make jokes on wikepedia KaranTheDestroyer (talk) 00:07, 12 January 2018 (UTC)

Star Trek actress
There's an actress who goes only by the single name Cameron, who portrayed the role of "Ensign Kellogg" in several episodes of ST:TNG episodes, as well as two of the TNG-related movies. I don't know if there's enough information available on her to warrant an article, or simply a mention here, but I figured I'd offer these links for anyone who wants to give it a shot:

Cameron at Memory Alpha

Cleanup
This page was marked for cleanup per MoS:DAB. I removed all but two persons from the people (given name) section because to my knowledge, they are not just known by their given name, making them superfluous on this dab page. – sgeureka t•c 09:34, 5 April 2007 (UTC)
 * Cameron Bright, Canadian child actor
 * Cameron Crowe, Writer and film director
 * Cameron Diaz, Actress
 * Cameron Mitchell (actor), Actor

Edit request
Please add Cameroon (disambiguation) to the see also section -- 67.70.26.89 (talk) 16:10, 31 December 2020 (UTC)
 * Yes check.svg Done Terasail [✉] 18:10, 31 December 2020 (UTC)

title: Talk:Cameron


text:
Regency Bridge

The Regency Bridge, locally known as the "Swinging Bridge," is a one-lane suspension bridge over the Colorado River in Texas. It is located at the intersection of Mills County Road 433 and San Saba County Road 137, both gravel roads, near a small community called Regency. The bridge spans the Colorado River between Mills and San Saba counties.

History
The main span is 343 ft long, but counting the approach spans, engineers list the bridge’s overall length at 403 ft. The wooden deck of the bridge is 16 ft wide. It was built in 1939, with most of the work being done by hand. An earlier bridge constructed in 1903 collapsed under the weight of a herd of cattle, and a later bridge built in 1936 washed away in a flood. The Regency Bridge was restored by James Harris in 1997, with then-Governor Bush attending the re-dedication service. This was a major event for the community of around 25 people.

Local teenagers accidentally set the wood surface on fire on December 29, 2003, burning a hole in some planks and causing $20,000 in damage. The bridge was repaired and reopened to traffic in early 2005. After closing in late 2014, the bridge is once again open to traffic. After a closure in Sept 2020 due to structural damage, the bridge was re-opened to traffic in May 2021.

In 2005, the Regency Bridge became the last suspension bridge in Texas open to automobile traffic.

Commemoration
A nearby historical marker, located on the southeast side of the intersection of FM 574 and Mills County Road 433 (which is just east of the intersection of FM 45 and FM 574) reads: "This area's first Colorado River bridge was at Regency, on Mills-San Saba County line. Built 1903, it served ranchers and farmers for going to market, but fell in 1924, killing a boy, a horse, and some cattle. Its successor was demolished by a 1936 flood. With 90 per cent of the work done by hand labor, the Regency Suspension Bridge was erected in 1939. It became the pride of the locality, and youths gathered there in the 1940s to picnic, dance, and sing. Bypassed by paved farm roads, it now (1976) survives as one of the last suspension bridges in Texas."

In popular culture

 * The bridge is included in the opening credits for Texas Country Reporter.
 * In 2017 Regency Bridge was featured on an episode of The Daytripper with Chet Garner as part of the San Saba episode.
 * In 2005, Alton and Sue Watson founded the There's Something In The Water Songwriter Festival featuring musicians and songwriters from Texas, Oklahoma, and other regions. The annual festival was held for 12 years on the third weekend in April at an old campground located on the Mills County side of the river.
 * World Without Waves was filmed in the area and featured the Regency bridge in several scenes.

title: Regency Bridge


text:
Talk:Chaos Computer Club

Comment
Maybe it's just me, but I don't find the article very objective. Maybe someone who knows more about it can try to adjust it a little bit or simply erase some of the glorifying adjectives.

 * It would be nice if you added your Nick and I don't see any glorifying adjectives. ;)
 * From my POV it is still a stub, there is lots to add. -- Lightkey 09:01, 3 May 2005 (UTC)

 * There is more information in the german article at http://de.wikipedia.org/wiki/Chaos_Computer_Club. Feel free to use google to translate it and then correct it yourself :P

The CCC was founded in Soviet-controlled East Berlin on September 12, 1981 by Wau Holland and others in anticipation of the prominent role that information technology would play in the way people live and communicate.

That's wrong, CCC was not founded in East Berlin but West Berlin, in the rooms of "die tageszeitung"

Discordianism - for real?
I'm an active member of the CCC and this bit about discordianism... I'd say, that it's not very important. I've always regarded it a little joke, cultural reference just like "23" or "foo bar". This article makes it sound like we're worshippers or something... -- Pallas —Preceding unsigned comment added by Special:Contributions/ (talk)

Sr I am SHAN SHAJAL JOSHY I am form kerala I have a exam for Higher studies +2. But the exam result comes today I didn't psss in some subjects Because I think hack the school software and add the marks  or delete all result in my school   plz sr help me plz sr because I begging you sr  SHAN SHAJAL JOSHY (talk) 11:40, 15 May 2017 (UTC)

GAL
If someone called the GAL the communist worker's party in Hamburg you should really doubt their paper at all. The GAL was and is the Green party organisation in Hamburg. Third biggest party in the Hamburg city and state parliament and currently ruling party, with the conservative CDU. So I will delete that part, well the entire paragraph, seems pointless to cite such a study. -- Thomas (talk) 02:40, 25 May 2008 (UTC)

struggle
replaced "to struggle for" with the less ambigous "to stand up for" as I see it inappropriate to promote a term that is easily associated with near-vain effort. Not using "to fight" (although that's of course a common term and some civil rights organizations use it of themselves) as it might be too easily associated with violence (which is not used or endorsed by the CCC) by those superficially familiar with the term "hacker". 217.226.61.243 (talk) 14:09, 24 September 2008 (UTC)

Julian Assange?
There certainly are lots of rumors that Julian Assange is/was associated with the CCC. See for instance these incredibly unreliable sources. The CCC features prominently in the leaked log of Domscheit-Berg's falling out with Assange, I think generally regarded as accurate. And of course the Wau Holland Foundation was listed as where to send donations to WikiLeaks. It seems probable that Assange was in the org, and if anyone can come up with a reputable source, he seems famous enough to add to the members section of the page. Kevin Saff (talk) 19:57, 10 December 2010 (UTC)

Replace logo
Please replace the ugly low-res logo with an appropriate version: http://de.wikipedia.org/wiki/Datei:Logo_CCC.svg - I'm missing upload permissions. There won't be any legal issues with this logo. --MeSuAx (talk) 22:14, 20 January 2011 (UTC)
 * Done. Lichtspiel (talk) 12:16, 19 June 2011 (UTC)

Clubs outside of German-speaking countries
I propose moving heading Chaos Computer Club France to a subheading under 'Clubs outside of German-speaking countries' or similar. There is/was a meeting in Bristol, UK which could then be included. --trevj (talk) 09:56, 15 February 2011 (UTC)

There are several "Chaosnahe Gruppen" (groups that are related to the CCC"... what to do with those? Esel (talk) 12:00, 5 April 2012 (UTC)

resource
Germans Condemn Police Use of Spyware by Nicholas Kulish, published October 14, 2011 in The New York Times. 97.87.29.188 (talk) 19:29, 16 October 2011 (UTC)
 * Here is an interesting excerpt ...  99.119.131.17 (talk) 01:48, 17 October 2011 (UTC)
 * This might be more toward wp ...
 * 99.56.122.147 (talk) 04:47, 18 October 2011 (UTC)
 * R2-D2 99.56.123.120 (talk) 08:43, 5 December 2011 (UTC)
 * de:Trojanisches Pferd (Computerprogramm)
 * http://www.n-tv.de/politik/Staatstrojaner-bekommt-Auszeit-article4953041.html
 * de: Bundeskriminalamt (Deutschland) BKA <> Federal Criminal Police Office (Germany)
 * de:Staatstrojaner-Affäre redirects to de:Online-Durchsuchung, see Computer surveillance 99.190.85.111 (talk) 07:00, 15 December 2011 (UTC)

(od) Chaos Computer Club? 99.35.12.129 (talk) 09:58, 20 January 2012 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20080530204651/http://www.ccc.de:80/gsm/ to http://www.ccc.de/gsm/
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Right to share information?
Do you think the Chaos Computer Club ever promoted refraining from sharing personal information or is just sensibilizing to the weakness of most phones and databases?

One could discuss whether users are actively participating in surveillance, simply by sharing a lot of information (localization, photos...) automatically or on social media for example. It could seem easier to incite users to use internet in a way that they have nothing to loose if anybody puts a hand on said information.

However, from the CCC contents, It appears that privacy is, to the CCC, a right, and that perhaps sharing information freely and easily is also one.

title: Talk:Chaos Computer Club