Swedish Fish is a fish-shaped wine gum (gum drop type) candy. In 1957, Malaco, a Swedish confectionery manufacturer, expanded its business by exporting a few of their products to North America. Various licorice ribbon and licorice lace candies were the first products to be exported. Malaco CEO Thor Fjørgerson called the move ‘a landmark day for Sweden/US relations.’
International trade experts hailed the move, as it allowed Malaco to extend its brand beyond the Scandinavian Peninsula. Malaco’s export trade grew and in the late 1960s and early 1970s, Swedish Fish and Swedish Berries were developed specifically for the North American market. Malaco was eventually acquired by Leaf International.
Swedish House Mafia is a Swedish house music group consisting of the three disc jockeys and producers, Axwell, Steve Angello, and Sebastian Ingrosso. The group officially formed in late 2008.
Hawala [ha-wah-lah] (Arabic: ‘transfer’) is an informal value transfer system based on the performance and honor of a huge network of money brokers, primarily located in the Middle East, North Africa, the Horn of Africa, and the Indian subcontinent, operating outside of, or parallel to, traditional banking, financial channels, and remittance systems.
The system is believed to have arisen in the financing of long-distance trade around the emerging capital trade centers in the early medieval period. In South Asia, it appears to have developed into a fully-fledged money market instrument, which was only gradually replaced by the instruments of the formal banking system in the first half of the 20th century. Today, hawala is probably used mostly for migrant workers’ remittances to their countries of origin.
Transcreation is a term used chiefly by advertising and marketing professionals to refer to the process of adapting a message from one language to another, while maintaining its intent, style, tone and context. A successfully transcreated message evokes the same emotions and carries the same implications in the target language as it does in the source language.
Increasingly, transcreation is used in global marketing and advertising campaigns as advertisers seek to transcend the boundaries of culture and language. It also takes account of images which are used within a creative message, ensuring that they are suitable for the target local market.
Damascus steel was a type of steel used in Middle Eastern swordmaking. Damascus steel was created from wootz steel, a steel developed in India around 300 BCE. These swords are characterized by distinctive patterns of banding and mottling reminiscent of flowing water. Such blades were reputed to be tough, resistant to shattering and capable of being honed to a sharp, resilient edge. The original method of producing Damascus steel is not known. Recreating Damascus steel is a subfield of experimental archaeology. Many have attempted to discover or reverse-engineer the process by which it was made.
Numerous studies have demonstrated correlations between creative occupations and mental illnesses, including bipolar disorder and schizophrenia. The association between bipolar disorder and creativity first appeared in literature in the 1970s, but the idea of a link between ‘madness’ and ‘genius’ is much older, dating back at least to the time of Aristotle. The Ancient Greeks believed that creativity came from the gods, and in particular the Muses, the goddesses of arts and sciences, and the nine daughters of Zeus, the king of the gods.
The idea of a complete work of art emerging without conscious thought or effort was reinforced by the views of the Romantic era. It has been proposed that there is a particular link between creativity and bipolar disorder, whereas major depressive disorder appears to be significantly more common among playwrights, novelists, biographers, and artists. Psychotic individuals are said to display a capacity to see the world in a novel and original way, literally, to see things that others cannot.
The paleolithic diet (also popularly referred to as the caveman diet, Stone Age diet, and hunter-gatherer diet) is a modern nutritional plan based on the presumed ancient diet of wild plants and animals that various hominid species habitually consumed during the Paleolithic era—a period of about 2.5 million years which ended around 10,000 years ago with the development of agriculture and grain-based diets. In common usage, such terms as the ‘Paleolithic diet’ also refer to the actual ancestral human diet. Centered on commonly available modern foods, the ‘contemporary’ Paleolithic diet consists mainly of fish, grass-fed pasture raised meats, eggs, vegetables, fruit, fungi, roots, and nuts, and excludes grains, legumes, dairy products, potatoes, refined salt, refined sugar, and processed oils.
First popularized in the mid-1970s by gastroenterologist Walter L. Voegtlin, this nutritional concept has been promoted and adapted by a number of authors and researchers in several books and academic journals. A common theme in evolutionary medicine, Paleolithic nutrition is based on the premise that modern humans are genetically adapted to the diet of their Paleolithic ancestors and that human genetics have scarcely changed since the dawn of agriculture, and therefore that an ideal diet for human health and well-being is one that resembles this ancestral diet.
The ‘Canadian Caper‘ was the popular name given to the joint covert rescue by the Canadian government and the Central Intelligence Agency of six American diplomats who had evaded capture during the seizure of the United States embassy in Tehran, and taking of embassy personnel as hostages by Islamist students and militants on November 4, 1979. The ‘caper’ involved CIA agents (Tony Mendez and a man known as ‘Julio’) joining the six diplomats to form a fake film crew made up of six Canadians, one Irishman and one Latin American who were finished scouting for an appropriate location to shoot a scene for the notional sci-fi film ‘Argo.’ The charade was carried off on the morning of Monday, January 28, 1980, at the Mehrabad Airport in Tehran. The eight Americans successfully boarded a Swissair flight to Zurich, Switzerland, and escaped Iran.
Epigenetics [ep-uh-juh-net-iks] is the study of changes in gene activity which are not caused by changes in the DNA sequence. More specifically, epigenetics is the study of gene expression, the way genes bring about their phenotypic effects (observable characteristics or traits). Gene expression is the process by which the heritable information in a gene, the sequence of DNA base pairs, is made into a functional gene product, such as protein or RNA. The basic idea is that DNA is ‘transcribed’ into RNA, which is then ‘translated’ into proteins (which make many of the structures and all the enzymes in a cell or organism). Several steps in the gene expression process may be modulated (tuned). This includes both the transcription and translation stages, and the final folded state of a protein. Gene regulation (mechanisms used by cells to increase or decrease the production of specific gene products) switches genes on and off, and so controls cell differentiation, and morphogenesis (the biological process that causes an organism to develop its shape). Gene regulation may also serve as a basis for evolutionary change: control of the timing, location, and amount of gene expression can have a profound effect on the development of the organism. A well-known example is that of the honey bee. Larvae that are fed with a pollen and nectar diet develop into worker bees, while those fed royal jelly develop into queens, growing larger and with different morphology.
The expression of a gene may vary a lot in different tissues. This is called pleiotropism, a widespread phenomenon in genetics. In pleiotropism, a single gene affects a number of phenotypic traits in the same organism. These pleiotropic effects often seem to be unrelated to each other. The underlying mechanism is that the same gene is activated in several different tissues, producing apparently different effects. It follows that the phenomenon must be extremely common, since most genes will have effects in more than one tissue. Changes in gene activity may persist for the remainder of the cell’s life and may also last for many generations of cells, through cell divisions. However, there is no change in the underlying DNA sequence of the organism. Instead, non-hereditary factors cause the organism’s genes to behave (express themselves) differently. The best example of epigenetic changes in eukaryotes is the process of cell differentiation. During morphogenesis, generalized stem cells become the cell lines of the embryo which in turn become fully differentiated cells. In other words, a single fertilized egg cell – the zygote – divides and changes into all the many cell types: neurons, muscle cells, epithelium, blood vessels etc. As the embryo develops, some genes get switched on, while others are switched off or moderated (gene regulation). There are many molecules inside the cell nucleus which do the job of adjusting the genes’ output.
Sergei Eisenstein (1898 – 1948) was a pioneering Soviet Russian film director and film theorist, often considered to be the ‘Father of Montage.’ He is noted in particular for his silent films ‘Strike’ (1924), ‘Battleship Potemkin’ (1925), and ‘October’ (1927), as well as the historical epics ‘Alexander Nevsky’ (1938) and ‘Ivan the Terrible’ (1944). Eisenstein was born to a middle-class family in Latvia, but his family moved frequently in his early years, as Eisenstein continued to do throughout his life. His father was of German-Jewish and Swedish descent, and his mother, was from a Russian Orthodox family. His father was an architect and his mother was the daughter of a prosperous merchant. His mother left Riga the same year as the Russian Revolution (1905), bringing Sergei with her to St. Petersburg. Her son would return at times to see his father, who later moved to join them around 1910. Divorce followed and Julia deserted the family to live in France. At the Petrograd Institute of Civil Engineering, Sergei studied architecture and engineering, the profession of his father. At school with his fellow students however, Sergei would join the military to serve the revolution, which would divide him from his father. In 1918 he joined the Red Army, although his father supported the opposite side. This brought his father to Germany after defeat, and Sergei to Petrograd, Vologda, and Dvinsk. In 1920, Sergei was transferred to a command position in Minsk, after success providing propaganda for the October Revolution. At this time, he studied Japanese, learning some 300 kanji characters, which he cited as an influence on his pictorial development, and gained an exposure to Kabuki theater. These studies would lead him to travel to Japan.
In 1920 Eisenstein moved to Moscow, and began his career in theater working for Proletkult (an experimental Soviet artistic institution). His productions there were entitled ‘Gas Masks,’ ‘Listen Moscow,’ and ‘Wiseman.’ Eisenstein would then work as a designer for Soviet theater director Vsevolod Meyerhold. In 1923 Eisenstein began his career as a theorist, by writing ‘The Montage of Attractions’ for LEF (a leftist Soviet journal). Eisenstein’s first film, ‘Glumov’s Diary’ was also made in that same year with Soviet documentary film theorist Dziga Vertov hired initially as an ‘instructor.’ ‘Strike’ (which depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression) was Eisenstein’s first full-length feature film. ‘The Battleship Potemkin’ (a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers of the Tsarist regime) was acclaimed critically worldwide. But it was mostly his international critical renown which enabled Eisenstein to direct ‘October’ (aka ‘Ten Days That Shook The World,’ a celebratory dramatization of the 1917 October Revolution) as part of a grand tenth anniversary celebration of the Revolution, and then ‘The General Line’ (aka ‘Old and New,’ a celebration of the collectivization of agriculture). The critics of the outside world praised them, but at home, Eisenstein’s focus in these films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others, such as Vsevolod Pudovkin and Alexander Dovzhenko, under fire from the Soviet film community, forcing him to issue public articles of self-criticism and commitments to make his cinematic visions conform to the increasingly specific doctrines of socialist realism (made in furtherance of socialism).
Feminist pornography is pornography produced by and with feminist women. It is a small but growing segment of the pornography industry. Since 2006, there has been a Feminist Porn Awards held annually in Toronto, sponsored by a local feminist sex toy shop, Good for Her. They have three guiding criteria: A woman had a hand in the production, writing, direction, etc. of the work; It depicts genuine female pleasure; and It expands the boundaries of sexual representation on film and challenges stereotypes that are often found in mainstream porn. According to feminist author Tristan Taormino, ‘Feminist porn both responds to dominant images with alternative ones and creates its own iconography.’ Some pornographic actresses such as Nina Hartley, Ovidie, Madison Young, and Sasha Grey are also self-described ‘sex-positive feminists,’ and state that they do not see themselves as victims of sexism. They defend their decision to perform in pornography as freely chosen, and argue that much of what they do on camera is an expression of their sexuality. It has also been pointed out that in pornography, women generally earn more than their male counterparts. Some porn performers such as Nina Hartley are active in the sex workers’ rights movement.
Feminist porn directors include Candida Royalle, Tristan Taormino, Madison Young, Shine Louise Houston, and Erika Lust. Some of these directors make pornography specifically for a female or genderqueer (a catch-all term for gender identities other than man and woma) audience, while others try for a broad appeal across genders and sexual orientations. Directed by Abiola Abrams in 2006, ‘Afrodite Superstar’ is renowned as the first adult film directed by and for women of color. Other black female directors in adult film, in addition to Shine Louise Houston, include Estelle Joseph – director of the award-winning ‘City of Flesh’ series and Diana Devoe. Swedish filmmaker Mia Engberg along with twelve different directors produced a collection of feminist pornographic short films titled ‘Dirty Diaries’ which was released in 2009. The financing for the most part came from the Swedish Film Institute.
Discrimination against atheists (sometimes called atheophobia) includes the persecution and discrimination faced by atheists and those labeled as atheists in the past and in the current era. Differing definitions of atheism historically and culturally mean those discriminated against might not be considered truly atheist by modern Western standards. In constitutional democracies, legal discrimination against atheists is uncommon, but some atheists and atheist groups, particularly those in the United States, have protested laws, regulations and institutions they view as being discriminatory. In some Islamic countries, atheists face discrimination including lack of legal status or even a death sentence in the case of apostasy. Atheism in its modern sense did not exist before the end of the seventeenth century. However, as governmental authority rested on the notion of divine right, it was threatened by those who denied the existence of the local god. Philosophers such as Plato argued that atheism (as we understand it today) was a danger to society and should be punished as a crime. Those labeled as atheist, which included early Christians and Muslims, were as a result targeted for legal persecution.
During the Early modern period in the 16th century, the term ‘atheist’ was used as an insult and applied to a broad range of people, including those who held opposing theological beliefs, as well as suicides, immoral or self-indulgent people, and even opponents of the belief in witchcraft. Atheistic beliefs were seen as threatening to order and society by philosophers such as Thomas Aquinas. Lawyer and scholar Thomas More said that religious tolerance should be extended to all except those who did not believe in a deity or the immortality of the soul. John Locke, a founder of modern notions of religious liberty, argued that atheists (as well as Catholics and Muslims) should not be granted full citizenship rights. During the Spanish Inquisition, several of those accused of atheism or blasphemy, or both, were tortured or executed. These included a priest Giulio Cesare Vanini who was strangled and burned in 1619 and a Polish nobleman Kazimierz Łyszczyński who was executed in Warsaw, as well as Etienne Dolet, a Frenchman executed in 1546. Though heralded as atheist martyrs during the nineteenth century, recent scholars hold that the beliefs espoused by Dolet and Vanini are not atheistic in modern terms.
An isolation tank is a lightless, soundproof tank inside which subjects float in salt water at skin temperature. They were first used by John C. Lilly in 1954 to test the effects of sensory deprivation. Such tanks are now also used for meditation and relaxation and in alternative medicine. The isolation tank was originally called the sensory deprivation tank. Other names for the isolation tank include flotation tank, John C. Lilly tank, REST tank, sensory attenuation tank, and think tank.
John C. Lilly, a medical practitioner and neuro-psychiatrist, developed the flotation tank in 1954. During his training in psychoanalysis at the US National Institute of Mental Health (NIMH), Lilly commenced experiments with sensory deprivation. In neurophysiology, there had been an open question as to what keeps the brain going and the origin of its energy sources. One hypothesis was that the energy sources are biological and internal and do not depend upon the outside environment. It was argued that if all stimuli are cut off to the brain then the brain would go to sleep. Lilly decided to test this hypothesis and, with this in mind, created an environment which totally isolated an individual from external stimulation. From here, he studied the origin of consciousness and its relation to the brain.
Crypto-anarchism refers to the use of cryptographic software to evade prosecution and harassment while sending and receiving information over computer networks, thereby protecting privacy and political freedom. In a sense, the encrypted anonymous networks (the ‘cipherspace’) can be regarded as an independent lawless territory or as an autonomous zone. However, participants may in theory voluntarily create new laws using smart contracts (computer protocols that facilitate, verify, or enforce the negotiation or performance of a contract, or that obviate the need for a contractual clause) or, if the user is pseudonymous, depend on online reputation. The ‘crypto’ in crypto-anarchism should not be confused with the use of the prefix ‘crypto-’ to indicate an ideology or system with an intentionally concealed or obfuscated ‘true nature.’ For example, some would use the term ‘crypto-fascist’ to describe an individual or organization that holds fascist views and subscribes to fascist doctrine but conceals their agenda so long as these doctrines remain socially unacceptable. However, Timothy C. May’s ‘Cyphernomicon’ (one of the philosophy’s founding documents, posted in 1994) indicates that the term ‘crypto-anarchist’ was partially intended as a pun on this usage, even though he did not intend to conceal his beliefs or agenda.
One motive of crypto-anarchists is to defend against surveillance of computer networks communication. Crypto-anarchists try to protect against things like telecommunications data retention, the NSA warrantless surveillance controversy, Room 641A (the room at AT&T used by the NSA) and FRA (a Swedish law that authorizes the state to warrantlessly wiretap all telephone and Internet traffic that crosses its borders), among other things. Crypto-anarchists consider the development and use of cryptography to be the main defense against such problems, as opposed to political action. A second concern is evasion of censorship, particularly Internet censorship, on the grounds of freedom of expression. The programs used by crypto-anarchists often make it possible to both publish and read information off the internet or other computer networks anonymously. Tor, I2P, Freenet and many similar networks allow for anonymous ‘hidden’ webpages only accessible by users of these programs. This helps whistle blowers and political opposition in oppressive nations get information out. Another reason is to build and participate in counter economics (short for counter-establishment economics), which refers to the study and/or practice of all peaceful human action which is forbidden by the State. Crypto-currencies such as Bitcoin and services like Silk Road (an encrypted, illicit online marketplace) makes it possible to trade goods and services with little interference of law.
Maakies is a syndicated weekly comic strip by Tony Millionaire. It began publication in 1994 in the ‘New York Press.’ It currently runs in many American alternative newsweeklies including ‘The Stranger,’ ‘LA Weekly,’ and ‘Only.’ It also appears in several international venues including the Italian comics magazine ‘Linus’ and the Swedish comics magazine ‘Rocky.’ The strip focuses on the darkly comic misadventures of Uncle Gabby (a drunken Irish sock monkey) and Drinky Crow (an alcoholic crow), two antiheroes with a propensity for drunkenness, violence, suicide, and venereal disease. According to Millionaire, ”Maakies’ is me spilling my guts… Writing and drawing about all the things that make me want to jump in the river, laughing at the horror of being alive.’ Maakies strips typically take place in an early 19th century nautical setting. There is rarely any continuity between strips.
Maakies often includes visual references to historic works of art, especially to the popular graphic arts such as Japanese ukiyo-e, European engravings, and early American newspaper comics. Like many early 20th century Sunday strips, each Maakies comic usually includes a second, smaller strip (known as a ‘topper’) that runs along the bottom of the main strip. Tiny landscape drawings are interspersed between the panels of these strips. Also, a tugboat (referred to once as ‘the enigmatic Maakies tug’) appears somewhere in the background of virtually every strip. The characters of Uncle Gabby and Mr. Crow in Millionaire’s ‘Sock Monkey’ comics and books are loosely connected to their ‘Maakies’ counterparts. They make occasional appearances in the weekly strip.