Charlotte Kates, a spokeswoman for seven Vancouver–based groups calling themselves the Palestine Awareness Coalition "said the images, which went up in Vancouver on Tuesday, show the steady occupation of Palestinian territory by Israel. The coalition got the idea for the 'Disappearing Palestine' campaign from similar ads that have run in American cities like New York, Seattle and San Francisco.
'We wanted to draw attention to and shed light on the ongoing human rights violations ... against Palestinians,' she said.
'The Canadian government has been such a strong voice in support of Israel ... so we think it's particularly important that people in Vancouver and other Canadian cities learn about what's happening in Palestine now and what's happened there historically.'
Jewish groups have declared strong opposition to the ads, which are displayed at a wall mural in a Vancouver SkyTrain station as well as on 15 buses, and have tried to have TransLink, a government agency, remove them."
(Kim Nursall, 28 August 2013, The Canadian Press)
"Dying metaphors. A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically 'dead' (e.g. iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn–out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgel for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles' heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a 'rift,' for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written as tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would avoid perverting the original phrase."
George Orwell (1950). "Shooting an Elephant and Other Essays", Secker & Warburg Publishers, UK.
"This is a story from early in the technological revolution, when the application was out searching for the hardware, from a time before the Internet, a time before the PC, before the chip, before the mainframe. From a time even before programming itself.
Tasman's 1957 prophecy was no shot in the dark. His view of the future was a projection from his recent past. Thomas J. Watson, Sr. had assigned him in 1949 to be IBM liaison and support person for a young Jesuit's daring project to produce an index to the complete writings of St. Thomas Aquinas. First, Tasman's thesis, as subsequent history turned out, was a huge understatement; and second, it essentially defines the first large invention of Father Roberto Busa, S. J., namely, to look at 'tools developed primarily for science and commerce' and to see other uses for them. As will be seen, this was a case of fortune favoring the prepared mind. Redirecting scholarship, he essentially invented the machine–generated concordance, the first of which he had published in 1951.
Father Busa, of course, is best known as the producer of the landmark 56–volume Index Thomisticus. As he began this work in 1946, and produced a sample proof–of–concept, machine–generated concordance in 1951, his professional life spans the entire computing chapter in the history of scholarship. Emphasis in this article will be on the early steps."
(Thomas Nelson Winter, January 1999)
Published in The Classical Bulletin 75:1 (1999), pp. 3–20. Copyright © 1999 Bolchazy–Carducci Publishers, Inc.
"'Mac book Air,' Apple's latest master–piece, is the world's thinnest laptop ever. However, here in the U.K, we still use the world's biggest three–pin plug. Most people carry laptops with adapters and plugs because laptop batteries have limitations on the time they can be used. When people carry laptops with U.K plugs in a bag, it always causes problems such as tearing paper, scratching laptop surfaces and, sometimes, it breaks other stuff. The main problem is the UK standard 3–pin plug is not considered in the process of designing for mobility. My intention of the project was directed to make the plug as slim as possible and follow the British Standard regulation at the same time."
(Min–Kyu Choi, 20 April 2009, http://www.minkyu.co.uk/Site/Product/Entries/2009/4/20_Folding_Plug_System.html)
"La lumière brillante et surnaturelle qui avait dominé toute la scène du château (flamme des chandeliers, feu, reflets étincelants de l'argenterie) s'estompe pour laisser la place à la lumière naturelle du jour [plan 9] . Ces rayons lumineux rappellent ceux des dernières gravures de la Belle au vois dormant. D'autant plus que cette lumière naturelle n'est pas légitimée par la présence d'une fenêtre, comme c'est le cas chez Doré. C'est une lumière naturelle, la lumière du jour, mais elle semble toujours éclairer le personnage de manière surnaturelle : comment la lumière extérieure peut–elle pénétrer à l'intérieur sans la présence d'aucune fenêtre ? Les flambeaux s'éteignent un à un, le personnage traverse un grand pan de lumière blanche, la porte se referme toute seule, l'escalier apparaît en plongée : la scène semble se rejouer à l'envers, ce qui souligne la structure circulaire et la clôture de la séquence, mais aussi l'influence de l'œuvre de Gustave Doré. Le dialogue des contes et des illustrations se poursuit jusqu'à la dernière image de la séquence puisqu'elle se termine sur les ronces qui envahissent l'escalier du château de la Bête, comme celles qui envahissent les gravures du château de la Belle au bois dormant."
(Estelle Plaisant Soler, 26 juin 2006)
Fig.1 Jean Cocteau (1946). "la Belle et la Bête"
2). PDF of 100 Cult Films (Screen Guides).