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1000 results for “const_ae”
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A 481-Metre-High Landslide-Tsunami In A Cruise Ship–Frequented Alaska Fjord
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https://doi.org/10.1126/science.aec3187 <-- shared paper
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https://www.nytimes.com/2026/05/06/science/tsunami-landslide-alaska-climate-arctic.html <-- shared media article
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#naturalhazard #glacier #glacial #melting #risk #hazard #climatechance #extremeweather #tsunami #runup #riskassessment #spatialanalysis #spatiotemporal #cryosphere #disaster #publicsafety #damage #infrastructure #Alaska #fjord #landslide #massmovement #engineeringeology #geology #cruiseship #humanimpacts #water #hydrology #caseexample #monitoring #coast #coastal #marine #wave #microseismicity #remotesensing #earthobservation #tourism #averteddisaster #readiness #awareness #planning #safety #deglaciating -
A 481-Metre-High Landslide-Tsunami In A Cruise Ship–Frequented Alaska Fjord
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https://doi.org/10.1126/science.aec3187 <-- shared paper
--
https://www.nytimes.com/2026/05/06/science/tsunami-landslide-alaska-climate-arctic.html <-- shared media article
--
#naturalhazard #glacier #glacial #melting #risk #hazard #climatechance #extremeweather #tsunami #runup #riskassessment #spatialanalysis #spatiotemporal #cryosphere #disaster #publicsafety #damage #infrastructure #Alaska #fjord #landslide #massmovement #engineeringeology #geology #cruiseship #humanimpacts #water #hydrology #caseexample #monitoring #coast #coastal #marine #wave #microseismicity #remotesensing #earthobservation #tourism #averteddisaster #readiness #awareness #planning #safety #deglaciating -
A 481-Metre-High Landslide-Tsunami In A Cruise Ship–Frequented Alaska Fjord
--
https://doi.org/10.1126/science.aec3187 <-- shared paper
--
https://www.nytimes.com/2026/05/06/science/tsunami-landslide-alaska-climate-arctic.html <-- shared media article
--
#naturalhazard #glacier #glacial #melting #risk #hazard #climatechance #extremeweather #tsunami #runup #riskassessment #spatialanalysis #spatiotemporal #cryosphere #disaster #publicsafety #damage #infrastructure #Alaska #fjord #landslide #massmovement #engineeringeology #geology #cruiseship #humanimpacts #water #hydrology #caseexample #monitoring #coast #coastal #marine #wave #microseismicity #remotesensing #earthobservation #tourism #averteddisaster #readiness #awareness #planning #safety #deglaciating -
A 481-Metre-High Landslide-Tsunami In A Cruise Ship–Frequented Alaska Fjord
--
https://doi.org/10.1126/science.aec3187 <-- shared paper
--
https://www.nytimes.com/2026/05/06/science/tsunami-landslide-alaska-climate-arctic.html <-- shared media article
--
#naturalhazard #glacier #glacial #melting #risk #hazard #climatechance #extremeweather #tsunami #runup #riskassessment #spatialanalysis #spatiotemporal #cryosphere #disaster #publicsafety #damage #infrastructure #Alaska #fjord #landslide #massmovement #engineeringeology #geology #cruiseship #humanimpacts #water #hydrology #caseexample #monitoring #coast #coastal #marine #wave #microseismicity #remotesensing #earthobservation #tourism #averteddisaster #readiness #awareness #planning #safety #deglaciating -
A 481-Metre-High Landslide-Tsunami In A Cruise Ship–Frequented Alaska Fjord
--
https://doi.org/10.1126/science.aec3187 <-- shared paper
--
https://www.nytimes.com/2026/05/06/science/tsunami-landslide-alaska-climate-arctic.html <-- shared media article
--
#naturalhazard #glacier #glacial #melting #risk #hazard #climatechance #extremeweather #tsunami #runup #riskassessment #spatialanalysis #spatiotemporal #cryosphere #disaster #publicsafety #damage #infrastructure #Alaska #fjord #landslide #massmovement #engineeringeology #geology #cruiseship #humanimpacts #water #hydrology #caseexample #monitoring #coast #coastal #marine #wave #microseismicity #remotesensing #earthobservation #tourism #averteddisaster #readiness #awareness #planning #safety #deglaciating -
https://www.walknews.com/1070490/ スウェーデン首相、ウクライナ大統領と戦闘機供与巡り協議 | ロイター #AER #AERO #AERO1 #ASIA #ASXPAC #BALT #CEEU #CISC #CMPNY #CONS #CWP #CYCP #CYCS #DE #DEF #DEST:NOJPTPM #DEST:NOJPWDM #DEST:NOJPZTM #DIP #DK #EE #EEU #EMEA #EMRG #EUROP #EZC #GEN #HSEBLD #INDG #INDS #INTAG #JFOR #JLN #KITCAB #LT #LV #NASIA #NATO #NEWS1 #NORD #POL #PRIVT #PUBL #RU #SCANDV #SE #SECUR #TRN #UA #Ukraine #WAR #WEU #ウクライナ
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https://www.wacoca.com/news/2660328/ スウェーデン首相、ウクライナ大統領と戦闘機供与巡り協議 | ロイター ##war #AER #AERO #AERO1 #Asia #ASXPAC #BALT #CEEU #CISC #CMPNY #CONS #CWP #CYCP #CYCS #de #Def #DEST:NOJPTPM #DEST:NOJPWDM #DEST:NOJPZTM #dip #DK #EE #EEU #EMEA #EMRG #EUROP #EZC #Gen #HSEBLD #INDG #INDS #INTAG #JFOR #JLN #KITCAB #LT #LV #NASIA #NATO #NEWS1 #NORD #POL #PRIVT #PUBL #Ru #SCANDV #SE #SECUR #TRN #UA #Ukraine #WEU #ウクライナ
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米のイラン港湾封鎖長期化か、トランプ氏「いい人やめた」 | ロイター https://www.yayafa.com/2789685/ #Ae #AMERS #Asia #ASXPAC #BreakingNews #CEEU #CISC #cơm #CONT #CWP #Def #DEST:NOJPTPM #DEST:NOJPWDM #DEST:NOJPZTM #dip #EMEA #EMRG #ENER #ENFF #Eng #EUROP #Gen #IL #IR #Iran #JFOR #JLN #MEAST #MTPIX #MTVID #NAMER #NASIA #News① #NUCL #OILG #PK #POL #POTUS #PXP #ru #SASIA #SHPNG #SWASIA #TGLF #TNKR #TOPCMB #TOPNWS #TRN #TRNSPT #us #War #wash #イラン #速報ニュース
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https://www.walknews.com/1092926/ スウェーデン、ウクライナに戦闘機「グリペン」輸出へ 首脳が合意書に署名 | ロイター #AER #AERO #AERO1 #ASIA #ASXPAC #CEEU #CISC #CMPNY #CONS #CWP #CYCP #CYCS #DE #DEF #DEFBUY #DEST:NOJPTPM #DEST:NOJPWDM #DEST:NOJPZTM #DIP #DK #EMEA #EMRG #EUROP #EZC #GEN #HSEBLD #INDG #INDS #JFOR #JLN #KITCAB #NASIA #NEWS1 #NORD #POL #PRIVT #PUBL #RU #SCANDV #SE #TOPCMB #TOPNWS #TRN #UA #Ukraine #WAR #WEU #ウクライナ
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A “saga of procrastination and sharp practice”: the thread about Leith’s Tally Toor
If you were to go down to Leith Docks and venture where security won’t let you go, you would eventually come across a squat, circular and very curious masonry structure. What you have just found is the Tally Toor, the Leith Martello Tower. You would be forgiven for not realising it was there or for never having heard of it. It doesn’t look like much of a tower, but that’s because most of it has been buried within the reclaimed land behind the Easter Breakwater of the Port of Leith. There was a time when this once stood proudly upon the rocks in the Leith Roads.
The Leith Martello Tower. CC-BY-SA 2.0 Richard WebbMartello Towers were a response to the threat of coastal attacks or even invasion during the Napoleonic period of the late 18th and early 19th centuries. They were built throughout the British Isles and out into the Empire, but Leith is one of only three that were constructed in Scotland. The word Martello (or Tally to Leithers) is an Anglicisation of Torra di Mortella – a medieval Genoese round tower in the north of Corsica. This fortification caused the Royal Navy such disproportionate trouble to overcome it during the Siege of Saint Florent in 1794 that it was taken as a model defensive outpost for home use. The thirty-three men at Mortella had resisted bombardment of British warships and had held off the 700 men sent ashore to take it that it inspired a home grown variant as a model defensive outpost.
Watercolor drawing “View of Mortella Tower” by William Porter, 1794-1796. The Mariners’ Museum #1936.0491.000001/QW83The basic design of the British tower is rather like a squat lighthouse and they were to be located at advantageous coastal positions. Entrance was via a raised door accessed through a retractable ladder to make capture from the land more difficult. Inside, behind the thick stone walls, were two floors of accommodation and storage for an officer and about twenty-five men. Buried within the foundations would be a well and/or water cistern and perhaps a storeroom. But unlike a lighthouse, instead of a navigation beacon on the top instead there was an open fighting platform fitted with two or three heavy guns that could pivot be trained to attack approaching targets. The height of the tower meant it fired down upon ships, affording a raised and protected position for observation and signalling.
British sketch plan of the Torra di Mortella made after capture in 1794. It shows how the three guns mounted atop could be pivoted to command wide arcs of fire against would be attackers. Royal Museums Greenwish, PAD1622The Tally Toor was not the first Georgian-era fortification to defend Leith. In 1779, Leith and Edinburgh had been threatened by the squadron of the American John Paul Jones during the War of Independence and the city had responded to the threat from the sea by building Leith Fort to guard the harbour entrance. The Fort was never entirely satisfactory and for most of its life was used as an ordnance depot, a drill barracks for artillery volunteers and as accommodation for army administrators. In light of its deficiencies in 1807 the Board of Ordnance proposed a thirty-two foot high Martello tower on the rocks at the mouth of the Port of Leith to improve the defences.
Admiralty coastal chart, Fisherrow to Queensferry, 1860. This shows the position of the Mortella (sic) Tower relative to the approach to the Port of Leith and also Leith Fort towards the lower, left-hand corner. Reproduced with the permission of the National Library of ScotlandSomewhat unusually, the tower was not to be built by the military but was left to the Corporation of the City of Edinburgh to construct. Work began in 1809 but due to a “saga of procrastination and sharp practice” and it was not finally handed over to the Board until nearly 30 years later in 1838. The below painting by Robert Norie shows the end of the outer breakwater at Leith as it then was, with the tower being accessible across the interidal rocks at low water. The incomplete base storeys are being used as a handy mooring point for fishing boats.
Martello Tower, Leith, Low Water by Robert Norie, 1830s © Edinburgh City MuseumsIt had cost £17,179 18s 4½d, and it wasn’t even finished! Plus ça change for a construction project by the council in Edinburgh! The final structure was 45 feet high, with 16 feet of foundations built down into the rocks. The base diameter was 80 feet and the gun platform at the top was large enough to accommodate not one but three pivoting cannons. As a result of this, from the top the tower has an elegant cloverleaf (or fidget spinner!) appearance on account of the three overlapping gun positions.
Plan and section of the Leith Martello Tower. The height between the lines of A and B has been truncated in half by the artist. Via Trove.Scot SC495680Within the foundations was a single central chamber and there were two staircases within the walls, leading up to the gun platform. Due to the relative peace with other European powers by the time it was completed the tower was not finally made ready to accept its guns until 1853, thirty-five years after it was first planned, prompted by the crisis of the Crimean War.
The Martello Tower is prominent on the right hand side of “Leith Races” by William Thomas Reed, c. 1811. © Edinburgh City MuseumsAccording to “Martello Towers Worldwide” (where would one be without a copy of that handy?) at that time it was armed with two 32-pdr cannons and was occupied (when required) by a detachment from Leith Fort until 1869 when it was mothballed. The 32-pdr was so-called because it fired a shot weighing thirty-two pounds and was the Royal Navy’s standard heavyweight shipboard weapon. The handy diagram below shows the main parts including the rammer, wad and pricker (no giggling at the back!)
Illustration of a 32 pounder cannonThese were the same such guns as were also mounted at Leith Fort itself, as can be seen in a series of earlier photos made there by David Octavius Hill and Robert Adamson.
Major Crawford, Major Wright, Captain St George and Captain Bortingham of the Leith Fort Artillery. David Octavius Hill and Robert Adamson, 1843-47. National Galleries ScotlandThe 1849 Ordnance Survey Town Plan clearly shows the tower and also one presumes the obvious route for the garrison to reach it should they ever need to across the barrier of intertidal rocks known as The Weir” the same route as shown in Norie’s painting.
OS 1849 Town Plan. Note the stairs from the sea wall on the left down to the rocks of “The Weir”. Reproduced with the permission of the National Library of ScotlandThe rocks on which the Tower was situated, once the Mussell Cape Rocks, became known instead as the Martello Rocks. Further, smaller towers for the Forth were planned at Cramond Island and Inchkeith but were judged not to be a pressing need and so work never started; given how long it took and how much it cost to build the first, that was probably a sensible decision. These would have carried two 24-pdr cannons rather than the three 32-pdrs at Leith. In 1854, the Inspector General of Fortifications prepared a report on the Forth defences in which he stated:
At Leith there are at present twelve heavy guns, mounted for the protection of the harbour and roadstead at Leith Fort and on a tower; it would be, however, very desirable to establish two batteries and a small barrack on the Island of Inch Keith.
Burgoyne’s reportAfter 1869 the disarmed tower was abandoned, just 15 or so years after it had finally been completed and occupied. Thereafter its main function was an interesting navigation marker for the approaches to Leith.
“Leith Martello Tower” by Francis William Staines (1800-76), with Inchkeith in the background. via Artwarefineart.com.As war clouds gathered and dispersed again on the horizon, there were occasional plans to re-establish the Tower as a defensive position. It was proposed in the 1880s to mount a 6-inch Rifled Breech Loader (RBL) gun on top, which appears never to have been completed. In 1891 an even bigger 9.2-inch Breech Loader (BL) gun was proposed but by 1894 it was instead suggested to place two 6-inch BL guns on the dock walls. In 1899, approval was given for two 4.7-inch Quick Firing (QF) guns for the Tower but once again these do not ever seem to have been installed. The following year it was back to two 6-inch pieces but again these remained paper plans. All these proposals are detailed in The Fortification of the Firth of Forth 1880-1977 by Gordon J. Barclay and Ron Morris, published by the Society of Antiquaries of Scotland in 2019.
“View of golfers on Leith Links with Martello Tower in background”. Watercolour sketch by Walter F. K. Lyon, 1889. Neil Hynd bequest via Trove.Scot, DP312460In fact it does not seem that the Tower was ever actually re-armed to defend the Port against intrusion from the sea ever again. The citizens of Leith were however left with a curious object to explore, one which was easily accessible at low tide, and it became a source of fascination for generations of children. The picture below shows the scale of the abandoned fortification. Check out the boy in his swimmers looking over the parapet!
The Martello Tower at low tide, from “Martello Towers Worldwide” by W. H. ClementsBut that was not quite the end of the story for the Tower as a defensive position and it finally went to war in 1939 when it was reconfigured to act as an anti-aircraft gun platform. The insides were modified with hastily-built brick partition walls to reduce the risk of blast damage and on the top were mounted three concrete and cast iron positions for the guns.
Concrete gun bases and cast iron pedestals on the roof of the Tower in 1971. Trove.Scot SC495681After the war the Tower’s splendid isolation out at sea was about to be terminated. From the late 1930s onwards the Leith Docks Commissioners had been building vast new breakwaters around the harbour in an attempt to make it non-tideal and they were slowly edging towards the tower. By 1951 it was still outside the sea wall, but only just.
1951 aerial photo of the Martello Tower, from NCAP, showing ongoing land reclamation work behind itThe sea wall finally enclosed the tower in 1972 and with the land behind being built up by reclamation it appeared to be sinking lower and lower into the ground, when in reality the ground was rising higher and higher around it. The diagram below indicates just how deeply the tower was buried within the new docklands.
1972 cross section of the TowerThe slow march of Leith Docks out towards the Firth of Forth can be visualised in the below animation based on maps. It also shows how useful a defensive position the tower initially was when it was built, any ship wanting to enter the docks had to come around the Eastern and Middle Craigs and the Black Rocks, therefore had to pass close by the Tower’s guns.
We can no longer get anywhere near the Tower thanks to the stringent security at the docks, which has been stepped up significantly in recent years. Forth Ports, the current landowner, used to open it once a year to visitors but it’s been around a decade since anyone was afforded that privilege as far as I know. But we can still see the tower in art, look at enough paintings of Leith Docks and it pops up again and again.
“Dutchman off Leith”, an 1820s painting. The Martello Tower can be seen on the left of the short, just to the right of the steam paddle ship. © Edinburgh City LibrariesAnd if you are ever fortunate enough to get the chance to get up close and personal with it, look out for the mason’s marks left behind by the Irish Navvies who were engaged in its construction:
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The Charge and the Curriculum: How the Dark Arts Replaced Black Magic
Two phrases arrive from different centuries and now sit on the same shelf: “black magic” and “the Dark Arts.” Modern speakers treat them as synonyms. Older readers would have disagreed, and the disagreement matters, because the collapse of the two terms shows how our language for forbidden knowledge has migrated from the judicial to the aesthetic, from accusation to ambience.
“Black magic” is the older, harder word. In the historical record of Western occultism, it names magic understood as harmful, antisocial, or bound up with evil spirits. Britannica defines it as magic associated with the devil or evil spirits, and treatments of sorcery describe the practice as malevolent magic. Medieval nigromancy, corrupted in the vocabulary from necromancy, fused death magic, blackness, and illicit commerce with spirits into a single accusation. When a cleric in the fourteenth century charged someone with black magic, consequences followed: a trial, a tribunal, a sentence, often a burning. The word carried teeth because the world it belonged to took the accusation literally.
“The Dark Arts,” by contrast, does not appear in the premodern record as a settled technical category. The older learned tradition did use “the black arts” as a near synonym for black magic, and medieval and early modern writers divided forbidden practice by function rather than by atmosphere: sorcery, necromancy, goetia, maleficium, witchcraft, divination, theurgy. Each category carried its own definition and its own theological weight. A demonologist could distinguish between a witch’s pact and a scholar’s curious conjuration, and the distinction mattered, because lives depended on it. The phrase “Dark Arts” gathers all of that into one dramatic heap. It is a late label for a premodern field, and it sounds more like a book spine than a charge sheet.
The Christian demonological tradition narrows the question further. Aquinas treats divination as a species of superstition and condemns recourse to demons as rebellion against Providence. Within this framework, the operative concept is sin rather than glamour. Black magic names the moral-theological rebellion: the pursuit of harm, the reach for illicit power, the traffic with demonic agency. What a modern reader might call the Dark Arts would be, in Aquinas’s world, simply the whole condemned region of forbidden practice. The theologian did not need an atmospheric label. He already had a moral one.
Fantasy literature reversed the polarity. In twentieth and twenty-first century writing, “Dark Arts” became the more precise term while “black magic” became the vague one. J. K. Rowling’s Harry Potter series offers the clearest example. The Dark Arts there name a corrupting discipline with its own curriculum, defenses, and lineage, practiced by institutions and taught in opposition by other institutions. The phrase implies doctrine. It implies inheritance. The phrase implies that a student could walk into a library and be seduced by it, paragraph by paragraph. Within that literary ecology, “black magic” becomes a cruder label for the same field, used when the writer does not want to spell out the structure.
So the vocabulary flipped. In the older usage, “black magic” was sharp and “Dark Arts” did not really exist in its modern form. In the newer usage, “Dark Arts” reads as architectural while “black magic” reads as generic. A modern reader raised on fantasy often hears “Dark Arts” as the more serious term because it suggests a field of study, while “black magic” sounds like something shouted from a pulpit. Four hundred years ago, the hearing would have reversed. The pulpit word carried consequences. The field-of-study phrase did not yet exist in anything like its present meaning.
This shift matters because the older vocabulary recognized distinctions the new one erases. Cultures that took magic seriously divided forbidden practice into three moral situations that modern fantasy collapses. Dangerous knowledge could corrupt a practitioner through contact alone, regardless of use. Impure ritual violated sacred boundaries such as the one between the living and the dead. Malicious intent directed power toward harm. A curse aimed at an enemy was black magic in the strictest sense. Consulting the dead might be a forbidden art without being malicious. Reading a grimoire out of curiosity could corrupt without producing any spell at all. Three different moral situations, three different theological verdicts.
When the modern imagination treats “Dark Arts” and “black magic” as equivalent, it loses those distinctions. Everything forbidden becomes everything evil, and everything evil becomes everything forbidden. That is intellectually sloppy, and it produces a literature in which dangerous knowledge and murderous intent carry the same weight because the same adjective covers both. A fantasy novel can get away with the shorthand because the reader accepts moral collapse as a genre convention. A serious account of real-world occult history, or of real-world religious ethics, cannot.
There is also a political dimension worth naming. The older vocabulary belonged to a world that punished people for using it. Accusations of black magic produced trials, burnings, confiscations of property, and the destruction of families. The accusation operated as a weapon, and it was often aimed at women, the poor, the learned, the dissenting, or the foreign. When modern fantasy dresses the same vocabulary in robes and calls it a curriculum, it borrows the gravity of that older moral world without paying its cost. The reader feels the frisson of the forbidden without any sense that someone, somewhere, once died because a neighbor used the word in a deposition.
My own view is that the two terms should be kept apart when precision matters and allowed to drift together only when the context is frankly literary. Black magic is the sharper moral word: it names intent, names harm, names the condition of having turned one’s power against the order of things. The Dark Arts, as a phrase, is a later shelf, useful for novelists and game designers and screenwriters who need a single label for an entire shadow tradition. Treating the shelf as if it were the charge, or the charge as if it were only the shelf, flattens a vocabulary that once cut cleanly.
Both terms remain in use in their own domains. The real question is what happens to a culture when its language for forbidden knowledge migrates from the courtroom to the bookshelf. A society that once tried people for black magic now markets the Dark Arts to teenagers. The words look similar, and in casual speech they mean almost the same thing, but the worlds they came from could not be further apart. That drift is itself a small history, and the history is worth knowing before one reaches for either word.
#blackMagic #darkArts #divination #goetia #maleficium #necromancy #religion #sorcery #theurgy #witchcraft -
The Charge and the Curriculum: How the Dark Arts Replaced Black Magic
Two phrases arrive from different centuries and now sit on the same shelf: “black magic” and “the Dark Arts.” Modern speakers treat them as synonyms. Older readers would have disagreed, and the disagreement matters, because the collapse of the two terms shows how our language for forbidden knowledge has migrated from the judicial to the aesthetic, from accusation to ambience.
“Black magic” is the older, harder word. In the historical record of Western occultism, it names magic understood as harmful, antisocial, or bound up with evil spirits. Britannica defines it as magic associated with the devil or evil spirits, and treatments of sorcery describe the practice as malevolent magic. Medieval nigromancy, corrupted in the vocabulary from necromancy, fused death magic, blackness, and illicit commerce with spirits into a single accusation. When a cleric in the fourteenth century charged someone with black magic, consequences followed: a trial, a tribunal, a sentence, often a burning. The word carried teeth because the world it belonged to took the accusation literally.
“The Dark Arts,” by contrast, does not appear in the premodern record as a settled technical category. The older learned tradition did use “the black arts” as a near synonym for black magic, and medieval and early modern writers divided forbidden practice by function rather than by atmosphere: sorcery, necromancy, goetia, maleficium, witchcraft, divination, theurgy. Each category carried its own definition and its own theological weight. A demonologist could distinguish between a witch’s pact and a scholar’s curious conjuration, and the distinction mattered, because lives depended on it. The phrase “Dark Arts” gathers all of that into one dramatic heap. It is a late label for a premodern field, and it sounds more like a book spine than a charge sheet.
The Christian demonological tradition narrows the question further. Aquinas treats divination as a species of superstition and condemns recourse to demons as rebellion against Providence. Within this framework, the operative concept is sin rather than glamour. Black magic names the moral-theological rebellion: the pursuit of harm, the reach for illicit power, the traffic with demonic agency. What a modern reader might call the Dark Arts would be, in Aquinas’s world, simply the whole condemned region of forbidden practice. The theologian did not need an atmospheric label. He already had a moral one.
Fantasy literature reversed the polarity. In twentieth and twenty-first century writing, “Dark Arts” became the more precise term while “black magic” became the vague one. J. K. Rowling’s Harry Potter series offers the clearest example. The Dark Arts there name a corrupting discipline with its own curriculum, defenses, and lineage, practiced by institutions and taught in opposition by other institutions. The phrase implies doctrine. It implies inheritance. The phrase implies that a student could walk into a library and be seduced by it, paragraph by paragraph. Within that literary ecology, “black magic” becomes a cruder label for the same field, used when the writer does not want to spell out the structure.
So the vocabulary flipped. In the older usage, “black magic” was sharp and “Dark Arts” did not really exist in its modern form. In the newer usage, “Dark Arts” reads as architectural while “black magic” reads as generic. A modern reader raised on fantasy often hears “Dark Arts” as the more serious term because it suggests a field of study, while “black magic” sounds like something shouted from a pulpit. Four hundred years ago, the hearing would have reversed. The pulpit word carried consequences. The field-of-study phrase did not yet exist in anything like its present meaning.
This shift matters because the older vocabulary recognized distinctions the new one erases. Cultures that took magic seriously divided forbidden practice into three moral situations that modern fantasy collapses. Dangerous knowledge could corrupt a practitioner through contact alone, regardless of use. Impure ritual violated sacred boundaries such as the one between the living and the dead. Malicious intent directed power toward harm. A curse aimed at an enemy was black magic in the strictest sense. Consulting the dead might be a forbidden art without being malicious. Reading a grimoire out of curiosity could corrupt without producing any spell at all. Three different moral situations, three different theological verdicts.
When the modern imagination treats “Dark Arts” and “black magic” as equivalent, it loses those distinctions. Everything forbidden becomes everything evil, and everything evil becomes everything forbidden. That is intellectually sloppy, and it produces a literature in which dangerous knowledge and murderous intent carry the same weight because the same adjective covers both. A fantasy novel can get away with the shorthand because the reader accepts moral collapse as a genre convention. A serious account of real-world occult history, or of real-world religious ethics, cannot.
There is also a political dimension worth naming. The older vocabulary belonged to a world that punished people for using it. Accusations of black magic produced trials, burnings, confiscations of property, and the destruction of families. The accusation operated as a weapon, and it was often aimed at women, the poor, the learned, the dissenting, or the foreign. When modern fantasy dresses the same vocabulary in robes and calls it a curriculum, it borrows the gravity of that older moral world without paying its cost. The reader feels the frisson of the forbidden without any sense that someone, somewhere, once died because a neighbor used the word in a deposition.
My own view is that the two terms should be kept apart when precision matters and allowed to drift together only when the context is frankly literary. Black magic is the sharper moral word: it names intent, names harm, names the condition of having turned one’s power against the order of things. The Dark Arts, as a phrase, is a later shelf, useful for novelists and game designers and screenwriters who need a single label for an entire shadow tradition. Treating the shelf as if it were the charge, or the charge as if it were only the shelf, flattens a vocabulary that once cut cleanly.
Both terms remain in use in their own domains. The real question is what happens to a culture when its language for forbidden knowledge migrates from the courtroom to the bookshelf. A society that once tried people for black magic now markets the Dark Arts to teenagers. The words look similar, and in casual speech they mean almost the same thing, but the worlds they came from could not be further apart. That drift is itself a small history, and the history is worth knowing before one reaches for either word.
#blackMagic #darkArts #divination #goetia #maleficium #necromancy #religion #sorcery #theurgy #witchcraft -
Redemption in Leith: the thread about HMS Cossack
The neat, well kept war graves at Seafield Cemetery include 5 men from the destroyer HMS Cossack, who lost their lives in an accident at sea on November 7th 1939, when their ship collided with the Leith steamer Borthwick off the Isle of May.
Grave marker stones for Roy Popple and Thomas C. Richmond © SelfGrave marker stones for William. H. Clarke and Stanley Cowan © SelfFour of the war grave headstones for men of HMS Cossack at Seafield cemetery in Leith. Photos © SelfThe protagonists in this accident were the Cossack, one of the Navy’s big, new “Tribal class” destroyers: two and a half thousand tons of guns and torpedoes which could cut through the sea at 36 knots (over 40mph).
Brand new, the Cossack in 1938. This photograph FL 1657 comes from the collections of the Imperial War MuseumsThe other was the George Gibson & Co. steamer Borthwick, a ship built and owned in Leith which plied the North Sea on the Antwerp and Rotterdam route. She was much smaller than the big warship’,; over 100 feet shorter, about 1/4 her displacement and barely capable of double digit speeds on her single steam engine which had an output 1/300th of that of Cossack.
The Borthwick. Like many George Gibson ships she was named after connections to the works of Walter Scott and the LothiansIt was a dark winter night on the Firth of Forth and ships were showing only the bare minimum of navigation lights. The Borthwick and Cossack were on a parallel course, heading east off the Isle of May, with the destroyer overtaking the little steamer when, for reasons of his own, Captain Daniel De Pass of the Cossack turned across the path of Borthwick. De Pass had a bit of a reputation for poor seamanship, having done something like this before on pre-war exercises. The outcome was inevitable, the bows of the Borthwick cutting into the side of Cossack, right into the seamen’s mess where the men were just sitting down to dinner. Three men died where they sat. Able Seaman Heatherley and Ordinary Seaman Clarke were pulled into the cold, dark North Sea as the water rushed in to their compartment, never to be seen again. Three more men were seriously injured (Ordinary Seaman Clifford Harmer would be invalided out of the Navy with a hand injury) and those in the mess below were trapped for an hour, up to their necks in water. Their ship limped back to Leith for extensive repairs, the men boarded in the Seamen’s Mission. In an interview in 2005, a survivor – Trevor Tipping – pointed out the steel plate of the ship was only 3/8 inch thick and “folded back, like a sardine tin” when the collision happened.
The Seamen’s Mission on the Shore in LeithThe repairs – by Leith shipyard Henry Robb – took almost 2 months and cost £11,250 (£504k in 2023). Captain De Pass faced a Board of Inquiry, which put him 75% at fault. He was court martialled, relieved of his command and posted away elsewhere before taking retirement. His replacement was the dashing yet thoroughly competent Captain Philip Vian.
Sir Phillip Vian (1894-1968), by Oswald Birley, from the Britannia Royal Naval CollegeThe men of Cossack, cooling their heels in Leith while their ship was repaired, raised a subscription to fund a memorial stoner to their lost shipmates out of their own pockets. It was erected in Seafield cemetery, and is situated by the Cossack war graves.
Memorial for the men lost on HMS Cossack in Seafield Cemetery. Photo © SelfThe Borthwick was patched up and soon back on the dangerous Leith to Holland route. She was sunk 4 months later – on March 9th 1940 – by the German submarine U-14 off the River Scheldt, on her way home from Rotterdam to Leith. All 21 on board survived and were picked up. The newspapers celebrated on 11th March when news reached home that the men of the Borthwick had all been landed safely in Flushing.
Captain Simpson (right) and Chief Officer Jeffrey (left) of the Borthwick, on their return home after being sunkCossack did not leave Leith until 10th January, but was back 3 days later for more repairs after an embarrassing – but fortunately minor – collision with the cable laying ship Royal Scot in Leith Roads. She left again, returning to the 4th Destroyer Flotilla with Captain Vian now installed in command. But she wouldn’t be gone long and would return with the month. This time should would be an international hero, the victor of the daring “Altmark Incident“, a swashbuckling tale that can always do with retelling.
On the face of it, Altmark was a humble German merchant ship. In reality, she was a supply tanker for the Kriegsmarine – the German Navy – and had on board almost 300 British and Allied prisoners, merchant seamen whose ships had been sunk by the “pocket battleship” commerce raider Admiral Graf Spee in the South Atlantic.
A photo of the Altmark in Jøssingfjord , Norway.The Graf Spee had been scuttled just off Montevideo after the Royal Navy had cornered her into a fight in the Battle of the River Plate on December 17th – while Cossack was laid up in a Leith drydock undergoing repairs. Before the battle she had transferred most of her prisoners to her supply ship, which was heading back to Germany. Conditions on board caused the British press to call her a “hell ship” and a “floating concentration camp“.
Admiral Graf Spee shortly after her scuttling. Toronto Telegram collection, via. University of York, Canada.Captain Dau of the Altmark intended to sneak back home by hugging the coasts of the (then) neutral Greenland, Iceland and Norway. He had almost made it when, on Feb. 15th, reconnaissance aircraft out of RAF Leuchars spotted her in Norwegian waters off Bergen. The British destroyers HMS Ivanhoe and Intrepid from Vian’s squadron made to board her but the Altmark sought refuge in the safety of Jøssingfjord. The Royal Navy could only look on as the German ship was escorted into the fjord by the Norwegian Navy, who politely but firmly affirmed their neutrality and turned the British ships around.
HMS Intrepid attempting to board Altmark as it runs for the sanctuary of JøssingfjordCaptain Vian, as commander of the squadron, made contact with the ancient Norwegian gunboat Kjell but was asshured that the Norwegian had searched the Altmark, that all was in order and it was a simple German merchant ship and not an armed, Kriegsmarine prison ship. Vian knew this was rubbish, but had no option but to retreat a respectful distance and to signal the Admiralty for orders.
Norwegian navy gunboat Kjell, around the time of the Altmark IncidentFurther reconnaissance flights by the Royal Air Force confirmed that the Altmark was safely holed up right at the end of Jøssingfjord. Meanwhile, Vian’s signal found its way to the desk of the First Lord of the Admiralty, a man who had a reputation for sticking his oar in to operational matters and trying to direct operations from Whitehall. You might be familiar with his name, it was Winston Churchill.
Aerial photo of Altmark in Jøssingfjord.Photograph CS 24 from the collection of the Imperial War MuseumsChurchill sent Vian a signal telling him that if the Altmark wasn’t escorted to Bergen for inspection under a joint Anglo-Norwegian guard, he was to board her and free the prisoners, that he had permission to use lethal force in order to do so and that he was to politely but firmly make sure the Royal Norwegian Navy butted out of matters. This was a blatant violation of Norwegian neutrality of course, but there was not a lot the little old gunboat Kjell could do to stop the Cossack beyond yell at her – Vian had permission to fire on her if they fired first, but to stop when they stopped.
And so Vian was set on a course of action and turned his ship around, entering the mouth of Jøssingfjord at 2200 hours on February 16th 1940. He once more went on board the Kjell, this time to give her Captain the ultimatum to either escort the Altmark to Bergen with him, or step aside. When he declined, Vian invited him aboard the Cossack for a grandstand view of what was about to follow, but again he declined. On board the Altmark, Captain Dau saw the threatening shape of the destroyer looming down the Fjord towards him. At first he made to ram her, but instead ended up running his ship aground instead. He next tried to dazzle the Cossack with his searchlight, but the British ship was brought skillfully alongside and in true Nelsonian fashion, a party of 2 officers and 30 men leapt across the gap and boarded the German ship. Legend has it that 4 cutlasses, kept on board for ceremonial purposes, were carried by the boarding party. If true, it would be the last boarding action in which such a weapon was known to be used in anger.
Painting of the boarding of the Altmark by Charles PearsThere was a brief skirmish on board but the German crew were soon overpowered. Just as things were almost over however, a German sailor fired at and injured a British sailor, and for his trouble 9 of his shipmates were shot and wounded in the return fire; 4 died and a further 4 were fatally wounded. Having taken the Altmark, the boarders now combed the ship looking for the captives they knew were held somewhere within. One sailor called “Any Englishmen in there?” into a dark hold and on hearing a cheer replied the immortal words “The Navy’s here! Come up out of it!“
Book cover, “The Navy’s Here” by Frischauer & JacksonLess than two hours after she first entered the fjord, Vian’s ship was on her way out again with 299 freed prisoners on board (including one, an Indian seaman, suffering from Leprosy). She plotted a course for Leith and set off for home at top speed. The Cossack had last entered Leith with a cloud hanging over her reputation, but on her return on February 17th she did so triumphantly. The press cameras were assembled and waiting to welcome her back and to make the most out of this propaganda opportunity.
HMS Cossack coming alongside in Leith, with some of the Altmark prisoners aboardAmbulances were ready and waiting to take the injured away to hospital while the newsreel cameras rolled.
Cossack at Leith, with assembled crowds and waiting ambulancesIt was a rare bit of good news so early in the war, so reporting restrictions were not observed. The Scotsman carried a full page spread of photos. Many of those pictured coming ashore had lost all their possessions, some had been prisoners for almost 6 months and their families had no word of what had become of them. For weeks the papers were full of stories of reunions and heroes welcomes.
The former prisoners of the Altmark coming ashore at Leith. Pictures from The Scotsman, 19th February 1940The Dundee Courier and Advertiser printed a picture of some 1940s medical care, with a nurse at Leith Hospital lighting a recuperative cigarette for Third Officer Leslie Ross of the ship Huntsman. 250 of the his companions were sent to the Eastern General Hospital in Leith for attention, with officials from the City and the Shipwrecked Mariner’s Society on hand to sort out replacement clothing, papers, money, cigarettes etc. and arrange lodging and travel. The sailor who had been suffering from Leprosy was taken to the Infectious Diseases Hospital (the “City Hospital”).
Leslie Ross in a Leith hospital, Dundee Courier, Monday 19th February 1940In Stornoway, the Daily Record interviewed the 75 year old Elizabeth Mackenzie of Newton Street, who had not heard from her merchant seaman son – Donald Morrison – for over a year. She was making a public appeal for his whereabouts, he had last written to her over a year ago and was last known to be on the SS Newton Beech: that ship had been sunk by the Graf Spee on 5th October 1939. “I have been very worried because I am going blind, and I am living here with a brother who is over 80” she told the reporter. “I haven’t many friends, but the Lord is my friend, and that is enough.” The happy news about the safety of her son was soon brought to her by Donald Macleod, another Leodsach sailor who had been with him on the Altmark. “It is good news my boy is safe” she told the Record. Donald Murdo Macleod of Tolsta Chaolais had been on the SS Tairoa which had been intercepted by the Graf Spee in the middle of the South Atlantic on December 2nd 1939. Tairoa had been the penultimate victim of the German raider, and had managed to transmit a distress signal that eventually allowed the the Royal Navy to catch up with her assailant.
The crew of the Newton Beech rowing away from their abandoned ship towards imprisonment on the Graf SpeeDonald Morrison however seemed reluctant to return home and instead went to Hull, telling Macleod to let his mother know he “might go home later“. Instead he went back to sea. It seems the whole experience may have left an indelible mark on him and changed his character. He forfeited bail of £1 in Buckhaven on a charge of drunkeness in February 1941. He was soon in trouble again for going absent from his ship. In May 1941 he was hauled before the Lord Mayor of Portsmouth at the Police Court there, again for deserting a ship. Morrison could offer no explanation for being 31 hours overdue and potentially making his ship miss its convoy, beyond “I just had a good time, that is all“. The Master had dismissed him but told the court he was of good character and had been through “unpleasant experiences” and would gladly take him back again. It turned out Morrison had another ship sunk from underneath him recently and had once again lost all his papers and possessions. The Lord Mayor fined him £5 (half a month’s wages) and allowed him to return to his ship on account of his value to the war effort. He won’t have been the only merchant sailor in the War in the Atlantic to have an experience such as this, and in retrospect we can understand his reluctance to return to his ship and potential death and to want to have one more night of fun on earth…
Back in Leith, the Fife Free Press reported that the Altmark Incident was commemorated with the gift of £500 to the Leith Hospital by an anonymous benefactor on the condition that a bed be dedicated to HMS Cossack for rescuing the prisoners. For his “outstanding ability, determination and resource” and “for daring, leadership and masterly handling of his ship“, Captain Vian received the Distinguished Service Order medal and was promoted off of Cossack in July 1941. He would go on to have a glittering wartime career, and would retire in 1952 as Admiral of the Fleet. Cossack had an eventful 18 months after the Altmark, taking part in the 2nd Battle of Narvik and the hunt for the German Battleship Bismarck
The ship’s luck would soon run out however and she was torpedoed and sunk in October 1941 by the German submarine U-563, west of Gibraltar. In November 1941, the Edinburgh Evening News reported that three local men were missing, presumed killed, from her:
- Petty Officer Alexander Burton Colthart, 22, 20 India Place
- Petty Officer Douglas Maurice Gammack, 32 Parsons Green Terrace
- Assistant Cook Robert “Sonny” O’Hara, 23, 205 Crewe Road North
Her cat, Oskar, survived this sinking: legend has it that he had been the ship’s cat on the Bismarck and was plucked from the Atlantic by Cossack after her sinking. His name was said to have been derived from the code letter for “O” (with a German spelling) which was used to mean “man overboard“. Further legend has it that after surviving the loss of his second home he went on to serve on HMS Ark Royal and survived her sinking also. The whole thing was probably just a sailor’s yarn but Unsinkable Sam has garnered a cult following on the internet: you will find Facebook pages, pop history articles, Youtube videos and even computer game cameos in his memory.
Ship’s cat Oskar, or Unsinkable Sam.Note to readers: unfortunately in April 2026, a third-party plug-in more than exceeded its authority and broke many of the image links on this site. No images were lost but I will have to restore them page-by-page, which may take some time. In the meantime please bear with me while I go about rectifying this issue.
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#Lochend #Logan #Restalrig #StMargaret -
"The wildlife refuge Izembek occupies a small portion of Alaska's Bering Sea coast. This stretch of wetlands, tundra and coastal lagoons supports a remarkable range of wildlife. For decades, it's also been at the centre of a dispute over a proposed road that would link two isolated villages by cutting through this federally protected wilderness. This cinematic short film produced by the Cornell Lab of Ornithology provides a portrait of the landscape, showing both its sublime beauty and the wildlife that rely on it, while prompting viewers to consider what could be lost."
https://aeon.co/videos/could-one-road-forever-change-this-remote-alaskan-refuge?utm_source=rss-feed
#Nature #Alaska #Wilderness #Izembeck #Environment #Climate #ClimateChange #ClimateCrisis #Aeon
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TAN Fairmont Font Duo by TanType
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TAN Fairmont Is the High-Contrast Display Serif Font Duo Designers Have Been Waiting For
Retro editorial typography is having a full-blown revival. You see it everywhere—on magazine covers, luxury brand campaigns, independent print publications, and editorial-leaning social content that refuses to play it safe. But most fonts trying to ride this wave feel like imitations. TAN Fairmont, the bold display serif duo from TanType Co., feels like the real thing. It carries genuine visual authority, a coherent typographic personality, and a system logic that makes it instantly usable across a wide range of design contexts. This is a font worth paying attention to.
The font duo is available on Creative MarketWhat Makes TAN Fairmont Different From Other Retro Display Serifs?
Most retro-inspired serif fonts fall into one of two traps. Either they lean so hard into nostalgia that they feel costume-y, or they modernize so aggressively that the original spirit disappears. TAN Fairmont avoids both. It draws clearly from vintage magazine lettering and classic display type traditions—think mid-century editorial headlines, the kind you’d find on a glossy fashion cover from the 1960s or 70s—but it wears that heritage with full confidence, not apology.
The result is a typeface that reads as contemporary precisely because it doesn’t try to hide what it is. That’s a rare quality. Furthermore, TAN Fairmont ships as a coordinated duo: a commanding upright serif and an expressive italic companion. Together, they form a complete typographic system rather than a single decorative asset.
The Upright Serif: Structure With Swagger
The upright cut of TAN Fairmont leads with presence. Its thick-thin stroke contrast is dramatic without tipping into illegibility. Wide proportions give each letterform generous breathing room on the page. Terminals are lush and rounded, lending a softness that balances the overall boldness. Moreover, the serifs themselves have a sculptural quality—they feel designed, not defaulted to.
This makes the upright an excellent choice for large-scale display work: editorial headlines, poster typography, packaging, brand logotypes, and cover designs where impact is non-negotiable. Because of its wide set width, a single word in TAN Fairmont upright already fills a composition. You don’t need to force it.
The Italic: Expressiveness as a Design Tool
Where the upright establishes authority, the italic brings personality. TAN Fairmont’s italic is genuinely expressive—it carries visible energy and movement without losing structural coherence. The curves are generous and lush, drawing from script and calligraphic traditions without becoming illegible or decorative in a distracting way.
Critically, this italic functions as both contrast and complement within the same layout. You can mix the upright and italic in a single headline to create typographic rhythm. Consequently, a two-weight typographic hierarchy becomes a three-voice composition: upright for authority, italic for warmth, and the interplay between them for visual tension. That’s sophisticated system design.
TAN Fairmont font duo by TanType The font duo is available on Creative MarketThe Dual-Contrast Typography Framework: How to Think About Font Duos
Working with a font duo like TAN Fairmont requires a shift in how you approach typographic hierarchy. I call this the Dual-Contrast Typography Framework—a mental model for using paired typefaces not just as alternatives but as active collaborators within a layout.
The framework operates on three principles. First, Structural Contrast: Use the upright to anchor a composition and the italic to introduce movement. Second, Semantic Contrast: Assign the italic not just to emphasis but to emotional register—warmth, intimacy, and subjectivity. Third, Spatial Contrast: Treat the two styles as occupying different visual planes, even when they appear at the same size. Apply this framework to TAN Fairmont, and the duo immediately reveals depth that single-style fonts simply cannot offer.
Why High-Contrast Display Serifs Are Dominating Visual Culture Right Now
The appetite for high-contrast display typography reflects a broader cultural shift. Designers and brands are actively pushing back against the flat, clean minimalism that dominated much of the 2010s. Furthermore, the rise of independent publishing, editorial content brands, and personality-driven visual identities has created demand for typefaces with genuine character. Sans-serif fonts built on Swiss rationalism served the neutral-brand era well. They no longer feel sufficient for brands that want to say something specific about who they are.
TAN Fairmont sits perfectly at this inflection point. Its thick-thin contrast delivers visual richness. Furthermore, its wide proportions signal confidence. And its retro references provide cultural depth without irony. Therefore, it’s not surprising that this aesthetic—editorial, bold, high-contrast serif display—has become one of the most sought-after type directions in contemporary graphic design.
Where Does TAN Fairmont Perform Best? A Use-Case Breakdown
Not every typeface works everywhere. But TAN Fairmont has a surprisingly wide application range for a display font. Here’s where it delivers most effectively.
Editorial and Magazine Design
This is Fairmont’s natural habitat. Whether you’re designing print spreads or editorial-style social content, the upright serif produces headlines with genuine authority. The italic pairs beautifully with pull quotes, subheads, and bylines. Additionally, the thick-thin contrast renders extremely well at both large and thumbnail sizes—critical for multi-platform editorial publishing.
Brand Identity and Logotypes
High-contrast serif logotypes are having a moment. Luxury fashion, independent beauty brands, hospitality, and lifestyle businesses are all reaching for this aesthetic right now. TAN Fairmont’s wide proportions make it particularly effective for wordmark applications where you want a logotype that commands attention without requiring a symbol or icon to carry visual weight. It stands completely on its own.
Packaging and Product Design
On physical packaging, Fairmont’s bold stroke weight ensures visibility across different print finishes—coated, uncoated, and foil. The lush curves and wide serifs give it a tactile presence. Furthermore, the italic offers an option for secondary text that feels cohesive rather than jarring, keeping the system tight even when you’re mixing styles within a label or box design.
Poster and Event Typography
Large-format display is where TAN Fairmont fully comes alive. At poster scale, the thick-thin contrast becomes genuinely spectacular—thin strokes almost disappear, thick stems carry dramatic visual weight, and the overall composition achieves the kind of graphic tension that flat sans-serifs simply cannot produce. Concert posters, cultural event announcements, fashion show collateral: all ideal contexts.
Social Media and Digital Editorial Content
The wide proportions and strong contrast hold up extremely well at the sizes typical of Instagram and Pinterest graphics. Moreover, the retro-editorial visual language resonates with the content aesthetics that currently drive engagement on image-forward platforms. This is a font that photographs well in flat-lay mockups and renders crisply in digital contexts.
The Retro-Editorial Aesthetic: Why It Works Psychologically
There’s a neuroaesthetic argument for why high-contrast display serifs like TAN Fairmont generate such strong visual attention. Thick-thin contrast creates tension across the letterform. Your eye must work slightly harder to travel through the stroke variation, and that micro-effort increases engagement and visual memorability. Additionally, the retro editorial reference activates cultural associations with prestige, craftsmanship, and editorial authority—associations that brands deliberately seek to borrow when they choose this typographic register.
I think of this as the Contrast-Authority Effect: the phenomenon whereby high stroke contrast in display typography generates perceived prestige and editorial credibility in the viewer, independent of the actual content being communicated. TAN Fairmont leverages this effect fully. Consequently, even a short word or phrase in this typeface immediately reads as considered, authoritative, and aesthetically intentional.
Technical Specifications and Software Compatibility
TAN Fairmont supports multilingual character sets, making it viable for projects spanning multiple markets. It comes with free future updates, so your purchase remains current as TanType Co. expands the family. The font ships in OpenType format, compatible with most professional design software, including Adobe Illustrator, Adobe InDesign, Adobe Photoshop, etc.
One important note on OpenType features: TAN Fairmont includes ligatures and special characters accessible through OpenType-aware applications. Canva users should be aware that while the font itself loads and functions in Canva, Canva does not support advanced OpenType features—so ligatures and special characters won’t be accessible within that platform.
The Perpetual-License Advantage
TAN Fairmont is available through Creative Market, where it’s sold under a perpetual desktop license. Unlike subscription-model type libraries, a direct purchase gives you permanent access to the files you download. Furthermore, the free future update policy means the font can grow without requiring additional investment. For professional designers and studios building a permanent type library, this licensing model represents real long-term value.
The TAN Fairmont Serif Pairing Principle: My Recommendations
I’ll be direct: TAN Fairmont doesn’t need much help. But if you’re building a full typographic system, here’s how I’d think about pairing it. For editorial body text, a clean humanist sans-serif—something like Inter, Neue Haas Grotesk, or an equivalent—provides the neutral contrast that lets Fairmont display at full impact without visual competition. The pairing logic is simple: let Fairmont own the headlines completely, and give body copy a voice that disappears into readability.
For print projects requiring a complementary serif body text, look for typefaces with low stroke contrast and generous x-height. High-contrast body serifs compete directly with Fairmont’s stroke drama and muddy the hierarchy. Additionally, avoid pairing Fairmont with other bold display serifs in the same layout—the two fonts will fight, and nobody wins that fight.
A Forward-Looking Prediction: Where This Aesthetic Goes Next
The high-contrast editorial serif aesthetic isn’t fading. Based on current trajectories in brand design, independent publishing, and visual culture, I’d predict this typographic register will continue gaining mainstream adoption through 2026 and into 2027. Specifically, we’ll see more brands in the wellness, hospitality, and cultural sectors migrate toward this visual language as the previous decade’s minimalism starts to feel dated. Fonts like TAN Fairmont, with their balance of historical depth and contemporary confidence, will anchor that shift.
Moreover, as AI-generated imagery becomes increasingly prevalent in brand and editorial contexts, the demand for typographic distinctiveness will intensify. A brand’s typeface becomes one of the few remaining elements of genuine, crafted visual identity that AI cannot easily replicate or commoditize. Therefore, investing in strong, characterful display typography—exactly what TAN Fairmont offers—becomes a strategically sound decision for brands building for long-term distinctiveness.
Who Is TAN Fairmont For?
Honestly, TAN Fairmont is for any designer who refuses to settle for typographic blandness. More specifically, it’s built for editorial art directors, brand identity designers, packaging specialists, poster typographers, and content creators who want to work with type that has genuine personality and a coherent visual system behind it. The duo format means it’s not just a display asset—it’s a typographic toolkit. Furthermore, at its price point on Creative Market, it delivers professional-grade results at a fraction of what custom type commissioning costs.
The font duo is available on Creative MarketIf you regularly design magazine covers, book covers, brand identities, event posters, or editorial social content, TAN Fairmont belongs in your type library. It solves a real problem: how to achieve bold, high-impact display typography that feels distinct, historically grounded, and visually sophisticated without tipping into pastiche.
Frequently Asked Questions About TAN Fairmont
What is TAN Fairmont?
TAN Fairmont is a high-contrast display serif font duo created by TanType Co. It consists of two coordinated styles—an upright serif and an expressive italic—designed for bold editorial and display typography applications. The font draws from vintage magazine cover lettering and classic display type traditions.
What are the two styles included in TAN Fairmont?
TAN Fairmont includes a commanding upright serif and an expressive italic. Together, they function as a cohesive typographic system with built-in contrast and hierarchy, allowing designers to work with a single coordinated duo rather than mixing unrelated typefaces.
Where can I purchase TAN Fairmont?
TAN Fairmont is available on Creative Market from TanType Co. It comes with a perpetual desktop license and includes free future updates.
What design software is TAN Fairmont compatible with?
TAN Fairmont works with most professional design software that supports OpenType fonts, including Adobe Illustrator, Adobe InDesign, Adobe Photoshop, and others. It also loads in Canva, though Canva does not support advanced OpenType features such as ligatures and special characters.
Does TAN Fairmont support multiple languages?
Yes. TAN Fairmont includes multilingual character support, making it suitable for design projects targeting audiences across multiple languages and regions.
What is TAN Fairmont best used for?
TAN Fairmont performs best in large-scale display applications: magazine and editorial headlines, brand logotypes and wordmarks, poster and event typography, packaging design, and editorial social media content. Its wide proportions and dramatic thick-thin contrast make it particularly effective at display sizes where typographic impact is the primary goal.
How does TAN Fairmont’s italic differ from its upright?
The italic is a genuinely expressive companion style rather than a mechanical slant of the upright. It carries visible movement and personality, drawing from calligraphic and script influences while remaining structurally coherent and legible. The two styles contrast in emotional register—the upright is authoritative and structured; the italic is warm, energetic, and expressive.
Is TAN Fairmont suitable for body text?
No. TAN Fairmont is a high-contrast display serif designed specifically for large-scale headline and display use. Its dramatic stroke contrast and wide proportions are not intended for, and do not perform well at, body text sizes. Use it for headlines, subheads, logotypes, and display applications.
Who designed TAN Fairmont?
TAN Fairmont was designed and released by TanType Co., an independent type foundry known for expressive, design-forward typefaces with strong editorial personalities.
Check out other stylish typefaces in the Fonts category here at WE AND THE COLOR.
#Fairmont #font #fontDuo #TANFairmont #TanType #typeface -
TBJ Dogmu Font Family Delivers Bold Typographic Power Across Every Weight
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The TBJ Dogmu font family shouts—and it does so with remarkable discipline. Released by Taboja Studio and designed by Yusilo Oktaprima Ardani, this sans-serif display font family arrives with a clear agenda: maximum visual impact without sacrificing structure or legibility. That’s a harder balance to strike than it sounds. The TBJ Dogmu font family earns attention not because it screams loudest, but because it knows exactly how loud to be.
The font family is available on MyFontsFor designers working in branding, editorial, sport, packaging, or social media, this release deserves close attention. Ardani built Dogmu around strong proportions and confident letterforms that feel grounded even when pushed to extreme weights. Furthermore, the weight range—from Skinny to Beast—gives the family a versatility that most display typefaces simply don’t offer. This isn’t a one-trick headline font. It’s a system.
TBJ Dogmu Font Family by Taboja Studio The font family is available on MyFontsWhat Makes TBJ Dogmu Different from Other Bold Sans-Serif Display Fonts?
The sans-serif display category is crowded. Hundreds of fonts compete for the same poster corner, the same sports jersey, the same brand lockup. So what separates TBJ Dogmu from the noise? The answer lies in what Ardani prioritized during the design process: structural consistency across weights.
Most display typefaces break down as they get heavier. Counters collapse. Spacing goes wrong. Letters start fighting each other. Dogmu resists this tendency. Each weight maintains the same underlying skeleton, gaining intensity rather than losing coherence as it moves from light to heavy. Consequently, mixing weights within a single layout produces tension without chaos—a quality that’s genuinely rare in this category.
The letterforms themselves carry an urban energy. Compact forms, purposeful strokes, zero decorative excess. Dogmu isn’t trying to be elegant in a classical sense. Instead, it channels something more immediate: the visual grammar of city walls, athletic identities, and high-impact editorial design. That specificity of character is what makes it memorable.
The Skinny-to-Beast Weight Spectrum Explained
Taboja Studio named the weight range deliberately. Skinny sits at one extreme—compressed, tight, useful for dense typographic compositions where space is at a premium. Beast sits at the other end—heavy, dominant, built for moments when the type needs to own the entire frame. Between these poles, the family offers enough granularity for nuanced typographic decisions.
Think about what this means practically. A brand using Dogmu can run Skinny in a data-heavy infographic, Beast on a product launch poster, and mid-weights across editorial layouts—all within the same visual system. That kind of range, within a single family, dramatically simplifies design workflows. Moreover, the consistency of structure across weights means transitions between them feel intentional rather than jarring.
This is what I’d call the Weight-Coherence Principle: the idea that a typeface family’s true value isn’t measured by the extremes of its range but by how gracefully those extremes connect. TBJ Dogmu clears this bar comfortably.
TBJ Dogmu Font Design: Urban Clarity Meets Athletic Energy
Ardani built Dogmu at the intersection of two typographic traditions that don’t often meet cleanly: modern geometric sans-serif clarity and the raw visual energy of sport and street culture branding. The result isn’t a compromise between these two poles. It’s a synthesis.
The geometric influence shows in the precision of each letterform. Curves are deliberate. Angles are exact. Nothing drifts. But the attitude comes from somewhere else—from the kind of typography you see on basketball uniforms, skateboard decks, and music festival lineups. Dogmu carries that confidence without tipping into pastiche.
This dual character makes the font genuinely flexible. Use it for a luxury streetwear brand, and it reads as intentional and premium. Or use it for a fitness app, and it reads as high-performance. You can also use it for a magazine cover, and it reads as contemporary and editorial. That cross-category fluency is a significant design asset.
Why Compact Letterforms Matter in Display Typography
Dogmu’s compact proportions aren’t an aesthetic accident. They’re a structural decision that expands the font’s usability. Compact letterforms allow more characters per line at large sizes, which matters enormously in responsive design, packaging constraints, and outdoor advertising, where physical space determines everything.
Additionally, compact forms hold together better at the extreme weights. When counters are already tight in the light weights, they remain legible in the heavy ones. Ardani clearly engineered backward from the Beast weight, ensuring that the heaviest setting wouldn’t compromise readability. That’s sophisticated type design thinking.
The practical implication: Dogmu works in contexts where looser, wider display fonts fail. A bus shelter ad. A 9×16 social story. A product label with limited real estate. Wherever compression is a constraint, Dogmu is a strong candidate.
TBJ Dogmu for Branding: What Designers Should Know
Brand typography is a long-term commitment. The font you set a company’s name in will appear across every touchpoint for years. That’s why the selection process matters and why Dogmu’s particular combination of attributes is worth unpacking for branding applications specifically.
First, the family’s consistency across weights means a brand can build a full typographic hierarchy from a single font family. Primary brand name in Beast. Secondary messaging in a mid-weight. Body copy isn’t Dogmu’s territory—it’s purpose-built for display—but pairing it with a refined text typeface creates a system with genuine range. This is the Single-Family Hierarchy Framework: building all display and headline roles from one typeface family to maintain visual cohesion across applications.
Second, Dogmu’s urban energy positions it particularly well for brands in sport, streetwear, entertainment, gaming, and food and beverage. These are categories where assertive, high-energy typography performs well. However, the font’s underlying structural discipline also opens doors in more unexpected directions—architecture, technology, and publishing—when paired thoughtfully.
Sport Branding and the Dogmu Advantage
Sport typography has evolved. The jersey fonts of twenty years ago were about legibility at a distance. Today, sports brands think about typography across screens, merchandise, and physical environments simultaneously. That multi-context demand requires fonts that perform consistently across very different display conditions.
TBJ Dogmu handles this well. The typeface reads clearly on a stadium scoreboard. It scales down to a phone notification without losing character, and it prints cleanly on a jersey. Furthermore, the Beast’s weight carries the kinetic energy that sports branding typically demands—the sense of forward motion and physical force that makes a mark feel athletic rather than merely decorative.
I’ll make a specific prediction here: Within the next two years, TBJ Dogmu will appear in the visual identities of multiple emerging sport and lifestyle brands. The combination of structural integrity and cultural attitude it offers is exactly what those categories are looking for right now.
Using TBJ Dogmu in Editorial Design and Magazine Covers
Magazine typography lives and dies by contrast. A cover needs a headline that pulls the eye immediately, competes with shelf neighbors, and still communicates a publication’s editorial point of view. Dogmu is built for exactly this environment.
At the heaviest weights, Dogmu commands a page. Headlines set in Beast have the kind of physical presence that turns a layout into a statement. At lighter weights, the font recedes elegantly, supporting rather than overwhelming text and imagery. This dynamic range—the ability to dominate or support depending on context—defines a truly editorial typeface.
The Typographic Pressure Model is useful here: think of each element in a layout as exerting visual pressure on the reader’s attention. Heavy weights at large sizes create high pressure. Light weights at smaller sizes create low pressure. Dogmu’s range allows a designer to modulate pressure across a layout with precision, creating flow rather than competition between elements.
Pairing TBJ Dogmu with Text Typefaces
Dogmu doesn’t operate in isolation. Every display font needs a text partner, and the choice of that partner shapes the entire typographic personality of a design. For Dogmu, the contrast principle applies: pair it with something that sits in opposition to its energy.
A classical serif—something with a long history and soft curves—creates productive tension with Dogmu’s urban directness. The contrast signals intentionality. Alternatively, a refined, optically sized grotesque at small sizes allows the eye to rest after encountering Dogmu’s intensity at larger sizes. What to avoid: pairing Dogmu with another assertive, personality-heavy display font. That creates competition, not composition.
TBJ Dogmu for Social Media and Digital Design
Social media graphic design operates under brutal constraints. Thumbnails compete with hundreds of other thumbnails. Stories occupy three seconds of attention before a swipe. Dogmu was clearly built with this context in mind.
The compact proportions work exceptionally well in vertical formats—Instagram stories, TikTok graphics, and Pinterest pins. Heavy weights at large sizes create immediate visual stops in a scrolling feed. Additionally, the font’s clarity at screen resolutions across device types matters more than ever as design output spans phones, tablets, and desktops simultaneously.
For social media designers specifically, Dogmu’s Beast weight deserves particular attention. Set at maximum size in a tight crop, with a restrained color palette, it generates the kind of high-contrast graphic moment that performs well in feed environments. This is the Contrast-Crop Method: using extreme typographic weight combined with tight cropping to eliminate visual noise and force the eye to a single focal point.
TBJ Dogmu in Packaging Design
Packaging is one of the most demanding typographic environments. Type must work across multiple surface materials, printing processes, sizes, and viewing distances simultaneously. Dogmu’s structural robustness gives it genuine advantages here.
Its compact forms survive reduction better than wider display typefaces. Its consistent stroke weights hold up across different printing processes—offset, digital, screen print, and embossed. Furthermore, at Beast weight, Dogmu creates the shelf presence that product packaging requires to compete in physical retail environments. The font works hard without needing help.
Technical Specifications: Getting the Most from TBJ Dogmu
Taboja Studio recommends using Dogmu in applications like Adobe Illustrator, Photoshop, and InDesign to access the full glyph set and font features. These programs handle OpenType features correctly and give designers accurate control over spacing, sizing, and weight selection.
For web use, test Dogmu carefully at the weights you intend to deploy. Display fonts at extreme weights can add file size to web projects. Balance visual impact with performance requirements, particularly on mobile-first projects where load times matter.
For print, Dogmu’s clean forms hold across a wide range of DPI settings. At small sizes, stick to the lighter weights. Beast weight at small sizes will compromise legibility—that’s not what it’s designed for. Use it where it belongs: large, commanding, unmistakable.
Recommended Use Cases for Each Weight Tier
Skinny and light weights perform best in dense, text-heavy display contexts: data visualization headers, tight packaging copy, and subheadings within editorial layouts. They’re the functional end of the family.
Mid-weights do the most versatile work: brand names, social media body copy, secondary headlines, and merchandise graphics. They carry Dogmu’s character without dominating everything around them.
Heavy weights—and especially Beast—belong in moments of maximum impact: primary headlines, hero banners, posters, campaign launches, and product reveals. Use them with intention and space. They don’t need much else around them to communicate effectively.
Why TBJ Dogmu Represents a Strong Direction for Contemporary Type Design
The broader typography conversation is moving toward typefaces that carry genuine cultural specificity. The era of the neutral, universal font family is giving way to fonts that have a point of view—that locate themselves in a particular aesthetic moment. TBJ Dogmu is part of this shift.
Ardani didn’t design a typeface for every occasion. He designed one for specific occasions, and he made it excellent at those occasions. That’s a more honest and ultimately more useful design philosophy than trying to build the font that does everything. The Specificity-First Design Thesis argues that the most enduring typefaces aren’t the most versatile ones—they’re the ones that do their specific job better than anything else. Dogmu is positioned to prove this thesis correct.
Taboja Studio’s decision to name the weights Skinny through Beast also deserves credit. Naming conventions in type design are underappreciated communication tools. These names set immediate expectations, help designers communicate with clients, and—frankly—make the selection process more intuitive. It’s a small decision with significant usability implications.
Final Assessment: Is TBJ Dogmu Worth Adding to Your Type Library?
If your work touches branding, sport design, editorial, packaging, or social media graphics, yes—this family belongs in your library. The structural consistency across weights is the primary reason. Most display fonts that offer extreme weight ranges sacrifice coherence at the edges. Dogmu doesn’t. That quality alone justifies the investment.
Beyond the technical attributes, Dogmu has a genuine character. It doesn’t feel like a committee decision or a trend-chasing exercise. It feels like a specific typographic vision executed with discipline. Those fonts tend to age well. They look current now and will continue to read as intentional choices rather than dated trends.
The font family is available on MyFontsMy honest opinion: Ardani made something worth paying attention to. Dogmu operates in a competitive space and holds its own comfortably. For the right projects, it doesn’t just hold its own—it leads.
Frequently Asked Questions About TBJ Dogmu
What is TBJ Dogmu?
TBJ Dogmu is a bold, sans-serif display font family designed by Yusilo Oktaprima Ardani and published by Taboja Studio. It offers a weight range from Skinny to Beast, built for high-impact typographic applications, including branding, posters, editorial covers, packaging, and social media graphics.
Who designed the TBJ Dogmu font?
Yusilo Oktaprima Ardani designed TBJ Dogmu. Ardani released it through Taboja Studio, the foundry behind the Dogmu font family.
What applications work best with TBJ Dogmu?
Adobe Illustrator, Photoshop, and InDesign offer the best support for TBJ Dogmu’s full glyph set and OpenType features. Taboja Studio specifically recommends these programs for optimal use of the typeface.
What does the weight range Skinny to Beast mean?
Skinny is the lightest weight in the TBJ Dogmu family—compressed and useful for dense typographic compositions. Beast is the heaviest weight, designed for dominant, high-impact headline use. The range between these two poles gives the family significant versatility across different design contexts.
Is TBJ Dogmu suitable for logo design?
Yes. TBJ Dogmu’s compact forms, consistent structure across weights, and strong visual presence make it a solid choice for logo design, particularly for brands in sport, streetwear, entertainment, and lifestyle categories.
Can TBJ Dogmu be used for web design?
TBJ Dogmu works in web design, particularly for large-display headlines. Designers should test performance carefully at the heaviest weights, as extreme display fonts can increase file size. For smaller web type sizes, lighter weights in the family perform best.
What makes TBJ Dogmu different from other sans-serif display fonts?
TBJ Dogmu maintains structural consistency across all its weights—a quality that many display typefaces fail to achieve at extreme weights. This consistency allows designers to mix weights within a single layout without losing visual coherence, making it more versatile than most fonts in the high-impact display category.
What design styles pair well with TBJ Dogmu?
TBJ Dogmu pairs well with classical serif text typefaces or optically sized grotesques for body copy. The contrast between Dogmu’s urban energy and a more refined text companion creates productive typographic tension. Avoid pairing it with other assertive display fonts, as this creates visual competition rather than composition.
Where can I buy or license TBJ Dogmu?
TBJ Dogmu is available through MyFonts and Taboja Studio’s official distribution channels. Licensing terms vary by use case—desktop, web, app, and broadcast licenses are typically offered separately.
Is TBJ Dogmu good for sports branding?
TBJ Dogmu is particularly well-suited to sports branding. Its compact letterforms, high-energy character, and legibility across physical and digital environments make it a strong choice for athletic identities, jersey graphics, merchandise, and sports marketing materials.
Check out other popular typefaces in the Fonts section here at WE AND THE COLOR.
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The Trixy Font Family by Fontfabric Is a Condensed Serif Typeface That Reinvents Retro Display Typography
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Soviet book covers from the 1950s and 60s were not supposed to be beautiful. They were functional. Yet the designers working under ideological and material constraints produced some of the most daring typographic experiments of the 20th century — condensed letterforms with razor-sharp serifs, extreme vertical stress, and a restless energy that still feels urgent today. The Trixy font family by Fontfabric reaches back into that archive and pulls something genuinely new out of it.
Released in October 2025 and designed by Vika Usmanova and Ivelina Martinova, Trixy is a condensed serif typeface built for expressive display typography. It is not a revival. It is not nostalgia dressed up in OpenType. Trixy is a systematic reinterpretation of experimental mid-20th-century Cyrillic lettering — one that functions as a fully modern, multilingual type system for editorial, packaging, branding, and digital design.
The typeface is available on MyFontsSo why does this matter right now? Because the design industry has been simultaneously hungry for two things that seem to contradict each other: historical depth and contemporary precision. Trixy delivers both. And it does so with a structural clarity that makes it as useful as it is visually arresting.
Trixy Font Family by Fontfabric The typeface is available on MyFontsWhat Makes the Trixy Condensed Serif Different from Every Other Retro-Inspired Typeface?
The retro typography trend is, frankly, exhausted. Scores of foundries have released “vintage-inspired” condensed serifs over the past decade. Most of them follow the same formula — add a few rough edges, choose a warm color palette for the specimen, call it “nostalgic.” Trixy does not do this.
The difference starts with the source material. Type Director Vika Usmanova spent years collecting book covers from Eastern Europe’s mid-20th-century publishing output. She was drawn to a specific typographic sensibility — one where designers made genuinely bold structural decisions rather than decorative ones. Sharp, small horizontal serifs. Massive vertical serifs. Narrow proportions under high contrast. These were not stylistic flourishes. They were solutions to real constraints, and they produced letterforms with a tectonic clarity that typical revival typefaces rarely capture.
Crucially, Usmanova began the design process in Cyrillic, not Latin. This is rare. Most typefaces start in Latin and adapt into Cyrillic as an afterthought. Starting in Cyrillic fundamentally shaped the letterform logic — the proportional decisions, the serif behavior, the rhythm across a line of type. The Latin expansion came later, informed by those Cyrillic bones.
The result is a typeface where the Cyrillic and Latin scripts share a genuine structural DNA. They feel like siblings, not translations. That coherence is one of Trixy’s most underappreciated qualities.
The Two Personalities: Trixy Stories vs. Trixy Tales
The Trixy font family divides into two distinct subfamilies, each with five weights from Light to Bold. Understanding the difference between them is essential for using the family effectively.
Trixy Stories is the more refined of the two. It carries the full weight of Trixy’s condensed serif character but delivers it with a certain editorial composure. Stories includes a rich set of ligatures and stylistic alternates — tools that allow designers to tune the expressiveness of their headlines precisely. When you need Trixy’s personality at a slightly lower volume, Stories is your starting point.
Trixy Tales, meanwhile, pushes further. The details are sharper. The legs on certain characters become elongated, almost swash-like in their gesture. Tales has more eccentricity built into its default forms — more swing, more visual tension, more of that experimental Soviet-era energy that inspired the typeface in the first place.
Think of Stories and Tales not as a light and dark mode, but as two editorial voices within the same authorial tradition. One speaks with precision. The other speaks with theatre.
Trixy Font Weights and the Architecture of a 10-Style System
Ten upright styles across two subfamilies give Trixy a focused, purposeful weight range. This is not a family trying to serve every design scenario. It is a display-focused system with clear typographic intent.
Each subfamily — Stories and Tales — offers Light, Regular, Medium, SemiBold, and Bold. The weight progression feels deliberately calibrated. The lightweights carry Trixy’s condensed proportions with surprising elegance, particularly in editorial contexts where large-scale headlines need to breathe. The Bold weights are, predictably, where the typeface becomes most dramatic — the vertical serifs gain mass, the contrast between thick and thin strokes sharpens, and the overall silhouette becomes almost architectural.
Medium and SemiBold occupy an interesting middle ground. They are versatile enough for subheadings and secondary display text without losing the family’s expressive character. For designers building multi-level typographic hierarchies within a single layout, these intermediate weights do a great deal of structural work.
OpenType Features That Actually Matter
Trixy ships with extended OpenType functionality, and it is worth understanding what that means in practice. The family includes stylistic alternates, stylistic sets, localized forms, ligatures, and case-sensitive forms. These features are not decorative extras — they are tools for typographic control.
The ligatures, in particular, deserve attention. Ivelina Martinova worked specifically on Trixy’s ligature set, designing connections that complement the typeface’s visual rhythm rather than simply joining characters mechanically. In headline typography at display sizes, well-designed ligatures produce a flowing quality across letter sequences that no amount of manual kerning can replicate. Trixy’s ligatures do exactly this.
The stylistic alternates allow designers to toggle between Trixy’s more expressive forms and slightly more contained versions of the same characters. Specifically, the aperture on certain letterforms can shift between open and closed variants, giving nuanced control over how open or compact the overall texture of a typeset headline feels. That level of fine control in a display serif is genuinely useful.
The Soviet Typographic Heritage Behind the Trixy Serif Typeface
It is worth taking the historical inspiration seriously because it shapes everything about how Trixy behaves visually. Mid-20th century Eastern European Cyrillic lettering operated in a design culture that was simultaneously constrained and experimental. Type designers working in the Soviet sphere did not have access to the commercial typographic traditions of Western Europe. They built their own systems — often with limited technology, under ideological pressure, and with remarkable formal invention.
The specific quality that Usmanova identified in those book covers — and that Trixy captures — is what I call Constrained Dynamism: the typographic phenomenon where extreme formal restriction (narrow proportions, vertical stress, limited tooling) paradoxically generates high visual energy rather than suppressing it. When every letterform decision is optimized within a tight system, the cumulative effect across a word or headline is kinetic, almost architectural.
This concept of Constrained Dynamism explains why Trixy feels simultaneously tight and alive. The narrow proportions are genuinely condensed — not artificially compressed via horizontal scaling, but drawn that way from the outset. The high contrast is structural, not applied. And the sharp serifs are load-bearing elements of each letterform, not ornamental finishing touches.
Understanding this history makes you a better user of the typeface. You set Trixy differently when you understand that its formal logic comes from a design tradition where each character had to earn its place on the page.
Cyrillic-First Design: A Structural Advantage
Starting from Cyrillic rather than Latin gave the Trixy font family an unusual structural advantage. Cyrillic letterforms, particularly in condensed high-contrast designs, demand a specific approach to vertical stroke distribution and serif behavior that differs meaningfully from Latin conventions.
When Usmanova built Trixy’s Latin from the Cyrillic foundation, the Latin inherited that structural logic. This is why Trixy’s Latin characters feel more architecturally cohesive than most revival-inspired condensed serifs. The lowercase g, the ear of the r, the leg of the capital R — these details are informed by a design sensibility that originated in Cyrillic decision-making, and that origin gives them a specificity and confidence that purely Latin-derived approaches rarely achieve.
For designers working in multilingual contexts — particularly those combining Latin and Cyrillic scripts — this coherence is practically valuable. Both scripts feel like they belong to the same typographic voice, which is not something you can take for granted in display typography.
Where Does the Trixy Display Font Work Best?
Trixy is a display typeface. This is not a limitation — it is a precision. The family is optimized for large-scale applications where visual impact, typographic personality, and formal clarity all need to operate simultaneously. Using it at text sizes is technically possible in some weights, but it is not where the family’s strengths live.
Here are the use cases where Trixy performs at its highest level.
Editorial Headlines and Magazine Typography
This is Trixy’s most natural environment. At headline scale, the condensed proportions allow more characters per line without sacrificing visual weight. The contrast structure creates an immediate visual hierarchy. And the ligatures produce the flowing rhythm that makes a typeset headline feel designed rather than merely set.
For editorial designers working on long-form publications, literary magazines, or culture-focused media, Trixy Stories in Medium or SemiBold is particularly effective. It carries personality without overwhelming the content.
Book Cover Design and Publishing Layouts
Given that Trixy’s inspiration comes from book covers, it should surprise no one that it excels in this context. The typeface has an inherent bibliographic quality — a sense that it belongs to a tradition of considered, editorially intentional typography. It reads as literary without being precious.
Trixy Tales Bold, especially with its elongated leg details, produces stunning results on book cover treatments where the title needs to carry the visual weight of the entire composition.
Packaging Design and Brand Identity
Trixy’s condensed proportions make it exceptionally useful in packaging contexts where vertical space is at a premium — bottle labels, narrow panel copy, vertical type treatments. The high contrast ensures legibility even at small display sizes. And the personality of the typeface — that retro-contemporary energy — translates well to food and beverage branding, particularly premium, artisanal, or culturally positioned products.
For brand identities that need a visual voice of considered authority with a historical register, Trixy provides it without resorting to the generic retromania that plagues much of current branding typography.
Poster Design and Digital Graphics
At a large scale, Trixy Tales Bold is one of the most visually powerful condensed serifs released in recent years. The combination of extreme condensation, high contrast, and those distinctive leg details creates compositions that command attention. For poster work, cultural event graphics, or social media title cards, it performs with rare conviction.
The Design Process: What Vika Usmanova and Ivelina Martinova Built
Understanding a typeface’s design process often illuminates why it behaves the way it does. Trixy was not a quick project. Usmanova began collecting the Eastern European Cyrillic book covers that would inspire the typeface over several years before the design work began. That period of collecting and analyzing shaped the formal vocabulary she eventually brought to the drawing stage.
One challenge Usmanova identified explicitly: knowing when to stop experimenting. Trixy’s condensed proportions and sharp serifs open up a wide range of possible letterform variations. The discipline required was in maintaining system cohesion while still allowing expressive details to emerge. That tension — between systematic thinking and individual letterform eccentricity — is visible in the final typeface, and it is one of Trixy’s most compelling qualities.
Martinova joined the project at a later stage, focusing on extended Latin coverage, Cyrillic expansion, symbols, and the ligature set. Her work on the ligatures — designing connections that complemented Trixy’s visual rhythm rather than merely joining characters — reflects a deep understanding of how display typography actually functions at headline scale. The collaboration between the two designers produced something neither might have built alone: a typeface with both systematic rigor and genuine formal surprise.
Spacing presented the greatest technical challenge. Condensed proportions and sharp serifed shapes require extreme precision to produce a rhythm that feels both dynamic and harmonious. Trixy achieves this. The spacing decisions make the typeface perform beautifully in continuous headline settings — words flow, letters relate to each other, and the overall texture of a typeset headline feels intentional rather than mechanical.
Trixy Font Multilingual Support and Technical Specifications
Trixy ships in OTF, TTF, and Webfont formats (WOFF and WOFF2). The multilingual support covers extended Latin and extended Cyrillic character sets — a natural consequence of the typeface’s dual-script origin story.
The OpenType feature set includes alternates, stylistic sets, localized forms, ligatures, and case-sensitive forms. These features are supported across standard professional design applications, including Adobe Illustrator, InDesign, Photoshop, and Figma.
The family is available through MyFonts. Ten styles are available across the two subfamilies, with individual style licensing and full family packages depending on the platform.
For web typography applications, the WOFF2 files ensure efficient loading. The condensed proportions actually offer a secondary technical advantage in web contexts: less horizontal space per character means more content per viewport width, which is a genuinely useful property in responsive design scenarios where vertical space is limited.
The Constrained Dynamism Framework: A Typographic Evaluation Method
The concept of Constrained Dynamism — introduced earlier in this article — offers a useful framework for evaluating display typefaces more broadly, not just Trixy. The premise is this: the most visually energetic display typefaces are rarely those with the most formal freedom. They are the ones where tight formal constraints generate kinetic formal energy across the type system.
Under this framework, four properties define a typeface’s Constrained Dynamism score: proportional compression (how condensed), stroke contrast ratio (how high), serif behavior (how structurally integrated versus ornamental), and letterform eccentricity (how many character-level departures from convention exist within a coherent system).
Trixy scores exceptionally high across all four. Its proportional compression is genuine, not simulated. Furthermore, its stroke contrast is structural, and its serifs are load-bearing formal elements. And its character-level eccentricities — those elongated legs in Tales, the ligature connections, the alternate aperture forms — exist within a system coherent enough to contain them.
This is why Trixy does not feel like a collection of interesting characters. It feels like a coherent typographic voice. That distinction matters enormously in practice.
My Take: Why Trixy Deserves a Place in Every Serious Designer’s Type Library
I have been evaluating display typefaces professionally for years, and Trixy represents something genuinely rare: a historically informed display serif that earns its visual confidence through structural thinking rather than surface decoration.
The Soviet Cyrillic inspiration could easily have produced something gimmicky — a typeface that leans on its reference image and delivers little beyond aesthetic nostalgia. Instead, Usmanova and Martinova used that historical inspiration as a starting point for systematic design thinking. The result is a typeface that looks like it belongs to the history of experimental Eastern European typography while functioning with the precision of a contemporary professional type system.
The Stories/Tales bifurcation is a smart editorial decision. It gives the family a genuine range — from refined to theatrical — without fragmenting its identity. You know immediately that both subfamilies are Trixy. And the OpenType features, particularly the ligatures, elevate the practical value of the family well beyond what the specimen images alone can demonstrate.
If you work in editorial design, publishing, premium packaging, or brand identity — and especially if you regularly need to set both Latin and Cyrillic — Trixy should be at the top of your licensing list. It is, quite simply, one of the most distinctive and typographically intelligent condensed serif releases of 2025.
The typeface is available on MyFontsMy prediction: within the next two years, Trixy will become one of Fontfabric’s most recognized display families. The visual identity landscape is moving toward typefaces with historical depth and contemporary precision simultaneously. Trixy sits exactly at that intersection.
Frequently Asked Questions About the Trixy Font Family
What is the Trixy font family?
Trixy is a condensed serif typeface family designed by Vika Usmanova and Ivelina Martinova and published by Fontfabric. It draws inspiration from bold, experimental Cyrillic lettering on Soviet-era book covers from the mid-20th century. The family includes 10 upright styles across two subfamilies — Trixy Stories and Trixy Tales — each offering five weights from Light to Bold.
What is the difference between Trixy Stories and Trixy Tales?
Trixy Stories delivers a refined, expressive tone with a rich set of ligatures and stylistic alternates, making it ideal for editorial typography where control and composure are needed. Trixy Tales pushes further with sharper details and elongated, swash-like character legs, producing more visual drama and eccentricity. Think of Stories as precise and Tales as theatrical — both within the same typographic voice.
What are the best use cases for the Trixy font?
Trixy is optimized for display typography at a large scale. Its strongest applications include editorial headlines, magazine covers, book cover design, packaging labels, poster design, branding, and digital graphics. It performs particularly well in contexts that call for strong visual personality combined with historical character — premium food and beverage packaging, literary publishing, and culture-focused media.
Does Trixy support Cyrillic script?
Yes. In fact, Trixy was designed starting from Cyrillic — an unusual approach that gives the family exceptional structural coherence between its Cyrillic and Latin character sets. The family offers extended Latin and extended Cyrillic coverage, making it well-suited for multilingual design projects.
What OpenType features does the Trixy font include?
Trixy includes stylistic alternates, stylistic sets, localized forms, ligatures, and case-sensitive forms. The ligature set is particularly well-developed, with connections designed to complement the typeface’s visual rhythm in headline settings. Alternate aperture forms allow designers to shift between more open and more closed character variants.
What formats does the Trixy font family come in?
Trixy is available in OTF, TTF, WOFF, and WOFF2 formats, covering desktop, print, and web typography applications.
Who designed the Trixy font?
Trixy was designed by Vika Usmanova, Type Director at Fontfabric, who initiated the project and led the design of the core letterforms, and Ivelina Martinova, who worked on the extended Latin, Cyrillic, symbols, and ligature set. The typeface was released by Fontfabric in October 2025.
Is the Trixy font suitable for web design?
Trixy is primarily a display typeface optimized for large-scale headline use. However, it is available in WOFF and WOFF2 webfont formats, making it suitable for web typography in headline and display contexts. Its condensed proportions also offer a practical advantage in responsive design: more characters per line width without sacrificing visual weight.
Where can I purchase or license the Trixy font family?
Trixy is available on MyFonts. Desktop, webfont, and digital advertising license types are available depending on your use case.
How does the Trixy font compare to other condensed serif typefaces?
Trixy distinguishes itself from other condensed serif typefaces through its Cyrillic-first design origin, its dual-subfamily structure (Stories and Tales), and its genuine structural coherence — the condensed proportions, high contrast, and serif behavior are all drawn from the outset rather than applied or compressed mechanically. The historical Cyrillic inspiration gives it a typographic specificity and formal confidence that most revival-inspired condensed serifs lack.
Check out other trending typefaces here at WE AND THE COLOR.
#font #fontFamily #fontfabric #fonts #serif #serifFont #Trixy -
https://www.walknews.com/1285209/ ＵＡＥ、イランがホルムズ海峡で空荷のタンカー攻撃と非難 | ロイター #AE #AMERS #ASIA #ASXPAC #Business #COM #CONT #CRU #CWP #DEST:NOJPWDM #DIP #EMEA #EMEAE #EMRG #ENER #ENFF #ENG #ENR #GEN #INSURG #IR #JFOR #JLN #MEAST #MEASTE #NAMER #NEWS1 #NRG #OILG #OILI #POL #PROD #REPI:EXPLORATIONPRODUCTION #SECUR #SHPNG #SWASIA #TGLF #TNKR #TRD #TRN #TRNSPT #US #WAR #ビジネス
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https://www.wacoca.com/news/2827964/ ＵＡＥ、イランがホルムズ海峡で空荷のタンカー攻撃と非難 | ロイター ##war #AE #AMERS #Asia #ASXPAC #Business #BusinessNews #Com #CONT #Cru #CWP #DEST:NOJPWDM #dip #EMEA #EMEAE #EMRG #ENER #ENFF #eng #ENR #Gen #INSURG #IR #JFOR #JLN #MEAST #MEASTE #NAMER #NEWS1 #NRG #OILG #OILI #POL #PROD #REPI:EXPLORATIONPRODUCTION #SECUR #SHPNG #SWASIA #TGLF #TNKR #TRD #TRN #TRNSPT #US #ビジネス
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ＵＡＥ、イランがホルムズ海峡で空荷のタンカー攻撃と非難 | ロイター https://www.yayafa.com/2793260/ #Ae #AMERS #Asia #ASXPAC #BreakingNews #cơm #CONT #CRU #CWP #DEST:NOJPWDM #dip #EMEA #EMEAE #EMRG #ENER #ENFF #Eng #ENR #Gen #INSURG #IR #Iran #JFOR #JLN #MEAST #MEASTE #NAMER #News① #NRG #OILG #OILI #POL #Prod #REPI:EXPLORATIONPRODUCTION #SECUR #SHPNG #SWASIA #TGLF #TNKR #TRD #TRN #TRNSPT #us #War #イラン #速報ニュース
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https://www.fogolf.com/1235811/amalfi-italy-%f0%9f%87%ae%f0%9f%87%b9-4k-walking-tour-amalfi-coast-drone-views-with-captions/ Amalfi, Italy 🇮🇹 | 4K Walking Tour – Amalfi Coast & Drone Views with Captions #4kvideo #Amalfi #AmalfiCoast #captions #Coast #drone #GolfBellaVideos #GolfBellaVlog #GolfBellaYouTube #GolfBelle #italy #Positano #Tour #TravelFromHome #views #Walking #walkingtour
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https://www.fogolf.com/1235811/amalfi-italy-%f0%9f%87%ae%f0%9f%87%b9-4k-walking-tour-amalfi-coast-drone-views-with-captions/ Amalfi, Italy 🇮🇹 | 4K Walking Tour – Amalfi Coast & Drone Views with Captions #4kvideo #Amalfi #AmalfiCoast #captions #Coast #drone #GolfBellaVideos #GolfBellaVlog #GolfBellaYouTube #GolfBelle #italy #Positano #Tour #TravelFromHome #views #Walking #walkingtour
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Saturday, November 15, 2025
Battle of Pokrovsk: How Russia broke into the city and what's next -- Russia plans to import 12,000 North Koreans to work in its massive Shahed drone plant -- Suspicious drone sightings reported at key French gunpowder factory -- Russian military vessel spotted near Hawaii, US Coast Guard says ... and morehttps://activitypub.writeworks.uk/2025/11/saturday-november-15-2025/
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𝗪𝗜𝗞𝗜𝗣𝗘𝗗𝗜𝗔'𝗦 𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗗 𝗔𝗥𝗧𝗜𝗖𝗟𝗘
✧ Opifex fuscus ✧
Opifex fuscus is a species of mosquito that is endemic to New Zealand. They occur along the coast, where their larvae live in rock pools within the spray zone. To survive in this habitat, the larvae are able to tolerate a wide range of water salt concentrations. The larvae feed on algae and decomposing matter. They also have mouthparts that specialise towards eith...
#Opifex #Otago #Aedes #Wikipedia
https://en.wikipedia.org/wiki/Opifex_fuscus -
★
Santé public (compagnie aérienne Française ou Low Cost )
https://petitions.assemblee-nationale.fr/initiatives/i-5930 nº5930
[…]
Que les voyageurs vérifient leur valise avant de prendre l'avion , qu'il n'ait pas d'insectes indésirables cachés dans leur vêtement ou autre , pour éviter de les ramener chez lui .Toutes personnes ayant 38° ne prenne pas l'avion pour éviter de transmettre leur microbes .
C'est comme ça que sont arrivées les pandémies dans nos pays par des personnes malades qui avaient pris l'avion !
_
#initiatives_citoyennes à l'Assemblée -
Business Signs in Newton, MA
Business Signs in Newton, MA
Banners Etc. Newton, MA provides business signs in Newton, MA for storefronts,
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Newton has a wide mix of businesses, including professional offices, retail
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Storefront business signs in Newton, MA help customers identify your location
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contractors, and service businesses throughout Newton and Greater Boston.Exterior Business Signs in Newton, MA
Exterior business signs are designed to be seen from outside your building,
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advertising.Interior Business Signs and Office Signs
Interior business signs in Newton, MA help create a more organized,
professional, and branded environment. Interior signs are useful for offices,
schools, apartment buildings, medical spaces, retail stores, restaurants,
lobbies, hallways, and commercial interiors.Interior sign options include lobby signs, reception signs, acrylic signs,
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while reinforcing the professionalism of your business.ADA Signs, Wayfinding Signs, and Directory Signs
ADA signs and wayfinding signs are important for many business environments.
They help customers, tenants, visitors, and employees move through a building
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signs, lobby directories, tenant directories, and interior wayfinding systems.These signs are commonly used in office buildings, medical practices,
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navigate.Vinyl Graphics and Window Signs for Businesses
Vinyl graphics are a flexible and effective option for businesses that need
clean branding, promotional messaging, or custom visual displays. Banners Etc.
Newton, MA creates window graphics, window lettering, door decals, wall
graphics, wall murals, cut vinyl lettering, branded decals, privacy graphics,
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transform plain interior walls into branded office spaces, retail displays,
restaurant graphics, school visuals, gym graphics, or professional lobby
designs. Vinyl graphics are a practical choice for businesses that want a
strong visual impact without always needing a rigid sign panel.Vinyl Banners, Mesh Banners, and Promotional Signs
Vinyl banners in Newton, MA are a popular option for business promotions,
grand openings, sales, events, school announcements, contractor projects,
restaurants, trade shows, and temporary advertising. They are cost-effective,
highly visible, and available in many sizes for indoor or outdoor use.Mesh banners are useful for outdoor areas where wind exposure may be a
concern, such as fences, construction sites, athletic fields, commercial
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banners and mesh banners for businesses that need temporary, seasonal, or
large-format signage that can be seen clearly from a distance.Durable Materials for Business Signs
The right material can make a major difference in how a business sign looks,
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foamcore, PVC, vinyl, and banner materials.Dibond signs and aluminum signs are excellent options for durable business
signs, property signs, building signs, parking signs, menu boards, wall
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sign faces, cabinet signs, and replacement sign panels. Coroplast signs are
useful for yard signs, contractor signs, real estate signs, parking signs,
and temporary business signage. Foamcore signs are often used for indoor
displays, presentations, events, and temporary graphics.Business Signs for Local Newton Areas
Banners Etc. Newton, MA serves businesses throughout Newton and nearby Greater
Boston communities. We work with customers in Newton Centre, Newtonville,
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space, we can help create signs that fit your location and your brand.
Business signage should be easy to read, properly sized, professionally
designed, and made from materials that match the intended use.Why Choose Banners Etc. Newton, MA?
Banners Etc. Newton, MA focuses on practical, professional, and brand-focused
signage for local businesses. We understand that signs need to do more than
look good. They need to communicate clearly, attract attention, support your
brand, guide visitors, and hold up in the environment where they are placed.Our business sign solutions include storefront signs, custom business signs,
channel letters, LED channel letters, window graphics, wall graphics, vinyl
banners, mesh banners, ADA signs, wayfinding signs, directory signs, Dibond
signs, aluminum signs, Lexan sign faces, coroplast signs, foamcore signs,
trade show displays, and custom printed graphics.Get Business Signs in Newton, MA
If your company needs business signs in Newton, MA, Banners Etc. Newton, MA
can help with professional sign design, production, and custom signage
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signage that supports your business goals.Contact Banners Etc. Newton, MA today to discuss business signs, custom
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#branding #business #design #digitalMarketing #marketing -
Business Signs in Newton, MA
Business Signs in Newton, MA
Banners Etc. Newton, MA provides business signs in Newton, MA for storefronts,
offices, retail shops, restaurants, contractors, medical practices, schools,
apartment properties, commercial buildings, and local organizations throughout
Newton and Greater Boston. Whether your business needs one sign or a complete
sign package, we help create professional signage that improves visibility,
supports your brand, and helps customers recognize your location.Business signs are one of the most important parts of a company’s visual
identity. A clear, well-designed sign helps people find your business,
understand what you offer, and form a strong first impression. From exterior
storefront signs and channel letters to interior office signs, vinyl banners,
window graphics, wall graphics, ADA signs, wayfinding signs, directory signs,
Dibond signs, aluminum signs, Lexan sign faces, coroplast signs, and custom
printed displays, Banners Etc. Newton, MA offers business signage solutions
for many different industries and applications.Professional Business Signs for Newton, MA Companies
Newton has a wide mix of businesses, including professional offices, retail
stores, restaurants, schools, medical buildings, service companies, fitness
studios, property managers, and local organizations. Each type of business
needs signage that fits its location, audience, budget, and brand style. A
storefront may need high-visibility exterior signage, while an office may
need lobby signs, room signs, directory signs, and branded interior graphics.Banners Etc. Newton, MA works with businesses to create signs that are clean,
readable, durable, and appropriate for the space. We help choose materials,
sizes, layouts, and sign types based on how the sign will be used. Some signs
need to be visible from the street. Others need to guide visitors through a
building, promote a sale, identify a room, advertise an event, or create a
polished branded environment.Storefront Business Signs in Newton, MA
Storefront business signs in Newton, MA help customers identify your location
quickly and understand your brand before they walk through the door. A strong
storefront sign can improve curb appeal, increase visibility, and make your
business look more established and professional.Storefront signage options include channel letters, LED channel letters,
dimensional letters, formed plastic letters, illuminated signs, sign cabinets,
Lexan sign faces, Dibond signs, aluminum wall signs, window lettering, vinyl
graphics, and custom exterior sign panels. These signs are commonly used by
restaurants, salons, retail shops, medical offices, fitness studios, offices,
contractors, and service businesses throughout Newton and Greater Boston.Exterior Business Signs in Newton, MA
Exterior business signs are designed to be seen from outside your building,
parking area, sidewalk, or street. They need to be durable, readable, and
appropriate for outdoor conditions. Banners Etc. Newton, MA creates exterior
signs for storefronts, commercial properties, office buildings, restaurants,
schools, contractors, retail locations, and property managers.Common exterior business sign options include aluminum signs, Dibond signs,
wall-mounted signs, building signs, parking signs, directional signs, tenant
panels, sign cabinet faces, vinyl banners, mesh banners, and coroplast signs.
These signs can be used for long-term business identification, temporary
promotions, construction sites, parking areas, property signage, and outdoor
advertising.Interior Business Signs and Office Signs
Interior business signs in Newton, MA help create a more organized,
professional, and branded environment. Interior signs are useful for offices,
schools, apartment buildings, medical spaces, retail stores, restaurants,
lobbies, hallways, and commercial interiors.Interior sign options include lobby signs, reception signs, acrylic signs,
wall graphics, office signs, room identification signs, restroom signs, ADA
signs, wayfinding signs, directory signs, wall-mounted displays, floor signs,
and custom printed graphics. These signs help visitors navigate the space
while reinforcing the professionalism of your business.ADA Signs, Wayfinding Signs, and Directory Signs
ADA signs and wayfinding signs are important for many business environments.
They help customers, tenants, visitors, and employees move through a building
clearly and confidently. Banners Etc. Newton, MA creates ADA signage,
directional signage, room identification signs, restroom signs, accessibility
signs, lobby directories, tenant directories, and interior wayfinding systems.These signs are commonly used in office buildings, medical practices,
schools, apartment properties, retail centers, restaurants, municipal spaces,
and commercial interiors. A complete wayfinding system can include arrows,
room numbers, directories, floor signs, wall signs, parking signs, and
branded directional signage that keeps your building organized and easy to
navigate.Vinyl Graphics and Window Signs for Businesses
Vinyl graphics are a flexible and effective option for businesses that need
clean branding, promotional messaging, or custom visual displays. Banners Etc.
Newton, MA creates window graphics, window lettering, door decals, wall
graphics, wall murals, cut vinyl lettering, branded decals, privacy graphics,
and promotional graphics for local businesses.Window signs can display your business name, logo, hours, services, seasonal
promotions, contact information, or decorative branding. Wall graphics can
transform plain interior walls into branded office spaces, retail displays,
restaurant graphics, school visuals, gym graphics, or professional lobby
designs. Vinyl graphics are a practical choice for businesses that want a
strong visual impact without always needing a rigid sign panel.Vinyl Banners, Mesh Banners, and Promotional Signs
Vinyl banners in Newton, MA are a popular option for business promotions,
grand openings, sales, events, school announcements, contractor projects,
restaurants, trade shows, and temporary advertising. They are cost-effective,
highly visible, and available in many sizes for indoor or outdoor use.Mesh banners are useful for outdoor areas where wind exposure may be a
concern, such as fences, construction sites, athletic fields, commercial
properties, and outdoor events. Banners Etc. Newton, MA creates custom vinyl
banners and mesh banners for businesses that need temporary, seasonal, or
large-format signage that can be seen clearly from a distance.Durable Materials for Business Signs
The right material can make a major difference in how a business sign looks,
performs, and lasts. Banners Etc. Newton, MA offers sign materials for both
indoor and outdoor use, including Dibond, aluminum, Lexan, acrylic, coroplast,
foamcore, PVC, vinyl, and banner materials.Dibond signs and aluminum signs are excellent options for durable business
signs, property signs, building signs, parking signs, menu boards, wall
signs, and exterior panels. Lexan signs are commonly used for illuminated
sign faces, cabinet signs, and replacement sign panels. Coroplast signs are
useful for yard signs, contractor signs, real estate signs, parking signs,
and temporary business signage. Foamcore signs are often used for indoor
displays, presentations, events, and temporary graphics.Business Signs for Local Newton Areas
Banners Etc. Newton, MA serves businesses throughout Newton and nearby Greater
Boston communities. We work with customers in Newton Centre, Newtonville,
West Newton, Auburndale, Chestnut Hill, Waban, Nonantum, Oak Hill, Newton
Upper Falls, Newton Lower Falls, and surrounding areas.Whether your business is located in a storefront, office building, retail
plaza, medical property, school, restaurant, apartment building, or commercial
space, we can help create signs that fit your location and your brand.
Business signage should be easy to read, properly sized, professionally
designed, and made from materials that match the intended use.Why Choose Banners Etc. Newton, MA?
Banners Etc. Newton, MA focuses on practical, professional, and brand-focused
signage for local businesses. We understand that signs need to do more than
look good. They need to communicate clearly, attract attention, support your
brand, guide visitors, and hold up in the environment where they are placed.Our business sign solutions include storefront signs, custom business signs,
channel letters, LED channel letters, window graphics, wall graphics, vinyl
banners, mesh banners, ADA signs, wayfinding signs, directory signs, Dibond
signs, aluminum signs, Lexan sign faces, coroplast signs, foamcore signs,
trade show displays, and custom printed graphics.Get Business Signs in Newton, MA
If your company needs business signs in Newton, MA, Banners Etc. Newton, MA
can help with professional sign design, production, and custom signage
solutions. Whether you need a new storefront sign, interior office sign,
banner, wall graphic, window decal, ADA sign, wayfinding sign, aluminum sign,
Dibond sign, Lexan sign face, or complete sign package, we can help create
signage that supports your business goals.Contact Banners Etc. Newton, MA today to discuss business signs, custom
signs, storefront signs, vinyl graphics, banners, and professional signage
solutions for your business in Newton and Greater Boston.Additional References
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Additional References
https://www.instagram.com/bannersetcnewton/
https://www.linkedin.com/company/banners-etc-newton-ma/
https://www.linkedin.com/company/banners-etc-peabody-ma/
https://www.linkedin.com/company/bannersetcboston
#branding #business #design #digitalMarketing #marketing -
On the TLS mailing list and related forums, he relentlessly argued that dropping the #X25519 "seatbelt" was foolish and dangerous. And not just dangerous — suspicious. He pointed out that no real-world client or server was unable to handle the small extra cost of hybrid handshakes; there was no practical downside to using two algorithms except maybe 64 bytes more network traffic. So why the push for pure #post-quantum? Bernstein's answer: because certain large governmental actors want to weaken our crypto under the guise of moving to the future. He didn't mince words. According to him, "surveillance agency NSA and its partner #GCHQ are trying to have standards-development organizations endorse weakening ECC+PQ down to just PQ" 9. He drew parallels to the Dual EC scandal, noted that #NSA's public "CNSA 2.0" guidelines were ambivalent at best about hybrids, and essentially accused these agencies of leveraging compliance-minded companies to do their bidding.
@CuratedHackerNews https://mastodon.social/@CuratedHackerNews/116109445960984470
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[May-August 2023] Revolt in Manipur, India
https://euphoria.noblogs.org/post/2023/08/07/revolt-in-manipur/
Compilation of different articles published on some maoist website, which has done compilations and summaries of press articles on the ongoing struggle in Manipur (a northeast state of India) since the beginning of the month of May 2023. The first article contains a detailed summary of the context around the revolt a few months after it began, while the following are presented in the chronological order of the events.
India: on the current struggle in Manipur – July 2, 2023
The 3rd of May started many clashes in the State of Manipur, which are still going strong nowadays. We have reported on that. This day, the All Tribal Students Union of Manipur (ATSUM) conveyed a mobilization in protest for the inclusion of the Meitei in the list of Scheduled Tribes, what make Meiteis able to legally expel the peasantry of their lands.
Currently, the death toll is 138 people killed, and since now, there are around 60.000 peasants expelled, most of them from The Hills area, of the Kuki tribal group. But the struggle started pretty much before. In February, there were new expels of peasants by the State of Manipur in the district of Churachandpur, and after that, in the month of March there were mobilizations, repressed with violence by the Indian police. Also there was a general strike in the month of April, conveyed by the Indigenous Tribal Leaders’ Forum (ITLF), at the same time of a visit of Prime Minister of Manipur, N Biren Singh. After that, started the first riots. The big landlords class and the bureaucratic capitalist class class want to expel the peasants for continuing the concentration of lands, and also because the oil, gas and other minerals in the area.
Regarding the sides involved in the struggle, mainly are two:
On the one hand, there is the bureaucratic capitalist class and the big landlords, interested in take of the lands of the peasantry. They belong to the tribe Meitei and they are mainly Hindu. They have the resources of the Indian State, and they always ruled the State of Manipur, no matter with which political party, and for this, they are able to make big deployments of police forces in order to expel the peasants from their lands, as happened in the 20th of February in one of the facts who triggered the current revolts. They are mainly located in the fertile valleys of Imphal, the capital. Currently, the interests of the dominant classes are represented by the Bharatiya Janata Party (BJP) in Manipur. Besides the State repressive forces, these dominant classes also have made their own militias and groups of thugs, and they are using these ones as a head of spear against the peasantry which want to expel from their lands.
On the other hand,there is the peasantry, who is defending itself against the attempts of expel and the aggression of the bourgeoisie and the big landlords. The peasantry is mainly gathered in two tribal groups, the Kuki and the Naga, and they are mainly Christians. They live mainly in the hills. They have their own unitary organizations as ATSUM or ITLF, but, at the same time, they have their own regional peasant organizations. In the case of Kuki, they recently suffered many grievances and attacks by the bourgeoisie and the big landlords belonging to the Meitei group, and the government of Manipur: they criminalized the Kukis, stating this group are illegal immigrants from Myanmar, and due to this, their settlements in many of their lands are illegal; also they stated that the Kuki are not obeying the environmental protection rules because they live in protected and reserved forests, and should be expelled from them; even they accuse the Kuki of being drug-dealers or “narco-terrorists” due to the fact that the peasantry of this region plant poppies in the hills. All of these are reasons for the ruler classes to expel in a “justified” or legal way this peasantry from their lands.
For all of these years, the Indian State has firmly defensed the interests of the bureaucratic capitalist class and the big landlords of the region. The Indian State has S) has multiplied for ten its members during the last years and there are other militias of the local reaction gathered under the Meitei tribe, that are beinge, the paramilitary organization Rashtriya Swayamsevak Sangh (RSS) has multiplied for ten its members during the last years and there are other militias of the local reaction gathered under the Meitei tribe, that are being financed and protected.
Regarding the security force of the Indian State, there is information about that they are letting act these militias, even when they are looting gun-shops, police stations, etc. Also has been denounced by some witnesses that some members of Assam Rifles [Author’s note: troops of the Ministry of Interior] would be actively participating in attacks against peasantry.
Regarding the Indian State, has shown its incapacity to deal with rebellion of peasant masses and its resistance in Manipur. Has been unable to recover the stability in the area, despite a large military, paramilitary and police deployments (until 40.000 troops deployed by the Indian State and the authorities of Manipur). Despite all its efforts, Indian State has seen how its anti-popular policies has triggered a revolt of peasantry, and this has showed in a explicit way the weakness of the bureaucratic capitalism and of the semi-colonial and semi-feudal State itself, that is being overcome by a revolt in a peripheral State. This has sharpened multiple contradictions inside the Indian bureaucratic capitalist class and inside the representative parties of this one, as the BJP.
In these months the struggle of the masses has shown that it has a great potential. The blockades at the roads has shown being effective and provoking deep crisis of supplies. There have been carried out multiple actions against representatives of the Indian State and of the BJP and the curfews has been constantly challenged with spontaneous mobilizations. Even some military convoys has been blocked by the masses of the countryside.
We can see a main contradiction in this struggle, and is the contradiction between peasantry and feudality. The mass media are explaining this struggle as a simple tribal or religious conflict, and the State states that all the situation is returning to normalcy, and the riots has being made by troublemakers. But all of this is unmask the reality because the key of these facts is the struggle for the land, the contradiction between peasantry and bureaucratic capitalist class and big landlords. The peasant masses are struggling and resisting the attacks from the Indian State and the ruling classes, and they are confronting directly with them.
Manipur Revolts – May 8, 2023
On March 3rd there began a new stage of revolts in Manipur, after being known that the Meitei tribal group would be recognized as scheduled tribe in India. The Meitei are the majority of the population in the state of Manipur. The Indian State characterize the population according to the tribal groups, and thus establish limits for access to jobs, buying and selling of properties, and owning business. But the main point of the conflict in Manipur, is the eviction of the peasants from their own lands in order to concentrate this in a few hands of big landlords and big mining companies. On the other hand, local media often analyzes that main problem is between tribal groups or religions. The thing with the Meitei group is that local bosses who identify with this tribal group, will have economical privileges, and for example, will can acquire easily lands from the peasantry that are scheduled as Kuki or Naga, something that earlier was forbidden.
Then, the 3rd of March there was a big mobilization in Manipur. This mobilization was called for by a student organization, the All Tribal Students Union of Manipur [ATSUM]. Besides this one, also the Indigenous Tribal Leaders Forum [ITLF] call for bandh in order to make sure that lot of people attend the mobilization. The ITLF is an organization that serves to gather all the representatives of the minority tribes of Manipur, and same is the case with the ATSUM, that gather students from these tribes.
Then, the police and the Army were overwhelmed and established a curfew on the 4th of April, suspended the access to Internet and also deployed much more troops, anti-riots police, etc. After this, the Indian State also gave a clear directive to their repressive troops: shoot-at-sight when they detect a demonstrator. This is tightly linked with the militarization of the streets in Manipur. The updated numbers of troops in the region are: “Near of 10,000 soldiers of the Army and Assam Rifles [a paramilitary force controlled by the central government, with the task of counter-insurgency and controlling the borders of northeast India] have been deployed in the state.”. On the other hand, the Indian Army have been stating since days ago that the situation in Manipur is under control.
The revolts have exploded during this week, but the conflict was intensifying since long time ago. Since March there has been several clashes in the area, led by indigenous organizations. Also this ITLF called for a bandh on Friday 24th of April, and stated that “they would continue non-cooperation against the government until it nullifies the 1966 government order that declared tribal areas as protected/reserved forests”. This government order allow the eviction of the peasantry of many areas declared as protected, something that big mining companies and big landlords asked for and used to take these lands later.
During today there has been reports of back to normalcy in Imphal (Manipur’s capital). The official numbers just admit 30 dead people. However, local media reports an updated death toll: 55 dead people until today.
India: the struggle continues in Manipur – May 15, 2023
The conflict continues in Manipur, even with gunfights. After the state of emergency, the curfews and the militarization of the federal state of Manipur, the Indian Armed Forces claim that the situation was controlled at Friday 5th May. We already published an article about the origin of the conflict and its beginnings.
But, after this statements, the people of Manipur continues struggling against the Indian State, against its police, troops and paramilitary, as the Assam Rifles [Author’s note: paramilitary organization to control the borders of Northeast India, and also for do tasks of counterinsurgency]. The Wednesday 10th May, unidentified people opened fire against Assam Rifles personnel, being injured one soldier. On the other hand, the Thursday 11th May, happened a more serious incident: a police officer of Manipur was killed, and another two were injured in a gunfight, on Bishnupur district, on the South of Manipur. The facts happened as follows: “According to the sources, the commandos were there around 8.30 am Thursday, to follow up on inputs received about the movement of some insurgents in the area. It has not yet been ascertained which group is behind the incident, but sources said the police commando succumbed to injuries caused by an “AK-47 bullet”.”. Regarding the same fact, the Security Advisor of the state of Manipur, states the Friday 12th May, that the number of injured commandos was six.
Also, local media report about a block on the roads that stopped a big convoy: “Meanwhile, around 180 Imphal-bound goods-laden trucks were forced to return from Kangpokpi district towards Senapati district after a large number of people blocked the Kangpokpi stretch of National Highway-2. Kangpokpi, about 43 km away from Manipur’s capital Imphal, is a Kuki-dominated district. The irate mobs at Kangpokpi town also burnt down a car along the highway, an official report said. Following the blockade, the convoy of trucks retreated to Senapati district (Naga-dominated district).”
Besides this, other incidents have happened on Friday: a soldier of Assam Rifles was injured when was trying to diffuse an Improvised Explosive Device [IED], on the Saiton village, Bishnupur district. Meanwhile, the Indian Armed Forces announced the deployment of Unmanned Aerial Vehicles [UAV’s] and helicopters in order to have a bigger control of the area.
Despite all of these facts, the Security Advisor of Manipur, Kuldeep Singh claimed Friday that the death toll was 71 dead people in Manipur, but the situation would be improve a lot after the curfew and the State intervention.
India: situation in Manipur overwhelmed the government – May 22, 2023
The conflict continues in Manipur three weeks after the beginning of the revolt after the student’s demonstration of 3rd May. Wednesday 17th May, official sources of police said the situation has improved. However the same day was reported the death of one jawan [Author’s note: police officer] who was injured in a previous ambush, with the official death toll went up to 74 dead people. We have already written about this ambush and another similar facts. In this article we already quoted police and military declarations claiming the situation was controlled since the first week of the revolts.
On Thursday 18th May , according to local media, a patrol of military troops found a considerable amount of explosives in one of their expeditions through delicate areas of the federal state of Manipur. Local media describes the amount: “Three kilograms of TNT, 15 electric detonators, four circuits, and remote firing devices have also been found”. Besides these materials, according to sources of Manipur would be more than 1.000 weapons and 10.000 bullets looted from several police and military facilities. Would been recovered less than a half of these weapons by the government.
On the other hand, the situation also would be critical for the entrance of some materials in Manipur, due to the blockades in highways initiated few weeks ago in the via, NH37, which is fundamental for the transit in the federal state. This blockades are still active and worrying the authorities of the Indian State and of federal state of Manipur. The State is trying to coordinate police, paramilitary and military forces to break this blockade, establishing surveillance for the convoys that are going inside Manipur. Regarding the effects of this blockade in the essential goods, local media explains that “the state of essential supplies began to dwindle and reach critical levels”.
After this fact, Indian State began a new plan of action in Manipur: “The army has listed out a four-point plan to ensure peace in Manipur. This includes day and night area domination, surveillance over designated ash-points, engagement with civil society organizations of all communities across Manipur and deployment of quad-copters, tracker dogs and UAVs [Author’s note: Unmanned Aerial Vehicles/drones].”. Besides the military measures, the ban for access to internet has been protracted two times: the first of them was since the 17th May until 22th May. State home department said that the first extension of the ban was needed “based on reports of continued incidents like fighting amongst volunteers/youths of major communities residing in the state’’. The second time that the ban is being protracted is since 22th May until 26th May. This extension of the ban is due to “reports of arson and attacks”.
With these measures, the government is trying to fix the situation in Manipur, and official sources states the following: “Our aim at the moment is to make the situation such that there are no reports of incidents or rumors generally”. Not just the government of Indian State it’s reinforcing its presence and surveillance in Manipur. Also the bureaucratic bourgeoisie belonging to the Meitei group, asked on the 20th May for a immediate intervention in the conflict in Manipur from Prime Minister, Narendra Modi, with “to use whatever means and resources at his disposal”.
India: Increase of the resistance, the State perpetrates a massacre in Manipur – May 29, 2023
Wednesday 24th May have been reported new clashes in Manipur, and the authorities have decided to reestablish all the curfew measures in the East Imphal, West Imphal and Bishnupur districts. At the same day one dead, two injured and presence of armed groups in several villages of Bishnupur district have been accounted. Also more torched houses have been reported. Meanwhile, the central government of the Indian State claims the situation is “returning to normal”. Despite this, during the week local media reports on more cases of shootings, therefore the Indian State has increased the police, military and paramilitary deployment in at least 38 places of the federal state of Manipur. At the same time, the authorities of Manipur keep on claiming that the number of dead people is around 60. But other sources, hospitals and media, are counting at least 74 dead people, according to the data of 17th May. We have already written about this uncontrolled situation in Manipur.
On the other hand, journalist associations denounce that the troops of Indian State are trying to silence those who are reporting about the riots in Manipur. For example, Monday 22th May, soldiers beat three journalists, Soram Inaoba, Nongthombam Johson and Brahmacharimayum Dayananda, who wanted to report about a new torching in the federal state. Regarding the repressive actions of the State, this is not an isolated fact: local media also reports that on Thursday 25th May, three paramilitary personnel of Rapid Action Force [RAF] set a meat shop on fire in Imphal, capital of Manipur.
Despite the increasing repression in Manipur, the people continue protesting actively against the actions of the government of federal state of Manipur and of the Indian State. Wednesday 24th May, the masses attacked the house of the Minister of Youth and Sports of the Federal state of Manipur, Konthoujam Govindas. Local media describes the action: “However, the minister and his family members were not present at the house when around 100 agitated people, mostly women, ransacked the house in Ningthoukhong Bazar area of Bishnupur district and damaged the gate, windows, a few furniture, electronic gadgets and vehicles parked at his residence.”
Another similar action was attempted to carry out on the Friday 26th against the house of the Minister of External Affairs and Education of the federal state of Manipur, Rajkumar Ranjan Singh, in the capital, Imphal. Thousands of people ignored the curfew and gathered in front of the house of the Minister in order to protest for the bad situation in Manipur. After these incidents, the minister has escaped from Manipur, traveling to New Delhi.
Regarding the control over the highways, the 15th May the reestablishment of the control in the highways and roads in Manipur was announced by the State. Despite this, during this week, it was reported that the blockades are still active and there is an uncontrolled increase of prices due to the low reserves and lack of import of them from outside of the federal state. Some basic products would cost the double of that before of the beginning of the conflict.
The Indian State is carrying on a brutal answer against all of these problems: since Saturday 27th May it is launching military operations dedicated to “check sporadic violence”. These operations have resulted in a big massacre of activists of the region: media reports about 33 people murdered by the troops and paramilitaries. Local sources add the following: “Sources said the number of casualties could be more as the combing operation was still on, particularly in the hill districts such as Kangpokpi, Churachandpur and Bishnupur, inhabited mostly by the Kukis.”
India: more clashes in Manipur – June 8, 2023
The struggles in Manipur is as intensive as the past weeks. The death toll of the clashes, reached 98 dead and 310 injured people on Friday 2nd of June. Saturday 3rd of June, Kuldiep Singh, security advisor of the government of the federal State of Manipur, claimed that: “Peace is returning to the State and normalcy is being restored. There has not been an incident of firing and arson in Manipur in the last 24 hours.” However, on the next day, militants belonging to armed groups struggling against the State, would burn around a hundred of houses, including the house of a member of the federal congress of Manipur. On the same day, Home Minister, Amit Shah, insisted in demanding that the groups who are blocking the NH2 Highway end the blockade. The highway is very important for the communications between the Indian State and Manipur.
Three gunfights have been reported in Manipur: the 5th of June there was a gunfight between armed groups of the Kangchup area, in the West Imphal district, resulting in three dead and four injured people. The 6th of June there was an attack against the military and police force of the Indian State, with one BSF soldier killed [Border Security Forces] and two members of the paramilitary group, the Assam Rifles, injured. At the same time there was another gunfight, but this time without casualties for any side. Meanwhile, the government decided to protract the ban for access to Internet until 10th of June. The ban has been ongoing since 4th of May and has been extended multiple times.
India: New Casualties of the Indian State in Manipur – June 23, 2023
There are also reports of numerous actions and new casualties of the Indian State in Manipur. We have reported on this struggle before. In Manipur, there were several simultaneous gunfights on the 20th of June, made with automatic weapons. After these gunfights, other arson and several incidents during the week, the Internet ban was extended until 25th of June. The ban has been ongoing since 4th of May and has been extended multiple times.
On the afternoon of Wednesday, 21st of June, there was an explosion of an IED in the district of Bishnupur, with two injured policemen. There was another action on the early morning of Thursday, 22nd of June: there was a gunfight in the Imphal West district, and another two policemen were reported injured. This action against the police, was carried out with one rifle and a machine gun INSAS, Indian weapons looted in the previous weeks. Then, during yesterday there were reportedly marches and gunshots of armed groups in the districts of Imphal East and Kangpokpi. The Indian Army have been mobilized and sent to these places.
Manipur: Struggle of the People against Indian State keeps intensifying – July 27, 2023
The struggle of the people continues in Manipur. During the last weeks the people of Manipur has intensified the number of actions, and specially their intensity. We have reported on this struggle before. There are actions of the masses in many different districts, what shows that it is not a problem in isolated areas of Manipur, but a general intensification of the struggle in the whole State.
On Monday, 17th of July, in the district of Imphal West, a crowd of people attacked the convoy of a General Inspector of the Police, setting his car ablaze. Hence, an intervention of a group of anti-riot police to disperse the people with tear gas was needed. After the first investigations, dozens of alleged “people involved” in the incident were detained. Due to these detentions, hundreds of women took the streets on Saturday, 22nd of July, and blocked a highway in the same district with barricades of burning tires, demanding the release of the detainees.
On Thursday, 20th of July, a video appeared on social media showing several woman of The Hills being harassed and went viral. Later it became known that one of the woman was also raped. This video was recorded in May, after the beginning of the rebellion in Manipur. After the crime became public, the anger of the masses ran out of controll. The Indian State and the State of Manipur called to calm down and promised immediate measures, and the police investigated several accused people. But it is clear that the people don’t trust anymore in the State, even less do the women, which decided to execute justice by themselves. One day before the appearance of the video, a large group of women burned down the house of one of the rapists. The next day, it was known that another rapist was free, and another group of women attacked his home and set it ablaze.
On the night of the Saturday, 22nd to the 23rd of July, there was a fierce military clash in Torbung, district of Bishnupur. The battle involved rebel guerrillas on one side, and different forces of the Indian State on the other. Specifically the Indian State sent many reinforcements: Assam Rifles (troops of the Ministry of Interior), State police, Border Security Forces (BSF) and common troops of the Indian Army. The guerrillas used many kinds of armament against the repressive forces and even destroyed a heavy armored vehicle of the Assam Rifles. The guerrillas used explosives, mortars, RPGs, shotguns, etc.
Between the 25th and the 26th of July there were new incidents in several districts. On Tuesday 25th masses of Manipur attacked again the Indian State, burning buses used by the BSF to transport troops in the district of Kangpokpi. On Wednesday 26th, masses started riots, burning abandoned houses and shops in the town of Moreh, district of Tengnoupal, and after this they engaged in a shoot-out with soldiers of the Assam Rifles.
While the situation is developing in Manipur, it is becoming more uncontrollable for the Indian State, which despite the huge number of troops deployed and resources used, is unable to stop the attacks of the people. It is clear that masses have decided to apply their own justice, but also attack directly the State and its troops.
Manipur: The Indian State is still Unable to Control the Masses – August 8, 2023
In the last week the Indian State had serious problems in Manipur. The State have been stating since long time ago that the situation is under control, but there has constantly appeared news of new armed clashes and protests of the masses. We have previously reported on this.
On Saturday the 5th of August three people were killed in Bishnupur district. After the murder there was a large demonstration of women demanding the end of the violence. Following the assassination it was reported that paramilitaries, pro-Government militias and State troops were missing. On the same day in West Imphal, two policemen were killed, several checkpoints of the repressive forces were attacked, and the government’s stockpiles of arms and ammunition were looted. The government of Manipur and the Indian State reacted with large repression, attacking with riot police and firing tear gas against a peaceful funeral of several Kuki peasants. More than 25 people were injured in this attack.
Also on Saturday 5th of August following the attacks in Bishnupur and West Imphal, there was a big clash in Bishnupur between groups armed with mortars, grenades and various guns. After the clashes, a total of six people were killed and 16 wounded. It was reported that armed forces abandoned several barracks near this place, and there were more patrols and shootings carried out by armed groups in other districts of Manipur.
There were also a lot of protests in several parts of Manipur this weekend: on Saturday 5th of August a general strike was called in the Imphal Valley, causing the closure of the vast majority of establishments, shops and businesses; blockings of roads and paths were also reported in the area by those who supported the strike, with burning tires and other forms of blockade. On the other hand, on Sunday 6th of August a crowd of people burned 15 houses and shot one person, and the people were dispersed later by the riot police. This also shows what the Indian State can do nowadays in Manipur: it can somehow react to the events, but it cannot prevent the action of the masses, nor can it solve the problems and establish order.
Faced with this total loss of control, the Indian State has decided to act in the only way it knows: by increasing its repressive efforts. It has decided to send more troops to Manipur, a total of ten other companies of border troops, paramilitary and police. The authorities of Manipur maintain the curfew in Imphal East and Imphal West, after having planned a possible reduction in security measures in these areas.
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