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It's easy to slip into bad habits when it comes to food. Here are some solutions to four common problems that can sabotage your good intentions to eat a healthy diet.
It's a common scenario: it's late and you've just finished another long day at work. You go on automatic pilot, throwing together one of three or four meals you can prepare really quickly. There's nothing wrong with having favourite dishes you eat more regularly. It's better to have a few easy dishes up your sleeve that you can concoct in a hurry than to resort to unhealthy takeaway. But problems can occur if you rely on a handful of meals with a limited range of ingredients. One of the keys to a healthy diet is to eat a broad variety of fresh foods which ensures you get the essential nutrients your body needs in order to function well. A limited diet will make this difficult.
Make a list of at least 10 meals you can prepare with minimal fuss. These meals should represent a wide range of fruits and vegetables, lean meat, fish, legumes, wholegrain carbohydrates, nuts and seeds and low-fat dairy. Cookbooks, magazines, friends and the internet can all provide recipe inspiration. Try not to repeat the same dish more than twice a week to ensure you eat a good variety of foods and aim to add a new dish every fortnight so your repertoire grows. If you're not confident in the kitchen, why not try a cooking class, or ask a friend or family member who is a good cook to share some of their ideas.
Supermarket shelves are bursting with pre-prepared meals. These are fine to have now and again, but like takeaway food, you should consider them as 'sometimes' foods only. Generally, a processed meal has fewer nutrients and fibre, and more salt and other additives than freshly-prepared food, and unlike the food you prepare yourself, you have no control over the type of fat or the amount of salt that's added.
With some advance planning it's not hard to make good healthy meals at home on weeknights – and it will save you money at the same time! Good strategies include:
In many homes, the main meal at night is centred around meat, with vegetables as an afterthought. But a plate that's overloaded with meat makes it harder to have a varied diet that includes five serves of vegetables each day as recommended in the National Health and Medical Research Council Dietary Guidelines for Australians.
Eating too many processed meats such as ham, sausages, hot dogs or salami has also been linked to a higher risk of bowel cancer.
You can still enjoy meat but remember that the National Health and Medical Research Council Australian Dietary Guidelines advise eating a small 65–100g serve of meat three to four times a week. That leaves room for meals based on other protein foods such as fish (two to three serves weekly for good health as recommended by the Heart Foundation), skinless poultry and plant proteins like lentils, beans and tofu.
We're all meant to eat at least two serves of fruit a day and five servings of vegetables according to the Australian Dietary Guidelines by the National Health and Medical Research Council. But most of us don't reach our quota and so miss out on essential nutrients that can't be replaced with a daily vitamin tablet.
Look for opportunities to slip a serve of vegetables and fruit into meals. Fruit with breakfast is a good start; so is taking a couple of pieces of fruit into work to snack on during the day. Don't wait until dinner to eat all your vegetables. Try a salad, or roasted or stir-fried vegetables with lunch, or add salad vegetables to a sandwich. Instead of snacking on biscuits and cheese, try raw vegetables with healthy dips like hummous or tzatziki. And fit in an extra serve of vegetables by adding mushrooms, tomatoes or corn to your weekend breakfasts.
Better Health Channel: Healthy recipes http://www.betterhealth.vic.gov.au/bhcv2/bhcsite.nsf/pages/bhc_recipes?open
Go for 2 fruit and 5 vegetables: recipes http://www.gofor2and5.com.au/recipes.aspx?c=3&a=133&n=1
Heart Foundation of Australia: recipes http://www.heartfoundation.org.au/recipes/Pages/default.aspx
Better Health Channel. Healthy eating tips. [online] Melbourne, VIC: State Government of Victoria. c1999-2010 [updated Oct 2008, accessed 4 Aug 2010] Available from: http://www.betterhealth.vic.gov.au/bhcv2/bhcarticles.nsf/pages/Healthy_eating_for_children_and_adults
Kellett E, Smith A, Schmerlaib Y. The Australian Guide to Healthy Eating. [online] Canberra, ACT: Commonwealth of Australia. 1998 [accessed 4 Aug 2010] Available from: http://www.health.gov.au/
National Health and Medical Research Council. Dietary Guidelines for all Australians. [online]. Canberra: ACT: Commonwealth of Australian. 2003 [accessed 4 Aug 2010] Available from: http://www.nhmrc.gov.au/publications/synopses/dietsyn.htmTop of page
This information has been developed and reviewed for Bupa by health professionals. To the best of their knowledge it is current and based on reputable sources of medical research. It should be used as a guide only and should not be relied upon as a substitute for professional medical or other health professional advice.
Bupa Australia Pty Ltd makes no warranties or representations regarding the completeness or accuracy of the information. Bupa Australia is not liable for any loss or damage you suffer arising out of the use of or reliance on the information. Except that which cannot be excluded by law. We recommend that you consult your doctor or other qualified health professional if you have questions or concerns about your health. For more details on how we produce our health content, visit the About our health information page.
Last published 31 October 2010


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The Enthusiast s Eye: The Value of Unsanctioned Knowledge in Design Historical Scholarship
- Owen Harper
- 7 months ago
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1 The Enthusiast s Eye: The Value of Unsanctioned Knowledge in Design Historical Scholarship Paul Hazell and Kjetil Fallan Introduction Drivers of the utility Land Rover (known as the Defender since 1990) often wave at each other when they pass. This is unusual in modern motoring and there is a protocol of course; drivers of Defenders owned by the Army, farmers or the electricity board etc. rarely acknowledge each other. However private individual owners of the Land Rover Defender usually wave. Why? Is it because the first group (soldiers, farmers and contractors) see the Land Rover as purely workhorse, a tool to get the job done? The second group differ, as they have been motivated in some way to spend their own money to buy a capable but rather thirsty, noisy and slow vehicle. Nevertheless, they seem to be saying with a simple wave to a fellow Land Rover owner I get it too (Crathorne, 2012). There is, it seems, a desire to acknowledge their enthusiasm with likeminded strangers (Figure 1). Figure 1: Land Rover Etiquette: Spoof instructional sticker produced by the Norsk Land Rover- klubb. Author's collection. 1
2 Membership of this community also often entails substantial knowledge, both artefactual and contextual, of the shared object of affection (Sudjic, 2008). Such observable manifestations of enthusiasm are highly revealing of the significance of subjective engagement, emotional attachment and unsanctioned knowledge in design culture, and should therefore warrant the attention of design historians. Much of our reaction to design as users and consumers is subjective. This ranges from the active disliking of particular designs ( this chair is uncomfortable, that s an ugly car ), through invisibility ( did you notice the cutlery you used to eat your dinner last night? ), to vague preferences ( I prefer the green one ) and onto dedicated enthusiasm for particular artefacts ( The Spitfire is an iconic aircraft ) (Author, 2013c). A network of interests exists in relation to the interpretation of materiality starting with the designers themselves through to users, and at times design historians and other academics. These groups exhibit differently nuanced behaviour in relation to their engagement in design, its implementation, consumption and history. Those in design practice are often extremely enthusiastic about what they do. There is a strong sense amongst graphic designers, for example, that if they are not excited about their latest design they are not doing their job properly (Author, 2014). The level of enthusiasm the resulting designs instil in their users, on the other hand, varies greatly. At times people interact with things without realising they have done so; other times design awareness is more conscious, ranging from dislike or annoyance to satisfaction or pleasure (Norman, 1998; 2004; Keyte, 2013). Occasionally however, these same users will become aware of an artefact as something which triggers or represents experiences or emotions. This can manifest itself as an affection or appreciation of a particular piece of design through to what 2
3 might be described as full-blown enthusiasm or perhaps even as object fetishism (Oddy, 2013). Designers and users, then, seem both able and willing to accept enthusiasm into their understanding of material culture. Design historians, on the other hand, are much more reluctant to do so as it appears counter to the scholarly traditions of striving for an objective view. Although the historicist mantra of describing the past wie es eigentlich gewesen (as it actually was) is long discarded as an elusive utopian ambition, the academic world s quest for credibility has cast a spell of suspicion on everything subjective. Not only might this push the understanding of enthusiasm as a category of consumer behaviour into the background of design historical scholarship; it also conceals the fact that most design historians are enthusiasts themselves. What we choose to study, and how we go about that task, is to varying degrees, of course guided by our subjective preferences, responses and experiences, at times amounting to full-blown enthusiasm for our subject matter and object of study. Enthusiasm is defined as being passionate about something, making it only a small step to the original sense of the amateur as a lover of something. This etymological excursion might go a long way in explaining why there has been so little enthusiasm for enthusiasm in academic design history: being an enthusiast is dangerously close to being an amateur (in the more pejorative, contemporary meaning of the word). For a discipline still having to legitimise its status as professional practice (Author, 2013a), the fear of being associated with amateurism is quite understandable. The realm of love and passion is intimately linked to the personal, to the private, thus fortifying the dichotomy between the objective and the subjective, between the professional and the amateur/enthusiast. 3
4 However, design historians fear of amateurism and enthusiasm in their own historical practice seems to be stronger than when they are studying the practice of design itself. There has in recent research in design history been a significant interest in the role of amateur knowledge and skills in the sphere of design practice (Atkinson, 2006; Beegan et al., 2008; Jackson, 2010; Shove et al., 2007), yet no work has been conducted on the role of amateur knowledge in the sphere of design history. This article seeks to address this lacuna, arguing for a more self-reflexive understanding of unsanctioned forms of historical knowledge and their potential contribution to the writing of academic design history. Unsanctioned Knowledge As part of his critical examinations of society s power structures, Michel Foucault introduced the concept subjugated knowledges as a means to acknowledge and mine the riches of those kinds of experiences and expertise that have been suppressed and ignored by the authorities and by authorized accounts: by subjugated knowledges one should understand a whole set of knowledges that have been disqualified as inadequate to their task or insufficiently elaborated: naive knowledges, located low down on the hierarchy, beneath the required level of cognition or scientificity. Arguing that this realm of experience and expertise has significant critical potential, Foucault elaborates on what he describes as low-ranking knowledges, unqualified, even directly disqualified knowledges which involve what I would call a popular knowledge (le savoir des gens) though it is far from being a general commonsense knowledge, but is on the contrary a particular, local, regional knowledge, a differential knowledge incapable of unanimity (Foucault, 1980: 82). 4
5 As in Foucault's examples, drawn from his classic histories of madness, sexuality and punishment, the kind of knowledge we have identified in the enthusiast's eye is 'popular', non-academic, unauthoratative, particular and dispersed. However, describing it as 'subjugated' would be an exaggeration. Therefore, we propose the related, but moderated term 'unsanctioned knowledge'. Significantly, Foucault makes a case for combining subjugated knowledge with erudite knowledge as a key component in a methodology for exploring a more multivocal and polyvalent past. In fact, it is the very union of these two realms of knowledge that he terms genealogy (Foucault, 1980: 83). Because this latter term is notoriously difficult to define in a satisfactory manner, and because the overall mode of historical inquiry associated with it is controversial, we will not adopt it wholesale. However, we do believe that its basic tenet that combining sanctioned with unsanctioned knowledge will lead to improved historical understanding is well worth carrying forward. Historian Enthusiasts and Enthusiast Historians There are (at least) four ways the enthusiast's eye meets design history: 1) occasionally, the enthusiast is also a professional historian or vice versa. 2) More commonly, though, is it for the enthusiast to become an amateur historian of their object or field of interest. 3) A related, but more open setting is where the enthusiast collects/organises source material (objects and/or textual/visual material) for use by professional historians. 4) Finally, as a variety of the former category, the enthusiast can act as informant for professional historians. When the enthusiast and the professional historian are one and the same, a merger of the sanctioned knowledge of academic scholarship and the unsanctioned 5
6 knowledge of enthusiast practices is neatly facilitated. To explore a specific example, when researching the early history of the Land Rover (an example of material culture with a sizable and enthusiastic following) it is of course the enthusiast movement that has lead the way in uncovering the minutiae of the very earliest vehicles built from April This minutia may seem initially to be only of interest to the dedicated enthusiast, however if the enthusiast is also a design historian such detail can be easily identified and its significance assessed in relation to other evidence applied to boarder themes, in this case with regard to how legends build up around some artefacts. For instance, a key phrase that repeatedly appears with regard to early Land Rover models is that they were regarded as stopgap products by the manufacturer, i.e. temporary and short-lived. Sixty-five years later this shift from stopgap to automotive icon can been seen as an heroic struggle befitting of this dependable and plucky British vehicle (Robson, 1976). However this popularly accepted fact about the vehicle seemed to contradict contemporary Rover company minutes, which discuss large-scale interest in the vehicle before it had reached production in Further evidence was required. Painstaking research by a member of the Land Rover Series 1 Club using the original engineering drawings held in the company archive revealed that the bulkhead between the cab and engine (a structural component in the Land Rover) soon moved away from a fabricated construction to a pressed steel design requiring a large and expensive press tool (Bishop, 2011). This speeded the means of construction but would only payback over the longer term the antithesis of what would be done for a temporary stopgap. This apparently tiny detail may only be one small example of how the enthusiast s specific research can help that of the design historian when reaching broader conclusions. But such details can be missed if the 6
7 historian is not engaging with enthusiasts whether as an outsider or as enthusiast him or herself. As we have seen above, some enthusiasts often in the capacity of collectors produce literature on the subject of their enthusiasm. Such accounts can be voluminous, and painstakingly detailed and accuracy is a prime virtue. Although much of this work would not meet the standards and conventions of academic literature e.g. because it is normally little concerned with empirical contextualization or with theoretical positions and methodological concerns it can nevertheless have great scholarly value. This is especially the case when researching the history of objects and object-types outside the canons and conventions of design history, where both secondary literature and documentary evidence may be scarce (Author, 2012). The lack of engagement with literature from the other camp is mutual, though. Collector-enthusiasts rarely engage in texts written for an academic audience, for obvious reasons: Collectors are mainly collecting as a form of escapism, the last thing they want to do in their free time is read heavyweight theoretical discourse about the meta-context of what they collect, in the main they want to acquire more and better objects and use literature that facilitates this process (Oddy, 2013). Furthermore, an academic discussing an artefact is unlikely to be legitimised amongst enthusiasts as they rarely have direct experience of the object they are analysing. Looking at Wiebe Bijker s influential study of the development of the rear driven bicycle as an exception to the collector historians general disinterest in academic literature (Bijker, 1997), Nicholas Oddy explored this issue further: 7
8 Its reception was negative, principally because Bijker had made the heinous mistake (to collector historians at least) of being factually inaccurate in his history of the machines themselves, thus discrediting the rest of the content, no matter how impressive its theorising was. Rather ironically, Bijker had become a victim of the linear, technologically led histories he set out to question (Oddy, 2013). This is not an argument for design historians to necessarily become enthusiasts for the artefacts being studied however; the default criticism of subjectivity in historical scholarship could be wheeled out against such a position. The interesting point in this case is rather the at times impressive rigidity of the unsanctioned knowledge produced by enthusiasts. In addition there is a lesson to be learned about the perils of making assumptions about e.g. details of an object s construction perils which can be avoided with improved personal experience with it (Meikle, 1998). So, if not fullblown enthusiasts, design historians can still benefit significantly from subjective experience, further buttressed by appropriate attention to the knowledge produced by collector historians and other enthusiasts. Enthusiasts as Curators and Informants Although written accounts represent a significant form of unsanctioned knowledge, other forms of information are even more prevalent amongst enthusiasts, particularly artefactual and oral sources. Through their active and personal engagement with historical artefacts, enthusiasts become custodians of history. Their activities are sometimes so organised as to aspire to sanctioned forms of knowledge, as when 8
9 enthusiast associations set up and run museums that, at least to the casual visitor, may be hard to distinguish from conventional professional museums. (Figure 3) Figure 2: From the exhibition hall at the Oslo Tramway Museum, an institution run entirely by enthusiasts. Photo: Author. Enthusiasts thus take on the roles of curators, conservationists and archivists. The collections and archives held in such institutions can be as valuable to professional historians as those held in their official sister institutions; even more so at times, as these enthusiasts museums are normally more specialized and dedicated to material only sparsely represented in professional museums (Author, 2012; Morris, 2013). Occasionally, the two spheres meet, as when private collectors donate their collections to professional museums a situation that may highlight discrepancies between the unsanctioned knowledge and values of the enthusiast collector and the sanctioned knowledge and professional ethos of the historian curator. Without going to the extremes of establishing a museum, most enthusiasts and collectors are still eager to share their knowledge and materials, and do so in various 9
10 ways. Many participate in fairs, meetings and other events. Some are more than happy to open up their homes and workshops to likeminded people, be they amateurs or professional historians. (Figure 4) Figure 3: Art historian and enthusiast Hans- Henrik Egede- Nissen curated an exhibition on the DBS Kombi mini- bicycle at the Oslo School of Architecture and Design in The exhibited bicycles came from the comprehensive collection of the collector, enthusiast, amateur historian and bicycle repairman Einar Bowitz. Photo: Geir A. Rybakken Ørslien. In recent years online discussion forums and social media have become invaluable sources of enthusiast knowledge tracking down the exact production year of a specific bicycle took about five minutes with the help of an enthusiast Facebook group (Author, 2013b). Enthusiast collectors may also be considered de facto curators of design history, further complicating the relations between the professional and the amateur, between the sanctioned and the unsanctioned. Combining personal enthusiasm and business acumen with a sense of cultural heritage work, the entrepreneurs behind the Oslo retro coffee and cocktail bar-cum-vintage design store Fuglen ( The Bird ) 10
11 recently teamed up with Norway s premier auction house, Blomqvist, to set up the sales exhibition Norwegian Icons: Important Norwegian Design from the Era This commercial context makes the event distinctly different from a similar exhibition organised by a conventional museum, for instance. Nevertheless, with a stated ambition of rais[ing] international awareness of Norway s significant contribution to the Scandinavian Mid-Century period, alongside that of Denmark, Sweden and Finland (Linder, 2013: 15), the initiative was warmly welcomed by the governmentally funded institution charged with the promotion of Norwegian design, the Norwegian Centre for Design and Architecture, and subsequently shown in Tokyo and New York. Whereas the above example goes a long way in moving enthusiast knowledge into the official, public discourse of design history, collectors can take on the role of curators also in more modest, private settings. In her research on the role of collecting kiwiana in the cultivation of New Zealand national identity, Claudia Bell interviewed collectors of Crown Lynn ceramics. These mundane products are considered iconic of the nation s industrial heritage and relics of a recent past when New Zealand had a relatively self-sufficient consumer goods industry, and Bell argues that the widespread collecting of these artefacts is an attempt at preserving this legacy: Each of these collectors truly saw themselves as actively contributing to the preservation of the material history of a nation. Their own subjective sentiments harmonized strongly with received collective memories (Bell, 2013: 56). These enthusiasts can thus be considered as curators of design history, effectively moving this otherwise official, public and professional capacity into the sphere of the personal, particular, popular and nostalgic. 11
12 Beyond their role as curators, enthusiasts also make highly valuable informants because of the disproportionately large and detailed information they possess on the given topic. Of course, this very enthusiasm is also a challenge to the historian in methodological terms, as it may make them particularly prone to promoting a specific version of the events but this problem is by no means restricted to enthusiasts (Sandino and Partington, 2013). In interviews with enthusiasts for instance there is the ever present danger they will spin-off at a tangent from the question asked as they revel in the opportunity to not only discus the object of their affection, but also demonstrate their depth of knowledge which has now apparently been legitimised by interest from an historian. However this can at times reveal aspects of the story that might otherwise go unnoticed, therefore the historian needs to consider carefully when to let the enthusiast expand and when to rein them in. Even if one s informants are not full-blown enthusiasts in the most dedicated form, a certain level of enthusiasm for the topic at hand both from the interviewer and the interviewee is often indispensable when conducting oral history. Siv Ringdal s ethnological study of how non-permanent work migration from a small Norwegian rural town and New York during the better part of the twentieth century created an exotic enclave of Americana astray relied heavily on her ample personal experience with this phenomenon from her upbringing and family, and would hardly be possible without the widespread pride, nostalgia and enthusiasm for this heritage throughout the local community (Ringdal, 2014). This enthusiasm for the topic, and by extension the likely detailed knowledge of it by the historian themselves, can greatly improve communication with the amateur enthusiast as trust is developed as the interviewee accepts the historian as having real knowledge of the artefact or event in question. This can lead to aspects of the story that might otherwise go 12
13 unnoticed, being identified and woven in as the historian considers both the macro and the micro. The Enthusiast s Eye: A Multifocal Lens It should be clear now, then, that individuals and enthusiast groups dedicated to particular aspects of material culture frequently emerge and manifest themselves in a variety of ways; whether it be clubs, individuals collecting particular items they take an interest in, or re-enactors interacting with objects from the past. These interested groups or individuals can hold considerable knowledge and expertise about an artefact and its history the most characteristic of which is probably what Oddy calls [the] experiential knowledge of collecting and its methodologies acquired through ownership of the things (Oddy, 2013). Figure 4: A Land Rover Defender on the overland trail in central Algeria, This type of experiential knowledge is essential to fully appreciate the phenomenological, social and cultural significance of this design historical artefact. Author's collection. 13
14 However, the term enthusiast carries with it connotations of the passionate amateur and by implication unstructured knowledge, subjectivity, selectivity and nostalgia. These personal interests usually form the parallel world of hobbies and interests where many spend considerable time and money, and though unpaid and without obligation, often feel highly motivated and deeply engaged in a particular pastime. Are there, therefore, characteristics particular to some artefacts that mean an inanimate object can become a fascination to some, and what might this tell us about material culture as viewed through the enthusiast s eye? The professional ethos and analytical conventions of historical scholarship can make it difficult to put aside potential prejudices about the nature of enthusiasm, but doing just that is necessary if we are to better understand the nature of enthusiasm in relation to material culture. If too ready to link the enthusiast to ideas of celebration or irrelevant niche interests design historians are ignoring factors that can help explain the cultural resonance of some artefacts in relation to others as well as underestimate the value of archival material held in private collections that can be rich sources for design historical research. Equally important, though, is the self-reflexive lesson to be learned: Acknowledging that one s own research, at least initially, might be driven by enthusiasm for a topic may mean we need to reappraise the word and examine its merits rather than pretend that our enthusiasms do not influence our research or that enthusiasts do not have something to offer the academic study of material culture. Enthusiasms, or the examination of other people s or group s enthusiasms, can provide an alternative starting point for research that from the outset acknowledges the complex personal relationship we have with objects. 14
15 The assumption that all enthusiasts, collectors and amateur historians are dilettantes with no real commitment or structured knowledge means that professional historians neglect a useful resource for their research. Historians have often underestimated enthusiasts and what, sometime unwittingly, they reveal about material culture. The enthusiast can make the transparent visible by selectively highlighting examples of material culture, and as a by-product of their personal interest, encourage academics to look again at an artefact and consider its significance. Enthusiasts, or one s personal enthusiasms, can flag-up areas of potential research that design historians might at first consider unworthy of examination. As historians we are likely to discount individual eccentric collectors of the mundane such as traffic cones or tea cosies. However, if there is an observable, or even measurable, clustering of subjective personal opinions this pattern or phenomenon may be both significant and revealing if examined. It is not so much subscribing to the wisdom of the crowd an approach an academic is likely to resist but rather being aware that a group or an enthusiastic individual may highlight an aspect of material culture previously ignored or undervalued by historians, which therefore provides a useful starting point for new research. To give an emerging example: one might examine 3D printing and the growing communities of on-line enthusiasts who are beginning to create and share data files of virtual objects that can now be made physical using the new technology. This type of technology has the potential to significantly change our relationship with material culture in much the same way the Internet has changed our relationship with information. These enthusiast groups, though currently niche, highlight this emerging shift in our interaction with materiality in a concentrated form. The design historian 15
16 can then look for historic parallels in the democratisation of design to better explain the emerging phenomenon and its possible consequences (Knott, 2013). Enthusiasms and Experiences Direct experience of, or interaction with, an artefact leads to a different and often more profound understanding of the object. It is rather a cliché but the Chinese proverb, What I hear I forget, what I see I remember, what I do I understand goes some way to explaining the advantage of this direct interaction. Experimental archaeologists have long known this and regularly reconstruct historical artefacts or whole environments to better understand their use and limitations. Likewise, anthropologists will immerse themselves in an environment or culture for long periods for similar reasons. Even historians, both of technology and of design, have pointed out how the value of hands-on experiential knowledge to historical scholarship has been gravely underestimated (Corn, 1996; Walker, 1989: 5). Yet design historians spend extended periods of time using the artefact they are studying far too infrequently, despite the relatively easy access to many of these items (Author, 2013b). Interacting with the artefact is usually fundamental to the enthusiast, however. For example, for many classic and vintage car enthusiasts it is not enough to only study the vehicle and its history. They want to own it, use it and experience how the artefact feels in use. As Oddy points out, though, of all the approaches to objects that can be had from collector/enthusiasts, this is the most problematic for the academic to engage with on the same level because it is so personal and subjective (Oddy, 2013). We would do well to overcome this reluctance, however, because such visceral interaction, though subjective and hard to define, can be a starting point for 16
17 understanding the characteristics of an emotive artefact beyond the theoretical and can inform our understanding of why a design ultimately carries its particular value complexes. This use of an historic artefact can also lead to a change in the way it is perceived. The object moves out of potential obsolescence or being perceived as a static museum piece, to become an object inhabiting the world now and our understanding or perception of it changes as a result. For instance, in interview, a senior designer at Land Rover described the Defender, with not a little irony, as: a classic car you can buy new! (Crowley-Palmer, 2012). To take a much older automotive artefact, an Edwardian car, and see it used on a modern road at an event such as the annual London to Brighton Veteran Car Run in the south of England, shifts ones thinking about such a vehicles place in history. The exposure of the occupants to the elements, the smile or grimace on their face depending on the weather conditions, the slowness (or sometimes surprising speed), the smell, the noise all challenge the bystanders received understanding of vintage. This expanding of one s perception to embrace the subjective can also be experienced by the design historian if they interact with an artefact directly. The presence of the past is all around. A fascinating example can be found in Milan, where 200 of the 500 tipo 28 trams built in are still in operation. Stepping into an 85-year-old tram in the midst of contemporary city life is an exercise in historical awareness to historians and non-historians alike even to passengers who are not tram cognoscenti, and constitutes one of many examples of what David Edgerton has called the shock of the old (Edgerton, 2006). Such enthusiastic experience may then prompt new questions and lines of investigation into material culture. 17
18 Engaging with Enthusiasts Viewing material culture through the enthusiast s eye may provide a new or additional perspective to the design historian. Enthusiasts can, however, be highly selective both with regard to historic periods as well as the particular artefacts with which they engage, even if their interests are diverse and the knowledge often considerable. So for example you will find individuals who enthuse about a very particular type of artefact, a specific car for example. But equally you will find enthusiasts focusing on a range of related artefacts, from valve radios to old garden implements. The borders of an enthusiast s interests may be affected by many factors: budget, availability of examples, background etc. This means the expertise individuals and enthusiast groups hold and the artefacts they enthuse about, are often a mosaic of specialist interests. These constituent pieces may contain vast amounts of detail and archival material but other pieces required to construct the over-all picture are missing altogether. The enthusiast may be unaware, or downplay, the significance of these missing pieces and wish to expand their narrative for a given artefact further than the evidence can support. This is where and why Foucault s insistence on the union of unsanctioned and sanctioned knowledge becomes crucial. The professional historian s contextual understanding, theoretical references, methodological repertoire and source criticism is essential in guiding the focus of the enthusiast s eye, thereby sanctioning unsanctioned knowledge. Conclusion We are still at the early stages of examining enthusiasm in relation to material culture, and it seems there is much to investigate. There is still only a small and rather 18
19 scattered collection of research relating to design and the enthusiast (and the word is seldom mentioned specifically). However, the recent claim that Historians should not shun subjectivity and personal experience, but rather investigate its methodological and historiographical potential (Author, 2013b) allows ample space for further exploration of what the enthusiast s eye can contribute to design historical scholarship. Increased interest in the interplay between enthusiasts and artefacts is emerging, whether it is the design historians themselves using their own areas of enthusiasm as a starting point or exploring the focuses of special interest groups. There is also an increased willingness to critically evaluate commonly used, but subjective, terms such as iconic, classic and enthusiast in an academic setting (Lees-Maffei, 2014; Olsen, 2010). Most designers are used to considering the user perspective in their work, and indeed are trained to do so. Correspondingly, historians are increasingly interested in how users matter (Oudshoorn and Pinch, 2003). Therefore, if the enthusiast is a user of historic artefacts, perhaps the time is right for design historians to incorporate these forms of subjective user experiences into their analyses and grapple with the consequences as an additional means of understanding our complex relationship with material culture. 19
20 References Atkinson, Paul, ed Do It Yourself: Democracy and Design. Special Issue of Journal of Design History 19(1). Author Author. 2013a. Author. 2013b. Author. 2013c. Author Beegan, Gerry, Paul Atkinson and Deborah Sugg Ryan, eds Ghosts of the Profession: Amateur, Vernacular and Dilettante Practices and Modern Design. Special Issue of Journal of Design History 21(4). Bell, Claudia Collectors as Guardians of National Artifacts. Home Cultures 10(1): Bijker, Wiebe E Of Bicycles, Bakelites, and Bulbs: Toward a Theory of Sociotechnical Change. Cambridge, Mass.: MIT Press. Bishop, Michael They Found Our Engineer: The Story of Arthur Goddard, The Land Rover s First Engineer. Milton Keynes: AuthorHouse UK Ltd Corn, Joseph J Object Lessons/Object Myths? What Historians of Technology Learn from Things. In Learning From Things: Method and Material of Material Culture Studies, edited by W. David Kingery, Washington, D.C.: Smithsonian Institution Press. Crathorne, Roger (Head of Technical Communications at Land Rover and an engineer at the company since 1964), interview with the Author, 7 th August
21 Crowley-Palmer, Peter (Senior Designer at Jaguar Land Rover), interview with the Author, 3 rd January Edgerton, David The Shock of the Old: Technology and Global History Since London: Profile Books. Foucault, Michel Power/Knowledge: Selected Interviews and Other Writings Colin Gordon, ed. New York: Pantheon. Jackson, Andrew Constructing at Home: Understanding the Experience of the Amateur Maker, Design and Culture 2(1): Jackson, Andrew Understanding the Home Workshop: Project Space, Project Time, and Material Interaction, Interiors 4(2): Keyte, Julia Objects in Purgatory: How We Live with Uncherished Gifts, Interiors 4(3): Knott, Stephen Design in the Age of Prosumption: The Craft of Design after the Object, Design and Culture 5(1): Lees-Maffei, Grace, ed Iconic Designs: 50 Stories About 50 Objects. London: Bloomsbury Academic. Linder, Mads, ed Norwegian Icons: Important Norwegian Design from the Era Oslo: Fuglen & Blomqvist. Meikle, Jeffrey L Material Virtues: On the Ideal and the Real in Design History. Journal of Design History 11(3): Morris, Jonathan Espresso by Design: The Creation of the Italian Coffee Machine. In Made in Italy: Rethinking a Century of Italian Design, edited by Grace Lees-Maffei and Kjetil Fallan, London: Bloomsbury Academic. 21
22 Norman, Donald A The Design of Everyday Things. Cambridge, Mass.: MIT Press. Norman, Donald A Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic Books. Oddy, Nicholas An Uneasy Alliance: Collectors Items and History. Paper presented at the Design History Society Day Seminar It s Personal: Subjectivity in Design History, University of Hertfordshire, Hatfield, May 9. Olsen, Bjørnar In Defence of Things: Archaeology and the Ontology of Objects. Plymouth: AltaMira Press Oudshoorn, Nelly and Trevor Pinch, eds How Users Matter: The Co- Construction of Users and Technology. Cambridge, Mass.: MIT Press. Ringdal, Siv Volts at Home: The American Lista. Journal of Design History 27(1) [Forthcoming].] Robson, Graham The Land Rover: Workhorse of the World. Newton Abbot: David & Charles (Publishers) Ltd Sandino, Linda and Matthew Partington, eds Oral History in the Visual Arts. London: Bloomsbury Academic. Shove, Elizabeth, Matthew Watson, Martin Hand and Jack Ingram The Design of Everyday Life. Oxford: Berg Publishers. Sudjic, Deyan The Language of Things: Design, Luxury, Fashion and Art. How We Are Seduced by the Objects Around Us. London: Penguin Books Walker, John A Design History and the History of Design. London: Pluto Press. 22
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Happabores are domestic creatures found on many planets in the Western Reaches, perhaps the result of some forgotten colonial effort. They have many uses, doing everything from pulling plows and ice sledges to carrying around royalty.
Biology Edit
Happabores have thick skin that lets them shrug off the heat, and they can go for days without water. It is said that Happabores have reservoirs inside their bodies that can store liters of water.
Breeding males will experience musth.
Happabores suffer from a myriad of parasites and can need to be dewormed, one known brand of dewormer was Happy-bore Medicated Dewormer. Known parasites include bladderworm, crop microserps, mltilggged throat croakers, intestinal fangworm, lesser and greater nasal nesting spit-crawlers, Cranial Nodular Worms, Trenwyth, Cheelit, and Lanteeb.
Behavior Edit
Happabores are very hard to provoke, they are patient and obedient and can take a lot of abuse.
Information Edit
Type: Non-sentient
Homeworld: Jakku (Not Native)
Appearances Edit
- The Weapon of a Jedi: A Luke Skywalker Adventure (First appearance)
- Aftermath (Mentioned Only)
- Star Wars: Episode VII The Force Awakens
Sources Edit
- Star Wars: Rey's Survival Guide
- Star Wars: The Force Awakens, The Visual Dictionary


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I just posted the article Optical discs face obsolescence, on-demand services are the future.
"On-demand services are the future of entertainment delivery." This is the conclusion of research done by the Forrester company, submitted by GristyMcFisty and BadReligionPR. The...
Read the full article here: [http://www.cdfreaks.com/news/6557-Optical-discs-face-obsolescence-on-demand-services-are-the-future.html](http://www.cdfreaks.com/news/6557-Optical-discs-face-obsolescence-on-demand-services-are-the-future.html)
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What a load of horseshit…the only way this could happen in that time ,would be for the big corps to cease optical media production forthwith…an option poorer countries with the technical knowhow would readily accept…and if it were to happen, broadband and cable TV installation and subscription costs would have to dramatically fall (certainly in this country). It is not portable…so people would be making copies (yep , right…on optical disks) and if yer making one for yourself, why not one for a friend…etc …etc… FUX ME…these bastards are as thick as two george bushs…LOWER THE PRICES and RAISE THE QUALITY…ferfuxsake… :X
There will always be a need for physical, transportable media. Whether it's because data needs to be taken to a place where it cannot be delivered any other way, or because it may be the only secure way to possess/store the information; hard copies will always have their place, in one form or another. And those people who think online media is going to become big by 2005 are obviously living in their own world… or perhaps some Asian city like Tokyo. That kind of widespread deployment will take much longer in the U.S., and in Europe as well.
I certainly doubt that content on demand services will ever be the death of standalone media, and it certainly won't happen in the immediate future Companies may push for obsolesence of content delivered on portable media because it would allow them to control their content easier (pay per view / Etc ) and ensure that the majority of users pay for the content. However, the plan is unfeasible in the near future because a) Many countries don't have the broadband infrastructure required. Eg Australia which is still running on 56k dialup due to anti-competitive standover tactics (no fingers pointing @ Telstra) b) Current standalone devices do not have the option to be connected to broadband for content delivery and the companies that are delivering content would almost immediately alienate their customers, and hence their profits. c) Pirates can still use the Pay per view, circumvent protection and distribute it on standalone media regardless. d) Users would currently still prefer to have a copy which they own unlimited viewing rights, in their hands There is however no reason for them to not push the market towards this model by offering cheap prices and then when there is no other option, increase the prices to ensure a very profitable monopoly. At any rate, the movie industry already has a similar system in place. People pay thru the nose to watch it at cinemas, then pay thru the nose again to get a copy on DVD. And they still have piracy issues - Bootlegs anyone?
Yep - I can see Blu-ray scrapped in favour of internet download. Why the facks did Sony and other companies invest heavily on Blu-ray technology? To be replaced by Internet dowload - I think not!
I may point at the time issue. Downloading something from the Internet takes time. oK, let's say u have a fast broadband connection, let's say 1 Mbyte/s. This means 11 minutes to download a full CD. But if u want to watch a DivX movie u'd not wish to wait 11 minutes to watch it. It's faster and more comfortable to pick the CD/DVD and insert it in the player. The second issue adresses to CD/DVD manufacturing plants. Will all those company just step back and let online transfers kick them out of the business? Heh-heh, I guess not.
Ha ha! I sit here with my 24K connection, and fart in the general direction of the Forrester Co. Their mothers were hamsters and their fathers smelled of elderberries. Pfoof to you silly Forrester k-nigg-its!


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what is the easy way to replace front side marker lamps
I replaced the lamps in the rear, just one screw, however the front ones do not have a screw, it looks like its sealed into the body. 2000 Mercury sable wagon.
2 Answers
I do not have the answer, I was asking the question.
Copied from a ford taurus forum: Post subject: Re: Front side marker lamp replacementPostPosted: Sat Sep 29, 2012 11:19 am Offline Regular Member Joined: Mon Mar 14, 2011 3:17 pm Posts: 18 My Photos Gary, I took mine to the dealer and they pulled the front bumper down on that side to get to a screw that holds it in place. I am still under warranty.
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The VIBE Music Center will bring toys to life Dec. 6 when it presents its holiday show in the Art Fuller Auditorium at Kennewick High.
"It's a well-known fact that at some point between the time good children go to sleep on Christmas Eve and the time they wake Christmas morning, all those toys underneath the tree come alive and have a little party all their own," said Megan Openshaw, director of the musical troupe.
To keep that spirit alive, VIBE will bring those toys to life starting at 6:30 p.m., serving up some of its own holiday magic with Toys! The Night They Come Alive.
Tickets to the show are $10 for general admission or $15 for VIP seating and are available at the VIBE office, 4000 W. Clearwater Ave., or by calling 509-572-2555.
"I am super excited about this show," Openshaw said. "We have a 65-member cast."
The musical theater production was written by composers John Jacobson and John Higgins and follows all those toys waiting for children under the Christmas tree. There will be soldiers marching, princess dolls preening, marionettes dancing on strings, loveable teddy bears dancing the tango and rag dolls that rock and roll.
The VIBE cast, which ranges in age from 5 to 18, will portray all the toys singing a selection of holiday favorites. Though the show is a musical, there is some dialogue throughout the scenes, Openshaw said.
VIBE is a nonprofit community show choir comprised of students from the Tri-Cities and Burbank who sing, dance and act. The agency offers students of all ages voice, guitar and piano lessons as well as the opportunity to experience musical theater. For more information, go to http://tricityvibe.com.


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The defense of former President Luiz Inacio Lula da Silva filed a writ of habeas corpus yesterday (June 1, 2017) against the unlawful action of the Judge of the 13th Federal Criminal Court of Curitiba who arbitrarily denied the production of evidence requested during the stage which Article 402 of the Code of Criminal Procedure refers to, in the record of the Criminal Proceeding no. 5046512-94.2016.4.04.7000/PR (the three-story apartment's case). The denial occurred in spite of the judge himself admitting that controversies have come up during the production of evidence.
Such decision characterizes criminal coercion once the need to produce the latest evidence has been duly proved by the defense on May 11, 2017, when it was proved that the necessity of those requests aroused from facts and/or circumstances which came up throughout said production of evidence. Nevertheless, on May 5, 2017, the judge denied it without reasonable or sufficient grounds.
It is unacceptable that the judge restricts the defense, declaring he has already "heard too many testimonies about the three-story apartment and its renovation, and there is no need to hear others in that regard", a declaration that is incompatible with the Brazilian procedural system and the guarantee of a fair hearing.
The production of pertinent and useful evidence by the defendant in a criminal proceeding solidifies the most fundamental and undeniable right to the defense, to the adversary proceeding and the due legal procedure, constitutionally safeguarded among us.
It is noticeable that the process of said action happened hastily and unlawfully, due to (i) the receipt of unsuitable and causeless complaint; (ii) the denial of evidence demanded as a reply to the accusation; (iii) the denial of evidence and questions made during production of evidence hearings; and (iv) the judge's bias; (v) the non-observance of the guarantee of equality of arms throughout the production of evidence, besides the short amount of time given to the technical defense and self-defense to examine the documents which were filed by the opposing party minutes before the interrogation.
Lula's defense requests the testimonies of new witnesses, the inclusion of documents and the production of expert evidence – the latter in order to disprove that any amount resulting from the three contracts mentioned in the complaint signed by Petrobras and OAS has favored Lula directly or indirectly.
Cristiano Zanin Martins


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Trucking Along
2010 was an amazing year. I feel the need to capture why:
* Mackenna became MACKENNA. My baby girl is an amazing person, truely. She can speak clearly now in complete sentances and we've discovered that we have a little clown on our hands! Her main goal in life lately is to make us smile/laugh. It's so easy for us to do what with her little chubby cheeks and cute face!
* We finally got to enjoy our pool. Thank you nice summer weather! I went swimming almost every night and I still "go there" in my mind....floating on my back (usually NAKED!!!) looking up at the stars just being....ALIVE.
* I lost 30 lbs and became the "new me". I didn't really broadcast my efforts outside of www.myfitnesspal.com but I changed my physical self - for the good! I can't even begin to describe the energy I gained by changing my eating habits and getting regular exercise. Lesson learned self! I plan on getting rid of another 30lbs this year and hitting my "goal weight"
* I discovered the bestest workout ever - FUZION! http://fuzionworkout.com/ Skye is our (Kim's a fellow addict) instructor and I have never met someone more motivating than this chick. The energy just flows out of her and I take it ALL in. The class is simply a dance class. We learn high impact complicated dance moves to songs I LOVE and we dance every week! I can definately credit this workout for my success this year - and next. I also have made a new friend in Skye.
* Friends! I have made some lifelong friends this year. True friends. I'm finally the honest real person that I have wanted to be - I did it! By being more open and honest with people I really like, I have discovered "Friend love" and even "sisterhood" in the sense that I pictured it. I don't know if that makes sense to anyone else lol but it means a LOT to me!
* Roots. We are developing some STRONG roots here in Brampton Ontario Canada and I don't think we ever want to leave. New Brunswick is no longer "in scope". I love my community, my house and my life here in Brampton.
* We got a new family member, Maggie. Hard to believe she's almost a year old (Feb 13th). Time flies! I'm still not a "dog person", I have to admit, but she's a good dog and if I had to have one (which I did apparently) then I couldn't have asked for a better dog. <3 you Maggie!
* Sam started school! I've posted about how great she's doing and it continues! My kid is going to be a smart cookie - good thing we've got the savings going for their post-secondary education!
* Corey and I are stronger than ever. It's been a WILD ride in this regard, but we're working on it all the time. He's my best friend in the whole world and I'm very lucky.
* Family peace - I've finally gotten rid of most of (come on, it'll never be ALL) my expectations when it comes to my extended family. They are warped/screwed up/different people and yes, that hurts, but what the heck can I do about it? I can only live my life - I have no control over these people. I wish them all luck with their sad lives :) I'm here if you need me!
* Family strength - my new and improved family is getting stronger. I got to spend a lot of quality time with my niece Kailin and her mom and wow...this is the family I always dreamed of. Non-judgemental, open, loving and caring. I am so lucky to have them in my life.
* Work confidence - the first year is over and done with here at my new job and while I may not necessairly like the work itself that I'm doing, I at least feel more competant when doing it! I have a lot of power and exposure at work and in 2011 I want to find a way to harness this feeling and move on to something I actually like. Exciting!
* Fun. 2010 was FUN. I just feel so lucky!


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He got our feet on the life path. He is all radiant from the shining of His face. Ever since He took our hand, we will always be on the right way. There is indeed a fullness of joy when we are always in His presence.
He will show us the path of life. In His right hand, there are pleasures forevermore. When we let God guide our steps, He will always show us the right way. Let Him guide you and walk you to the right direction. Delight yourself in Him.


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The decision to use BigBankTV required that TVs and PCs be located within the branches in mutually accessible places, and this was eventually to prove a considerable stumbling block. The original placement of the TVs within the Branches had been chosen to allow the whole of the staff to view BigBankTV broadcasts, whereas meeting the needs of an interactive training system required a more isolated setting. The Bank's Property department established that moving the TV with fittings and connections to a location that was compatible with both purposes would be very costly, and even physically impossible in some branches. So, late in the day, the NTCS team returned to the aim of incorporating the TV image within the PC. A number of ways of achieving this were identified:
- TV tuner card to feed the signal into the PC for display on the screen.
- A system for delivering images via networks using new technology that was unproven, but was backed by BT.
- A second system for delivering images via networks using technology that was proven, but from a supplier unknown in the UK.
In the event, both the network-based suggestions were rejected because, in their different ways, they were judged to be too risky at this late stage in the project lifecycle. This left the first option of using the TV tuner card, which was not as forward looking as the other options, but was proven and did not require direct integration with the system.
The project survived this final alarm, and was eventually successfully rolled out into the branches. However, it is clear that this outcome owed little to a systematic, principled and early consideration of usability issues and rather more to the project team's capacity to salvage something from a crisis. Though this particular project was considered a success, we argue that coping with usability threats as they arise is, in general, a risky strategy for usability staff to pursue. Instead, they need to become more politically aware and seek out organizational positions that will enable them to foreground usability issues from the very beginning.


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Skip to comments.UNREAL. Obama May Allow US Soldiers to be Tried in the Hague
Posted on 11/27/2009 9:08:57 PM PST by American Dream 246
Unreal. Team Obama may allow US soldiers to be tried in the Hague for war crimes. The Wall Street Journal reported, via Jihad Watch:
Secretary of State Hillary Clinton expressed great regret in August that the U.S. is not a signatory to the International Criminal Court (ICC). This has fueled speculation that the Obama administration may reverse another Bush policy and sign up for what could lead to the trial of Americans for war crimes in The Hague.
The ICCs chief prosecutor, though, has no intention of waiting for Washington to submit to the courts authority. Luis Moreno Ocampo says he already has jurisdictionat least with respect to Afghanistan.
Because Kabul in 2003 ratified the Rome Statutethe ICCs founding treatyall soldiers on Afghan territory, even those from nontreaty countries, fall under the ICCs oversight, Mr. Ocampo told me. And the chief prosecutor says he is already conducting a preliminary examination into whether NATO troops, including American soldiers, fighting the Taliban may have to be put in the dock.
We have to check if crimes against humanity, war crimes or genocide have been committed in Afghanistan, Mr. Ocampo told me. There are serious allegations against the Taliban and al Qaeda and serious allegations about warlords, even against some who are connected with members of the government. Taking up his inquiry of Allied soldiers, he added, there are different reports about problems with bombings and there are also allegations about torture.
It was clear who the targets of these particular inquiries are but the chief prosecutor shied away from spelling it out.
Asked repeatedly whether the examination of bombings and torture allegations refers to NATO and U.S. soldiers, Mr. Ocampo finally stated that we are investigating whoever commits war crimes, including the group you mentioned.
UnAmerican, anti-American bastards.
They've been building up to this for a long time.
Im sensing rebellion, just sayin
Obamao's organization is determined to bring leftist justice to America.
THIS could lead to some unrest here.
This'll do wonders for those recruitment numbers.
Along with the stuff that's yet to come out about the Ft. Hood Jihad.
Par for the course...before long we'll be applying for our driver's license at the UN building in NYC via the chip implant in our arm.
Grounds for impeachment.
No American general would ever hand over our boys to the UN. It's the Teleprompter in Chief who will push this unfortunately..
Scouts Out! Cavalry Ho!
The Messiah wants to see if he can get his numbers down to 13% Yes vs. 87% No. Then, he can say it's all racist.
I guess I have lost the ability to be shocked by these people, who are attempting to gut this nation and start over, so we can become the socialist paradise they think we should be.
MaObama and his Fascist friends want unrest.. They want America to fail.. He's really is Evil.
Are we at the tipping point? I have had it!
Is the WH administration not paying any attention at all to how people feel about granting terrorists civilian trials? I know some so-called Americans can't wait to see our soldiers at the Hague, but I doubt most Americans wouldn't be angry.
If this happens, if US soldiers can be tried by the very people we're fighting in international court, then there will be a Revolution in the US.
Common enlisted people will then get to choose between court martial for disobeying orders or being dragged to world court for following the orders.
In fact, should he even attempt an investigation he will become a marked man to be dealt with by a future pro-American administration ~ maybe hunted down like the rabid dog he sounds to be.
I would certainly vote early and often for any candidate who pledged to eliminate these people from public affairs.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


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Given the No. 2 pick in baseball's amateur draft Monday, the Seattle Mariners were widely expected to take a third baseman with power but instead went for Virgina's left-handed ace, Danny Hultzen.
One of the first questions directed at general manager Jack Zduriencik afterward was, 'Why a pitcher when what you seem to need most is hitting?"
"Is anyone complaining about our pitching?" Zduriencik asked. "We have 59 more picks to make in the draft, and it's all about acquiring talent. To get a left-handed pitcher of this caliber with his history, made sense."
That history included three seasons at Virginia – with the third still in progress – and a combined 31-5 record with a 2.18 earned run average. In 305 innings, he walked 67 batters and struck out 378.
When talking about Atlantic Coast Conference hitters he'd faced, Hultzen brought up Tacoma second baseman – and North Carolina alum – Dustin Ackley.
"I may have walked him a few times, but I don't think he hit me," Hultzen said. "That's the kind of hitter you face every weekend in the ACC."
Turns out, Hultzen followed the Mariners from afar as a kid.
"It's a great organization, and the first major league hat I ever got was a Mariners cap," Hultzen said. "I watched (Ken Griffey) Junior, Jay(Buhner) and Randy (Johnson) growing up. I'm not a fan, but I was always aware of them.
"I have not been to Seattle, but I hear it's an awesome city and that it's not as rainy as everyone thinks."
The Mariners director of amateur scouting, Tom McNamara, said it wasn't a tough choice at all to pick Hultzen second in the nation behind UCLA ace Gerrit Cole.
"The kid has three above average major league pitches - fastball, changeup, slider - he's good athlete," McNamara said. "When you pick that high, you take the best player or pitcher, and dan was best guy, no doubt, at No. 2.
At 21, Hultzen is 6-foot-3 and 200 pounds, a good enough athlete to play first base, outfield and designated hitter at Virginia and, McNamara pointed out, a man with 'plus' big-league speed. The Baseball America scouting report on Hultzen included:
"Now sits around 93 and touches 96. His changeup is his best secondary pitch, and he commands it well and gets good fade thanks to a low three-quarters arm slot. His slider also shows flashes of being an above-average pitch."
Zduriencik said he could envision Hultzen pitching at Safeco Field, with a staff of great young pitchers.
"Look at the young pitchers we have in the system – Felix (Hernandez), (Michael) Pineda, (James) Paxton, (Taijuan) Walker," Zduriencik said. "If this is the guy we think he is, he'll be a great addition to that staff."