来源:标准下载站  作者:齐丁公   发表时间:2019-12-08 15:32:51|白小姐六会彩开奖结果


  Consider the newspaper, the physical object, printed on processed wood pulp, shot upward on rollers at high speed as ink is applied, gathered and folded and bundled, dropped off at newsstands and bodegas or delivered to doorsteps. Nowadays it is a minority choice, as a majority of consumers around the globe opt to get the latest word from their screens as they zoom from one place to the next. But that minority of readers is substantial, and fierce. They savor the thrill of the first hit of newsprint in the morning, with its slightly acrid odor and its ironclad association with the first cup of coffee. They have mastered the origami skills required to read the paper on the subway. They appreciate the staggered hierarchy of the front page — the significance of the top left corner, the relative point sizes of major and minor headlines, the weight of an obituary (say) that lies above the fold, the nuance of features heralded in the bottom third — not because they are lesser but because their front-page appearance is merely the tip of a much larger body within. And they can foretell how their copy will end up: folded to the crossword puzzle, decorated with various stains, missing a recipe or a travel tip, ready to return unto pulp.

  Unlike its digital counterpart, the physical newspaper is not just a transient occurrence along an ongoing stream; it is a singular phenomenon, which happens every day. The city may no longer feature vendors shouting the main headline at passing commuters, but that headline still carries a sense of urgency, can still thrill or appall when caught unexpectedly in a sidelong glance. A newspaper is a measure of days, an index of passing time. Its front page compresses the significance of a unique date into a rectangular field of words and images, its jarring list of specifics unforeseeable until press time. Why else would Picasso and Braque have chosen the newspaper as both their model and their source when they began making collages in 1912? How else could filmmakers convey the galloping speed of history but with a process-shot montage of spinning newspaper front pages? How else would kidnappers prove that their victims were still alive on a given day other than by photographing them holding that day’s Late Final?

  Online you are encouraged to compose your own newspaper, according to your personal algorithmic specifications. The paper model ensures that although you can ignore entire sections (at your peril), you will at least skim the principal news part from stem to stern, reading the headlines. Along the way you will become absorbed in stories no mathematical formula would have selected for you. And if your flight is grounded, you will end up reading the entire paper, down to the small ads, and possibly come away with several new interests as a consequence.

  The newspaper in its 19th-century flowering was not just a novel and practical way of transmitting current political and military doings; it was also a great herald and artifact of modernism. It exuded the teeming, democratic randomness of the city — see the immense broadsheets of the time, with their acres of close-set columns, each one crammed with stories, each one clamoring for attention like orphans at a train window. Eventually, editors and compositors learned how to marshal their contents, to deploy them strategically around the page, to let the reader’s eye cascade from upper left to lower right and then circle around again. Most of the leading newspapers devised their own design languages, promoting a look that, although it might be austere, was very particular. A glance at a torn fragment, maybe less than an inch long, maybe affixed to the sole of a boot, would tell the observer just which paper it came from.

  The newspaper is a veritable helper, with many functions in the course of the day. It wakes you in the morning, tells you things on the way to work, comes to hand when you have 10 minutes to spare or need to clear your head, sits with you during your solo lunch, ladles out the soothing stuff you’ve kept for the ride home. It can serve as a veil when you’re at a cafe terrace and wish to avoid attention, as a fan when you’re relaxing in the park on a hot day, as a pillow when you consequently cop a snooze, as a cushion for transporting pottery or glassware, as a fire starter for the hearth, as a floor covering when painting or sanding, as a liner for your cockatoo’s cage.

  Oddly enough, newspapers also come in handy when you are being stalked by paparazzi. Stars, crooks and indicted officials seem to have lately overlooked this handy source of portable foliage. But fame is ever fleeting in the world of news. In the 1937 comedy “Nothing Sacred,” Carole Lombard plays a young woman apparently dying of a rare disease. Just before we find out she really isn’t, the camera lingers for a moment on the front page of some gazette, on which appears an overripe ode to her courage — and then a fish lands on top and hands wrap it up.

  These are perilous times for newspapers, which all across the nation are being bought up by speculators and stripped for parts, from major papers in secondary markets to small-town bugles that sometimes have survived for a century or more. Their reportorial and editorial staffs are drastically cut, their page counts decreased, the local interest and focus that once lay at their hearts yanked in favor of wire-service summaries of national news already being covered much better everywhere else. Sometimes these papers are taken online altogether, where with their minimized resources they can be mistaken for URL place holders or the output of Romanian troll farms. For a paper to lose its print edition is to become ghostlike, immaterial.

  There are plenty of fine online periodicals, of course, but those were designed with the logic of the internet in mind. The local paper, on the other hand, was meant to draw a picture of a physical community, with its customs, rituals, manners, lingo and collective memory inscribed in a thousand minute ways. Even if you get it only for the yard-sale ads or to hate-read the letters column, its presence itself is reassuring, part of the sometimes thin fabric that holds you and your neighbors together. But if you can’t buy it at the gas station along with your six pack and your night crawlers, it might as well not exist.

  Nevertheless, even as the physical newspaper is diminished in numbers, it bows to no product in the modernity and total awesomeness of its production. As these spectacular photos by Christopher Payne show, this paper is produced in College Point, Queens, on machines the size of large houses, which do everything from the unwinding of the paper rolls to the folding of the complete sections. Each tower prints 28 spreads at once, front and back, in cyan, magenta, yellow and black, at ridiculous speed — 80,000 copies an hour can be produced this way. And then you can hold it in your hand, fold it, tear it, use it as a rain hat — a voluminous paper object with visual dazzle and hundreds of thousands of words, representing the collected information of that moment: news, opinion, analysis, testimony, critique, charts, graphs, photos, displays. And it happens every day, over and over again. Small wonder they call it The Daily Miracle. — Luc Sante

  Luc Sante is a writer and critic. His books include “Low Life,” “Kill All Your Darlings” and “The Other Paris.”

  Mike Connors, who manages The Times’s printing plant in College Point, Queens, started working for the Times in 1976, long before this plant was built in 1997. Connors is Fourth-generation with the Times; his family has been working for the organization for 126 years. He often works the night shift. “Urgency is second nature. You’ve got one chance at night, one inning.”

  The paper rolls are moved from storage to the presses with the help of three robotic cranes. Each roll of paper weighs 2,000 pounds and unspools 10 miles.

  Finished newspaper pages are sent digitally from the newsroom to the plant and burned with lasers onto thin aluminum sheets called plates. A pressman like William Toohey, pictured below, bends each plate around a press cylinder. “Putting the plates in place requires a little bit of a knack,” he says. “There are a lot of musicians in my family. You need some dexterity in your fingers to get the plates all lined up. And fast.”

  The facility has 8,000-gallon vats of black, oil-based ink and 2,500-gallon vats of synthetic cyan, magenta and yellow ink. Tanker trucks deliver ink every week.

  Pressmen calibrate each press carefully before a print run. Electricians and machinists are also on hand during this setup, to address any problems before the run begins. That includes calibrating the folder and slitter and trimmer that will process the pages once ink is applied.

  Each of the seven printing presses at the plant is several stories tall. They can print as many as 80,000 newspapers each hour of a run. College Point prints 1.7 million copies of The Times each week. There are 25 other Times print sites in the U.S., but College Point is the biggest.

  Inevitably, news breaks during a press run. If it’s significant enough, the newsroom calls to “Stop the presses!” This happened after the recent tornadoes in Alabama, when Osama bin Laden was killed and during the 2016 election. Often the issues already printed aren’t scrapped, but the rest of the night’s run is dedicated to the updated version.

  Each press is shut down for one eight-hour shift each week, when press staff climb inside to remove ink buildup and wipe down crucial parts.

  The Times isn’t the only newspaper the staff encounter most nights. College Point prints USA Today, Newsday and AM New York too.

  Sections of the Sunday Times, like Arts & Leisure, printed earlier in the week are kept on giant rolls (with the Muller Martini storage system), then inserted in the weekend paper after it has been printed.

  The sound of the running presses and working plant is overwhelming. There are 14 miles of gripper conveyor belts overhead. Machines insert copies of the magazines and preprinted sections, and then finished papers move via conveyor to bundling machines. The bundles are stacked on pallets and fork-lifted into waiting delivery trucks.

  By 3 a.m. on a typical night, all print runs are complete, and maintenance and electrical teams are moving around the plant to prepare for the next morning. College Point has a fleet of two dozen bicycles that workers use to get around the cavernous building, which feels even larger when the presses are quiet. — Caitlin Roper

  Christopher Payne’s first job, at 13, was selling newspapers on a street corner in downtown Boston. He would weave between cars stopped at a light, hawking The Boston Globe. (The paper cost 25 cents then, and he made a nickel on each copy he sold.) Growing up near The Globe’s printing plant, he could see the pressroom lit up at night while the rest of the city slept.

  In 2017, Payne started photographing The Times’s College Point plant. He has gone 40 times, often losing track of time and staying late into the night as he watched the pressmen to understand their work and to anticipate where to set his camera. It’s the most challenging place he has ever photographed, he says: ‘‘It is vast, chaotic and visually overwhelming. Every press run was unique, so I never knew what to expect. Sometimes I would walk around for hours, only to leave empty-handed.’’ Shooting the presses in motion was especially tricky because of the intense vibration, but he found the deafening noise exhilarating. ‘‘When I’m climbing around the presses, I feel like I’m inside a giant engine,’’ he says.

  Trained as an architect, Payne has published books of photographs on the Steinway & Sons piano factory, New York City’s power substations, state mental hospitals and an uninhabited island of ruins in the East River. For The Times Magazine, he has documented a Colombian candy factory, the American textile industry and a 130-year-old pencil factory in Jersey City, N.J. He lives in New York with his wife and daughter.





  白小姐六会彩开奖结果【克】【莱】【梅】【尔】【用】【圣】【光】【裁】【决】【破】【坏】【了】【藤】【条】,【接】【连】【射】【出】【的】【两】【道】【炽】【白】【光】【束】【都】【被】【萨】【恩】【躲】【开】。 【见】【攻】【击】【不】【到】【萨】【恩】,【克】【莱】【梅】【尔】【嘴】【唇】【微】【动】,【一】【段】【复】【杂】【咒】【语】【从】【口】【中】【念】【出】,【看】【的】【萨】【恩】【心】【中】【一】【惊】。 【达】【到】【传】【奇】【级】【别】【释】【放】【魔】【法】【根】【本】【就】【不】【需】【要】【咒】【语】,【萨】【恩】【从】【领】【域】【被】【压】【制】【时】【就】【感】【觉】【出】【克】【莱】【梅】【尔】【可】【能】【不】【止】【传】【奇】【那】【么】【简】【单】。 【而】【能】【让】【克】【莱】【梅】【尔】【这】【个】【最】【少】【传】【奇】

【沉】【重】【的】【喘】【息】【声】【丶】【哀】【怨】【的】【叫】【喊】【声】,【搭】【配】【着】【不】【断】【响】【起】【的】【枪】【炮】【齐】【鸣】,【一】【切】【都】【在】【预】【示】【着】……【幽】【冥】,【已】【经】【进】【入】【了】【有】【史】【以】【来】【最】【混】【乱】【的】【时】【间】【点】。 【城】【中】【已】【经】【暗】【流】【涌】【动】,【无】【数】【被】【策】【反】【的】【人】【员】【在】【狸】【三】【爷】【的】【组】【织】【下】,【成】【功】【集】【合】,【拿】【起】【了】【手】【中】【的】【武】【器】,【向】【恶】【灵】【士】【兵】【宣】【战】【了】…… 【藤】【儿】【居】【然】【趁】【着】【欲】【念】【不】【在】【的】【时】【间】【段】【里】【偷】【偷】【从】【府】【邸】【之】【中】【的】【跑】【了】【出】【来】

【帝】【玄】【擎】【看】【了】【看】【叶】【瑾】,【目】【光】【深】【沉】:“【本】【王】【去】,【瑾】【儿】,【你】【留】【在】【擎】【王】【府】!” “【不】,【我】【也】【去】!”【叶】【瑾】【语】【气】【很】【坚】【决】。 【帝】【玄】【擎】【也】【早】【已】【从】【她】【的】【表】【现】【中】【知】【道】,【她】【想】【同】【去】。【但】【是】,【战】【争】【本】【就】【危】【险】,【现】【在】【又】【有】【这】【威】【力】【无】【穷】【的】【炸】【药】,【危】【险】【更】【是】【扩】【大】【了】【数】【倍】。 【而】【且】,【帝】【陌】【泽】【的】【目】【标】【本】【就】【是】【她】,【她】【去】,【岂】【不】【是】【正】【中】【帝】【陌】【泽】【的】【下】【怀】?【帝】【陌】【泽】

  【对】【于】【顾】【父】【这】【个】【曾】【经】【叱】【咤】【商】【场】【的】【商】【人】【来】【说】,【他】【是】【极】【重】【时】【机】【的】【时】【候】,【语】【霏】【能】【在】【这】【时】【候】【暂】【时】【放】【弃】【她】【的】【事】【业】,【可】【以】【说】【是】【让】【顾】【父】【很】【震】【惊】【的】。 【要】【说】【语】【霏】【是】【不】【重】【事】【业】【还】【能】【理】【解】,【可】【几】【天】【前】【语】【霏】【都】【是】【不】【想】【休】【息】【一】【天】,【回】【来】【第】【二】【天】【就】【回】【台】【里】【报】【道】。 “【我】【想】【把】【名】【下】【百】【分】【之】【二】【的】【富】【安】【股】【份】【赠】【送】【给】【语】【霏】,【稍】【作】【弥】【补】。” 【顾】【父】【原】【先】【打】【算】【等】白小姐六会彩开奖结果【所】【有】【的】【变】【化】【都】【是】【有】【原】【因】【的】。 【钟】【明】【霞】【可】【能】【就】【是】【在】【这】【种】【变】【化】【里】【面】,【成】【长】【特】【别】【快】【的】【那】【种】。 【一】【片】【相】【机】【快】【门】【声】【中】,【她】【也】【没】【跟】【杜】【雯】【商】【量】,【伸】【手】【抓】【了】***【凑】【嘴】【边】:“【不】【用】【着】【急】【拍】,【这】【照】【片】【待】【会】【儿】【随】【便】【下】【载】,【今】【天】【九】【点】【过】【开】【始】,【我】【就】【开】【放】【了】【在】【网】【络】【云】【上】【的】10G【照】【片】【地】【址】,【随】【便】【提】【取】,【比】【网】【上】【流】【传】【的】【全】【面】【多】【了】……” 【记】【者】【们】

  【东】【皇】【宫】【的】【宫】【主】【看】【着】**【轩】,【脸】【上】【满】【是】【询】【问】! **【轩】【看】【到】【了】,【也】【只】【是】【淡】【淡】【道】:“【这】【次】【来】,【是】【为】【了】【人】【让】【你】【吗】【知】【道】【什】【么】【叫】【天】【下】【第】【一】【人】【的】,【所】【以】【你】【们】【所】【有】【人】【都】【出】【手】【吧】,【只】【要】【你】【们】【觉】【得】【自】【己】【可】【以】【打】【败】【我】【的】【话】,【就】【算】【是】【你】【们】【一】【起】【上】【也】【是】【如】【此】!” 【听】【到】【这】【话】,【所】【有】【人】【都】【陷】【入】【短】【暂】【的】【停】【战】! 【此】【刻】【的】**【轩】【的】【这】【句】【话】【让】【所】【有】【人】【都】


  “【好】【强】【的】【实】【力】,【竟】【然】【能】【够】【挡】【住】【两】【道】【劫】【雷】【的】【攻】【击】,【盟】【主】【怎】【么】【一】【下】【变】【得】【这】【么】【厉】【害】【了】!” 【紫】【王】【金】【魃】【满】【脸】【震】【惊】【的】【说】【道】。 【现】【在】【林】【成】【表】【现】【出】【来】【的】【实】【力】,【就】【比】【它】【强】【大】【一】【半】。 【如】【果】【它】【去】,【第】【二】【道】【劫】【雷】【是】【顶】【不】【住】【的】,【可】【是】【林】【成】【却】【定】【住】【了】。 【也】【就】【是】【说】,【林】【成】【比】【它】【还】【厉】【害】【了】。 “【金】【魃】【后】【期】,【看】【来】【我】【们】【都】【不】【是】【盟】【主】【的】【对】【手】【了】,


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