Masi are glutinous rice balls with a peanut and muscovado filling from Cebu, Philippines. It is made from sweetened galapong shaped into little balls with a filling of chopped roasted peanuts and muscovado or brown sugar, it is boiled in water until it floats. It can be steamed, it is traditionally sold wrapped in banana leaves. Masi can be modified to use different fillings, like peanut butter. Coconut milk may be used to give the dough a creamier flavor. Masi is sometimes anglicized as peanut rice balls. Masi is related to the Kapampangan moche, which are prepared similarly. Kakanin Palitaw Sapin sapin Media related to Moche at Wikimedia Commons
Masi is a name of a village in Talla Gewar, Chaukhutiya Block of district Almora in Uttarakhand, India. This village located near eastern bank of Ramganga River. Villager of this village called as Masiwal in this way this Masi village is belongs to Masiwal community. Pant Nagar Airport is the nearest airbase; the nearest railway stations are at Ram Nagar. Masi Pincode is 263658 With 79.2803459 Longitude. Harsh Singh Bisht
India ink is a simple black or colored ink once used for writing and printing and now more used for drawing and outlining when inking comic books and comic strips. India ink is used in medical applications. Basic India ink is composed of a variety of fine soot, known as lampblack, combined with water to form a liquid. No binder material is necessary: the carbon molecules are in colloidal suspension and form a waterproof layer after drying. A binding agent such as gelatin or, more shellac may be added to make the ink more durable once dried. India ink is sold in bottled form, as well as a solid form as an inkstick, which must be ground and mixed with water before use. If a binder is used, India ink may be non-waterproof. Woods and Woods state that the process of making India ink was known in China as early as the middle of the 3rd millennium BC, in Neolithic China, whereas Needham states that inkmaking commenced as early as three millennia ago in China. India ink was first invented in China, but the English term India ink was coined due to their trade with India.
A considerable number of oracle bones of the late Shang dynasty contain incised characters with black pigment from a carbonaceous material identified as ink. Numerous documents written in ink on precious stones as well as bamboo or wooden tablets dating to the Spring and Autumn, Warring States, Qin period have been uncovered. A cylindrical artifact made from black ink has been found in Qin tombs, dating back to the 3rd century BC during the Warring States or dynastic period, from Yunmeng, Hubei. India ink has been in use in India since at least the 4th century BC, where it was called masi, an admixture of several substances. Indian documents written in Kharosthi with this ink have been unearthed in as far as Xinjiang, China; the practice of writing with ink and a sharp-pointed needle in Tamil and other Dravidian languages was common practice from antiquity in South India, so several ancient Buddhist and Jain scripts in India were compiled in ink. In India, the carbon black from which India ink is formulated was obtained indigenously by burning bones, tar and other substances.
The traditional Chinese method of making ink was to grind a mixture of hide glue, carbon black and bone black pigment with a mortar and pestle pouring it into a ceramic dish where it could dry. To use the dry mixture, a wet brush would be applied until it rehydrated, or more in East Asian calligraphy, a dry solid ink stick was rubbed against an inkstone with water. Like Chinese black inks, the black inks of the Greeks and Romans were stored in solid form before being ground and mixed with water for usage. In contrast to Chinese inks that were permanent, these inks could be washed away with water. Pine soot was traditionally favored in Chinese inkmaking. Several studies observed that 14th-century Chinese inks are made from small and uniform pine soot, insofar that the inks are superior in these aspects to modern soot inks; the author Song Yingxing of the Ming dynasty has described the inkmaking process from pine soot in his work Tiangong Kaiwu. From the Song dynasty onwards, lampblack became a favored pigment for the manufacturing of black inks.
It was made by combustion in lamps with wicks, using animal and mineral oils. In the Chinese record Tiangong Kaiwu, ink of the period was said to be made from lampblack of which a tenth was made from burning tung oil, vegetable oils, or lard, nine-tenths was made from burning pine wood. For the first process, more than one ounce lampblack of fine quality could be produced from a catty of oil; the lampwick used in the making of lampblack was first soaked in the juice of Lithospermum officinale before burning. A skillful artisan could tend to 200 lamps at once. For the second process, the ink was derived from pine wood; the pine wood was burnt in a rounded chamber made from bamboo with the chamber surfaces and joints pasted with paper and matting in which there are holes for smoke emission. The ground was made from bricks and mud with channels for smoke to built in. After a burn of several days, the resulting pine soot was scraped from the chamber after cooling; the last one or two sections delivered soot of the purest quality for the best inks, the middle section delivered mixed-quality soot for ordinary ink, the last one or two sections delivered low-grade soot.
The low-grade soot is further pounded and ground for printing, while the coarser grade is used for black paint. The pine soot is soaked in water to divide the fine particles that float and the coarser particles that sink; the sized lampblack is mixed with glue after which the final product will be hammered. Precious components such as gold dust or musk essence may be added to either types of inks. In 1738, Jean-Baptiste Du Halde described the Chinese manufacturing process for lampblack from oil as: "They put five or six lighted wicks into a vessel full of oil, lay upon this vessel and iron cover, made in the shape of a funnel, which must be set at a certain distance so as to receive all the smoke; when it has received enough, they take it off, with a goose feather brush the bottom, letting the soot fall upon a dry sheet of strong paper. It is this that makes shining ink; the best oil gives a lustre to the black, by consequence makes the ink more esteemed and dearer. The lampblack, not fetched off with the feather, which sticks fast to the cover, is coarser, they use it to make an ordinary sort of ink, after they have scraped it off into a dish."The Chinese had used India ink derived from pine soot prior to
Masayori "Masi" Oka is a Japanese-American actor, occasional rapper and digital effects artist. He became known for his role on NBC's Heroes as Hiro Nakamura and in CBS's Hawaii Five-0 as Doctor Max Bergman. Oka was born in Japan, to Setsuko Oka, his parents divorced. He was six years old when he moved to Los Angeles from Japan. At age eight, he appeared on the CBS-TV game show Child's Play. In 1987, a twelve-year-old Oka was featured on the cover of Time titled "Those Asian-American Whiz Kids". Though he was not featured in the article itself, he was acquainted with the photographer who conducted the shoot, his IQ has been reported at over 180. He attended elementary school at The Mirman School and graduated high school from Harvard-Westlake School in 1992. After he graduated, he worked on the 1992 Summer Olympics as an English and Japanese translator, he graduated from Brown University in 1997 with a Bachelor of Science degree in computer science and mathematics. While at Brown, he served as the musical director of The Bear Necessities, an all-male a cappella group.
Oka described the group as a "brothership."Oka landed his first job after graduation at Industrial Light & Magic, George Lucas's motion picture visual special effects company, with the hope of one day earning an Oscar for technical work on a motion picture. Oka was featured in the San Francisco Chronicle with ILM co-worker Anthony Shafer in a pre-dot-com article where he echoed his desire to meld acting and technology, he worked on the Star Wars prequel trilogy. Oka first tried acting in 2000, he earned a Screen Actors Guild card by appearing in industry films moved to Los Angeles. ILM stipulated in his contract that he could work at its Los Angeles branch, but would have to return to their Marin County location if he did not get cast for a recurring role that season. Oka did get cast for a pilot. Although the show was not picked up, it did satisfy the contract's requirements and he was allowed to stay in Los Angeles, he decided to continue pursuing acting. He landed several guest spots and a recurring role as Franklyn on the NBC/ABC comedy Scrubs.
He was featured in a North American commercial for Sega's 2002 PlayStation 2 video game, with the catch phrase'Shinobi's back!' in front of Sega's 1987 Shinobi arcade cabinet. Oka guest starred in the Yes, Dear episode "Dances with Couch", which aired on April 8, 2002, he appeared in 2002's Austin Powers in Goldmember, where he delivered the line "It looks like Godzilla, but due to international copyright laws, it's not". In 2006, Oka was cast for the role of Hiro Nakamura in Heroes. Oka himself translated his dialogue from the show's scripts from English to Japanese. Additionally, Oka's real voice is closer to that of "Future Hiro" than the higher-pitched voice he uses as "Present Hiro" as heard during his appearances on Heroes, his portrayal of the role earned him nominations for the Golden Globe Award for Best Supporting Actor on a TV Series and the Primetime Emmy Award for best supporting actor in a drama series, the only actor on Heroes to be nominated for both awards. In addition to his work on the show, he continued to work at ILM up to three days a week as a Research and Development Technical Director, writing programs that create special effects.
He played the role of Bruce in the big screen version of Get Smart. He played a real estate broker, trying to sell to Seann William Scott's character in Steve Conrad's The Promotion, he was named the "Coolest Geek" at the Spike TV Guys' Choice Awards on June 13, 2007. In 2007, he presented an award with Heroes co-star Hayden Panettiere on the 20th annual Nickelodeon Kids' Choice Awards. Oka plays the coroner Dr. Max Bergman in CBS' Hawaii Five-0, a remake of original series which aired from 1968 to 1980, he joined the show's main cast in the second series. His character was written as an ethnic Japanese, adopted at birth by Jewish parents, hence his last name. Oka made an appearance in the film Friends with Benefits. In March 2015, Oka announced. Oka is fluent in Japanese and Spanish, his hobbies include kendo where he carries the rank of shodan, playing video games and writing romantic comedies, playing the piano and singing. He avidly collects manga. In 1988, he placed fourth in the California state MATHCOUNTS competition, was one of the four students to represent the state of California in the national competition.
He was at one time a leader of the raiding guild Dawn of Valor in World of Warcraft, a popular MMORPG video game. His player character was named an anagram of his real name. Masi Oka on IMDb Daily Telegraph Article NY Times Article Brown University "From Special Effects to Acting, CS Alum Masi Oka is One of the'Heroes'" Brown Daily Herald by Alissa Cerny 9/18/06 "Brown alum snags big role in NBC series'Heroes'" Time magazine cover - August 31, 1987 Video of Masi Oka discussing his role on the hit TV series, plus making special effects for the movie, Star Wars. Nichi Bei Times Interview San Francisco Chronicle Article
Masi is a comune in the Province of Padua in the Italian region Veneto, located about 70 kilometres southwest of Venice and about 45 kilometres southwest of Padua. As of 31 December 2004, it had a population of 1,810 and an area of 13.7 square kilometres. Masi borders the following municipalities: Badia Polesine, Merlara, Piacenza d'Adige
The MASI index is a stock index that tracks the performance of all companies listed in the Casablanca Stock Exchange located at Casablanca, Morocco. It is one of the two main indexes at the stock exchange, the other being the MADEX. Bloomberg page for MOSENEW:IND Casablanca Stock Exchange official site
Tapa cloth is a barkcloth made in the islands of the Pacific Ocean in Tonga and Fiji, but as far afield as Niue, Cook Islands, Solomon Islands, New Zealand, Papua New Guinea and Hawaii. In French Polynesia it has nearly disappeared, except for some villages in the Marquesas; the cloth is known by a number of local names although the term tapa is international and understood throughout the islands that use the cloth. The word tapa is from Tahiti and the Cook Islands, where Captain Cook was the first European to collect it and introduce it to the rest of the world. In Tonga, tapa is known as ngatu, here it is of great social importance to the islanders being given as gifts. In Samoa, the same cloth is called siapo, in Niue it is hiapo. In Hawaiʻi, it is known as kapa. In Rotuma, a Polynesian island in the Fiji group, it is called ‘uha and in other Fiji islands it is called masi. In the Pitcairn islands it was called ahu, it is known as tapia. All these words give some clue to the origin. Masi could mean the dye-fig, endemic to Oceania, the one used to make tapa.
Somewhere in history, during the voyages of migration the hiapo or siapo was introduced from Southeast Asia, the paper mulberry tree. The bark of this tree is much better to use, put the use of the dye-fig into oblivion. Only its name remained in Fiji. Tapa has the meaning of border or strip, it seems that before the glueing process became common to make large sheets only narrow strips were produced. Tapa can be decorated by rubbing, stencilling, smoking or dyeing; the patterns of Tongan and Fijian tapa form a grid of squares, each of which contains geometric patterns with repeated motifs such as fish and plants, for example four stylised leaves forming a diagonal cross. Traditional dyes are black and rust-brown, although other colours are known. In former times the cloth was used for clothing, but now cotton and other textiles have replaced it; the major problem with tapa clothing is. However, it was better than grass-skirts, which are either heavier and harder or blown apart, but on the low coral atolls where the mulberry does not grow, people had no choice.
It is labour-intensive to manufacture. Tapa cloth was made by both the women in ancient times. An example is the Hawaiian men, who made their own weapons. Nowadays tapa is worn on formal occasions such as weddings. Another use is for room dividers, it is prized for its decorative value and is found hung on walls as decoration. In Tonga a family is considered poor, no matter how much money they have, if they do not have any tapa in stock at home to donate at life events like marriages, funerals and so forth. If the tapa was donated to them by a chief or the royal family, it is more valuable, it has been used in ceremonial masks in the Cook Islands. It was used to wrap sacred objects, e.g. "God staffs" in the Cook Islands. There are many more uses of tapa which are not mentioned here; the following describes the fabrication of Tapa cloth in Tonga. There may be large differences for other locations. In Tonga hiapo is the name given to the paper mulberry tree. People have bunches of them growing in a corner of their plantations.
They are brought home where the first task is to strip the bark from the trees. The strips are person long; the wood left over is named mokofute. The bark consists of two layers; this work is called haʻalo. The outer bark is discarded, it is dried in the sun before being soaked. After this, the bark is beaten on a wooden tutua anvil using wooden mallets called ike. In the beating the bark is spread out to a width of about 25 cm; this phase of the work is called tutu. The mallets have coarse and fine grooves on the other sides. First the coarse sides towards the end of the work, the flat side; the continuous "thonk" beats of the tapa mallet is a normal sound in Tongan villages. If several women work together they can make a concert out of it. In that case there might be one; when the strips are thin enough, several are beaten together into a large sheet. Some starch from the kumala, or manioke may be rubbed on places; this part of the work is called ʻopoʻopo, the glue is called tou and the resulting sheet of tapa is called fetaʻaki.
It consists of two layers of strips in perpendicular direction, the upper one called lauʻolunga and the lower one laulalo. A knife or sharp shell named mutu is used to trim the edges, the pieces fallen off in this process are called papanaki; when the white fetaʻaki is smoked brown, it is called sala. The women of a whole village work together on a huge sheet of tapa. A donation is made to their chief at an important occasion; such sheets are about 3 m wide and 15, or 30, or sometimes 60 m long. The 15 meter pieces are called launima, the 30 m pieces are called lautefuhi. Friedrich Ratzel in The History of Mankind described, in 1896, the fabrication of tapa as follows: "A circular cut is made with a shell in the bark above the root of the tree.