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Posts Tagged 'André Breton'
THE HISTORY AND ICONOGRAPHY OF THE OCCULT 1750-1950 exhibition Strasbourg:
'Europe and the Spirit World or the Fascination with the Occult, 1750-1950' is a cross-disciplinary exhibition exploring the influence of the occult on artists, thinkers, writers and scholars throughout Europe, at decisive moments in the history of the modern world. The exhibition is organized into three sections:
The creative arts: painting, drawing, sculpture, print-making and photography, the literature of the irrational and unexplained.
The esoteric tradition revisited, with an extensive chronological survey encompassing the movement's foundational texts and print iconography.
The relationship between occult phenomena and the scientific world, through key scholarly figures and thinkers, and an examination of their experiments and scientific instruments.
With some 500 works of art, 150 scientific artefacts, 150 books and 100 documents from a host of European countries, Europe and the Spirit World will be presented in a dedicated 2500-m² space at the the Museum of Modern and Contemporary Art of Strasbourg.
This exhibition has been awarded 'national importance' status by the French Ministry of Culture and Communication / Heritage department / French museums service, and has received State financial support in the form of an exceptional grant from the Ministry.
Full details:
The esoteric tradition has been a feature of Western civilisation since the earliest times – a tradition that has come down to us in the form of esoteric writings, and the engraved illustrations that so often accompany them.
The exhibition presents significant works from the collections of Strasbourg's national and university library (the BNU), and the prints and drawings collection of Strasbourg's city museums, exploring the full range of topics featured in the Spirit realms exhibition: spiritism, esoterism, occultism, magic, witchcraft, divination…
The BNU's encyclopaedic holdings include a section on occultism and other beliefs, encompassing major, foundational texts of the modern and contemporary periods.
The collections of papyri, manuscripts, incunabula, rare and fine books, and Alsatic texts, together with texts devoted to religious science and literature, offer a revealing – but by no means exhaustive – survey of a rich corpus.
Historic texts complement the displays of visual artworks, presenting major works in their original, first editions, and highlighting the work of the publishers, printers, engravers and illustrators who established the esoteric tradition and kept it alive, down to the present day. The section aims to focus on works by the movement's leading authors, at key moments in its long history throughout Europe, and beyond.
Complementing the scientific displays included in the main exhibition, the section also presents key scientific works exploring spectral apparitions and other supernatural phenomena, together with an overview of the contact between scientific, mystical and esoteric thought down the centuries.
Some of the main authors represented:
Pythagoras, Plato, Virgil, Dante, Master Eckhart, Marsile Ficin, Cornelius Agrippa, Paracelsus, Lavater, Milton, Swedenborg, Cagliostro, Goethe, Balzac, Novalis, Kardec, Schuré, Conan Doyle, Huysmans, Ivan Goll, André Breton, Fulcanelli. The featured works are all from the collection of the Bibliothèque nationale universitaire de Strasbourg.
Featured artists include:
Baldung Grien, Brentel, Cranach, Dürer, Schongauer, Mantegna, Jacques Callot, Piranesi, Girodet-Trioson.
more info and images at:
Written by SOPHIA WELLBELOVED
November 23, 2011 at 6:50 pm
Posted in EXHIBITIONS, THE HISTORY AND ICONOGRAPHY OF THE OCCULT 1750-1950 exhibition Strasbourg:
Tagged with André Breton, Baldung Grien, Balzac, Brentel, Cagliostro, Conan Doyle, Cornelius Agrippa, Cranach, creative arts: painting, drawing, Durer, Ficin, Fulcanelli, Girodet-Trioson, Goethe, Huysmans, Ivan Goll, Jacques Callot, Kardec, Lavater, Mantegna, Milton, MUSEUM OF MODER AND CONTEMPORARY ART STRASBOURG, Novalis, OCCULT 1750 -1950, Paracelsus, Piranesi, print-making and photography, Schongauer, Schuré, scientific artefacts, sculpture, Swedenborg, the literature of the irrational and unexplained
3rd ANNUAL CONFERENCE 10th OCTOBER 2009
This year's conference is one of a series of CCWE conferences that continue and deepen research specifically in the field of Western Esotericism and the Arts, with a primary focus on secrecy.
Participative panel discussions will focus on secrecy: its positive, negative and ambiguous aspects, its uses and abuses in relation to literature, music and the visual arts, these may be expressed in such themes as:
vision, transformation, truth, the divine
the unknown, the future, death, the afterlife
power, control, anti-establishment aims, membership of an elite
language, texts, places, teachers
revelation, interpretation, levels of consciousness, ambiguity
codes, ciphers, correspondences, magic, hypnotism, hallucination
in the context of their relevance to the political, cultural and social demands of their time.
Presentations will be published on the website ahead of the conference. Lighthouse Editions are considering publishing a book of the conference papers, but these should not be submitted before the conference.
Deadline for submission end of July
Please send an initial abstract of 100-200 words to:
Dr Sophia wellbeloved
THE INTRODUCTORY PAPER FOR EACH SESSION WILL NOT BE MORE THAN 15 MINUTES IN LENGTH and will be followed by an open discussion for the remaining thirty minutes so 45 minutes in total.
All papers will be published on the CCWE website ahead of the conference.
RESPONDENTS to papers are invited to send a brief email with their interests in the areas of:
Secrecy related to:
French Surrealism in the 1930s
19th Century Hermeticism and Magnetism
Musical Modes
Imagery drawnfrom Bibblical story and Greek myth
17th Century painting in the Netherlands
Respondents may be asked to prepare short Position Papers from which they may contribute during the relevant panel session. Accepted Position Papers will be published on the CCWE website.
All participants are welcome to take part in the panel discussion that follows the above address. If you have a specific interest in this area or a contribution you would like to make please send details to email@example.com
Nicolas Poussin: The Birth of Bacchus, 1657, detail
(see the complete image below the Keynote Address)
An exploration of the genesis and evolution of Poussin's schema for The Birth of Bacchus will be given by
JULIA CLEAVE MA member of the Academic Board of the Temenos Academy THE LURE OF SECRECY
"For of the knowledges that contemplate the works of Nature, the holy philosopher hath said expressly; that the Glory of God is to conceal a thing, but the glory of the king is to find it out: as if the Divine Nature, according to the innocent and sweet play of children, which hide themselves to the end they may be found; took delight to hide his works, to the end they might be found out; and of his indulgence and goodness to mankind, had chosen the Soule of man to be his Play-fellow in this game."
Francis Bacon Preface to the Advancement of Learning (1640)
Poussin, the Quadrivium and the Mysteries
The circle of learned men for whom Poussin painted regarded themselves in some ways as privileged persons, who had been initiated into mysteries unknown…incomprehensible to the vulgar. Anthony Blunt Nicolas Poussin The A.W. Mellon Lectures in the Fine Arts (1958)
Theon of Smyrna, writing in the 4th century CE, states in the midst of his Mathematics Useful for the Study of Plato: We can again compare philosophy to the initiation into things truly holy, and to the revelation of the authentic mysteries.
OED Definition of Theurgy:
2. The operation or intervention of a divine or supernatural agency in human affairs; the results of such action in the phenomenal world.
Poussin's approach to his art was essentially theurgic. He conceived his compositions as a form of sacred theatre in which what is portrayed – an encounter between human and divine worlds – is intended (for those who have eyes to see) to move the soul of the viewer.
Bernini – after examining in detail, on his knees, the third painting in Poussins's series of the Seven Sacraments Extreme Unction – declared: it has the same effect as a beautiful sermon to which one listens with rapt attention and after which one is left speechless, for one's innermost being has been moved.
Poussin, himself, likened his art to the Greek theory of the musical modes: When all parts of the composition were assembled together in due proportion…there proceeded a power to breed various passions in the soul. In his final statement on the nature of his art he went further:
It is an imitation with lines and colours on any surface of all that is to be found under the sun. Its aim is delectation. Not only is Poussin hinting here at his espousal of a form of solar mysticism but, in using the term 'delectation', he means not simply pleasure or delight, but is invoking St. Augustine's notion of 'delectatio bono': a beatitude which leads to union with the divine.
Bernini's phrase: left speechless recalls the Greek concept of arrhetos meaning 'unspeakable' or 'inexpressible' – a term from the lexicon of the mysteries which applies both to the injunction on initiates to keep secret the sacred rites – a necessary protection from the profane – but equally it implies the impossibility of conveying in speech such momentous experiential knowledge, or gnosis.
Whether Poussin is drawing for his subject-matter on Biblical story or Classical myth, he is concerned with such moments of epiphany or epopteia – with the dramas of initiation, trial, revelation and transformation which we associate with the Mysteries. The word mysteria, meaning secret rite or doctrine, was applied by the Church Fathers to the Christian sacraments as well as to the initiation ceremonies of the ancient world.
In the service of this aim, Poussin deploys the disciplines of the Quadrivium – the four subjects (literally the four ways) which were regarded by classical writers as pathways to spiritual enlightenment.
Hence the meticulous architectonics which underpin his art: a deployment of whole number ratios, root geometries and musical proportions which is analogous to a form of temple-building. As in the history of architecture, so in the history of art, knowledge of these mathematical subjects was regarded as a closely-guarded secret – what Luca Pacioli called, in his treatise on the Divine Proportion: secretissima scientia, the most secret science. De Divina Proportione – drawn largely from the work of Piero della Francesco – was illustrated by Leonardo and published in 1509. While all claims to the persistence of a tradition of speculative geometry in painting need to be judiciously made, there is clear evidence that, more than a century later, artists like Poussin (buon geometra) were still making conscious use of geometry in their compositions for what appear to be both symbolic and talismanic purposes.
Not only is Poussin concerned with Arithmetica, Geometria, and Harmonia; he also engages with the fourth of the Quadrivium subjects: Astrologia or Astronomia. In a number of his canvasses, through a subtle combination of ecliptic geometry, together with solar, planetary or zodiac imagery, he explores the symbolic links between microcosm and macrocosm – humanity and the visible world under the influence of super-sensible forces.
Academic approaches to Poussin's art have a tendency to treat his subject-matter as fossilized cultural memes – the stock topoi of sacred or secular art – to be interpreted in socio-historical, psychological or aesthetic terms, rather than as possessing spiritual content. On Dante's hermeneutic scale of the four levels of interpretation: literal/narrative, allegorical, moral and anagogical, modern scholarship seldom ventures beyond the third level. Our predominantly secular culture has difficulty in acknowledging transcendence: shying away from lived spiritual experience, from the possibility of visionary flights of soul.
A myth gets its animation from a mystery (Pico della Mirandola)
The interpretation of The Birth of Bacchus is a case in point. This 'mysterious canvas', originally painted for one of Poussin's closest friends and fellow-artist, Jacques Stella, now hangs in the Fogg Art Museum at Harvard. It has given rise to some puzzlement among art historians. They are at pains to account for the artist's decision to combine in one scene two disparate myths which appear unconnected by any narrative thread: the stories respectively of the Birth of Bacchus and the Death of Narcissus. Drawing on scientific ideas current among Poussin's libertins contemporaries, as well as Renaissance traditions of mythography, their solution has been to interpret the picture as essentially an allegory of opposing physical processes of regeneration and decay in Nature. While this theme is undoubtedly present, an exclusive focus on natural history is too reductive, and forecloses on more esoteric readings of the composition. It is only when this is viewed in the light of metaphysical traditions that we discover a more profound rationale for Poussin's 'mysterious' conception. His sophisticated schema encodes a complex pattern of alchemical and planetary symbolism, consistent with Neo-Platonic and Hermetic conceptions of cosmology and the transcendent destiny of the human soul. Further confirming this anagogical interpretation, the artist left behind a number of clues in the form of some mythographical notes, and in a more explicit detailing of his ideas in one of his preparatory sketches.
Poussin's highly-charged and often enigmatic canvasses invite us to muse deeply on their esoteric import – holding out the promise of access to veiled or submerged hermetic truths. This is the lure of secrecy, implicit in Francis Bacon's remarkable image of a concealed God, inviting human souls to be his Play-fellows in a game of divine hide-and-seek, de-coding the phenomenal world in search of Deus Absconditus, and, in the process, discovering their own true destinies. (Vere tu es Deus absconditus was the gnomic inscription given to a posthumous engraving by Claudine Stella of one of Poussin's most striking works The Holy Family on the Steps.)
An exploration of the genesis and evolution of Pousin's schema for The Birth of Bacchus will be the subject of Julia Cleave's keynote address.
Nicolas Poussin: The Birth of Bacchus, 1657
JULIA CLEAVE (MA Oxon, MA Essex) is a member of the Academic Board of the Temenos Academy. As an independent scholar, she is currently conducting research into the encoding of the hermetic traditions in Renaissance and Seventeenth-century art and literature, including evidence for proto-masonic symbolism and ritual practice. In 2003 her proposal for a doctoral thesis on sacred geometry and the mystery traditions in the works of Nicolas Poussin was accepted by the School of Traditional Arts at the Prince of Wales Institute of Architecture. She has given lectures at the History of Astrology Seminar, the Theosophical Society, the School of Economic Science, the Jupiter Trust and the Temenos Academy. http://www.temenosacademy.org/
Publications include:
A review of Friend to Mankind – Marsilio Ficino 1433-99 ed. Michael Shepherd in Temenos Academic Review 4 (Spring 2001)
Ficino's Approach to Astrology as Reflected in Book VII of his Letters
Culture and Cosmos Volume 7 Number 2 (Autumn/Winter 2003)
Burlesquing the Brotherhood (Paper given at the 6th International Conference at the Canonbury Masonic Research Centre).
The Canonbury Papers Vol. 4: Seeking the Light – Freemasonry and Initiation (2007)
Of Hiram and Aymon – the Evolution of the Legend of the Third Degree
Transactions of the Manchester Association for Masonic Research Vol XCVIII [98] [2008].
Universisties of Szeged and Budapest
Leverhulme Visiting Professor
Department of English, Communication, Media and Film
Anglia Ruskin University, Cambridge, England
will respond to the Keynote Address.
Professor Gyorgy Szonyi
Selected Publications
6 monographs, 11 edited volumes, 91 articles in the fields of Renaissance research, English and Hungarian studies in periodicals, collections of essays, encyclopedias. Book reviews, essays, critiques on Hungarian culture and current European issues. Two novels (1983, 2002) and short stories
Gli angeli di John Dee. Roma: Tre Editori, 2004, 170 pages, 9 illustrations.
John Dee's Occultism. Magical Exaltation Through Powerful Signs. Albany, NY: SUNY Press, 2004 (Series in Western Esoterism), 350 pages, 32 illustrations.
Pictura & Scriptura. Hagyományalapú kulturális reprezentációk 20. századi elméletei [Pictura & Scriptura: 20th-century Theories of Tradition-based Cultural Representations]. Szeged: JATEPress, 2004 (Ikonológia és muértelmezés 10), 324 pages, 54 illustrations.
Edited Books and Journal Issues:
"The Voices of the English Renaissance." Special Issue, Hungarian Journal of English and American Studies 11.1 (2005), 253 pages.
The Iconography of Power: Ideas and Images of Rulership on the English Renaissance Stage. Szeged: JATE Press, 2000 (Papers in English & American Studies 8), 214 pages, illustrated. With Rowland Wymer.
European Iconography East & West. Leiden: E.J. Brill, 1996 (Symbola & Emblemata 7), 263 pages, illustrated
Selected Articles and Book Chapters since 2001:
"The Dark Offsprings of Humanism: Erasmus, Reuchlin, and the Magical Renaissance." In Marcell Sebök (ed.), Republic of Letters, Humanism, Humanities. Budapest: Collegium Budapest (Workshop Series 15), 2005, 107-25.
"John Dee as Cultural, Scientific, Apocalyptic Go-Between." In Andreas Höfele, Werner von Koppenfels (ed.), Renaissance Go-Betweens. Cultural Exchange in Early Modern Europe. Berlin, New York: Walter de Gruyter, 2005, 88-104.
"Occult Semiotics and Iconology: Michael Maier's Alchemical Emblems." In Karl Enenkel – Arnoud Visser (ed.). Mundus Emblematicus: Studies in Neo-Latin Emblem Books. Turnhout: Brepols, 2003 (Imago Figurata, Studies 4), 301-25.
"Le intuizioni di Aby Warburg alla luce delle sfide postmoderne". In Carlo Bertozzi (ed.), Aby Warburg e le metamorfosi degli antichi dèi. Modena: Franco Cosimo Panini, 2002, 183-203.
TESSEL M. BAUDUIN MA University of Amsterdam
elite knowledge and the avant-garde in French surrealism of the 1930s
André Breton
In the first Manifeste du Surréalisme André Breton, founder of surrealism, states that he will reveal the "secrets of the magical surrealist art", subsequently describing different surrealist techniques. In this paper I will investigate some of these "secrets", focusing predominantly upon automatism, visual alchemy and other techniques for creating surrealist art, combining this furthermore with a review of the concept of secrecy in surrealism. As I will show, concepts of secrecy, elite knowledge, or even of gnosis, were prevalent in the art theoretical discourse of surrealism in the 1920s and '30s (the particular scope of this paper), and concerned reception of art, creation of art, as well as exhibition practices. Secrecy in surrealism was intimately tied to its avant-garde tenets, and thus to the internal paradox of the avant-garde: the simultaneous need for elitism and for revelation. The secret of surrealism is only meant for a select few and the approval of the general public needs to be avoided at all cost – but then, how can the surrealist revolution be inclusive and reach out to all? As I will make clear, the particular "secrets of the magical surrealist art" provide an answer.
Tessel M. Bauduin, MA, is a historian of art and culture. She is currently working at the University of Amsterdam, in a double position as lecturer and PhD-student, at the department History of Hermetic Philosophy and Related Currents. After having taught art history for a couple of years, she is now teaching various courses in religious studies and history of hermetic philosophy. Her PhD-research is concerned with the interaction of esotericism and avant-garde art movements in general, and with the reception of esoteric sources in the discourse of Parisian surrealism in the 1920s and 1930s in particular. Her thesis is expected to be published in 2012. Tessel's freelance activities include lecturing and teaching in art history. For more, please see http://www.tesselbauduin.nl and http://home.medewerker.uva.nl/t.m.bauduin/.
Kunstgeschichtliches Institut der Goethe Universität Frankfurt
Art Cabinet: Willem van Haecht 1628
In the 15th century, scholars, patrons and artists (re-) introduced the hermetic tradition and with that the Order of the inspirati into European thought. Even in the southern Netherlands, especially in Antwerp, esoteric literature was studied and printed very often.
Nevertheless, with the counter-reformation in Antwerp there were frequent bans, and legal processes against these philosophical-religious currents. A famous process took place against the painter Otto van Veen, teacher of Pieter Paul Rubens. My paper explores the influence of esoteric traditions in the Antwerp School in the early 17th century. It focuses on Willem van Haecht 's Art Cabinet painting from 1628 that depicts paintings with hidden Hermetic-Christian and Paracelisian contents and asks why it was favored by elitist thinking and why esoteric interests had to remain secret. Haechts Art Cabinet of illusion – studied alongside the Corpus Hermeticum and little examined theoretical treatises by Giovanni Paolo Lomazzo or Pieter Paul Rubens – seems to display an elitist and secret microcosm within the Antwerp society.
The photographic image gives a new form of 'life' – or in any case, a new 'state of things', a new way of being a thing – to something available out of our visible field, out of our hands, out of our immediate apprehension. It is life transported to another world by the sensitivity of the photographic plate. Michel Frizot
And even if he be dead. He will come back. Sooner or later. He is eternal. Savitri Devi from Pilgrimage (on the return of the Hitler Avatar)
Since the cataclysm of the Second World War that ended in Europe with the death in his bunker of Adolf Hitler, there has arisen, out of the ashes, an underground and secret esoteric movement where, according to Nicholas Goodrick Clarke, certain individuals have "transformed the negative attributes of Nazism into a cult of cosmic significance." Drawn by the lure of Ariosophist myths and dreams of a resurrection of Hitlerist ideals there are some for whom the relics of the Third Reich are more than historical curiosities associated with a war that ended more than sixty years ago. To those devotees of Esoteric Nazism objects associated with Hitler and in particular photographs, have become fetishized as iconic links with his presence. I am specifically interested in the use of the Hitler image, the postcard photograph and photographic portrait, which works as both index and icon. It seems evident that there is an enormous interest in collecting 'relics' from the Nazi era (ranging from badges and items of clothing to dinner plates) but beyond the remit of the specialist, historic or military collector there is also an esoteric impetus to access objects with direct links to Hitler for a 'spiritual' reason. This is particularly true of photographic representations of Hitler that suggest a closeness to the photographed subject without having to be personal objects directly linked to Hitler the man (usually rare or with a high price tag). This notion of the photograph as a piece of material culture carrying with it a deeper association is evident in this quote by Elizabeth Barrett-Browning:
It is not merely the likeness which is precious in such cases – but the association and the sense of nearness involved in the thing…the fact of the very shadow of the person lying there fixed forever! It is the very sanctification of portraits.
It is this transmutation where the photograph becomes a religious icon that intrigues me. I have been exploring aspects of Esoteric Hitlerism as a Nazi cult where the use and iconic transformation of images of the 'Führer' play a major role. Esoteric Nazism has developed in a covert but broad form since the end of the Second World War. Inspired by the writings of devotees such as Miguel Serrano and Savitri Devi, Esoteric Hitlerists regard Adolf Hitler as a Messiah, deified after his Berlin 'sacrifice'; or even as the tenth and final Avatar of Vishnu.
Again according to Savitri Devi, Hitler was:
…the god-like Individual of our times; the Man against Time; the greatest European of all times. (From the dedication to her book, The Lightning and the Sun).
This research has developed out of my examination of the use of photography as a pseudo-scientific tool in areas such as criminology, colonialism, eugenics and racial science; and the origins of such ideas in esoteric theories dating back to the Classical era. My specific interest here lies in the analogue photographic trace as related to such 'religious' practices – a small but significant area within the devotions of Esoteric Hitlerism.
My paper will briefly explore the relationship between the material connectivity of photography and the subject recorded and in particular the iconic status attributed to such images as 'unholy' relics for these secretive Esoteric Hitlerists.
Dr. Christopher Webster was born in the UK in 1965. In 1982 his family moved to South Africa. Webster studied art and art history as an undergraduate and postgraduate in South Africa. In 1989 after graduating from art school, he lived and worked as an artist and lecturer in the Johannesburg area for several years. In 1996 he was appointed lecturer in fine art at Aberystwyth University's, School of Art. Membership of international research committees and editorial boards has included and includes: The South African Association of Art Historians, Association of Studies in Esotericism, European Society for the Study of Western Esotericism, Overseas Advisor to Faculty of Art, Vaal University of Technology (South Africa), international editorial board of Consciousness, Literature and the Arts, international editorial board of the South African Journal of Photography. Most recent contributions to books include chapters for: The Nineteenth Century Encyclopaedia of Photography, Routledge, (2007) and Esotericism, Art and Imagination, MSU press (2008). As evidenced by international exhibitions and conference papers, Webster continues to develop, with his PhD and Masters students, alternative approaches to photographic practices (both chemically and conceptually). Webster's most recent practice is centred on the production of short 16mm films that include stop motion animation and manipulation of the film surface. Areas of research and research supervision covers: (specifically) – occult and esoteric applications of photography (including physiognomy, spirit photography, documentation of esoteric events, photographs as evidence of the supernatural), the staged and manipulated photograph (especially in photo-collage and photomontage). Webster has investigated and adapted the iconography of the photographic image and in recent years he has participated in many group and solo shows including exhibitions in Johannesburg, Lancaster, Cape Town, London, Tel Aviv, New York, Chicago, Berlin, Baltimore, Cardiff and Pretoria. His recent art practice work centres on 16mm film experimentations. He is continuing to work on making new short films whilst concurrently researching material for a book exploring the use of faked photographs and photographs of doubtful provenance produced during the Second World War.
One person exhibitions/screenings
· Cipher – Aberystwyth Arts Centre, Aberystwyth, UK, 1 October – 19 November, 2005; Theatre Clwyd, Mold, UK, 21 January – 4 March, 2006; St Michaels Theatre, New Ross, Ireland, April, 2006; Garter Lane, Waterford, Ireland, 8 May – 5 June, 2006; UNISA Art Gallery, Pretoria, South Africa, 4 July – 30 September, 2006; Association for Visual Arts, Cape Town, South Africa, 16 April – 4 May, 2007
· Visions and Traces – School of Art Gallery, UWA, Aberystwyth, UK, 2006
· Fragments – Artemisia Gallery, Chicago, USA, 2002, Gallery International, Baltimore, USA, 2003
· Sleepwalkers – Gallery 1885, London, UK, 2000; School of Art Galleries, UWA, Aberystwyth, UK, 2001
· Riemland's Edge – (part of africainside during Photofestival Noorderlight 2000) Museum het Princessehof, Leeuwarden, the Netherlands, 2000
· Gnosis – Folly Gallery, Lancaster, UK, November 1999 – January 2000; 100 X C (online exhibition), The Month of Photography, Cape Town, South Africa, 1999-2000
· Memory of the Fall – School of Art Galleries, UWA, Aberystwyth, UK, February – March 1998; MuseuMAfrica, Johannesburg, South Africa, May – June 1998; Durban Centre for Photography, Durban, South Africa, July – August 1998
· Roadworks – Goldfields Gallery, Vanderbijlpark, South Africa, 1993
Group exhibitions/screenings
• Beyond Words, (six person group show), Safehouse Gallery, Belfast, UK 24/01 – 07/02 2009.
• Film House, filmmakers in Wales, National Library of Wales Drwm, 29/01/2009.
• Outcasting, Season 4 (http://www.outcasting.org/) August to September, Cardiff, UK, 2008.
• Imaging the Bible, Aberystwyth University School of Art, Aberystwyth, UK, 2008.
• Stone, Plate, Grease, Water – International Contemporary Lithography, The Museum of Modern Art Wales, Machynlleth, 12 March – 12 May 2007; Bankside Gallery, (next to Tate Modern), London, 14 August – 27 August 2007; The Naughton Gallery, Queens University Belfast, 4 September – 29 September 2007; Llantarnam Grange Arts Centre, Cwmbran,
8 March – 26 April 2008
• Prints of Wales, Belger Arts Centre, Kansas City, USA, 2007
• fforma, Theatre Clwyd, Mold, UK, 2007
• fforma, Plas Glyn-y-Weddw, Llanbedrog, UK, 2006
• Originals 06, The Mall Galleries, London, UK, 2006
• Aberystwyth Printmakers, Ceredigion Museum, Aberystwyth, UK, 2005
• fforma, Stark Gallery, London, UK, 2005
• Aberystwyth Printmakers, Aberystwyth Arts Centre, Aberystwyth, UK, 2005
• fforma, Theatre Clwyd, Mold, UK, 2005
• Swansea Print Workshop, auction of original prints, The Glynn Vivian Art Gallery and Museum, Swansea, UK, 2004
• fforma, Theatre Mwldan, Cardigan, UK, 2004
• Contemporary Art from Around the World , Gallery International, Baltimore, USA, 2003
• fforma, Y Tabernacl, Museum of Modern Art Wales, Machynlleth, November – February 2003; St.David's Hall, Cardiff, February – March, 2004
· Group Show, Gallery international, Baltimore, USA, 2003
• Toko, fforma exhibition at Toko, Aberystwyth, UK, 2003
· Exhibition of International Assemblage Artists, Gallery 24, Berlin, Germany, 2003
· Group Show, Gallery International, Baltimore, USA, 2002
· Harlech Biennale (Print Open), Theatr Ardudwy, Harlech, UK, 2002
· Premier Exhibition, Gallery International, Baltimore, USA, 2002
· Emerging Artists 2002, Limner Gallery, New York, USA, 2002
· Exposed, Fulton Street Gallery, Troy, New York, USA, 2001
· Identikit, Brixton Art Gallery, London, UK, 2001
· Current Works 2001, Society for Contemporary Photography Gallery, Kansas City, USA, 2001
· Studios Midwest A-I-R Program, Knox College Arts Building, Galesburg, USA, 2001
· fforma, Courtroom Gallery, Lampeter, UK, 2001
· Emerging Artists 2001, Limner Gallery, New York, USA, 2001
· International Young Art 2001 – international group exhibition finalist: Sotheby's, Tel Aviv, Israel, January 2001; Elizabeth Foundation for the Arts, New York, USA, January 2001
· The Welsh Lens, international touring group exhibition: Parco e Museo Genna Maria Villanovaforru, Sardinia, September 1999; Galeria Zirpoli, Belizona, Switzerland, May – June 1998; Y Tabernacl, Machynlleth, UK, October – November 1997
· Through the Glass, Darkly – School of Art Galleries, Aberystwyth, UK, 1996
· Images with a Twist – The Photo-Arte Gallery, London, UK, 1996
· International Environment Week Exhibition – United Banking Hall, Vereeniging, South Africa, 1994
· Art School Staff Exhibition, Goldfields Gallery, Vanderbijlpark, South Africa, 1994
· Drawing With Light – 'Pushing the Limits of Photography'- ICA, Johannesburg, South Africa, 1993
· Art School Staff Exhibition, Goldfields Gallery, Vanderbijlpark, South Africa, 1993
· Vaal Triangle Artists – ICA, Johannesburg, South Africa, 1993
· Art School Staff Exhibition, Goldfields Gallery, Vanderbijlpark, South Africa, 1992
· Kaleidoscope – Gallery 88, Sasolburg, South Africa, 1992
· Rolfe's Impressions – Grahamstown Arts Festival, Grahamstown, South Africa, 1991
· Anniversary Exhibition of Photography – Goldfields Gallery, Vanderbijlpark, South Africa, 1991
· Studios Midwest A-I-R program, Galesburg, USA, 2001
Gallery representation
· Gallery International, Baltimore, USA
· Clampart, New York, USA
· Kato-Ezell Collection, West Virginia Center for Creative Photography, Elkins, USA
· MuseuMAfrica, Johannesburg, South Africa
· The Johannesburg Art Gallery, Johannesburg, South Africa
· School of Art Collections, Aberystwyth University, Aberystwyth, UK
· Axis database, Leeds Metropolitan University, Leeds, UK
· Many private collections (international)
Exhibition catalogues
• Prints of Wales, exhibition catalogue, Belger Arts Centre, Kansas City, 2007
• Cipher, exhibition catalogue, Aberystwyth Arts Centre, 2005
· fforma, exhibition catalogue, UWA & Museum of Modern Art Wales, 2003
· Fragments, exhibition catalogue, Artemisia Gallery Chicago & Gallery International Baltimore, 2002
· International Young Art 2001, exhibition catalogue by Artlink and Sotheby's, 2001
· Riemland's Edge, Catalogue published, Noordelicht Fotofestival, 2000
· Riemland's Edge, CD-ROM published, Noordelicht Fotofestival, 2000
· Sleepwalkers, exhibition catalogue, a Gallery 1885 publication, London, 2000
· Memory of the Fall, exhibition catalogue, UWA School of Art & MuseuMAfricA, 1998
· The Welsh Lens, exhibition catalogue, Museum of Modern Art Wales, 1997
Publications, conference papers, public lectures/workshops
• Paper delivered ' Face of the Divine: The Esoteric roots of Physiognomic Photography' at the conference Hidden Sources: Western Esoteric influence on the arts, The Cambridge Centre for the Study of Western Esotericism, Cambridge, October 2008.
• Spirit, Ghost and Psychic Photography, in the Nineteenth Century Encyclopaedia of Photography, Routledge, 2007.
• Paper delivered 'Fragments in Photography' at the conference Cultural Histories and Vocabularies of the Fragment in Text and Image c.1300-2000, Aberystwyth University, June 2007.
• Cipher: Staging the Mind in the Photographic Construct, South African Journal of Photography, 1 (3), 2006.
• Gallery talk and exhibition walkthrough (x 4), University of South Africa Art Gallery, Pretoria, South Africa, July 2006
• Paper delivered 'Photography, bastard of science or esoteric art?' at the conference of the Association for the Study of Esotericism, at the University of California, Davis, Davis, June 2006
• Gallery talk, Garter Lane Arts Centre, Waterford, Ireland, May 2006
• Public lecture and gallery talk, Aberystwyth Arts Centre, Aberystwyth, UK, October 2005
• Analysis of Love, image reproduced in The William and Mary Review, Williamsburg, Virginia, Volume 42, 2004
• Paper delivered 'Drawn from Nature; Hermetic references in the early photographs of W. H. F. Talbot ' at the conference of the Association for the Study of Esotericism, at Michigan State University, East Lansing, June 2004
· Public Lecture, Galesburg Civic Art Center, Galesburg Illinois, July 2001
· Images from the Past, (book review), Inscape No 41, spring 2001
· What is and What is Not, Inscape, No. 40, winter 2000/1
· The Portrait Cabinet of Dr Bleek: Anthropometric Photographs by Early Cape Photographers, in Critical Arts: A journal for Cultural Studies (Murdoch University, Perth, Australia & University of Natal, Durban), South Africa, March 2000, ISSN0256004
· Paper delivered 'Spiritualism and Photography' at the conference Visions, Dreams and Nightmares at Marymont University, Washington DC, March 2000
· Robert Greetham Photographs 1978 – 1998, Inscape, No.32, winter 1999
· Seeing the Odalisque: Aspects of the colonial gaze in South Africa 1845 – 1975, in de Arte, University of South Africa art journal, South Africa, July 1999, ISSN00043389
· Paper delivered 'A Woman of Sofala' at the conference Encounters with Photography organised by the University of Cape Town and the South African Museum, Cape Town, July 1999
· Gallery talk, School of Art, Aberystwyth, UK, February 1998
· 'The Sale of Dante's Dream to the Walker Art Gallery Liverpool', University of Michigan Press; The Rossetti Archive (Internet archive devoted to the life and work of D. G. Rossetti and compiled by Jerome McGann), 1998
· Public Lecture, 'Rossetti and Hall Caine', Walker Art Gallery Liverpool, September 1998
· Public workshop accompanying The Welsh Lens, Y Tabernacl, Machynlleth, UK, October 1997
· Paper delivered 'Memento Mori: The dichotomy of the desire to marry the machine (camera) to the spiritual in an increasingly secular age' at the conference Shamanism and Belief in European Photography organised by The European Society for the History of Photography, Helsinki, October 1997
· Africa Obscura, University of Pretoria Art Journal, Vol. 2 (2), June 1997
· Photographing Anything, Inscape, No.24, summer 1997
· The Use of Metaphor in Landscape Photography, Inscape, No.12, winter 1995
· Photography in South Africa, Inscape, No.13, spring 1995
· Life in the Liberated Zone, (book review), Inscape, No.13, spring 1995
· Black Dog (short story), in Probe, the quarterly publication of Science Fiction South Africa, No.81, South Africa, September 1990
· Review of the exhibition Cipher in the Cape Argus, 29 April 2007
· Review of the exhibition Fragments in the Baltimore Sun, 11 February 2003
· Television interview for Ghosthunters a program for French TV channel 3, and the Discovery Channel, 2002 (broadcast 2003)
· Register Mail interview whilst an artist-in-residence at Studios Midwest, Galesburg, Illinois, July 29 2001
· Interview on the radio station the Laser, WLSR, Galesburg , Illinois, July 30 2001
· Exhibit-A, issue 6, September 2000, ISSN14629496
· Soul Searching (the work of Christopher Webster), in (not only) Blue, No.26, April 2000, ISSN13230026
· National Diploma (distinction visual communication), School of Art and Design, Vaal Triangle Technikon, South Africa, 1989
· National Higher Diploma, cum laude & academic colours, School of Art and Design, Vaal Triangle Technikon, South Africa, 1993
· PhD, University of Wales, Aberystwyth, School of Art, 2006
Other experience
· Lecturer in fine art, University of Wales, Aberystwyth, UK, 1996 – present
· On the Editorial Board of the South African Journal of Photography, 2006 – present
· On the Editorial board of Consciousness, Literature and the Arts, 1999 – present
· On the International Editorial board of Consciousness, Literature and the Arts & Rodopi publishers (Amsterdam)
· Lecturer in photography, Vaal Triangle Technikon, Vanderbijlpark, South Africa, 1991 – 1994
· Guest-curator, Johannesburg Art Gallery, South Africa, 1992 – 1993
· Liaison Officer for the visual arts, Vaal Triangle Culture Coalition, South Africa 1993
· Photographer's Assistant, Michael Meyersfeld Studio – Johannesburg, South Africa 1990 -1991
DR JON WOODSON Howard University, Washington
The Lure of Secrecy for Writers in Early Twentieth Century America
Lighthouse Editions are most grateful for the charitable donation we have received from Education Services that have allowed us to offer some funding towards fees for presenters.
REGISTRATION FEE is £135 which includes lunch and refreshments during the day and the conference dinner in the evening. This can be paid as
£135.00 by UK checuqe
£143.00 (£135 plus bank charges £8.00) via bank transfer to the UK from Europe
or £138 via Paypal
details will be sent by email. Registration fees must be paid before a place at the conference, or can be confirmed. Places will be limited so early application is advised.
Friday 9th October
On the evening before the conference there will be an informal get together for those who have already arrived in Cambridge at the Double Tree Hilton. This is a superb hotel in the historic Cambridge city centre, beside the river Cam.
We will gather in the Bar which looks out onto the Cam, you can ask for us at the reception desk.
Granta Place, Mill Lane
Cambridge, CB2 1RT
01223 259 988
See more info at:
see map at
Wofson Court is on Clarkson Road at the top of the map off Grange Road.
Wolfson Court Cambridge CB3 0EH
Girton College's Wolfson Court in central Cambridge is built around seven courtyards, within easy walking distance of the city centre and the University Library.
Wolfson Court
Chairing the conference for the day is
a liberal Christian minister, a University Chaplain to Cambridge University, Anglia Ruskin University and Cambridge Regional College and also a professional jazz double-bass player. He teaches jazz/rock bass at Anglia Ruskin University and occasionally teach subjects related to inter- and multi-faith matters for the Woolf Institute of Abrahamic Faiths in Cambridge.
He writes of the connection between Western-esotericism and the Socinian/Unitarian Christian traditions: 'that there were a number of figures within both the Radical Reformation and the later Radical Enlightenment periods who, for a variety of reasons, were particularly interested in neo-Platonism and the Kabbalah. In affirming Jesus' humanity and the Unity of God the Socinian/Unitarian tradition (initially born out of an interesting mix of Italian Renaissance Humanism and Polish Anabaptism) naturally found some of the fruits of this study particularly interesting because it opened up new theological and philosophical possibilities for a genuine reconnection with Judaism and Islam, both of which also denied the divinity of Christ.'
Friday 9th October
from 6.30 – 8.00
informal get together
in Hilton Bar Mill Lane
Registration and welcome
9.30 – 10.30
First panel
Julia Cleave Keynote
Gyorgy Szonyi responds
10.30-11.00 coffee
11.00- 12.30
Second panel
11.00 – 11.45
1st presenter – 15 mins presentation 30 mins discussion
11.45 -12.30
2nd presenter – 15 mins presentation 30 mins discussion
12.30 – 1.30
1.30 – 3.00
Third panel
1st presenter – 15 mins presentation 30 mins discussion
2.15- 3.00
2nd presenter – 15 mins presentation 30 mins discussion
3.00 – 3.30
3.30 – 4.00
4.00 – 5.00
reflections on the day
5.00 Close
CONFERENCE DINNER at
23 Trumpington Street, Cambridge
As we go along Trumpington Street towards Brown's for our conference dinner you will see what looks like a wide open gutter, on both sides of the street. This is known as Hobson's Conduit and was built from 1610 to 1614 by Thomas Hobson to bring fresh water into the city of Cambridge from springs at Nine Wells near the village of Great Shelford. There is more info about this and on Hobson himself, from whom we get the phrase Hobson's choice' on Wikipedia,
Girton College Tower
4.30pm There will be a visit guided to Girton College and chapel with special reference to the scholar Annabel Kitson, and poet and Fellow of Girton Kathleen Raine. We will be shown around by Rev Dr Malcolm Guite who is Chaplin at Girton, and was our Keynote Speaker at last year's conference. After an English cup of tea in the Fellows common room, there will be the opportunity of going to Evensong, where we will hear Girton's particularly fine choir.
Raine was a research fellow at Girton College from 1955 to 1961, and in 1962 she was the Andrew Mellon Lecturer at the National Gallery of Art in Washington D.C. She taught at Harvard for at least one course about Myth and Literature offered to teachers and professors in the summer. She also spoke on Yeats and Blake and other topics at the Yeats School in Sligo, Ireland in the summer of 1974. A professor at Cambridge and the author of a number of scholarly books, she was an expert on Coleridge, Blake and Yeats.
If you can stay for a few days, either before or after the conference there are many wondereful buildings to visit and places to go to in Cambridge which this year is celebrating the 800 years since it's founding.
Websites which give useful info about where to go and what to see in Cambridge:
"The name "Cambridge" summons breathtaking images – the "Backs" carpeted with spring flowers, Kings College Chapel, punting on the river Cam, and of course the calm of the College buildings. The City known worldwide as a centre for academic excellence, retains much of the atmosphere of a bustling market town, with its narrow streets, and cobbled market place. Home to 100,000 people, it is also a centre for technological expertise, has a varied arts programme, and many good shops, including fine book shops. The City, is richly served with museums and galleries, from the Fitzwilliam Museum, with a fine collection of paintings and works of art, Folk Museum and many collections of scientific and classical interest, available in the University Museums. Close to the city centre, the Cambridge University Botanic Garden is well worth a visit. A forty acre paradise of plants, the garden includes a lake, tropical glasshouses, Systematic Beds and Winter Garden. Cambridge with its' winding streets and splendid architecture has much to offer at any time of the year; it is also the ideal centre for visiting the surrounding country side – the historic houses of Wimpole Hall and Audley End are close by, Ely Cathedral – the "Ship of the Fens", peaceful villages with riverside pubs; the rolling wooded countryside made famous by the artist John Constable, are all a short drive away."
This is probably the most comprehensive website giving details of
hotels and bed and breakfast, self catering,
(you can also find other internet sites with bed and breakfast lists). Accommodation is always booked up in Cambridge and the week of the conference will be an expecially busy one as the new academic yer is beginning and many parents will be staying in town.
include Gardens, and nature reserves.
among their Museums, Art Galleries listing are:
Kettle's Yard House'
For sixteen years, Kettle's Yard was the home of Jim Ede, a former curator at the Tate Gallery, London, and his wife, Helen. It houses Ede's collection of art, mostly of the first half of the twentieth century. The collection includes paintings by Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood, David Jones, Joan Miró and many others, along with sculpture by artists including Henri Gaudier-Brzeska, Constantin Brancusi, Henry Moore and Barbara Hepworth. Paintings and sculpture are interlaced with furniture, glass, ceramics and natural objects. Ede's vision of Kettle's Yard was of a place that was not " an art gallery or museum, nor . . . simply a collection of works of art reflecting my taste or the taste of a given period. It is, rather, a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability . . ." Each afternoon (apart from Mondays) visitors can ring the bell and ask to look around.
Kettle's Yard, Castle Stree,t Cambridge CB3 0AQ
Tel +44 (0)1223 352124
The Fitzwilliam Museum
from their website: http://www.fitzmuseum.cam.ac.uk
"History of the Collections"
"Few museums in the world contain on a single site collections of such variety and depth. Writing in his Foreword to the catalogue of the exhibition for Treasures from the Fitzwilliam which toured the United States in 1989-90, the then Director of the National Gallery of Art in Washington, DC, wrote that "like the British Museum, the Fitzwilliam addresses the history of culture in terms of the visual forms it has assumed, but it does so from the highly selective point of view of the collector connoisseur. Works of art have been taken into the collection not only for the historical information they reveal, but for their beauty, excellent quality, and rarity… It is a widely held opinion that the Fitzwilliam is the finest small museum in Europe".
gives details of colleges you can visit see their entry on St John's College below:
About St John's College St John's College was founded in 1511 by Lady Margaret Beaufort, mother of King Henry VII. The second largest of the constituent Colleges of the University of Cambridge, it has about 135 Fellows, 530 undergraduates and 300 graduate students. The total current membership of the College, comprising in essence all those who have studied here, stands at around 12,000. Visiting St John's The College is open to visitors from Saturday, 7 March 2009 to Sunday, 25 October 2009 (10am to 5.30pm)
They also list details for
Trinity College Chapel
Trinity College: founded in 1546 of particular interest to visitors are the Great Court (scene of the Great Court Run ) and the Wren Library
Kings College : was founded in 1441 and attracts many visitors each year especially to see the Kings College Chapel. If you like walking you can download a one hour MP3 walking tour of Cambridge from http://www.tourist-tracks.com/tours/cambridge.html?gclid=CJSh5ZnjzZoCFRxGkgodjF1y3A
The CAMBRIDGE CENTRE for the study of WESTERN ESOTERICISM is independent of any academic or esoteric communities, the directors share an interest in the need for a wider dialogue between scholars and practitioners in the field of Western Esotericism and in the establishment of a secular space in which an interdisciplinary network can thrive.. From 2009 CCWE has operated within Lighthouse editions Limited, a small publishing company Directors: Dr Sophia Wellbeloved, Jeremy Cranswick – see http://gurdjieffbooks.wordpress.com
Lighthouse Editions are most grateful for the charitable donation we have received from Education Services.
Written by SOPHIA WELLBELOVED
January 12, 2009 at 2:27 pm
Posted in CCWE CONFERENCES, THE LURE OF SECRECY: WESTERN ESOTERICISM & THE ARTS -------- CCWE CONFERENCE 2OO9 --------
Tagged with "The Dark Offsprings of Humanism: Erasmus, 20th-century Theories of Tradition-based Cultural Representations]., ambiguity, and the Magical Renaissance.", André Breton, Anthony Blunt, anti-establishment aims, Apocalyptic Go-Between., Bernini, Budapest University, Cambridge, Cambridge Centre for the study of Western Esotericism, ciphers, codes, control, Corpus Hermeticum, correspondences, Dante, death, Death of Narcissus, Dennis Konijnenburg, Dr Christopher Webster, DR DES. BERIT WAGNER, Durer, Elizabeth Barrett-Browning, epiphany, epopteia, Esoteric Nazism, Exeter Centre for the Study of Esotericism, Fogg Art Museum Harvard, Francis Bacon, George Sieg, Giovanni Paolo Lomazzo, Gli angeli di John Dee, H.P. Lovecraft, hallucination, Hermetic, hypnotism, Indiana Jones, interpretation, Jacques Stella, John Dee as Cultural, John Dee's Occultism. Magical Exaltation Through Powerful Signs, Julia Cleave, Language, Le intuizioni di Aby Warburg alla luce delle sfide postmoderne, Left-Hand Path, levels of consciousness, Leverhulme Fellow, London Theosophical Society, magic, membership of an elite, Michel Frizot, Nazi Gnosis, Neo-Platonic, Nicholas Goodrick-Clarke, Nicolas Poussin, occult neo-Nazism, Occult Semiotics and Iconology: Michael Maier's Alchemical Emblems, Order of the Inspirati, Otto Rahn, places, power, Quadrivium, Renaissance, Reuchlin, revelation, Rubens, Scientific, Sophia Wellbeloved, St. Augustine, surrealism, Szeged and Budapest, Szeged University, Tachikawa-ryu, teachers, TESSEL M. BAUDUIN, texts, the afterlife, THE BIRTH OF BACCHUS, the divine, the future, The Holy Family on the Steps, THE LURE OF SECRECY: WESTERN ESOTERICISM & THE ARTS -------- CCWE CONFERENCE 2OO9 --------, The Occult Roots of Nazism and Black Sun, the unknown, Theon of Smyrna, Theurgy, transformation, truth, vision, Willem van Haecht, Zoroastrian tradition


text:
William 'Junito' Salgado Jr., son of William Salgado Agosto and Berta Penn (née Rodriguez) was born January 30, 1990 in Manhattan/New York, New York. He grew up a part of his life there, with his three sisters- Sasha Salgado, Evelyn Rodriguez, and Sonia Salgado, before moving to Massachusetts and residing in both Holyoke and Springfield, MA.
William attended Holyoke High School and was most recently experiencing his proudest academic achievements at Holyoke Community College. He was extremely proud of this success as he worked toward a degree in Psychology. Through this journey, he worked various jobs, including Director of Care Staff for CHD, before working and earning his way through becoming Assistant Director at the Phoenix House, where he serviced others.
His hobbies included anything that included his family, closest friends, and partner. He enjoyed watching and going to the movies, decorating, shopping, dancing, and a great drink in his hand. His world would stop for a game of dominos, and there was no better place for this than at his Titi Edith or Titi Carmen's house. "Sit back down, one more game!" But none of these could he enjoy, if it wasn't in the company of those he loved. William's accomplishments included his ability to leave a lasting imprint on the lives he touched and leaves behind. He traveled throughout our lives and his, with an uncanny ability to do it his way. A way without regret and a desire, assuring that no matter what the outcome, everyone would be more than just 'ok'…. because he had you and you had him. William was ambitiously passionate of his career goals and was only more passionate about his family, friends, and his soul mate, partner and unequivocal balance, Eric Gomes and their four-legged baby Leo.
On May 13, 2019, William left us sooner than this world imagined, and with him took a piece of everyone that loved him, as only he would have it. Behind he leaves and is survived by his mother, Berta Penn, and father, William Salgado. His sisters, Sasha Salgado, Evelyn Rodriguez, and Sonia Salgado and his nephews Jonathan and Emmanuel Rojas, Lucas Mambru, Jarell Ramsey, and Noah Rosario. William also leaves behind his paternal grandparents, Julio Salgado Figueroa and Petra Agosto Felix, along with aunts, uncles, and a profusion of cousins who were siblings in the manner raised, and their children-who became nieces, nephews, and Godchildren to him. William was a joy and resource for everyone and a support system that accompanied it with an unparalleled love.
His passing was unexpected, and for many it will be still uncertain. The only thing about death we can be certain about, is that the ones that love him, absolutely miss him.
Capi Cu
R. Wagner (primo)
Calling hours for William will be held at the Barry J. Farrell Funeral Home, 2049 Northampton Street, Holyoke, on Friday, May 17th, from 4:00 to 7:00 pm. A funeral service will also be held at the Barry J. Farrell Funeral Home on Saturday, May 18th, at 11:00 am. Burial will follow at Forestdale West Cemetery.
To send flowers to the family or plant a tree in memory of William Salgado, Jr., please visit our floral store.

subset: commoncrawl


text:
Giving back! I love it when there's a good opportunity to do it.
Introducing "Prose for Portraits" - 5 local photographers are getting together for this project. Amy, Monique, Tammy, Brianna, and me.
Let me know if you have any questions, or you can email the address below. I think I'm the last one to post this - we have nominations already, we're so excited! Send more nominations! :)
Thanks everyone!


text:
My rating: 5 stars.
I'll start with the most complicated thing. I read this book in Russian, but my blog and all posts here in English, so I can't write German or Russian names. But I immediately change the cover and add annotation when Henry Holt will publish them.
Now about the book itself. It's wonderful. In my opinion, even better than the first one.
I love Kerstin's writing style. It's funny and cute. I really laughed at many moments.
And the characters are excellent. Liv very sarcastic but sweet heroine. She constantly reminded me of Felicity from Arrow. They both have a constant verbal diarrhea, which is obtained when they are worried. They are reasonable. They are adorable. They are nerds.
And they both have a very strange mothers.
Once I saw on Goodreads a review which said that Liv and Grayson have the attraction towards each other…
I like the relationship between Liv and Grayson, because they care about each other… like brother and sister. And it's very cute.
I will feel sick if there is something else, because it would be terrible for me.
I really like Henry
(though in this part he acts like an asshole), and I will not accept another option, no matter what. Fortunately, I know Kerstin's style from previous books, and she most likely will not allow it.
Talking about the other characters, I love Mia. I'd like to have a sister which would help to cut down Mr. Snuggles (The fact that I would have to cut down it, not even need to be discussed).
So read this book when it comes out.
It's worth your attention.


text:
Two custom modules for Active Collab, which extends core functionality.
One module allows the ability to track estimated costs versus actual costs on a project by adding extra fields to existing job types, a project estimation page (which allows ability to estimate hours per job type on a project), and two reports which show estimated vs actual, and staff times on tasks in a project.
The second module displays a grid of all the tasks in the project with the ability to sort and filter the grid.
A diverse range of software were used, such as php, smarty, and javascript.
Show Details
This company required a custom module for ActiveCollab (project management tool) which has a whole lot of new functionality to suit their needs.
Remember Me


text: History of Skin Mask and It's Benefits Did you ever wonder who invented the face mask? Well, if you did then you are at the right place because you are just about to find out. It is believed that the ritual of using skin masks started in Ancient Egypt. Cleopatra used all-natural ingredients for creating DIY masks which helped cleanse, nourish and rejuvenate her skin. Ancient China also has many stories about women using face masks. Yang Guifei often used her own almond cream concoction that brightened and tightened her skin. Tang Dynasty is another beauty who not only washed her face daily, but also used 'fairy powder' that was made from harvested Chinese motherwort. Also, did you know that Korean sheet masks were quite popular in the Victorian era? Queen Elizabeth I was also a fan. During the 18th century, Marie Antoinette had her own signature facial mask which was made using egg whites. That was a brief history behind who created the skin mask. Now, let's talk about its various benefits. Did you ever thing why you use a skin mask instead of just makeup? Makeup can quite easily cover up all your imperfections, so why use face masks in the first place? All these questions are about to be answered! Here are the reasons why you apply/use skin masks: Relaxation Can you feel relaxation after wearing makeup? It might boost up your confidence but you don't really feel relaxed. That is why face masks are so great; they not only improve the appearance of your skin but are also quite relaxing. Unclog Pores Makeup may hide your pores, but it can never unclog them. On the other hand, face masks do an amazing job of unclogging those nasty pores. They have the power to remove all the dirt from your face and absorb any excess oil. Deep Cleansing If you use a really good face mask, it will do an amazing job of performing a deep cleanse on your face. It will draw out all the impurities that are hidden underneath the top layers of the epidermis. Some people even believe that your skin goes through a stage called as 'detoxing' when you use a skin mask. The reason why it is believe so is because you can notice the changes in your skin as the process is taking place. Glowing Skin Another benefit of skin masks is that they give a chance to enjoy glowing skin. When a face mask is drying on your skin and becoming harder, at that time an expansion in the blood vessels of your skin is caused. This leads to a major improvement in your skin tone. Once you remove the face mask, you are left with smoother looking and a softer feeling skin. If you are looking for a high quality eye mask, check out our 'Lonvitalite 24K Gold & Collagen Eye Mask'!


text:
According to Businessweek today, many of the people waiting on line for iPad 2s were peopleheading off to the gray market to make a sale.
For those in the US and abroad, the biggest gray market is eBay where iPad 2s are going as high as $4000.
There seems to be something wrong with Apple's distribution strategy, though it doesn't immediately seem like anything can be done.


text:
Title: Administrative Assistant to Student Ministry
Team: Student Ministry/Family Ministry
Hours: 20 hours per week
Reports to: Chris Reed
Start date: Immediate availability
General Duties and Responsibilities
The purpose of this position is to support the administration and operations of the Student Ministry at West Park. This vital position helps assure the honest and efficient execution of the support functions needed in a thriving, dynamic student ministry. This person will be a crucial part of a team which strives to fulfill the mission of West Park Baptist within the hearts and lives of its students.
- Has a consistent schedule and is able to work 20hrs/week
- Excellent social skills (i.e. Good with People)
- Highly proficient in written communication
- Very organized
- Preferred to be a member of West Park
- Strong computer skills (Microsoft Office [esp. Word, Publisher, and Excel])
- Self-motivated
- Models being a disciple of Christ
- Cares about student ministry
Specific Responsibilities
Café Area
- Execute Operation of Café on Sundays and Wednesdays
- Look for and correct areas of inefficiency
- Buy supplies and manage money
- Recruit, train, and manage volunteer staff
- Coordinate level of supplies to help other ministries using The Hub
- Send emails, make calls, and text parents, leaders, and students as needed
- Communicate and coordinate with other West Park Staff members
- Answer and forward calls and emails
- Help create promotional materials
- Become proficient in the use of West Park Connections
- Reach out to student ministry guests
Daily Operations
- Manage money and deposits
- Help plan and execute leader and parent meetings
- Interface with other West Park support staff
- Keep up with Student Ministry Calendar
- Help keep student ministry office and storage areas clean and organized
- Organize and manage registration processes
- Assist in planning and execution of all special events
- Assist in the planning and execution of reservations and logistics
- Keep detailed records and folders of event information (Hard Copy)
- Communicate and be the point person with camps and retreat centers as needed
If you are interested in this position, please fill out and submit an application with your resume attached. You may also submit your completed resume to firstname.lastname@example.com


text:
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M S Patil1, S K Omanwar2, S Garg3
|Related article at Pubmed, Scholar Google
Visit for more related articles at International Journal of Innovative Research in Science, Engineering and Technology
In this paper, an improved design of a tunable optical filter device made up of alternating layers of MgF2 and Ta2O5is proposed. Different configurations of this narrow band pass (NBP) optical filter are used for whole visible spectral range (400nm-700nm).We report on the calculated values of the design parameters, such as pass band wavelength, 3-dB bandwidth and quality factor for different configurations of narrow band pass optical filter. The design parameters are also evaluated when varying the angle at which the optical wave is incident on the input layer of the filter.
|tunable optical filters,pass band wavelength, 3-dB bandwidth, quality factor.
|Multichannel optical communication system was made possible by the realization of several optical components. An optical filter is one of the critical components used to increase the channel information capacity of the optical fiber. The fiber optics communication systems uses various types of interference filters such as multilayer thin films,wavelength selective filters, Fiber Bragg grating interference filters etc.[1] [2] [3] [4].The priority task for the developers is to obtain maximal selectivity and maintainability of the filters using minimal number of thin−film layers in the structures. These filters determine the overall efficiency of the system. Recently, there has been a growing interest in the application of interference filters in the visible spectral range from 400nm to 700nm owing to their application in display and sensor devices which in turn are used in the field of life science, imaging, industrial, or defense industries. Multilayer interference structures of thin films with low andhigh refractive index materials and filters on the base ofsuch structures are known for a long time. Design and realization of interference coatings are the principal stages in production of thin−film systems with givencharacteristics [5] [6]. The system of reflected and refracted waves appears at wave propagation processes in layer structure and forms multiple interference patterns. Modifying the structure of layeredmedium in terms of physical properties of layer materials, thickness of the layers and number of layers allows for controlling thecharacteristics of wave processes to a large extent. Interference filters can include some tens or even hundreds of dielectric layers.[7][8].In this paper, we present different configurations of multilayer interference filter made up of alternating layers of MgF2 and Ta2O5 and calculate the design parameters such as pass band wavelength, 3- dB bandwidth and quality factor by using Transfer matrix Method forthe visible spectral range from 400nm to 700nm.
II. STRUCTURE AND PRINCIPLEs
|Generally,an interference narrow band pass(NBP)optical filterconsists of alternating layers of H and L, film, alternating layers of H and L,…, film, alternating layers of H and L. Here, H and L indicate high and low index layers respectively, with a common thickness of quarter wavelength. Also, the film consists of 2n'H' or 2n'L' where n is an integer and determines the length of the cavity. It consists of alternating MgF2 andTa2O5layers deposited over glass substrate.
|Thus transmission is calculated by using equation (9).
|The transmittance of layered structure is calculated according to thin film equations using MATLAB 2012 software. We have concentrated mainly on obtaining the precise design parameters rather than the computation time required. The design parameters which control the transmission characteristics are the value of pass wavelength, 3-dB bandwidth or Full Width at Half Maximum (FWHM) and quality factor. The 3-dB bandwidth or Full Width at Half Maximum (FWHM,) in the case of the pattern in transmitted light, is the width between the points on either side of a maximum where the intensity has fallen to half its maximum value. It is a measure of the sharpness of the fringes. Another parameter that determines the performance of the device is the quality factor of the filter, which is given by the ratio of the pass band wavelength to the 3-dB bandwidth. The quality factor is a measure of selectivity. Figure 1 shows spectral Response of NBP filter configuration with 11 layers and 1 cavity according to cavity length(n) for a filter configuration 'substrate/ LHLHL(2nH)LHLHL/ cover' and a pass wavelength of 480 nm.
|Figure 2 shows spectral Response of NBP filter configuration with 19 layers and 1 cavity according to cavity length(n) for a filter configuration 'substrate/ LHLHLHLHL (2nH) LHLHLHLHL / cover' and a pass wavelength of 480 nm.
|The numerical values of the design parameters,i.e. 3-dB bandwidth and quality factor, are obtained from figure (1) and figure (2)are given in Table (1).It is observed that, as the number of layers increase, the cut-off characteristic sharpness increases and there is a sharp decrease in the value of 3-dB bandwidth. This makes the filter efficient with a better quality factor.
|Figure 4 shows spectral Response of NBP filter configuration with 19 layers and 1 cavity for a filter configuration 'substrate/ LHLHLHLHL (2nH) LHLHLHLHL / cover' and a pass wavelength of 480nm.
|It is observed that in case of both the structures, as angle of incidence increases, pass wavelength shifts to lower values, which indicates that this type of configuration can be used as tunable filter for wavelength 400-700 nm. Table 2 gives the corresponding values of the wavelength of minimum loss due to reflection. It is observed from figures (3) and (4) that, at a tilt of 20 degree incidence, the minimum loss due to reflection occurs at the pass wavelength for which the filter is designed i.e. 480 nm. As the angle of incidence decrease, the passband shifts to higher wavelengths such as 485nm at a tilt of 10 degree and 490 nm at normal incidence. As the angle of incidence increases, the passband shifts to shorter wavelengths such as 470 nm at a tilt of 30 degree. Thus, the filter can be made tunable.
|Figure (5) shows the spectral response of filter configuration under conventional design method [8] with a configuration of (1H 1L 1H 1L 1H 1L )3 2H (1L 1H 1L 1H 1L 1H)3 1L (1H 1L 1H 1L 1H 1L)3 2H (1L 1H 1L 1H 1L 1H)3 1L (1H 1L 1H 1L 1H 1L)3 2H (1L 1H 1L 1H 1L 1H)3 .26569H 1.30674L.It is observed that the pass band is comparatively larger ranging from minimum wavelength of 470 nm to maximum wavelength of 500 nm. This filter behaves as a broadband filter.a
|Mathematical expressions have been given for the improved design of a tunable optical filter device made up of alternating layers of MgF2 and Ta2O5 for whole visible spectral range (400nm-700nm).The optical interference effect on the transmission characteristics of the filter is demonstrated in terms of parameters such as FWHM or 3-dB bandwidth and Quality factor are calculated. We have carried out a comparative study of the spectral response of the optical filter for different number of layers, conventional design and fencepost design. Also, a variation in the wavelength of minimum loss due to reflection is observed for different angle of incidence. Increasing angle of incidence from normal to 30 degree shows shift of wavelength at lower values. Thus, by varying the angle of incidence, the filter can be made tunable.Extensive research and development efforts are underway to realize such tunable filters in the visible region experimentally, since such a device may serve as one of the basic building blocks in display and sensor devices which in turn are used in the field of life science, imaging, industrial, or defense industries. Furthermore, graded index structure of the materials can be analyzed to obtain enhanced filter characteristics.


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Columbus, Secret Jew – paperback
Every schoolchild learns the story of Christopher Columbus and his trip to the New World. But almost every telling of this story leaves out vital details…details that new research and investigation into the writings of Columbus himself lead to startling conclusions. In this carefully researched book, Dr. Mike Evans reveals the hidden story of Columbus and his motivations in his famed voyage of discovery.
Many people have never considered that:
- Columbus was likely a converso—one who chose to convert to Christianity through coercion
- Columbus' initial voyage was funded not so much by Queen Isabella's jewels but mostly by a group of wealthy Jews
- Columbus hoped to find a source of gold—perhaps King Solomon's mines—in Asia in order to recapture the city of Jerusalem from the Muslims and fund the restoration of the Temple
- Columbus hoped to find a place of refuge for Christians and Jews alike in order for them to escape the horrors of persecution descending upon Spain
- Columbus traveled with a Jew who spoke Hebrew in hopes of finding the ten Lost Tribes during his trip to the New World
This eye-opening book is a fascinating read, and an important look at the life and background of Columbus. In addition, it paints a picture of life for the Jewish people during the Spanish Inquisition that shows why so many Jewish people believe that all Christians hate them.


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ABOUT RaspEX Kodi
RaspEX Kodi Build 190117 with LXDE/OSMC Desktops is made especially for the new Raspberry Pi 3 Model B+, but can of course also be used on a Raspberry Pi 3 Model B and a Raspberry Pi 2 Model B. OSMC is based on Debian and Kodi Media Center. In RaspEX Kodi I've added the LXDE Desktop with many useful applications such as Wicd and NetworkManager. Makes it easy to configure your wireless network. I've also upgraded OSMC to a BETA version (Kodi 18 RC5 Leia), which makes it possible to include useful addons such as Netflix, Plex and Amazon Video. Which I've done. Kodi 18 RC5 was released 190114. Study all included packages in RaspEX Kodi.
Kernel 4.20.1-exton is used.
RaspEX Kodi performance
RaspEX Kodi is a very fast and responsive Rpi system. Much due to very low memory (RAM) usage. About 100 MB as this screenshot shows. I've said that RaspEX LXDE Build 181015 is very fast. RaspEX Kodi with OSMC Desktop is even faster especially if you use the new Raspberry Pi 3 Model B+ to run it. The video and sound quality is also very very good. Even while running RaspEX Kodi on big TV screens. I.e. you can really enjoy Netflix and YouTube running on your Rpi mini computer!
1. Running Kodi
2. The LXDE Desktop logged in as the ordinary user osmc
3. The LXDE Desktop logged in as root (super admin)
4. Netflix running showing very good video quality – 1
5. Netflix running showing very good video quality – 2
6. YouTube running showing very good video quality
7. Choosing program addons in Kodi
8. RaspEX Kodi OSMC running INFO


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When I heard Sonia Choquette wrote a new book about her pilgrimage on the Camino de Santiago, I absolutely could not wait to get this book in my hands. I had to wait several weeks because it was out of stock, but I knew I needed to read this. I knew it would be phenomenal, and it was even better than I anticipated.
Sonia Choquette is a best-selling author and six-sensory spiritual teacher. Walking Home takes the reader on a journey along with her through a 500-mile pilgrimage over the Pyranees and through Spain called the Camino de Santiago. Yes, she walked 500 miles! This trek has been walked for centuries and leads to the shrine of St. James. In the Middle Ages over a million Catholics made the journey as a way to be forgiven for their sins and begin again. It became known as The Way of Forgiveness.
Sonia decided to make the journey to work through the sudden deaths of her brother and father, as well as the dissolution of her marriage. What I love about this book, is that I felt like I walked with her. She held nothing back in this book, every emotion came forth and I related to so much of it. I loved getting to live every day of her journey through her thoughtful description of the scenery, the food, the people. Everything was portrayed with such clarity, that even my feet were sore after her daily hikes. I also loved the pictures she shared in the book too, that was such a treat.
It was amazing to feel someone's transformation. To see them go from broken to reborn. There were so many times I saw myself in her trials and felt so much better that I was not the only one who felt so many ways that she did. I felt like I was growing and changing along with her. There was anger, yelling, singing, praying, heartache, joy, laughter, and it was all wonderful!
I am humbled by her raw honesty, and truly grateful for Sonia's willingness to share so much of herself. It reminds me of a Rumi quote: "Tear off the mask, your face is glorious." How hard is it to truly allow who you really are to be seen? I mean all of it, the good, the bad and the ugly. What a triumph to be vulnerable and let go of what other people might think! This book is such a gift, a permission to let it all out, and then let it all go.
There was magic in Sonia's journey. So many miracles that she shared, and they became more powerful as the journey came closer to Santiago. This book was pure indulgence to me, and I absolutely luxuriated in it every night. I couldn't wait to walk another day of the journey with her. And as the book was getting closer to the end, I was feeling sad because I didn't want it to end! It has been such a long time since a book made me feel that way. This is one of the few books I know I will be reading again and again, because I know I will receive new insight each time.
In Gratitude,


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Sidmouth Lions donate £300 to support Myaware
PUBLISHED: 12:00 06 May 2018
Sidmouth Lions have raised £300 to support the country's only charity helping people living with a chronic neuromuscular disease.
Members presented a cheque to Myaware which supports people affected by myasthenia last week.
The money will help people suffering with the disease, which causes weakness in the skeletal muscles responsible for breathing and moving parts of the body such as the arms and legs.
The Lions handed over the £300 at Kennaway House to the Devon group of Myaware.
Rita Goldthrop, regional organiser in the South West, said: "This donation really means such a lot to our local members and we are very grateful to the Lions club for their support."
The Devon group will also be meeting on June 21 at Kennaway House at 1.30pm and has invited anyone who is affected by myasthenia to attend.
There will be hot drinks and light refreshments.
Information packs are available from the charity's head office on 01332 290219.
If you value what this story gives you, please consider supporting the Sidmouth Herald. Click the link in the orange box above for details.


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This awesome tool takes visualization up a notch in sophistication. Palladio was designed by DHers at Stanford University and it allows complex data to be converted into maps, graphs, lists and galleries. The next time you're working with big data sets, consider Palladio as a go to visualization tool.
The Postal Service is accepted as a commonplace fact of modern day life (and even viewed as potentially on its way out). However, there once was a time when post offices were not nearly so common. The Geography of Post offers a fascinating visualization of when and where post offices operated. This is particularly interesting given that the Post Office opened nearly 14,000 new locations to meet demand between 1840-1900. Check out the Geography of Post to delve deeper into the Post Office's storied past.
It's no secret that working in a group can be more difficult and frustrating than working on your own. One valuable opportunity that DH tools offer is an easier mode of cooperation. Such is the case with Crowdmap, a tool for collaborative mapping. The ability for multiple members to input data can result in a fuller map less subject to the risk of inaccuracy than a single author map. What ways could you use this tool to foster productive thought? Would such a tool fit well into the classroom?
Harvard University's WorldMap is a platform developed by the Center for Geographic Analysis (CGA) for scholars who wish to explore, visualize, edit, collaborate with, and publish geospatial information. This is a great tool for historical projects, as well as contemporary eco criticism, studies of urban environments and cosmopolitanism, as well population studies. Users can track changes over time and make their own visualizations to highlight their work.
Researchers can upload, create and edit maps, share or edit view access, export raw data, use online cartographic tools, georeference, and publish work online. This is just one of many online digital humanities tools that enables a range of new methodological approaches and provides researchers with a fresh supply of data.
As Franco Moretti's book Graphs, Maps, Trees and a vast selection of digital humanities work indicate, the field of digital humanities is often invested in large-scale statistical analysis and representation. However, this approach is not without its dissenters. One of these dissenters in Johanna Drucker. In her article, "Humanistic Theory and Digital Scholarship," she contends that the methods that many digital humanists use are based in the empirical methods of the hard sciences and therefore unsuitable for humanistic pursuit. Instead, she proposes that, "it is essential if we are to assert the cultural authority of the humanities in a world whose fundamental medium is digital that we demonstrate that the methods and theory of the humanities have a critical purchase on the design of platforms that embody humanistic values. Humanistic methods are necessarily probabilistic rather than deterministic, performative rather than declarative."
Drucker's problem is not with visualizing data, but rather with applying the visualization strategies from the sciences to the ambiguous nature of humanistic pursuit. Conforming narrative details and structure to these visualization frameworks risks flattening out the texts, depriving them of their rich interpretive bounds. To deprive these works of that interpretive nature is to deprive them of being humanistic at all; the texts take on a nature similar to New Criticism's resolved symbolic.
While I view Drucker's concerns as valid, I believe there are several ways we can lessen these risks while still maintaining a valid use of visualization. Making readers aware of the limitations of visualization is a powerful first step. The moment that a reader realizes that a visualization is only a partial representation of what happens in the text, the visualization becomes a springboard for further discovery instead of a spoon-fed singular interpretation. Second, we can channel humanistic inquiry into discovering and developing more comprehensive and humanities friendly visualization methods. While Drucker devotes substantial time to pointing out how not to visualize the humanities, she offers no hint of a solution to the problem, merely a vindication of the current field. This attitude will do little to further the field of digital humanities.
Several things are worth considering based on Drucker's argument. Firstly, is it inherently wrong to borrow statistical methods and models from the sciences and use them in humanistic pursuit? And in what ways could we achieve the more realistic, dynamic visualization environment that Drucker seems to envision?
Works Cited
Drucker, Johanna. "Humanistic Theory and Digital Scholarship." Debates in the Digital Humanities. University of Minnesota Press, 2012. Online.
Seeking a more rational literary history, Franco Moretti's Graphs, Maps, Trees demonstrates the interpretive possibilities made available by distance reading. For Moretti, mapping the development or evolution of genres and bibliographies draws attention to often-ignored non-canonized texts, providing vital context for the one percent of literature that is still actually read or well known. Data trees are an optimum tool for tracing the Darwinian development of literary trends and markets, revealing a network of material and cultural circumstances often overlooked by close-reading practices.
Continue reading "Methods for Materiality: Utilizing Distance Reading"
While it may seem that there are a tremendous number of works that have been canonized, the reality is that the list of canonized works pales in comparison to the totality of published works for most given eras. The attempt to gain a picture of societal trends from such a small sample size will inevitably give a skewed and incomplete picture. Franco Moretti suggests that instead of using close reading to gauge literary trends, researchers should instead adopt a quantitative approach to construct, "A more rational literary history" (68).
The ideas that Moretti presents in his book Graphs, Maps, Trees: Abstract Models for Literary History, while not directly connected to digital humanities, carry a relationship to the endeavors of DH'ers. The approach that Moretti advocates for examines literature in a much larger lens, the span of an entire literary movement. This approach inherently lends itself to data visualizations that can be expressed effectively through the work of digital humanities. The ups and downs of authorial popularity, genre readership, and stylistic trends all reflect well in visualization projects.
However, this trend-based approach also raises some questions for digital humanists. Should our work be exclusively focused on the big picture? Is there an ideal balance between using digital tools for close and distance readings? What is the optimal way for literary studies to continue into the modern era? How much of the change to literary studies is the movement of digital humanities and how much of it is the fact that we are now digital humans? Only with a critical mindset and a persistence for experimentation can we begin to answer these questions.
Works Cited
Moretti, Franco. Graphs, Maps, Trees: Abstract Models for a Literary History. Verso, 2007. Online.
Ever wish you could create a beautiful visualization of your favorite book? See the most frequent words in a magazine article? Well you can using Wordle, a free online visualization tool. Paste in the text of your choice or link it to a site with an RSS feed and hit go. Check out some of the neat examples on their front page (the featured image for this post is a cloud of the most common crossword answers in the Guardian).
Imagine using this tool to get a sense of the most common weather references in Frankenstein or Robinson Crusoe.
In this fascinating project, a group of digital humanists have tracked the spread of information via newspapers during America's antebellum period. In an age where trends spread like wildfire, it's fascinating to examine the spread of information pre-internet.
Header image taken from aforementioned website.


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In the morning I miss you most of all
A gentle touch to remind me I'm alive
A whispered "wake up", to start my day
Now filled with tightness and pain
Followed by pills and text that display
The wandering of others for public dismay.
This, this is how I start my day.
So touched by others, sisters and mothers
some of them uncles and probably brothers.
I find myself deep in their hearts,
nightmares and dreams.
Silently reading their heartache and screams.
From little red wagons
and fighting off dragons.
This is how I start my day.
….. To anyone reading this, I carry your heart, I keep it close to mine in hope we may find some solace and peace of mind. A quote from "lux Interior" ( cramps) Life is short filled of stuff don't know what for i ain't had enough.
"A life in progress"


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Outside the MechanicsNovember 18, 2014 in Australia ⋅ ☀ 21 °C
Only half an hour more until the van is ready. .....just been bailed up again by someone wanting to sell stuff....and then realised I was directly on top of a bullant nest...big black fuckers....legged it away too quickly to take a picture. ..have a strong urge to rip my ants off just in case...but doubt the mechanics would be too pleasedRead more


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In the last few days we have been discussing in our social networks about the size of cannabis plats and how important it can be in your cannabis growing operations. If you are still not sure about the answer, maybe our Sweet Seeds® Top 5 XL can help you to figure it out. Here is a total of five tall-stemmed strains that can reach to an height of between 120 and 160 cm.
1. Cream Mandarine XL Auto® (SWS55): "XL" tangerine aroma
In the first place we have our intense and aromatic Cream Mandarine XL Auto®, a hybrid born from the cross between a selected genetic line of our Cream Mandarine Auto® (SWS29) and an elite clone of Super Tai'98. Brutal crossing!
On the one hand, it inherits the sativa structure from Super Tai '98 genetics, as well as the woody and dried fruit aromas. On the other, from our Cream Mandarine Auto® (SWS29) it inherits its indica traits, such as its high resin and flower production with an intense tangerine aroma.
The powerful tangerine aroma makes it unmistakable for anyone who grows it. This 4th Generation autoflowering strain stands out for being tall.
In just 9 weeks from germination you will have your XL sized plants ready to harvest!
2. Sweet Cheese XL Auto® (SWS77): a "meal" of aged and spicy cheese
Keeping with our XL strains ranking we could not miss our appreciated Sweet Cheese XL Auto®. Aged and spicy cheese aromas all the way!
This 3rd Generation autoflowering strain is the tall-stemmed version of a classic from our catalog: Sweet Cheese Auto® (SWS33). It can produce TOP flavours and aromas!
This strain has the 'power' to produce not only taller plants but also greater amounts of resin and flowers when compared to its predecessor. In conclusion, XL production all the way.
While growing Sweet Cheese XL Auto® you will notice the famous sweet Skunk aroma with shades of aged and spicy cheese. In addition, you only have to be patient for about 8 weeks from germination to taste it.
Don't miss out on trying one of our 2019 new strains!
3. Jack 47 XL Auto® (SWS78): the bud production "machine"..
Our Jack 47 XL Auto® is another leading character of the present year. It is also a 3rd Generation autoflowering strain.
It is the XL version of our autoflowering Jack 47 Auto® (SWS31).
This outstanding strain produces large buds along with great resin production and a sublime fresh aroma with lemony citrus tones.
You can enjoy the intense aroma from the early stages of flowering, where the plant also shows a powerful hybrid vigor. 9 weeks from germination to harvest this big-sized bomb!
As some growers of this strain have sneaked us … It is probably one of the most powerful genetics in the market!
4. Big Devil XL Auto® (SWS28) nd its 160 cm tall.
The award for the tallest XL strain is taken by our Big Devil XL Auto®. But first, the presentations: it is a 3rd Generation autoflowering strain, the resulting hybrid from the crossing between our Big Devil #2 Auto® (SWS20) and an autoflowering Jack Herer from the Sweet Seeds®' R&D Department.
And… What about its height? Here we go… It can produce plants with between 110 and 160 cm in height. A plant from which you can be proud of and show off to your friends. Although you can also be proud of it because of the density and thickness of its buds, as well as the resin produced by our Big Devil XL Auto®.
When we talk about its incense aroma with citrus tones of lemon, it makes our mouths water big time…
5. Green Poison XL Auto® (SWS71): appreciated by many, desired by all.
In the fifth place of the ranking you can find our Green Poison XL Auto®, a 3rd Generation autoflowering strain. This is the tall-stemmed version of one of our most beloved autoflowering strains: our Green Poison Auto® (SWS30).
With the XL version, this strain exceeds its predecessor in up to 25% in height, with higher yields and adding extra quality to the buds and resin.
To better understand its aroma we recommend you growing it, since its sweet fruity smell and the light tones of arugula and nuts will invade you.
And all it takes is 8 weeks from germination to enjoy the beauty of our Green Poison XL Auto®.
And that's all about the Top 5 XL strains from Sweet Seeds®. So, in your opinion… Size matters?
Sweet Seeds S.L is not responsible for the misuse of the information contained in this article. Cultivation of cannabis may constitute a criminal offence or administrative misdemeanour; please refer to the legislation on cannabis in your place of residence. Sweet Seeds S.L. does not intend in any case to incite non-legal practices.


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Global Aerosol Actuators Market comprises complete analysis of Aerosol Actuators market showing the most recent situation in the market. It envisages the growth of market size and shares during the forecast period. It analyzes various factors responsible for market expansions as well as the volume of Aerosol Actuators market. The report includes forceful business establishment of Aerosol Actuators market outline alongside the overview of overall Aerosol Actuators market players. In the year 2014, Aerosol Actuators market size was USD XX million and is expected to reach USD XX million in 2026 with a CAGR of XX% from 2018 to 2026.
Request for Sample Report Here (Use corporate email address only) Before Purchasing Report: https://www.apexmarketsresearch.com/report/global-aerosol-actuators-market-by-product-type-aluminium-455452/#sample
Report has been fragmented into product and applications. It also includes the complete profiling of prominent players involved in this market. It gets into speculating the latest changes in the worldwide Aerosol Actuators market while evaluating the offer in the market of the dominating players in the upcoming period.
Report discusses major drivers boosting this market as well as restraints that can hamper the growth of Aerosol Actuators market. Moreover, it embraces all the opportunities which will enhance the growth of the market. Further, report encompasses analysis of major players through SWOT analysis. It reviews the advancement of the leading players in the Aerosol Actuators market.
Key players:
RPC Group Plc.
Rackow Polymers Corporation
Cobra Plastics, Inc.
Clayton Corporation
Lindal Group Holding GmbH
Mitani Valve Co. Ltd
Media Manoeuvre Pvt. Ltd.
Aspire Industries
Global Closure Systems
Market, By Type:
Aluminium Aerosols
Tinplate Aerosols
Market, By Applications:
Personal Care
Automotive & Industrial
Market, By regions:
• North America
• Europe
• Asia Pacific
• Latin America
• Middle East and Africa
Inquire for further detailed information of Aerosol Actuators Market Report at: https://www.apexmarketsresearch.com/report/global-aerosol-actuators-market-by-product-type-aluminium-455452/#inquiry
Following are some other segments, the report has included:
• Supply and Consumption- Report provides supply and utilization which is inspected by experts.
• Competitive Analysis- Prominent players in Aerosol Actuators market statistics are studied regarding their company profile, product portfolio, restrict, price, cost, and income.
• Deals and Revenue- Revenue period has been evaluated in this area for the different territories. It separates the global microeconomic components by choosing the Aerosol Actuators market value changes in each region.
• The Aerosol Actuators market report is idealized for the advertisement, private and present-day buyers, governments, producers, and different financial specialists to present their market-driven methodologies in the degree to the predicted and existing patterns in the business. Furthermore, present clever purposes of interest of the modern laws, strategies, along with rules which make the report profitable for managers, administrators, executives, business experts and various key individuals to consider and understand Aerosol Actuators market growth trends, drivers and market challenges.
Chapters Define in TOC (Table of Content) of the Report:
Chapter 1: Market Overview, Drivers, Restraints and Opportunities, Segmentation overview
Chapter 2: Market competition by Manufacturers
Chapter 3: Production by Regions
Chapter 4: Consumption by Regions
Chapter 5: Production, By Types, Revenue and Market share by Types
Chapter 6: Consumption, By Applications, Market share (%) and Growth Rate by Applications
Chapter 7: Complete profiling and analysis of Manufacturers
Chapter 8: Manufacturing cost analysis, Raw materials analysis, Region-wise manufacturing expenses
Chapter 9: Industrial Chain, Sourcing Strategy and Downstream Buyers
Chapter 10: Marketing Strategy Analysis, Distributors/Traders
Chapter 11: Market Effect Factors Analysis
Chapter 12: Market Forecast
Chapter 13: Aerosol Actuators Research Findings and Conclusion, Appendix, methodology and data source
The analysis incorporates historical data from 2014 to 2019 and predictions until 2026 helping to make the reports a valuable resource for industry executives, promotion, product and sales managers, advisers, analysts, and different people trying to find vital Aerosol Actuators industry data in readily accessible records with clearly exhibited tables and charts.


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Islamabad, June 22, 2016 (PPI-OT): Islamabad Chamber of Small Traders on Wednesday criticised policy of slapping additional taxes on profitable sectors which will discourage investors.
Government should remember that there were 1.6 million filers in 2006 but now the number has dropped to one million due to such policies, it said.
Authorities should reduce reliance on indirect taxes and prefer direct taxation which is going down, said Patron Islamabad Chamber of Small Traders Shahid Rasheed Butt.
He said that exports have reduced by 14 percent while agriculture has dwindled to the level of 2009 while foreign direct investment has remained one billion dollar while FDI in Indonesia remained 29 billion dollars during last one year.
He said that overreliance on loans has stabilised foreign exchange reserves but it has also pushed debt servicing cost to Rs 1803 billion which is a matter of grave concern.
Shahid Rasheed Butt said that the good performing sectors include telecom, corporate, services, banking, cement and construction sectors that have been punished through additional taxation while super tax has resulted in reservations discouraging investors.
He said that stock market situation is satisfactory but it should be properly regulated so that local and foreign investors can invest without any fear.
For more information, contact:
Jahangir Akhtar
Secretary General
Islamabad Chamber of Small Traders and Small Industry
Office No, 9 Block E, Super Market, Islamabad
Cell: 0344-5111174


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- Krux Trucks
In a previous life June traveled the world with the Big Apple Circus as an Equilibristics riding unicycles and tight rope walking. Today you can find him well… doing this. Check this manual maniac doing what he does best.
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