Alchemy is an ancient path of spiritual purification and transformation; the expansion of consciousness and the development of insight and intuition through images. Alchemy- is steeped in mysticism and mystery. It presents to the initiate a system of eternal, dreamlike, esoteric symbols that have the power to alter consciousness and connect the human soul to the Divine. Blessed are ye if, by listening to the words of the wise, ye can find this great Stone, which has power to cure leprous and imperfect metallic bodies and to regenerate them; to preserve men in health, and procure for them a long life—as it has hitherto kept the vital fire burning within me so long that I am weary of life, and yearn to die.
When we look at the effects of fear in peoples life and the byes of others, We see darkness and suffering and the creation of more lead it is no surprise that this ‘art’ of science, which had as its foundation the energy of fear, has created a society riddled with darkness!
In order to reverse the effects of 600 years of darkness created by a sub-culture of fear, first we must step into the light and trod a path or love and citation. This is going to take some uncomfortable actions on the part of some committed individuals that are going to have to buck the trends of conventional thinking. For after all, this conventional thinking has gotten us to where we are now!
5o, in retrospect, the path we have trodden has created muck of the suffering that currently affects the world in which we live. And if that ‘modem’ thinking has created this world of trial and tribulation, maybe an examination of the esoteric, etheric world of the ancients will reveal a simplistic process, or Alchemy, by which we can transform this world fraught with suffering into one of peace, harmony and bliss. And through an understanding or this Alchemy we can discover the process by which we can transform our lives from the lower energies ruled by fear and darkness into the higher energies ruled by love and light.
This will be a process of Soul-Alchemy, Spirit Alchemy or Self-Alchemy, as we transform our realities from a lower self consciousness to a higher self consciousness.
In order to understand the concepts of the Alchemy of the Soul, a historical examination of the roots of ‘The Are is necessary.
Alchemy is an ancient path of spiritual purification and transformation; the expansion of consciousness and the development of insight and intuition through images. Alchemy- is steeped in mysticism and mystery. It presents to the initiate a system of eternal, dreamlike, esoteric symbols that have the power to alter consciousness and connect the human soul to the Divine.
Alchemy is part of the mystical and mystery traditions of both East and West. In the West, it dates to ancient Egypt, where adepts first developed it as an early form of chemistry and metallurgy.
During medieval and Renaissance times, alchemy spread through the Western world, and was further developed by Kabbalists, Rosicrucians, astrologers and other occultists. It functioned on two levels: mundane and spiritual. On a mundane level, alchemists sought to find a physical process to convert base metals such as lead into gold. On a spiritual level, alchemists worked to purify themselves by eliminating the “base” material of the self and achieving the ‘gold’ of enlightenment.
By Renaissance times, many alchemists believed that the spiritual purification was necessary in order to achieve the mundane transformations of metals.
Thus the Black Stone is the secret of the Temple and the secret of humankind , which consists in the building up of one ‘ s own inner form , the “ body of light , ” as it is called , malakut or “ Temple of Light .
In this context “ Kundalini ” coiled round the “ kernel of immortality ” , which is also linked to the symbolism of the “ black stone ”
Blessed are ye if, by listening to the words of the wise, ye can find this great Stone, which has power to cure leprous and imperfect metallic bodies and to regenerate them; to preserve men in health, and procure for them a long life—as it has hitherto kept the vital fire burning within me so long that I am weary of life, and yearn to die.
Alchemy- is a form of speculative thought that, among other aims, tried to transform base metals such as lead or copper into silver or gold and to discover a cure for disease and a way of extending life.
Alchemy was the name given in Latin Europe in the 12th century to an aspect of thought that corresponds to astrology, which is apparently an older tradition. both represent attempts to discover the relationship of man to the cosmos and to exploit that relationship to his benefit. The first of these objectives may be called scientific, the second technological.
Nor is it really clear what alchemy was (or is). The word is a European one, derived from Arabic, but the origin of the root word, them, is uncertain. Words similar to it have been found in most ancient languages, with different meanings, but conceivably somehow related to alchemy. in fact, the Greeks, Chinese, and Jnclians usually referred to what Westerners call alchemy as “The Art)” denoting change or transmutation.
“Transmutation” is the Key word characterizing alchemy, and it may be understood in several ways: in the changes that are called chemical, in physiological changes such as passing from sickness to health, in a hoped-for transformation from old age to youth, or even in passing from an earthly to a supernatural existence. Alchemical changes seem always to have been positive, never involving degradation except as an intermediate stage in a process having a “happy ending.” Alchemy ained at the great human “goods”: wealth, longevity, and immortality.
Alchemy was not original in seeking these goals, for it had been preceded by religion, medicine, and metallurgy. The first chemists were metallurgists, who were perhaps the most successful practitioners of the arts in antisuity. Their theories seem to have come not from science but from folklore and religion. The miner and metallurgist, like the agriculturalist, in this view, accelerate the normal maturation of the fruits of the earth, in a magico-religious relationship with nature. in primitive societies the metallurgist is often a member of an occult religious society.
In i 828 a group of ancient papyrus manuscripts written in Greek was purchased in Thebes (Egypt), and about a half—century later it was noticed that among them, divided between libraries in Leyden (The Netherlands) and Stockholm, was a tract very like the Physica et mystica. It differed, however, in that it lacked the for-meris theoretical embellishments and stated in some recipes that only fraudulent imitation of gold and silver was intended.
When the obrctive of alchemy became human salvation, the material constitution of the elixir became ess important than the incantations that accompanied its production. Synesius, the last author in the Venice-Paris manuscript, already defined alchemy as a mental operation, independent of the science of matter.


A very long time ago, in midwinter, when the snowflakes were falling like feathers from heaven, a beautiful queen sat sewing at her window, which had a frame of black ebony. As she worked, she looked sometimes at the falling snow, and it happened that she pricked her finger with her needle, so that three drops of blood fell upon the snow. How pretty the red blood looked upon the dazzling white! The queen said to herself as she looked it, “Ah me! If only I had a dear little child who had skin as white as the snow, lips as rosy as the blood, and hair as black as the ebony window frame.”
Soon afterwards she had a little daughter, with skin white as snow, lips rosy as blood, and hair as black as ebony – and she was therefore called “Little Snow White.”
But alas! When the little one was born, the good queen died.
A year passed by, and the king took another wife. She was a beautiful woman, but proud and haughty, and she could not bear that anyone else should surpass her in beauty. She had a mirror and when she stood in front of it and asked, “Mirror, mirror upon the wall, who is the fairest of us all?”
The mirror answered, “Thou, O Queen, art the fairest of all,” and the queen was contented, because she knew the mirror could speak nothing but the truth.
But as time passed on, Little Snow White grew more and more beautiful. When she was seven years old, she was as lovely as the bright day, and still more lovely than the queen herself, so that when the lady one day asked her mirror, “Mirror, mirror upon the wall, who is the fairest of us all?”
It answered, “O Lady Queen, though fair ye be, Snow White is fairer far to see.”
The queen was shocked, and grew yellow and green with envy, and from that moment envy and pride grew in her heart like rank weeds, so that she had no peace day or night, until one day she called a huntsman and said, “Take the child away into the woods and kill her, for I can no longer bear the sight of her. When you return, bring with you her heart, that I may know you have obeyed my will.”
The huntsman dared not disobey, and he led Snow White out into the woods and placed an arrow in his bow to pierce her innocent heart, but the little girl cried and begged him saying, “Ah dear huntsman, leave me my life! I will run away into the wild forest, and never come home again.”
And as she was so beautiful the huntsman had pity on her and said, “Run away then, you poor child.” While to himself he thought, “The wild beasts will soon have devoured you,” and yet it seemed as if a stone had been rolled from his heart since he no longer had to kill her.
Then as a young wild boar came rushing by, he killed it, took out its heart, and carried it home to the queen. The cook was ordered to prepare this, and the wicked queen ate it, and thought she had eaten the heart of Snow White.
Poor little Snow White was now all alone in the wild wood, and so frightened was she that she trembled at every leaf that rustled. Then she began to run, and ran over sharp stones and through thorns, and the wild beasts ran past her, but did her no harm. She kept on running until she came to a little house, where she went in to rest.
Inside the cottage, everything she saw was tiny, but more dainty and clean than words can tell.
Upon a white-covered table stood seven little plates and upon each plate lay a little spoon, besides which there were seven knives and forks and seven little goblets. Against the wall, and side by side, stood seven little beds covered with perfectly white sheets.
Snow White was so hungry and thirsty that she took a little food from each of the seven plates, and drank a few drops of wine from each goblet, for she did not wish to take everything away from one. Then, because she was so tired, she crept into one of the beds, but it did not suit her, and so she tried the others, but one was too long, another too short, and so on – until she came to the seventh, which suited her exactly. She said her prayers and soon fell fast asleep.
When night fell, the masters of the little house came home. They were seven dwarfs, who worked with a pick axe and spade, searching for copper and gold in the heart of the mountains.
They lit their seven candles and then saw that someone had been to visit them. The first said, “Who has been sitting on my chair?”
The second said, “Who has been eating from my plate?”
The third, “Who has taken a piece of my bread?”
The fourth, “Who has taken some of my vegetables?”
The fifth, “Who has been using my fork?”
The sixth, “Who has been cutting with my knife?”
The seventh, “Who has been drinking out of my goblet?”
The first looked around and saw that his bed was rumpled, so he said, “Who has been getting into my bed?”
Then the others looked round and each one cried, “Someone has been on my bed too!”
But the seventh, when he looked at his bed, saw little Snow White, who was lying asleep there. He called the others, who came running up, and they cried out with astonishment, and brought their seven little candles and let the light fall on little Snow White. “Oh, heavens! Oh, heavens!” Cried they. “What a lovely child!” They were so glad that they did not wake her up, but let her sleep on in the bed. And the seventh dwarf slept with his companions, one hour with each, and so got through the night.
When the sun rose, Snow White awoke, and oh! How frightened she was when she saw the seven little dwarfs. But they were very friendly, and asked what her name was. “My name is Snow White,” she answered.
“And how did you come to get into our house?” Asked the dwarfs.
Then she told them how her cruel stepmother had intended her to be killed, but the huntsman had spared her life and she had run on until she reached the little house. The dwarfs said, “If you will take care of our house; cook for us, make the beds, wash, mend, and knit, and keep everything neat and clean, then you may stay with us and you shall lack for nothing.”
“Yes,” answered Snow White. “With all my heart,” and so she stayed.
She kept the house neat and clean for the dwarfs, who went off early in the morning to search for copper and gold in the mountains, and who expected their meal to be standing ready for them when they returned at night.
All day long Snow White was alone, and the good little dwarfs warned her to be careful to let no one into the house. “For,” said they, “your step mother will soon discover that you are living here.”
The queen, believing, of course, that Snow White was dead, and that she had eaten her heart, and therefore she was again the most beautiful lady in the land, went to her mirror, and said, “Mirror, mirror upon the wall, who is the fairest fair of all?”
Then the mirror answered, “O Lady Queen, though fair ye be, Snow White is fairer far to see. Over the hills and far away, she dwells with seven dwarfs today.”
How angry she was, for she knew that the mirror spoke the truth, and that the huntsman must have deceived her. She thought and thought how she might kill Snow White, for she knew she would have neither rest nor peace until she really was the most beautiful in the land. At length she decided what to do. She painted her face and dressed herself like an old pedlar woman, so that no one could recognise her, and in this disguise she climbed the seven mountains that lay between her and the dwarfs’ house, and knocked at their door and cried, “Pretty things to sell, very cheap, very cheap.”
Snow White peeped from the window and said, “Good day, good wife, and what are your wares?”
“All sorts of pretty things, my dear,” answered the woman. “Silken laces of every colour,” and she held up a brightly coloured one, made of plaited silks.
“Surely I might let this honest old woman come in?” Snow White thought, and unbolted the door and bought the pretty lace.
“Dear, dear, what a sight for sore eyes you are, child,” said the old woman. “Come, let me lace you properly for once.”
Snow White had no suspicious thoughts, so she placed herself in front of the old woman that she might fasten her dress with the new silk lace. Immediately the wicked creature laced her bodice so tightly that she could not breathe, and fell down upon the ground as though she were dead. “Now,” said the queen, “I am once more the most beautiful lady in the land,” and she went away.
When the dwarfs came home they were very grieved to find their dear little Snow White lying upon the ground as though she were dead. They lifted her gently and, seeing that she was too tightly laced, cut the silken cord. She drew a long breath and then gradually came back to life.
When the dwarfs heard all that had happened they said, “The pedlar woman was certainly the wicked queen. Now, take care in future that you open the door to none when we are not with you.”
The wicked queen had no sooner reached home than she went to her mirror, and said, “Mirror, mirror upon the wall, who is the fairest fair of all?”
And the mirror answered as before, “O Lady Queen, though fair ye be, Snow White is fairer far to see. Over the hills and far away, She dwells with seven dwarfs today.”
The blood rushed to her face as she heard these words, for she knew that Snow White must have come to life again.
“But I will manage to put an end to her yet,” she said, and then by using witchcraft, she made a poisonous comb.
Again she disguised herself, climbed the seven mountains, and knocked at the door of the seven dwarfs’ cottage, crying, “Pretty things to sell – very cheap today!”
Snow White looked out of the window and said, “Go away, good woman, for I dare not let you in.”
“Surely you can look at my goods,” answered the woman, and held up the poisonous comb, which pleased Snow White so well that she opened the door and bought it.
“Come, let me comb your hair in the newest way,” said the woman, and the poor unsuspicious child let her have her way, but no sooner did the comb touch her hair than the poison began to work, and she fell fainting to the ground.
“There, you model of beauty,” said the wicked woman, as she went away. “You are done for at last!”
Fortunately it was almost time for the dwarfs to come home, and as soon as they came in and found Snow White lying upon the ground they guessed that her wicked step mother had been there again, and set to work to find out what was wrong.
They soon saw the poisonous comb, and drew it out of her hair, and almost immediately Snow White began to recover, and told them what had happened. Once more they warned her to be on her guard, and to open the door to no one.
When the queen reached home, she went straight to the mirror and said, “Mirror, mirror on the wall, who is the fairest fair of all?”
The mirror answered, “O Lady Queen, though fair ye be, Snow White is fairer far to see. Over the hills and far away, She dwells with seven dwarfs today.”
When the queen heard these words she shook with rage. “Snow White shall die,” she cried, “even if it costs me my own life!”
She went into a secret chamber, where no one else ever entered, and there she made a poisonous apple. She then painted her face and disguised herself as a peasant woman, and climbed the seven mountains and went to the dwarfs’ house. She knocked at the door. Snow White put her head out of the window, and said, “I must not let anyone in; the seven dwarfs have forbidden me to do so.”
“It’s all the same to me,” answered the peasant woman, “I shall soon get rid of these fine apples. But before I go I’ll make you a present of one.”
“Oh! No,” said Snow White, “for I must not take it.”
“Surely you are not afraid of poison?” Said the woman. “See, I will cut one in two; the rosy cheek you shall take, and the white cheek I will eat myself.”
Now, the apple had been so cleverly made that only the rose-cheeked side contained the poison. Snow White longed for the delicious-looking fruit, and when she saw that the woman ate half of it, she thought there could be no danger, and stretched out her hand and took the other part. But no sooner had she tasted it than she fell down dead.
The wicked queen laughed aloud with joy as she gazed at her. “White as snow, red as blood, black as ebony,” she said. “This time the dwarfs cannot awaken you.”
She went straight home and asked her mirror, “Mirror, mirror upon the wall, who is the fairest fair of all?”
At length it answered, “Thou, O Queen, art fairest of all!”
So her envious heart had peace – at least, as much as an envious heart can have peace.
When the little dwarfs came home at night they found Snow White lying upon the ground. No breath came from her parted lips, for she was dead. They lifted her tenderly and sought for some poisonous object which might have caused the mischief, unlaced her frock, combed her hair, and washed her with wine and water, but all in vain – dead she was and dead she remained. They laid her upon a bier, and all seven of them sat round about it, and wept as though their hearts would break, for three whole days.
When the time came that she should be laid in the ground they could not bear to part from her. Her pretty cheeks were still rosy red, and she looked just as though she were still living.
“We cannot hide her away in the dark earth,” said the dwarfs, and so they made a transparent coffin of shining glass, laid her in it, and wrote her name upon it in letters of gold; and that she was a king’s daughter. Then they put the coffin out upon the mountain top, and one of them always stayed by it and watched it. And birds came too and wept for Snow White; first an owl, then a raven, and at last a dove.
For a long, long time little Snow White lay in the coffin, but she did not change; she only looked as though she slept, for she was still as white as snow, as red as blood, and as black as ebony.
It chanced that a king’s son came into the wood, and went to the dwarfs’ house, meaning to spend the night there. He saw the coffin upon the mountain top, with little Snow White lying within it, and he read the words that were written upon it in letters of gold.
He said to the dwarfs, “If you will but let me have the coffin, you may ask of me what you will, and I will give it to you.”
But the dwarfs answered, “We would not sell it for all the gold in the world.”
Then said the prince, “Let me have it as a gift, I pray you – for I cannot live without seeing little Snow White, and I will prize your gift as the dearest of my possessions.”
The good little dwarfs pitied him when they heard these words, and so gave him the coffin. The king’s son then bade his servants place it upon their shoulders and carry it away, but as they went they stumbled over the stump of a tree, and the violent shaking shook the piece of poisonous apple which had lodged in Snow White’s throat out again, so that she opened her eyes, raised the lid of the coffin, and sat up, alive once more.
“Where am I?” She cried, and the happy prince answered, “Thou art with me, dearest.”
Then he told her all that had happened, and how he loved her better than the whole world, and begged her to go with him to his father’s palace and be his wife. Snow White agreed and went with him, and the wedding was celebrated with great splendour and magnificence.
Little Snow White’s wicked step mother was invited to the feast, and when she had dressed herself in her most beautiful clothes, she stood before her mirror, and said, “Mirror, mirror upon the wall, who is the fairest fair of all?”
And the mirror answered, “O Lady Queen, though fair ye be, The young queen is fairer to see.”
Oh! How angry the wicked woman was then, and so terrified too, that she scarcely knew what to do. At first she thought she would not go to the wedding at all, but then she felt that she could not rest until she had seen the young queen. No sooner did she enter the palace than she recognised little Snow White, and could not move for terror.
Then a pair of red hot iron shoes was brought into the room with tongs and set before her, and these she was forced to put on and to dance in them until she could dance no longer, but fell down dead, and that was the end of the wicked queen.


Photographs by Glenn Callahan
This gallery contains some of the images I have made as a photographer for the Stowe Reporter and the Stowe Guide & Magazine over the past years. They are in no particular order, chronological or otherwise. To search for a specific image, or genre, type in a keyword (e.g. Winter, School, Baseball, Dance, etc.) in the 'Search' box in the upper-right corner. These photographs represent only a fraction of my archive, so if there is a photograph that you remember but which is not included in this gallery, contact me and I will try to locate it and include it. My contact information can be found in the "Buy a photo" link above. Thanks for looking!


Open - On Thai massage windows in Finland is an artist's book about beauty and creativity. Together with photographer Ida Enegren I've interviewed ten women, who keep their own Thai massage parlour, about the design of their window displays.
The book consists of interviews and portraits of the window designers, pictures of the windows and an essay on the process behind the project. The texts are written in English and Thai. I have contributed with the text and the design of the book.
Open – On Thai massage windows in Finland won the prize for best publication of 2018 in Finland’s most significant creative design competition Vuoden Huiput (Grafia ry), was awarded with the Beautiful Book Prize 2018 in the category for art books and was one of the five selected finalist in the photo book award Vuoden valokuvataidekirja 2018.
OPEN was made possible through support by The Finnish Cultural Foundation, Grafia ry and Konstsamfundet.


Michael Tshepo Selekane was born in Uitvlught, a rural village in Mpumalanga. In the early 90’s he moved with his mother to Mabopane, north of Pretoria. Drawing from his own experiences as a migrant within the South African borders, Michael captures the deep vulnerability of displaced people. Selekane interviews fellow migrants in order to examine the isolated individual within a vibrant community, and to gain an understanding of the difficulties they face in finding work, shelter, and communal support and acceptance.
- Dawn Sarah McGee


This book is the outcome of the Second International Viollet le Duc Symposium at the Château de Pierrefonds on september 24-25/2010. It’s contributors investigate the different forms of Viollet le Duc’s intellectual and pratical accomplishments as builder and overseer, not only as a theoretician, form his empirical and poetic perception of building materials to their shaping and implementation.
We have striven, on the one hand, to investigate Viollet le Duc’s personal and theoretical relationship to his materials, prior to his actual work with building, and have sought to understand aspects of his work that have more to do with poetic creation than with implementing theory.
On the other hand, we have endeavored to understand the physical reality of Viollet le Duc’s building projects, notably by analyzing often unpublished documents relating to the history of his restoration and construction sites (among them Amiens, Vézelay, Sens, Pierrefonds and Clermont-Ferrand). We have examined his efforts to acquire stone and timber ; the criteria guiding his choice of quarries, building contractors and materials ; his assessment of the place and role of metal in restauration work. Our 2010 encounter was also an invitation to probe Viollet le Duc’s techniques of stonecutting and building, not to mention the decisive role of colore as a tool and a means of ornemental expression.


Through conversations with my fellow Clean Reads authors, I had the chance to read Julie Fugate's Betrayal, the first book in the Kings of Renown series. I didn't know what to expect when I started the book, but came away quite impressed with the characters.
The story follows three teens, high school outcast Tara Cox, the daughter of a man involved with criminal activity; Inara Mason, a young girl who believes her father controls her too much; and Leo Price, a former juvenile delinquent trying to follow a better path. Their lives become entwined, each finding a connection through a seraphim angel, and eventually come together to untangle a bigger mystery about why the three teens are all connected to one another.
The book does a great job of mixing drama, romance and spiritual theme with a dose of the paranormal. Though it takes a while to build to events that show how the three teens are connected to one another, the character development keeps you drawn in. Julie does a great job making Tara, Inara and Leo sympathetic characters, the type of people that younger folks, and even older folks, can relate to.
The book does follow Christian themes but it doesn't engage in preaching. Rather, they are mixed into the story and focus more on the fellowship between people rather than heavy-handed talk about morals. The focus on fellowship allows for the relationships between the characters to be the emphasis of the narrative.
Though it's billed as the first book in a series, the events in Betrayal are wrapped up well and hardly any loose ends remain.
Those who aren't big fans of romance or spiritual books may not be interested in Betrayal, but anyone who enjoys a good story with strong characters will like this one. It's the characters, by far, that make this book work.


National Border Patrol Museum
National Border Patrol Museum and Memorial Library is the only Border Patrol museum in the U.S. covering the history of the Border Patrol from the Old West, Prohibition, and WWII eras right up to current operations. This history is told through displays of weapons, paintings, documents, equipment, photos, artifacts, videos, and “hands-on” vehicles. These vehicles include the Willy’s Jeep, a helicopter, a 32-foot Scarab boat, a snowmobile and ATVs. There’s even an airplane. Guided tours may be booked in advance by phone. Open 9 a.m.–5 p.m. Tuesday–Saturday. Closed Sunday, Monday and major holidays. A gift shop is open during regular museum hours. Free admission and free parking. Handicapped accessible.


The Out-of-School Time (OST) Leader’s Guide to Equitable Hiring and Staff Development Practices intends to catalyze the OST workforce, our stakeholders, and partners to examine systems, elevate practices and policies that will build and strengthen the field.
The guide includes three sections:
- Recruitment and Hiring;
- Onboarding and Professional Development;
- Performance Reviews and Feedback.
Each section includes best practices, guiding questions to support policy and practice changes, and no- to low-cost resources to support equitable hiring and staff development practices.


If you’ve ever wondered:
* Why people get ‘the munchies’ or feel paranoid on marijuana?
* Whether marijuana really can lead to harder drugs?
* Why you feel immortal on speed?
* Why acid trips can feel so good or so bad?
* Why total strangers bond on ecstasy?
* Whether drugs can enhance your spirituality?
* Why some anti depressants can make your depression worse?
Then this is the book for you!!
Combining case studies with a candid account of the author’s own journey from drugs to depression, destruction and redemption, this book is, in turn, confronting, thought-provoking, sometimes funny and revelatory. Whether you’ve used drugs or not, this book shares insights into the human need to feel good, and offers everyone a healthy and sustainable path to the ultimate high.
Dude, I think your book Higher and Higher literally saved my life. I was on all drugs, but addicted on Heroin and Methadone, and I was struggling for years, few months sober, few months addicted, etc… You know how it goes. Until I read your book I refused to go to rehab clinic. Now, I am sober, my healing has begun, I listen and follow doctor’s advice, but, your book is my Bible. I wish you all the best, and although I don’t know you, I love you with all my heart.
I used to smoke crystal meth and I read your book Higher and Higher from drugs and destruction to health and happiness and now I’m a yoga teacher. Just want you to know that you and yoga helped change my life.
For the last 20 years I thought I was an addict, and had to go to meetings everyday for the rest of my life. Thanks to you I realize I’m not an addict, that I have free choice. Your book expanded my mind. Male, age 42.
Higher and Higher is an amazing book. If you’ve smoked a lot of marijuana, done coke or even heroin and have ever stopped to question why, or even if you’ve never taken a drug in your entire life you still should read this book. There is no judgment, no losers trying to write a book on self-help or some nut trying to sell you a system. This is serious research, a story of amazing life experiences and a manual to repair the damage that life does on each and every one of us, drugs or no drugs. It beautifully weaves the intricacies of Chinese Medicine and philosophy with western thought and real-life events, in an entertaining and page-turning way. To my knowledge no other book or document has been able to truly describe what drugs actually do to us, why they are so popular, and most importantly how we can feel just as good without the drugs.
Hey Jost, I just read ur book higher & higher and loved it. I haven’t done drugs for 12 years and am on a similar path to yours back in the day, by the sound of it! I’ve made heaps of progress and done everything u can imagine. Can’t wait to read another of ur books, u make me feel like it’s all been worth it xx


Face Reading: How to Know Anyone at a Glance [Ebook] [FTU]
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By: Barbara Roberts (Author)
Paperback: 134 pages
Publisher: Healing + Insight Publishers (2009)
FACE READING WILL HELP YOU - Choose the Career you were born to do. Read your Boss's face. - Protect your children by knowing Dangerous features in strangers - Hire Smart! Know how to choose people of Destiny. - Date safely on the Internet. Avoid mistakes! - Gain insight about your Health or illness by using facial indicators. - Know the Secrets for effective managing and business strategy - Learn psychological meanings for over 100 Facial Features.
You’re going to LOVE using this book!
Face Reading, How to Know Anyone at a Glance, by Barbara Roberts
Nationally known face reader extraordinaire, Barbara Roberts, has published her newest book on Face Reading and you’re going to absolutely love it. The exciting piece of her newest book is that you can begin applying what you are learning immediately and feel confident while you’re doing it! It really delivers what the title promotes – How to Read Anyone at a Glance. Now Face Reading could be a dry intellectual subject, locked in history and with more details than you could ever keep track of, however this book is a striking exception to all the other ones out there.
The book begins with a series of fascinating situational stories of how the author has used her face reading in tricky situations with clients. From working with the producers of the Oprah show on staffing matters to literally taking her money and running, once she saw the eyes of the fellow in line in back of her at the bank. (Yes, he did rob the bank!) From then on you’re hooked and to learn more!
I had no idea that until Freud came along, Face Reading was the only universally recognized system to understand a person’s character. After 25 years in the Face Reading profession with over 6,000 clients, Ms. Roberts created this book to empower others to effortlessly use this ancient skill.
Formatted to use as a workbook, you can easily begin to put this information to use the minute you get it, to read the different features of your friends, family, and associates, Then it goes on to cover the topics that so many of us are interested in Love, Money, Employment, and Health. This is a wonderful resource for service providers, salespeople, law enforcement, employers and everyone who has to work with the general public. On a personal level, you can better appreciate your loved ones and it can even help you to form more satisfying relationships where you are better matched.
I love is that it’s filled with so many modern examples of all of the major facial features you’ll want to know. When Ms. Roberts does use historical examples, she clearly shows you how she (and how you can too!) reached her conclusions You can just learn one area of the face and go from there without being overwhelmed that you have to “know it all.” What’s so great about this book is that it is so easy to use and understand. It takes the topic of Face Reading off the dusty shelf and re-energies this study with modern-day practical application that’s fun and invaluably useful. Purchase this book today and begin your personal empowerment through Face Reading now!
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Enjoy 20 acres of paradise! This 5411 sq ft Yonkman home features an enormous master suite with double sided propane fireplace, private sitting room opening to deck, walk in double shower, jetted over-sized tub and dual vanities in master bath, plus walk in closet. Kitchen is perfect for entertaining and large gatherings. Get lost in your favorite book in the library or solarium, depending on your mood, or step into your home office and take care of business. Park an RV or boat in detached shop!


Click on the Sermon Title (“Philip Share the Day” in this example) to access available downloads for that sermon.
Rev. Bob considers the challenging words of Jesus on respecting tradition and openness to change.
Rev. Bob uplifts the challenging and inspiring Biblical story of “going the extra mile”! This “extra mile” thinking is constitutive of a flourishing society.
Rev. Bob goes back to the book of Exodus, and finds a continuing human response; Excuses! The excuse maker is none other than the great leader of the Hebrews: Moses!
Rev. Bob finds in the opening of the “Sermon on the Mount” narrative in Matthew’s Gospel, the way to finding happiness.
Rev. Bob considers the Genesis account of creation in its constructing a way to interpret life and a wonderful way to live our lives


On February 12, 2021, members of the Virginia Robinson Gardens participated on Zoom to hear a fabulous lecture by world-renowned fountain designer Jim Garland and a presentation by Alison Terry, liaison for the Southern California chapter of HALS (Historic American Landscape Survey). Alison explained that HALS is a federal program within the National Park Service whose primary goal is to provide a permanent, publicly accessible record of significant cultural landscapes. Alison said, “For the Virginia Robinson Gardens, it is significant because it represents a rare, intact example of an estate garden with classical Italianate elements.” As Beverly … Read More
How does a public garden make a "house call" in reverse? In these strange days, it seems appropriate that the Virginia Robinson Gardens, the LA County facility located behind the Beverly Hills Hotel, has put together a floral tribute to our medical heroes. It takes the form of a nurse, our front liners -- complete with stethoscope but made completely out of succulents -- whose work has been invaluable to our immediate community. Appropriately, it was installed on June 1,2020, at the Healing Garden of Cedars-Sinai, where staff, patients in both towers, and visitors can look out to the plaza, … Read More
On November 13, 2018, the Friends of Virginia Robinson Gardens hosted a year-end breakfast for the Rodeo Drive Committee Association. The President of the Rodeo Drive Committee Kathy Gohari and Beverly Hills Mayor Dr. Julian Gold attended the reception. Many of Rodeo Drive’s top stores were represented at the gathering, including: Dior Homme, St. John, Goyard, Valentino, Stefano Ricci, 208 Rodeo Restaurant and many more.
Store reps enthusiastically voted to create funds to support victims of the recent Woolsey Fire, which decimated many homes in Malibu Canyon and the adjacent West Valley neighborhoods of Los Angeles. And Susan Salgano, … Read More
The Friends of Robinson Gardens hosted three magnificent teas, chaired by Adrienne Horwitch on June 21, 23, and 26, 2018 at the Virginia Robinson Gardens. President Marian Power had long wanted to have an Afternoon Tea at the Gardens, and showcase Mrs. Robinson’s china. Because the Library in the house needed repainting, all the furniture had to be emptied from the room. It was therefore an ideal opportunity to take out Virginia’s collection of exquisite china, silver, and … Read More
What is the first ingredient for an entertaining and stimulating afternoon at the historic Virginia Robinson Gardens?
You guessed it — Sebastian Galvez, in a one-man theatrical performance about the life and loves of the legendary author and playwright, Tennessee Williams. The performance was directed by Paul Sand, an award-winning actor, and Founder of the Santa Monica Public Theatre.
Sebastian Galvez captivated the audience as he drew them into the turbulent life, loves and relationships of the author.
The Pool Pavilion’s intimate room was the perfect setting to tell the story of William’s roller coaster success, and finally his accidental … Read More
Suzanne Rheinstein, renowned interior designer, and former Grand Marshal welcomed the Patrons and Benefactors of Robinson Gardens to a personal tour of her Georgian style home and stunning garden in Hancock Park
It’s a perennial pleasure to come into her kingdom… it does, in fact, feel like its own beautifully harmonious and intricately integrated world…and it was looking particularly wonderful this morning as we got a chance to examine things close-up, and to have Suzanne’s explanation of their provenance, as well as her truly illuminating narrative thoughts and reasoning about their placement and combinations.
It’s remarkable how innovative and individual … Read More
“How fantastic!” “How fabulous!” were some of the comments heard at the 2nd annual Holiday Open House on December 1 and 2, 2017 at Virginia Robinson Gardens. Last year, the Friends’ wonderful president Marian Power came up with the idea to hold a festive holiday celebration in the style of the 50s, in the spirit of Virginia who threw legendary parties. It was so successful that the event was expanded to two days, and the Holiday Open House has now become an annual tradition. Helmed by the incredible co-chairs Kathy Choi and Patty Elias Rosenfeld, the event was even more … Read More


Prior to the mid 17th Century, the inhabitants of this village had all belonged to an agricultural community, seeking what meagre living they could, from the land. For whatever reason, in about 1650 various people with connections in London began to buy land and settle around Stoke Golding.
Of these, surely Sir Henry Firebrace must be Stoke Golding’s most illustrious resident and benefactor, and a white marble monument to him is on the wall of the Lady Chapel in the Parish Church.
The family of Firebrace are supposed to be originally Norman, deriving their name from Fier à brás or Brás de Fer, which translates as “Strong of arm,” but when the family first came to England cannot be determined. From records of 1682 it appears that Henry was the sixth and youngest son of Robert Firebrace of Derby.
It is said he was born in Derby in 1619 and at 20 he was an apprentice to a money broker in All Hallowes, Barking. In 1643, Basil, Earl of Denbigh, who had estates near Monks Kirby in Warwickshire was appointed Commander in Chief of the Midlands District and Firebrace was chosen as Secretary to the Court and Council of War. It is believed he acted between Denbigh and the King and he became a friend and confidant of the latter.
He married Elizabeth, daughter of Daniel Dowell of Stoke Golding, in 1645 and they lived in St Andrew-by-the-Wardrobe in London. In 1647 he was gazetted to serve in the King’s household, “at the Back Stairs”, and when Charles I was imprisoned by Cromwell in Carisbrooke Castle, on the Isle of Wight, he was “Page of the Bedchamber”.
He assisted in the King’s first attempt to escape imprisonment and he later took on the post of “Clerk of the Kitchen”. No doubt due to his allegiance to the King and the help he gave to his escape attempts, one of which ended with the King becoming stuck in a window, he was dismissed by the Sovereign’s gaolers. He returned to the mainland where he continued to write, offering help by providing a boat to carry the King from the island and horses along a proposed escape route, but these efforts were to no avail. Some of the letters between them are reproduced in “The History and Antiquities of Leicestershire” by J. Nichols, dated 1801.
When King Charles I was about to be executed and was on the scaffold, it is said that he gave Sir Henry Firebrace a ring which contained a portrait of His Majesty in diamonds.
Through marriage, the Firebrace family became related to the Earl of Denbigh and that ring was passed down from the Firebrace side of the family to the Denbighs, in whose possession it still remains.
On the restoration in 1660, Sir Henry was able to secure a position with the court of King Charles II as “Chief Clerk of the Kitchen”. He received further advancement and became a senior official in the King’s Household in 1680. He received his Knighthood in 1685, becoming Clerk Comptroller Supernumerary of the Royal Household and Assistant to His Majesty’s Officers of the Green Cloth.
His first wife had died and he married twice more. When his third spouse, Mary Dalton of Leatherhead, died in 1687 she was buried in Westminster Abbey.
His advancement continued and by 1685 he was Clerk Ordinary in the Court of King James II. However, long before then, he had made provision for his later life, for in 1678 he had bought a large country house in Stoke Golding. His connections had obviously begun long before, with his marriage to his first wife, a member of a Stoke Golding family. And so it was that, in 1689, upon the accession of William and Mary, he decided to retire to his country seat in this village.
His residence, which was called the Old Hall, was an imposing building standing opposite the church on what was, in those days, a bridle path to Dadlington. The house survived until 1850, when it was demolished by the Baxter family to make way for the Men’s Reading Room, which is now the school caretaker’s house. A wall bordering the Old Hall remained for even longer, known as Crinkle Crankle wall because of its shape; it was only demolished in living memory. A set of steps led from the house to the church.
No doubt the village people were pleased that such a wealthy and well connected member of the gentry had decided to live in their midst.
He settled well into his new life away from the Royal Court in London, buying property in Wykin and then a house and almost three hundred acres of land in Sutton Cheney, but he lived mainly in the Old Hall.
He spent the last two years of his life in these idyllic surroundings until his death, aged 72, on 27th January 1690/91. He was buried in the chancel of the Church and his offspring erected a white marble memorial, which is now in the lady chapel. The plaque, in Latin, recounts his life at court. His eldest son, Henry Firebrace D.D., who was a fellow of Trinity College, Cambridge, continued to live in the Old Hall until his death in 1708, for Henry senior’s will, made in 1680 bequeathed his house in Stoke and other property there and at Sutton Cheney to him, and thence to his second son, Basil, for Henry junior remained a bachelor.
That second son was Sir Basil Firebrace Bart., who was the father of the Right Honourable the Countess Dowager of Denbigh and Charles Firebrace who had King Charles II as his Godfather.
Other bequests in the will were, “To my daughter Susanna Hall, widow £100 together with £100 which I lately lent her: To my daughter Elizabeth £100: To my most worthy Aunt Mistress Hester Hodges, a spinster, of Somerset House, £20 to buy her a gold ring”. This grand lady, too, had Royal connections and founded Stoke Golding’s Grammar School.
Sir Henry must have loved the village he had come to live in, and the people and the church too, for he and his second son, Basil, gave to the church various items of communion plate which, although safely stored away are still in the possession of the church authorities.
These gifts are listed as follows:-
A silver cup and cover of twelve and a half ounces dated 1688. The Latin inscription shows the cup to have been gifted for the use of the church in 1689.
A seven ounce silver cover paten with a foot and a Latin inscription which translates as the Church of Stoke Golding HF A.D. 1689.
A forty three ounce silver flagon with a Latin inscription which states that the flagon and dish were given by Sir Basil Firebrace to the Church of Stoke Golding 1689.
A silver dish of 8.8ounces with a foot. It is inscribed in Latin which translated shows it was gifted to the Church of Stoke Golding B.F. A.D.1689.
Although Sir Henry and his family have long departed and his grand house, the Old Hall has been demolished, his life and achievements will be long remembered by reason of the marble memorial in the church and by his splendid and generous gifts of silver to the Church and the people of Stoke Golding.


HARRY POTTER - ENGLISH VERSION - (A cura di MARTA SBRANA, Canada)
Nome del personaggio:
HARRY POTTER - ENGLISH VERSION - (A cura di MARTA SBRANA, Canada)
Nome: Name: Harry
Cognome: Nickname: Potter
Data di nascita:
Date of Birth: July 31, 1980
Età: Age: He’ll be 27 years-old on his next birthday
Professione: Profession: From the latest updated news he was a student at Hogwarts School of Witchcraft and Wizardry
A scar on his forehead in the shape like a bolt of lightning. In the books is not specified the exact location, but in the movies it has been located a little bit on the right.
Note di look e di
Look and characteristics:
Straight from the author’s pen "… Harry had always been small and skinny for his age… Harry had a thin face, knobbly knees, black hair and bright-green eyes. He wore round glasses held together with a lot of Sellotape… Harry must have had more haircuts than the rest of the boys in his class put together, but it made no difference, his hair simply grew that way – all over the place". From one of his best friends’ mouth Hagrig comes the description that will follow Harry for the rest of his life: "…Yeh look a lot like yer dad, but yeh’ve got yer mum’s eyes".
Harry, even if he’s a wizard, has all the typical tantrums, uncertainties of every teenager. At the tender age of 15-months he was left without parents; he was raised by his uncle and aunt who never showed him tenderness, they never loved him and never understood. Always in the shadow of his bully and selfish cousin.
Note di gestazione:
Joanna Kathleen Rowling ( a.k.a. J.K. Bowling):
"…The basic idea was of a boy who didn't know he was a wizard, and then received this letter out of the blue. So that was the idea that came to me, Harry as a character was very real to me from the start. And as a character was entirely imaginary and he came first. Harry came first and then everything came out from Harry. So I thought: His parents are dead, how did they die? Who killed them? And that is how, and it spread out and from Harry… Harry just sort of strolled into my head, on a train journey. He arrived very fully formed. It was as though I was meeting him for the first time".
1997 - the first book of the saga Harry Potter and the Philosopher’s Stone was published on June 26th in England by Bloomsbury Press. The first print was of only 500 copies.
1998 - July 2nd - the second book is realised. This time of Harry Potter and the Chamber of Secrets has been printed 10,000 copies. In this same year, thanks to Scholastic the American version of the fist book as been published in the USA. Scholastic “translated” the title for the American readers into Harry Potter and the Sorcerer’s Stone. Thank to the local press agency the fist book has been realised into other country, among those the Italian Publishing company Salani realised the book in May with the title Harry Potter e la pietra filosofale.
1999 - June 2nd - Harry Potter and the Chamber of Secrets is published in the U.S.A. and in the other English countries.
- July 8th - the third book Harry Potter and the Prisoner of Azkaban is published in Great Britain.
- September 8th - the third book is published in the rest of the world.
In October Salani published the second book titled Harry Potter e la camera dei segreti.
2000 - In February the third book titled Harry Potter ed il prigioniero di Azkaban hit the Italian bookshops.
- July 8th - for the very first time the fourth book Harry Potter and the Goblet of Fire is published at the same time in all the English spoken countries.
2001 - In February - it’s time for the fourth book Harry Potter ed il calice di fuoco to flood the Italian bookshops.
- November 16th - finally Harry Potter has a face, that one of the British actor Daniel Radcliffe, who’s been chosen to bring Harry on the silver screen. The title of the movie is the same as the one of the first book Harry Potter and the Philosopher’s Stone. The movie is, at first, realised only in the movie theatres in Great Britain, Canada, United Stated and Australia. In the rest of the world it’ll be released in different times, due to the dubbing process. In Italy it will be at movie theatres on November 25th.
2002 - November 15th - the second movie based on the second book hit the movie theatres of United Kingdom, Canada and U.S.A. The title is Harry Potter and the Chamber of Secrets. In Italy it will be released on December 6th with the title Harry Potter e la camera dei segreti.
2003 - June 21st - is the day of the released of the fifth instalment of the Harry Potter saga Harry Potter and the Order of the Phoenix but only for the books in English. In Italy it will be published on October 31st with the title Harry Potter e l’ordine della Fenice.
2004 - May 31st - Harry Potter and the Prisoner of Azkaban has its premiere in the United Kingdom’s movie treatres. When this movie will be released in the American’s movie theatres on June 4th, it will be the first one of the series, to be filmed and released in “IMAX” as well. On the same day this movie will be screened in Italy also, obviously titled Harry Potter e il prigioniero di Azkaban.
2005 - July 16th - it’s time for the sixth book Harry Potter and the Half-Blood Prince to be published in English.
- November 6th - Harry Potter and the Goblet of Fire premiered in the United Kingdom.
In the U.S.A. this movie will be the first one of the Harry Potter ones to be rated PG13.
On November 25th - the movie Harry Potter ed il calice di fuoco is released in the Italian movie treatres.
2006 - January 6th - the book Harry Potter ed il Principe Mezzosangue is published in Italy.
2007 - July 13th - the fifth movie, based on the book of the same title, Harry Potter and the Order of the Phoenix. Will be screen, simultaneously in Great Britain, Canada, Italy, United States and other countries. In Italy the movie will be titled Harry Potter e l’ordine della Fenice.
- July 21st - the seventh and final chapter of the Harry Potter saga will be published. The book is titled Harry Potter and the Deathly Hallows.
As the tradition, the final book about the most loved wizard in the whole wide world will be first published in English. At the moment is still unknown both the title [in my opinion the best translation could be Harry Potter consacrazioni mortali] and the date of the publishing in Italy.
Interviste e commenti
La parola all'interprete:
La parola al regista:
Altri commenti dal set:
Joanna Kathleen Rowling ( a.k.a. J.K. Bowling): "… I see Harry as someone who is struggling to do the right thing, who is not without faults, who acts impetuously as you would expect someone of his age to act, but who is ultimately a very loyal person, and a very very courageous person. So, in as much as he has qualities that I admire most I would say he is a good role model…".
The Sorting Hat (according to J.K. Rowling words): "Difficult. Very difficult. Plenty of courage, I see. Not a bad mind, either. There’s talent, oh my goodness, yes – and a nice thirst to prove yourself, now that’s interesting… (In Slytherin) you could be great, you know, it’s all here in your head, and Slytherin will help you on the way to greatness, no doubt about that…".
Critica di diamante:
Perle di sceneggiatura:
<- torna all'elenco


Although the sub-title of Walter Benjamin's storytelling essay, from Illuminations, ed. by Hannah Arendt, 1968, suggests that its focus is on the fiction of the Russian writer Nikolai Leskov, what Benjamin actually develops in the essay is a definition of the nature of storytelling--an art which he laments is coming to an end for various sociological reasons. The essay lists what Benjamin considers to be the primary characteristics of the storyteller and examines each one in turn, both in theoretical and historical terms and as evidenced by the fiction of Leskov. Benjamin examines the sources of storytelling, analyzes its basic characteristics, points out its differences from other similar narrative forms, suggests what in human experience gives it its most basic authority, and laments nostalgically its inevitable passing away in the modern world.
The first criteria of storytelling Benjamin describes is its oral nature; moreover, he says, of those who write down stories the best ones are those who most closely stick to a simulation of this oral source. Benjamin says there are two basic types of oral storytellers--those who come from afar and tell of their adventures (embodied in the figure of the travelling seaman) and those who stay at home and tell of events there (as represented by the stationary farmer). The second characteristic of the storyteller is an orientation toward practical interests; all stories contain something useful, Benjamin argues, whether that useful information is obvious and on the surface or whether it is embedded within the narrative in some way. Thus, stories do not derive from idle gossip or even from the need to recount interesting experiences, but rather they spring from a basic human need to recount real-life examples of trying to cope with the mystery of human reality.
However, storytelling is dying out, says Benjamin; we no longer seem to have the ability to exchange experiences. He offers several historical and sociological reasons for storytelling's demise. The most basic reason for the death of storytelling is the fact that the communicability of experience itself is dying out; thus storytelling, which always offers counsel, has no more place in the modern world. Indeed, wisdom itself, which Benjamin defines as counsel woven into the fabric of life and thus which has its origins in storytelling, is dying out. This process, which Benjamin links to the increasingly secular forces of history, have gradually removed narrative from the realm of living speech.
The rise of the novel is one of the primary symptoms of the decline of storytelling, Benjamin suggests. For the novel is quite different from the story in that it neither comes from the oral tradition, nor does it go into it. Whereas the birthplace of the story is the teller's experience, the novel begins with the solitary self. Whereas the story springs from orality, the novel is bound to the form of a book. Whereas the storyteller takes his story from experience, either his own or what he has heard from others, the novelist is no longer able to express himself by giving examples of his most important concern.
Furthermore, Benjamin says, another form of communication has come to predominate in the modern world which threatens storytelling even more seriously than the novel; that is, "information," by which Benjamin means primarily the information of the news media. The difference between the forms of storytelling and forms of news information, argues Benjamin, is that whereas storytelling always had a validity that required no external verification, information must be accessible to immediate verification. Storytelling differs from information in that storytelling does not aim to convey the pure essence of the experience in some distilled way, but rather imbues the story with the life of the storyteller. Aspects of the storyteller cling to the story; this is the reason why many storytellers begin with the circumstances by which they have gained access to the story they are about to tell.
This distinction between storytelling and information points to one of the primary differences between the "truth" of story and the truth of other forms of explanation characteristic of discursive writing. Whereas, in such forms of discourse as history, sociology, psychology, etc, the aim of the work is to abstract from concrete experience so that a distilled discursive meaning remains, in story, the truth is somehow communicated by a recounting of the concrete experience itself in such a way that the truth is revealed by the details of the story, not by abstract explanation. The story has a compactness that defies psychological analysis; in fact the less psychological shading the story has the more the listener will remember it and tell it to someone else later on, says Benjamin.
Whereas story is borrowed from the miraculous and does not demand plausibility or conformity to the laws of external reality, information must be plausible and conform to such laws. When stories come to us through information, they are already loaded down with explanation, says Benjamin; it is half the art of storytelling to be free from information. Because the reader of story is free to interpret things the way he understands them, story has an amplitude lacking in information.
Another basic difference between story and information is that whereas the value of information does not survive the moment of its newness, a story is so concentrated that it retains its truth power for a long time. Moreover, story stays in the memory and compels the listener to tell it to someone. In fact, insists Benjamin, it might be said that storytelling is the art of repeating stories, for when the rhythm of the story seizes the reader he listens in such a way that the ability to retell it comes by itself.
In describing the craftsmanship required of story, Benjamin cites Paul Valery, who notes that nature creates perfection through a long chain of causes; man once imitated nature, says Valery, by elaborating things to perfection, but he does so no longer. Modern man is only concerned with dealing with what can be abbreviated and abstracted; he is no longer concerned with telling stories by the layering of various retellings so that multiple experiences of storytellers can imbue the story with concrete human meaning.
Benjamin also sets up a distinction between the chronicler and the historian to clarify his definition of storytelling. Whereas the historian must explain the happenings he describes, the chronicler is content with displaying the events as models of the course of the world. Whereas the chronicler bases his tales on a divine plan of salvation and thus is relieved of the burden of explanation, the historian is bound to the abstraction process that explanation demands. The storyteller preserves the nature of the chronicle, Benjamin says, albeit, in a secularized form.
The most basic relationship between the storyteller and the listener, Benjamin argues, is the listener's need to retain the story so that he can reproduce it. There is a crucial difference between the way memory is manifested in the novel and the way it is manifested in the story, Benjamin says. Memory is that which creates the chain that passes story from one generation to the next, much as a web is created in which one story ties on to the next. What distinguishes memory in story from memory in the novel is the perpetuating "remembrance" of the novelist as contrasted with the short-lived "reminiscences" of the storyteller. Whereas the remembrance of the novel is bound to one hero and one journey, the reminiscences of the storyteller encompass many diffuse occurrences.
The storyteller is of the same company as that of teachers and sages, says Benjamin, for the storyteller has counsel for many based on a lifetime of experience. The gift of the storyteller is the gift of relating his life, for he is able to fashion the raw material of experience, both his own and the experience of others, in a solid and useful way. It is therefore unfortunate, says Benjamin, that storytelling, that is, the ability to exchange experiences is being slowly taken from us.
Because Benjamin has so often been identified with Marxist criticism, many critics and readers who are either hostile or indifferent to Marxism have not studied this essay very carefully. Its real value lies not in its assertion of Marxist values, either socially or aesthetically, nor does it lie in its analysis of Leskov, for that is but a minor part of the piece, but rather in the suggestions it offers about the basic nature of narrative, particularly the primal nature of story as opposed to the more recent realistic narrative characteristic of the novel form. No one who wishes to understand the basic nature of story can really afford to ignore Walter Benjamin's profound study of the storyteller.
Tales out of Loneliness
by Walter BenjaminEdited by Sam Dolbear, Esther Leslie, and Sebastian TruskolaskiIllustrated by Paul Klee
A beautiful collection of the legendary thinker’s short stories
The Storyteller gathers for the first time the fiction of the legendary critic and philosopher Walter Benjamin, best known for his groundbreaking studies of culture and literature, including Illuminations, One-Way Street and The Arcades Project. His stories revel in the erotic tensions of city life, cross the threshold between rational and hallucinatory realms, celebrate the importance of games, and delve into the peculiar relationship between gambling and fortune-telling, and explore the themes that defined Benjamin. The novellas, fables, histories, aphorisms, parables and riddles in this collection are brought to life by the playful imagery of the modernist artist and Bauhaus figure Paul Klee.
“Benjamin was the interlocutor of all the demons and angels of storytelling. And this is why he knew its endless secrets. Listen to him.”
– John Berger
“This volume collects an extraordinary array of short pieces by Walter Benjamin that lets us see the centrality of stories, dreams, and tales to his own experimental writings. During the time in which Benjamin sought to understand the conditions of communicability between languages, he was also testing the thesis in the stories he told. Telling the tale and reflecting on its very possibility, under conditions such as war and poverty, Benjamin gives us short forms that are broken up by interruptions and sudden closure. This elegant and moving volume is beautifully edited, including an introduction that shows how these collections of short tales and dream sequences are already doing the critical work of the essay form. This volume is a marvelous gift that will reorient our reading of Benjamin in startling ways”
– Judith Butler
“Much praise is due to the editors for bringing together a newly translated collection of his short fictions, The Storyteller, in which he shows our iniquitous material world suffused and sabotaged by the uncanny like no one else.”
– Jacqueline Rose
PaperbackPaperback with free ebook
240 pages / May 2016 / 9781784783044
Detective Novels, On Tour
Below is a short essay on train station novels written by Walter Benjamin for Frankfurter Zeitung in 1930, collected in The Storyteller, and translated by Sam Dolbear, Esther Leslie and Sebastian Truskolaski.
29 September 2017
For a Marxist Poetics of Science: An Interview with Esther Leslie
In this career-spanning interview with George Souvlis, Esther Leslie discusses Walter Benjamin, animated film, the history of color, the Historical Materialism project, and the commemoration of the revolutionary past.


Date: December 5, 2017
After watching the premiere of In a Rhythm on Thursday night, I went home eager to read Miller’s program suggestion here. The link takes you to David Foster Wallace’s “Incarnations of Burned Children” please do take a moment to read it….. I will wait. Miller’s program says this about Wallace, “He moves you through a devastating experience moment by moment, in time parallel to the most mundane” (Miller 2017). I realized as the piece started to unfold I was witnessing a consciously aware choreographic work. The mundane is interjected with the experience, while the syntax demonstrates seamless transmission to the reader, the clear distillation of the syntax is what makes the work. In a Rhythm was one of the best works I had seen in a long time because of this clarity in content that was supported strongly by the movement structuring.
Miller also uses the interview excerpt of Toni Morrison and Charlie Rose in the work, and you can watch the full interview here. The interview digs into writing about race, dismantling white gaze, and discovering the stakes in her book Paradise (Morrison 1998). A book I will add to my list and I am looking forward to reading during my winter break.
In a Rhythm deep dives into the syntax of movement, and looks at language as choreography in space and time. The choreography not only drew me in but kept me active within the work. The layers of the sections are seamless in their delivery unpacking nightmares of racism subtly sinking below the surface. I did question, if I was cross-viewing the work since I was picking up on subtle movements that depict the narratives of racism, the content of the text, and I shifted many times emotionally in this work. It wasn’t until Miller connects her personal story of seeing Emmett Till’s body on the cover of a magazine that I realized the state of deep sadness in my body, I was curious how long these feelings had been and was left in a profound state after the show ended. This state will take me a moment longer to process. Being in this moment allows me to travel down to the foundation of what I with art as an artist. Overall In a Rhythm seamlessly incorporates a movement language that’s syntax was produced with the care of its own writer – Bebe Miller.
I also recommend you read through Bebe Miller’s Ebook How Dancing is Built: The Making of In A Rhythm here. Bebe Miller has collected and described much of how the making of In a Rhythm came to be. This is a fascinating archive which appears to be written for the audience. On the larger scale, artists documenting and archiving their process is a strategy one can use to preserve the work. With the use of media, video, and blogging an artist can be in conversation with all parties that want to be involved in the work.
Miller, Bebe. 2017. In a Rythm. Wexner Center for the Arts. (Program). Columbus OH.
Morrison, Toni. 1998. Paradise . New York: Alfred A. Knopf.


Kings & Queens
House of Windsor
Line of Succession
Frequently asked Questions
Coat of Arms
King Edmund (940 - 946)
Family tree poster & books House of Wessex Family Tree Detailed Tree Scottish King or Queen at the Time FAQs|
Name: King Edmund
Parents: Edward the Elder and Edgiva
Relation to Elizabeth II: 30th great-grandfather
House of: Wessex
Ascended to the throne: October 27, 940
Crowned: November 29, 940 at Kingston-upon-Thames, aged c.18
Married: 1) Elgiva (2) Ethelfleda
Children: 2 sons Edwy and Edgar
Died: May 26, 946 at Pucklechurch near Bath (murdered)
Buried at: Glastonbury
Reigned for: 5 years, 6 months, and 28 days
Succeeded by: his brother Edred
King of England 939–46. The son of Edward the Elder, he succeeded his half-brother, Athelstan, as king in 939. He succeeded in regaining control of Mercia, which on his accession had fallen to the Norse inhabitants of Northumbria, and of the Five Boroughs, an independent confederation within the Danelaw. He then moved on to subdue the Norsemen in Cumbria and finally extended his rule as far as southern Scotland. As well as uniting England, he bolstered his authority by allowing St Dunstan to reform the Benedictine order. He was killed in 946 at Pucklechurch, Gloucestershire, by an outlawed robber.
Edmund becomes King. Scandinavian forces from Northumbria overrun the East Midlands.
Edmund re-establishes control over Northumbria and rules a united England.
Edmund extends his rule into southern Scotland,
Dunstan becomes abbot of Glastonbury Abbey
Edmund conquers Strathclyde, but Cumbria is annexed by the Scots.
Edmund murdered at a party in Pucklechurch
Britroyals Books and Kings & Queens Family Tree Poster


Quality topic suggestions for management assignment
Topics ideas to write management dissertation paper on
- How information technology has helped in designing business strategies and building a brighter future
- Discuss how entrepreneurial and managerial skills influence the growth of a startup company
- The initial human and managerial capital is a huge determinant of a startup company’s performance. Discuss.
- What are the effects of gender bias on SMEs? Give real facts from research studies.
- Explain the meaning of sustainabledevelopment in the 21st
- Why information management will be dominated by software developments in the coming years
- Explain how a product lifecycle can affect cost recovery performance of a business. Illustrate your answer with examples from businesses of your choosing.
- What are some of the important factors to consider when selecting packaged software products?
- Critically evaluate a well-known organization and give reasons why partnering with it can bring value to an organization.
- Explain all the stages of a product lifecycle. What implications could it have on an organization if it were to be shortened?
How to write a management dissertation paper
- What referencing style is required?
- How many words are you supposed to write?
- When is the deadline of your assignment and how should you submit it? Is it is softcopy or hardcopy?
- How should you structure your paper?
- Make a timeline in order to stay committed. If you are planning to spend 2 hours, 3 days, or even a week doing your research, write this somewhere and stick to it.
- Look for information at the right places. The internet could be a good place to get started but nowadays, some of the information you find here is not true. It would be wise to double-check information before using it on your paper. You can use Google Scholar to find trustworthy academic sources. Make good use of your library too. Some publications you find with the librarians could be just what you need to draft an award winning management dissertation.
- Draft your paper: You know whatis required of you, done your research, and now you have just reached the most important stages of all – composing your paper. Many students seem confident when researching their paper but when it comes to the actual dissertation writing, things starts to feel a little complicated. However,with a good outline one can be able to proceed without assistance. A basic outline should include the following:
- Introduction: This includes the background of the issue being discussed. Mention the purpose of your research and define the terms used in your study. Give your expectations and assumptions of the research.
- Literature review: Give a review of the research process and your acknowledgements.
- Methodology: Mention how you conducted your research. Did you use any equipment, materials, or processes? Be precise and straightforward in your description.
- Results/ findings: This will showcase your intellectual capacity hence it is considered a very important stage of management dissertation writing. Restate the research questions and discuss the results of your research. In simpler terms, you will be answering the questions you posed earlier in your introduction.
- Conclusions: This is the final stage of any dissertation writing process. Here, you summarize your research and give a brief report on the results.
- References:Include all your information sources in the specified style. As you edit your paper afterward, you may lose some of in text referencing so before you submit your paper, make sure that your list of references reflects what is actually referenced within the text.
- Editing and proofreading: Another important yet most ignored stage of management dissertation writing. Many students write their paper to the end but forget to edit and proofread the content before submission. Onceyou have finished composing your paper, don’t jump into editing it right away. Take some time to relax your mind so that it can be fresh to notice most of the flaws in your dissertation. Check to see whether you have answered all the questions stated earlier. If you find any gaps in the information you have provided, fill them in. Look tosee whether you have followed the right structure and format. Catch all style, grammar, punctuation, and spelling errors. Read your paper aloud to see if it makes sense.
- Get feedback: Get a friend who is an expert in the discipline to read the document for you before submitting it. Ask for their opinions and use any suggestions given by them to make improvements.
- Give it away: Once you have done polishing the document and are confident that everything is okay, you can then submit it to your professor for marking.
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Dissertation writing can be a challenging process. However, with the right topic and research materials, things can be easier. If you are stuck with your paper and need management homework help, do not think twice about using our services. Let us know how we can help you and we willbring assistance right at your door.


The project "SQUAD" was created by Teppei Kishida and Takayuki Mishima, two photographers, and TSUZIE JACKY (thunder creator) and Takuma Yamamoto (editor). ".
"SQUAD" transcends barriers centered on photography, creating a place that cannot be felt by digital alone, centered on ZINE publications, exhibitions, and events. A project that creates a platform that connects to a new community, a new expression, a new world, and the next generation, with the concept of communicating expression.
"SQUAD Vol.1" will be the first ZINE as part of that activity.
In the first issue, photographers Teppei Kishida, Takayuki Mishima, Uchutaisi Star, Kazumichi Kokei, Masanori Naruse and Kenji Kubo will feature a column on the theme of the sacred place of rock is joinning.
・ Uchutaisi Star
・ Teppei Kishida
・ Kenji Kubo
・ Kazumichi Kouki
・ Masanori Naruse
・ Takayuki Mishima
Format: W210 x H250 mm
Number of pages: 154P / 4C


Saskatoon, Regina and Winnipeg, Canada
To commemorate the 60th anniversary of the end of World War II, the Saskatoon Children’s Choir presented a poignant production of the children’s opera Brundibár, ﬁrst performed by the children internees of the Nazi concentration camp of Terezín. The choir performed Brundibár to eleven sold-out audiences in Saskatoon, Regina, and Winnipeg. This project connected choristers to history and to a world beyond their borders, as they met with two Holocaust survivors who performed in the original productions.
The resulting CBC Radio recording (Shauna Powers, producer and Chris Haynes, sound engineer) received the national CBC award for best documentary in 2005.
The opera Brundibár was written by a Jewish Czech composer Hans Krása in 1938. In 1942, he was deported to Terezín (or Theresienstadt), a ghetto created by the Nazis to amass European Jews in one location prior to transportation to the East for the “ﬁnal solution”. In Terezín, Krása’s opera Brundibár was performed more than ﬁfty times by children and musicians from the ghetto. During the rehearsals and performances, as the transports to the East were in progress, there was a constant stream of new performers, replacing the previous performers who were being shipped to Auschwitz for extermination.
The opera itself is a simple story about friendship, good winning over evil and overcoming bullies. The ﬁnal chorus of the opera goes like this: “Victory spectacular, goodbye to Brundibár, never afraid of him, battle won, war is done, now we are number one. Our song is strong and clear, our voices without fear, what a phenomenon. Whoever loves justice and will defend it and is not afraid is our friend and may play with us”.
What is particularly signiﬁcant and moving is the historical context in which it was originally performed – in a concentration camp, under the noses of the Nazis, who either were not listening or did not see the signiﬁcance of the opera’s lyrics. The opera speaks to today’s children as well. It shows that if we pull together, we can overcome even the meanest bully.


A LEGACY OF RESOURCES
From the Life of Dr. Ronald E. Cottle
A PERSONAL GROWTH RESOURCE
And the things you have heard me say in the presence of many witnesses entrust to reliable people who will also be qualified to teach others. (2 Timothy 2:2) (NIV)
In 2006, following nearly sixty years of apostolic teaching ministry to the body of Christ, Dr. Ron Cottle focused on building his legacy for the following generations. His dream was to bring the whole of his life curriculum together with "handles" for others, especially emerging Christian leaders to access. Follow this link for Dr. Cottle's article, "LEGACY MATTERS."
A LIFE-TIME OF STUDY IN FOUR STREAMS
Dr. Cottle has worked tirelessly in his home office for the past two decades cataloging over five hundred three-ring notebooks into four sections containing his personal study notes, fifty plus college courses, fifty plus books, hundreds of sermon outlines, publications, articles and newsletters.
ONE WEBSITE WITH FOUR STREAMS
In the summer of 2017, Dr. Cottle reunited with his spiritual son, Thomas Hale, of Russellville, Arkansas. Working intensely, they are transforming the notebooks, the books, the boxes, the filing cabinets, the video recordings, the CD's and the cassette tapes into four online streams available as a Master Key subscription.
Their purpose is to convey to the Church of the 21st century the legacy of Dr. Cottle’s calling and lifework as a teaching apostle of the Word of God. The Embassy School of Leadership seeks to enrich and equip Christian leaders and workers to fulfill the Great Commission of the Church.
TWO RESOURCES IN EACH STREAM
1. THE CLASSROOM: Each stream includes Bible courses taught by Dr. Cottle and members of his all-star faculty at
2. THE LIBRARY: A collection of revolving teaching notes available for download and a revolving digital storeroom of streaming audio files and video files. See the four streams for more detail on the libraries.
○ CLICK ICONS BELOW TO EXPLORE THE STREAMS
○ CLICK THE MASTER KEY ICON TO SUBSCRIBE
DR. COTTLE'S LIFE STREAMS
We are so certain that you will agree with us when we say that Dr. Ron Cottle is among the finest teachers that you have ever heard
*The current resources in the four steams represent a small portion of Dr. Cottle’s life curriculum! Dr. Cottle continues to study and produce more notebooks, videos, college courses, books and preaching materials on a daily basis. ESOL rotates and adds additional resources to the four streams on a regular basis. It is an unending storehouse of new and old treasures! (Matthew 13:52)


What is a Book? Who gets to say, and why?
We found a great number of books in these letters, and since they contained nothing but superstitions and falsehoods of the devil we burned them all, which they took most grievously, and which gave them great pain.
Fray Diego de Landa
Diego de Landa wrote about the Spanish treatment of Maya vuh, sign carriers in the format of a paper screenfold primed with white finish, during the Conquest of the Yucatan Peninsula (Mignolo 223). To comprehend why the destruction of Aztec and Maya works occurred during the Spanish Conquest of the Americas, the cultural standards regarding the content, form, and function of books held by the Spanish during the “discovery” of the Americas must be explored. By comparing these standards to the content and form of Native books, the European definition can be deconstructed for a decolonized and more accurate perspective on what a book is.
In “Signs and Their Transmission: The Question of the Book in the New World,” Walter Mignolo explains that in terms of content, form, and function, the 16th century European standard for a book was the Bible. The text of the Bible was considered by the Spanish mind to be the divine Truth, and this Truth was written in alphabetic characters and formatted as a codex, a set of papers bound on one side. The written word was Christianity’s chosen method of proselytizing. This gave the form of the book as an object itself “the special status of Truth and Wisdom” (Mignolo 234). Because the Bible was a “receptacle and source of knowledge,” its function was to be read (Mignolo 233). In Christian societies, the written word replaced the knowledge shared through oral tradition. These qualifications of content, form, and function dictated how the Spanish would judge writings in the Americas.
The content of Native American amoxtli and vuh, which the Spanish labeled as books, were considered by the Spanish to be antithetical to the Truth contained within the Bible. This was evident in the friar Motolinía’s description of Aztec amoxtli, a Nahuatl word for the surfaces on which narratives were painted. In his report Motolinía described five “books” written in symbols. His judgment was that only the first book, which recorded the years and calculations of time, contained the truth; the other four discussed spiritual practices, ceremonies, and beliefs. Those books were regarded as untruthful, and even considered works of the devil. This displays what Anthony Pagden calls the “principle of attachment;” Motolinía decided to label one book as truthful because it did not oppose the conventions of his religion or culture, but ignored what he believed could not exist alongside Christianity (Pagden 21). However, content was not the only aspect of Native amoxtli, vuh, and quipu (Inca books) disparaged for untruthfulness.
The format of a book established by the Bible, of alphabetic writing bound in a codex, could not be found in the Americas. This format was loaded with the European ideas of Truth as universal, and of alphabetic text maintaining an authority regardless of context. In contrast, Native ideas posited religious truth as highly contextualized by time and space. Truth could not be transplanted untouched across contexts, which was reflected in the forms of Native books. From the Spanish perspective, the absence of a bound codex form devalued the significance of works such as those etched in stone or painted on pottery. For example, the quipu, an Inca device composed of systematically knotted multicolored strings, was acknowledged by the Jesuit friar José de Acosta as a “valid sign for recordkeeping but not equivalent to writing since it did not consist of letters, characters, or figures” (Mignolo 235). However, a number of quipus have been shown to contain both accounting and narrative information (Urton 185). Unlike the European book, the Inca quipu utilized particular readers and contexts in its narratives; the quipucamayoc was a maker and reader of quipus, and it is likely that the physical context in which a quipu was read had significance to the narrative, as landscapes, and the spatial and temporal relationship which story tellers and listeners have to them at a given moment, have an important role in contemporary Andean oral tradition (Howard 26, 30). Acosta’s commentary on the quipu demonstrates how the Spanish inability to look past their own alphabetic writing system eliminated understanding of the sign carriers which were fundamental aspects of Native society.
Another distinction between European and Native conceptualization of books was in the different interpretations of how texts should function. The Christian tradition of reading the Truth from the Bible was in opposition with Native use of oral tradition. Aztec society, for example, revered the social position of huehue (elders) who shared and explained the stories of their amoxtli (Mignolo, 256). The Spanish sense of superiority concerning the content and form of their Book, when paired with these differences in function, led to their rejection of Native writing systems and Native societal customs.
The view that amoxtli, vuh, and quipu are the same thing as the European book ignores the historical reality of the Spanish Conquest, and the differences in content, form, and function between these objects from different cultures. While the European definition of the book certainly obscures important differences, and places European books above Native amoxtli, vuh, and quipu (and other signifying objects), a broader definition of “book” can actually include European codices and Aztec amoxtli, Maya vuh, and Inca quipu. Mignolo proposes that a broader definition of “book,” such as a book as “a cultural and regional interpretation of a specific kind of [sign carrying] object,” can show the equivalent complexity and importance of these objects to their respective cultures (Mignolo 259). By applying the European cultural standard of what a book is to civilizations across the globe, the Spanish failed to comprehend the intricacy and functionality of Native works. Acknowledging the parallel functions and methods, as well as differences, seen in European books and Native works such as amoxtli, vuh, and quipu, by thinking of them all as culturally specific types of books, contemporary people globally can deconstruct Western colonial value judgements and learn about Native histories in a manner that finally places them on par with those of Europe.
Howard, Rosaleen. “Spinning a Yarn: Landscape, Memory, and Discourse Structure in Quechua Narratives.” Narrative Threads: Accounting and Recounting in Andean Khipu. Eds. Jeffrey Quilter and Gary Urton. Austin: University of Texas Press: 2002. 26-49. Print.
Mignolo, Walter D. “Signs and Their Transmission: The Question of the Book in the New World.” Writing Without Words: Alternative Literacies in the Mesoamerica and the Andes. Eds. Elizabeth Hill Boone and Walter Mignolo. Duke UP, 1994. Print.
Pagden, Anthony. European Encounters with the New World: From Renaissance to Romanticism. New Haven: Yale UP, 1993. Print.
Urton, Gary. “Recording Signs in Narrative-Accounting Khipu.” Narrative Threads: Accounting and Recounting in Andean Khipu. Eds. Jeffrey Quilter and Gary Urton. Austin: University of Texas Press: 2002. 171-196. Print.


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It Was the Night Before Christ's Birth reading francais english torrent online
While is quite true that we do not know the exact day of Christ's birth (see When ... 23 Dec 2001 ..By the white color, we are reminded of Your sinless nature and of Your birth to a young virgin; Children will enjoy the life of Jesus from birth and all the miracles he has done and is still doing. 8 Dec 2009 ..Lisa Worthey Smith is a long-time Bible student with the passion to point all to the hand of God at workTheir Bibles were lain on the shelf without care The story gives a fictional, though historical, account of the birth of Christ, and depicts what ..It was entitled, "Twas the Night before Christmas. 23 Dec 2015 ..John Barnett - Read more about spiritual life growth, .."'Twas the night before Christ's birth and far above earth/The angels prepared to announce Jesus' birth." Two readers hold an ... 28 Mar 2009 - 3 min - Uploaded by wgwcsueTwas the night before Jesus was born ...For Christians, light and sun were natural symbols for Christ – indeed, they ...I actually rewrote the story Twas the Night Before Christmas to ...
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How can we keep the Spirit of Christmas alive ... TWAS THE NIGHT BEFORE CHRISTMAS T'was the night before ..'Twas the night before ChristmasThey searched for a room, but none could be found; Joseph and Mary were ... (Reader #1 gets the second big book, Twas the Night Before Christ's Birth and sits down again, sharing the book with Reader #2.) Now settle down and listen. 24 Dec 2010 ..'Twas the night before Christmas, the eve of Christ's birth;..
All prepared to make Christ's birth well announced, With angels ... 25 Dec 2011 ..in Bethlehem through Christ's birth, the angels' appearance to the shepherds, and ... 27 Nov 2001 ..Here is a booklet you can print off and share with your children this Christmasthe illustrations from 'Twas the Night Before Christmas, A Christmas Carol, ..It is simply Bob Dylan reciting 'Twas the Night Before Christmas on his XM ..died, and returned to GalileeNo thoughts of Christ's birth ever entered their heads. 21 Dec 2016 ..Many years before Christ's birth another prophet was told. 10 Dec 2001 ..The family ..
Not a creature was praying, not one in the house..Christmas, and all through the earth, not a creature was stirring, as they awaited Christ's birth. It also helps us adults remember that Christ's birth teaches us that “to give of one's self is more pre- ..Christmas is the celebration of the birth of Jesus ChristWhat an incredibly risky eventIn the city of ... T'was the night before Christmas, when all through the earthTwas the night before Christmas and all through the house "Twas the Night Before Christmas" by Clement Moore inpired a multitude of variations and spin-offs. We are Christians, and Christ's birth is a big celebration in our faithThe night that Christ was born [repeat] [Chorus II] Can't you see the people The night before Christ to earth was to goThe birth of Jesus Christ, no Christmas before 1 Dec 2010 .. 5d8a9798ff


Partnerships at the Leading Edge: A Danish Vision for Knowledge, Research and Development
Partnerships at the Leading Edge: A Danish Vision for Knowledge, Research and Development. Report of the Commission on Development-Related Research, Ministry of Foreign Affairs, Danida, Copenhagen, April 2001
This authoritative report — prepared for the Commission on Development Related Research of the Danish Ministry of Foreign Affairs — discusses the implications of recent changes in ways of thinking about research, innovation and development for both international donors and the funding of research for development The report analyses new views on research and models of innovation, particularly, the emergence of the systems of innovation approach and how these changes present new requirements for donor policies on research for development. It also discusses policy changes and trends at the Organization for Economic Cooperation and Development (OECD) countries.
The report concludes that the current understanding of how the innovation process occurs demands a radical rethinking of the ways in which research for development is funded and in the strategies of international donors. Based on the understanding that the reworking of existing stocks of knowledge and creative imitation — rather than the creation of new knowledge through research — are the most important contributions of knowledge for development, new strategies should, the paper suggests, be put in place by donors to support these processes in developing countries. These new strategies should see an end of donors' hands-off project-based funding policies and a close engagement of donors with the innovation systems of recipient countries as whole. The authors stress the importance of investments in the business system and not only in public institutes and bodies.


(This is the third installment in a series of comments about Michael Saylor's book, The Mobile Wave: How Mobile Intelligence Will Change Everything published in 2012. Part 1 was published on March 6; Part 2 was published March 20.)
Chapter 3 in The Mobile Wave is entitled "The Demise of Paper." In this chapter Michael Saylor traces the history of print media from clay to paper and the disruptive changes along the way that have accelerated the process of making information increasingly accessible to us (such as the printing press, desktop publishing and personal printers). Then he focuses in on the trend toward the use of smartphones and tablets for consuming information, the positive advantages of doing so, and the forces shaping a future that will involve fewer and fewer hardbound books and printed magazines, newspapers and business documents.
The Downside of Producing the Paper We Use
Even though paper is a convenient medium, it nevertheless is inefficient, labor-intensive, and subject to being misplaced. Assembling a view of all the paper documents that pertain to particular transaction or case is time-consuming and not very portable.
The pulp and paper manufacturing industry is the fourth largest emitter of greenhouses gases in the United States. In addition to carbon dioxide there are also highly toxic emissions. Each year, paper mills release millions of pounds of chlorine dioxide, methanol, formaldehyde, and hydrochloric acid into the atmosphere. Pulp and paper mills are among the worst polluters of any industry in the nation.
Consider the Many Advantage of the Mobile Screen in Book Publishing Alone:
- Content can be organized and presented in any way the author wants, with a linear path or hyper-texting allowing multiple paths through the content.
- The reader can create electronic, searchable highlights and annotations and look up definitions and dig deeper into the material in an instant.
- The costs of a printing press, paper, ink, electricity, lubricants, cleaners, and labor to produce the books are eliminated.
- The costs of warehousing, distribution, and retailing vanish.
- The consumer costs of driving to a bookstore and waiting in line disappear. A book can be purchased anywhere, anytime, in an instant.
Many of our customers, when asked about the motivations behind their initiative to implement touch-less document processing systems, answered, "to save paper, to go green." And indeed, their management has issued a mandate to reduce paper to the greatest degree possible in order to reduce its environmental impact. But at the same time, they recognize the dramatic positive economic on their business by doing so. This led us to create our "G2" micro-site to help inform decision-makers about the compound value to society and business of streamlining paper-driven processes. Saylor makes me realize, more than ever, that when we consider a future of increasing population with its proportional demand on natural resources along with leapfrog advances in technology and an explosion in global connectivity, that future is likely to arrive before we expect it.
Stay tuned for more from Michael Saylor's book, The Mobile Wave.
Until next time,
Digital Designs, Inc.
Moving Business Beyond Paper