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1. The opening of Badiou's perfunctory remarks on Meillassoux's After Finitude cites Bergson's often-abused remark that any philosopher only ever explicates or repeats one idea (or what Deleuze would call a "concept"). This invocation should strike us as surprising for at least two reasons: although lip-service continues to be paid to Bergson in France, Badiou's persistent polemics against vitalism seem to put Bergson in the same camp as Lévinas, i.e., as simply the wrong direction to go, even if the end is the same. It is also Bergson, unlike his almost exact contemporary Husserl (born in the same year, Bergson outlived him by only three years), who is an obvious exception to Meillassoux's indictment of modern philosophy as being "correlationist" (as I have always maintained, especially against mid-twentieth century interpretations, Bergson is anything but a "proto-phenomenologist").
Yet Bergson's place in Meillassoux's history of modernity is neither here nor there, except perhaps to suggest that Meillassoux's is not the only way of stating the problem. That Kant's attempt to circumscribe the unthinkable as unthinkable within the limits of thinking led to an explicit form of fideism is well-known (cf. Pippin's recent work), but one is left to wonder whether the choice between Kantian fideism and pre-critical dogmatism/realism is a false dichotomy. Nor is the alternative open to philosophy to poeticize on the "human condition" of existential anguish or simply to insist on the psychological uniqueness of the "man of flesh and bone" (Unamuno) over against the abstract universalism of science. Meillassoux is right to point out that the "meaning" of science is not simply its "value" to you or I and the use we make of it (so-called "applied" philosophy in the form of ethics).
The essential modern question is, of course, the so-called foundation of science (or mathematics, although these are not isomorphic formulations): "the Galilean-Copernican revolution has no other meaning than that of the paradoxical unveiling of thought's capacity to think what there is whether thought exists or not" (Meillassoux). But there are two ways of handling this question but, while both take their cue from the Kant, they cannot be conflated. The split between the analytics and the phenomenologists occurs in the paths taken by Bolzano and Frege on the one hand and Brentano on the other. As I have suggested before, the difference is that between sense and discourse/representation. It is not so clear, at least to me, that the analytics were engaged in an effort of "the decentering of thought relative to the world within the process of knowledge", even if there are those among them who were guilty of divorcing thought from logic and proceeding to call the former "psychology". Nevertheless, if the danger of a rationalistic foundation for science consists in the ultimate occlusion of the absolute under the name of unthinkability, then Meillassoux is right to point out that the limit of the thinkable is not aesthetic but paradoxical. (And yet—might not the very essence of the aesthetic be the expression of paradox or, perhaps more accurately, contradiction?) One wonders, however, under what auspices Meillassoux heralds the return to the absolute—whether in the name of the certitude of science (for which scientists have no need), its veracity (against the fundamentalists), or the surrender of truth to the discourse of science such that if we are to deny that truth is to be revealed in religion, so too the only task left to philosophy is the verification of truths to which it has no primary access because there exists neither the ground nor desire for philosophical thinking once philosophy ceases to be reflective.
This is not, of course, to say that an ethical or political naïveté is a refutation. Meillassoux's insistence on contingency and chaos falls squarely in the best tradition of the philosophy of difference and, to echo the words of Latour, one can at the least admire the courage of his political commitments, even as one might shy from its theological naïveté (viz., not every theology is a theology of being, but perhaps this particular assessment should wait for L'inexistence divine) or its barbarism.
2. Even if Meillassoux is right about the absolute, there is no legitimate sense in which this absolute constitutes a "foundation" for thought if for no other reason that there is no "progress" in philosophy. While philosophy is in some ways discursive (although it is better to say that philosophy is "historical"), philosophy is not, in toto, a discourse. If science is possible without Aristotle or Ptolemy, this is because science occurs as a (progressive) discourse. This is not merely to say that science is practiced a-historically, although it is revealing that the history of science is not itself science. Philosophy occurs for the one who understands ("understanding" in a sort of hermeneutic sense). If any two scientists can pull Snell's Law out of the cupboard and use it, the same cannot be said of the philosophical concept. Each philosophical concept, each idea, must be experienced by the philosopher, just as each musician must experience music. Music has not "progressed" beyond Bach, for example. This is not to say music today is no different from Bach's, nor is this to make a value judgment (e.g., "Bach is superior to Salonen")—rather, the entire notion of "progress" is simply inapplicable. The student of music will never escape the necessity of learning (or playing) Bach; the student of philosophy will never escape Plato; the student of science, qua scientist, does not, on the other hand, study Cartesian physics. Philosophy is perennial not because of the antecedence of some eternal "human condition" but, rather, because of its very mode or style of existence, i.e., as that which is understood.


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It's a story out of a comic book: two decades after losing a high-profile court battle, a lawyer steps from the shadows to avenge his past failure.
In late August, Los Angeles–based attorney Kenneth Feinswog sent a cease-and-desist letter on behalf of his client, pop star Justin Bieber, to Darren Davis, president of comic-book publisher Bluewater Productions. At issue, the use of Bieber's image in a biographical comic-book series.
Feinswog has worn this suit before. In 1992, the L.A. lawyer represented boy band New Kids on the Block in a lawsuit against Todd Loren of Revolutionary Comics for distributing a comic book parodying the New Kids. In the case, the presiding judge ruled that biographical comic books are protected by the First Amendment, quashing the cease-and-desist order.
"And while the subjects of such biographies may be offended by the publication of their life stories," read the '92 court decision, "they generally have no claim for trademark violation. It is equally clear that parody is a form of artistic expression, protected by the First Amendment."
Reader contributor Jay Allen Sanford, whose Rock 'n' Roll Comics series is now getting reprinted by Bluewater, knows Feinswog well. Sanford ran Revolutionary Comics from 1992 to 1994, after founder Todd Loren was found dead in his Hillcrest apartment.
Eighteen years later, just days after Bluewater president Davis received Feinswog's letter, news organizations contacted Sanford requesting interviews.
Sanford was surprised to hear Feinswog's name again. "To quote Yogi Berra, 'It's deja vu all over again,'" wrote Sanford in a September 1 email.
"Rock 'n' Roll Comics and publisher Revolutionary Comics established legal precedents that made it possible for a company like Bluewater to pick up the torch with so-called 'reality comics,'" wrote Sanford. "[Davis and I] talked about how they were bound to be threatened with lawsuits some day. I sure didn't expect it to be the same lawyer.
"Feinswog is on the shakiest of grounds, and he probably knows this. But when has that ever stopped a lawyer from pursuit of a superstar client paycheck?"
Feinswog declined to comment on the letter or why he has returned to a losing battle.
More from SDReader
- More stories by Dorian Hargrove
- Bunny v. Bunny — Oct. 10, 2012
- R.I.P., M.J. — July 15, 2009
- Conscious Parody — July 8, 2009
- Marginalized Murder? — Sept. 6, 2007
- No Respect for Rock Comics? — July 14, 2005
Superman artist Stuart Immonen drew a comic story about the original New Kids VS Revolutionary lawsuit, which became famous as the first court case to establish First Amendment rights for comic book biographies -- http://www.sandiegoreader.com/weblogs/bands/2007/sep/13/new-kids-on-the-block-versus-revolutionary-comics

subset: commoncrawl


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Different sources will give you different advice about taking pictures. The tips provided in this article will help you design quality photographs that show off your artistic vision.
Keep things as simple as possible when you are trying to capture a picture. Often, you can create a magnificent photo without having to play with different color settings and motion settings.
Drop the background focus when you are photographing people. Having a sharply focused background can detract from your subject matter, making it difficult for any viewers of your photo to focus the way you intend them to. Make sure there is a distance between the subject and the background to get this effect.
Write down a few notes when you take pictures. Sifting through hundreds of photographs, you may have a difficult time remembering the emotions and thoughts that you were experiencing when you snapped each picture. To remedy this, take a small notebook and write down every pictures with a description.
Having good skills in photography does not involve a big secret. Keep shooting pictures, and get experienced at doing so. With a digital camera, you don't have to keep all of your test shots; only keep the ones that you like and will look at again later. As you study the pictures you shoot, you will learn from your mistakes and notice ways your shots could have been better, which will ultimately help you improve.
While taking indoor photos under fluorescent lighting, make sure the camera has the appropriate white balance settings. Subjects will not look their best under the harsh light from fluorescent bulbs, so adjust the color settings on your camera.
Setting deliberate limitations can spark your creativity. You might want to decide to only take pictures of "sweet" things, for example. Take that goal one step further, by take 100 different and unique photos of the same subject, or in confined quarters. By using limitations to your advantage, you'll be forced to think more creatively, resulting in interesting and unusual pictures.
As you prepare to photograph different landscapes, you should remember that your pictures should use three important elements. The foreground is closest and sharpest in focus, the middle ground less so, and the background is remote, giving a sense of distance. This concept is not exclusive to photography, however. Painters rely on the idea to add visual depth to their creations.
The tips offered here are all very important to taking great pictures. Now that you have taken the time to read this article, you should be aware of what you can do to take better pictures.


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One thing I definitely enjoyed about Morocco was the mint tea. The first time I had it was really special. It was in the parking lot outside of the airport in Casablanca. My husband had pack... Read more
Ingredients 10 sprigs of fresh mint, plus extra for garnish 3 teaspoons green tea 3 tablespoons sugar (or more to taste) 4 cups water Directions 1. Boil water. Pour some in teapot. 2. In tea... Read more


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More Bike Pictures
- June 1st, 2003
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Archive for June 1st, 2003
Finally a break in the weather… well if you consider a break 15 minutes. I was able to finish adjusting the steering head bearings and put everything back together in time to take a few photos. The rain was already starting to fall again. Unfortunately, the flash doesn't do justice to the color.
We've been at the edge of the rain all damn day. Since 3 o'clock when we briefly got some sun, it's looked like the rain was only minutes from passing over. Yet it continues to rain. I think they are just looking out the window, and painting in green if they see rain.


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Adam (Damiya) Bridge
Located on an ancient trade route, this is the oldest bridge in the Jordan valley. The bridge was constructed several times (1266, 1947, 1950s, 1967). Near the bridge is the Biblical city of Adam.
Joshua 3:16: "That the waters which came down from above stood and rose up upon an heap very far from the city Adam, that is beside Zaretan".
Home > Sites > Jordan Valley> Adam Bridge (Damiya)
Located on an ancient trade route, this is the oldest bridge in the Jordan valley. The bridge was constructed several times (1266, 1947, 1950s (2), and 1967) in different adjacent locations.
The site is located on the border with Jordan, and can be reached only after pre-arrangement with the army.
An aerial photo is shown below, indicating the major points of interest and the place of the bridge(s). You can point on the purple points to navigate to the selected site.
Prehistoric and Biblical periods
The crossing at the Adam bridge started in prehistoric times, and was a major ancient trade route. A mountain pass exists on the west side of the bridge (along the Tirzah creek, connecting to the region of Efraim) and on the eastern side of the bridge (along the Yabbok/Zarka river, connecting to the Gilad in Jordan). This made the crossing at this location most convenient, and was in use for many millenniums until modern times.
The Bible describes the location of the crossing by the Israelites, led by Joshua, as passing at Adam (Joshua 3: 16): "That the waters which came down from above stood and rose up upon an heap very far from the city Adam...". An ancient city is indeed located here, and called Tell Adam.
The bridges
The bridges across the Jordan river were constructed and destroyed many times. Each bridge used a different location, all in a near proximity.
The Mameluke ruler, Baybars, erected a large (400m) bridge in 1266 AD. It was in use until the Ottoman period, and was blasted in 1946. The British soon constructed a new bridge, and the Jordanians added another one in the 1950s. The two bridges were destroyed by the IDF during the 6 day war (1967). Later that year Jordan constructed a pre-fabricated ("Bailey") bridge on the south side in order to support the commercial trade traffic between Jordan and the West Bank.
Modern Times
The bridge is not in commercial use in recent years, since the traffic between Jordan and Israel - now under a peace treaty - was relocated to Allenby bridge. The area of the bridge is a closed army zone, and visits to the site are permitted only after coordination with the Army.
The panoramic view below shows the area of the Adam bridge, with a view towards the east (Jordan). In the background are the mountains of Jordan. The mountain pass - Yabbok/Jabbok river, is located left to the center of theses mountains.
Clicking on the photo will open a flash viewer, which will allow you to move around, and open a full-screen view.
A closer view is seen below. The old and new bridges are located in the center. They pass over the Jordan river, hidden from this angle. The narrow river flows left (North) to right (south), marked by the grey bushes on the bottom of the picture. Farther behind, on the right side, is the ancient Tell Adam - a round barren hill. Behind it is the mountain pass of Yabbok river (Jabbok, Zarka) was one of the major ancient trade routes, leading to the east.
Click on the photos to view in higher resolution...
A closer view of the bridges is seen below. The blown up Jordanian northern bridge is seen in the center, while to the right of it is the Mameluk bridge. The river passes along the grey line of bushes and reed.
A closer view of the ruins of the Mameluke bridge is seen below. It was constructed in 1266 during the times of Baybars, and was in use until the Ottoman period. The original length of the bridge was 400m.
The Jordanians constructed two bridges in the 1950s. The photo below shows the northern bridge. It was blown up during the 6 day war (June 1967) in order to cut the Jordanian army from entering to the west bank.
The photo below shows the southern Jordanian bridge, also blown up in 1967.
The modern Bailey (pre-fabricated modular) bridge was constructed in 1967 by the Jordanians, and was an active road for merchandise that was exported to Jordan and bi-directional travel between Israel and Jordan. The cargo trucks were initially painted blue.
The bridge is closed today and the traffic was transferred to Allenby bridge.
Tell Adam is identified as Biblical Adam. This is the place where the Israelites passed the Jordan river after returning from the exile in Egypt (Joshua 3 16): "That the waters which came down from above stood and rose up upon an heap very far from the city Adam...". The city existed from the Bronze/Canaanite period until the Byzantine period.
After Solomon's death, Egypt's Shishak invaded Israel in 924 BC (1 Kings 14: 25: "in the fifth year of King Rehoboam, Shishak king of Egypt attacked Jerusalem"). According to the Pharaoh's hieroglyphic inscriptions, Adam is listed as one of the cities that he captured (#56 i-d-m).
The area to the north of Adam is called, in the Bible, by the name of Sukkot (Hebrew for huts). There are several passages in the Bible. King Solomon casted Brass and Gold vessels for the temple, casting them in the clay that is located here (1 Kings 7 47): "In the plain of Jordan did the king cast them, in the clay ground between Succoth and Zarthan".
Around the delta of the Jordan river, are tall marlstone (Havar) hills on both sides of the valley. These were created by the fragmentation of the rocks by the sun and wind. They were actually dry beds of an ancient sea that once was located along the Jordan river.
On the western side of the Adam bridge are the high mountains of the Jordan valley, seen below in the background. One hill stands out among these mountains - Sartaba.
According to the Biblical location of the Israelite crossing (Joshua 3 16): "... very far from the city Adam, that is beside Zaretan". Zeratan is identified as Sartaba, the fortress above the western hills. It is seen in the center of the photo below - a high pointed hill rising over the Tirzah valley pass.
Entry to the Adam bridge requires prearranged permit with the Army, who dispatch a unit that accompanies the visitor. We thank the IDF and these great soldiers who protect the country and walked us through the area.
Description of the Israelite crossing of the Jordan near Adam:
" And it shall come to pass, as soon as the soles of the feet of the priests that bear the ark of the LORD, the LORD of all the earth, shall rest in the waters of Jordan, that the waters of Jordan shall be cut off from the waters that come down from above; and they shall stand upon an heap. And it came to pass, when the people removed from their tents, to pass over Jordan, and the priests bearing the ark of the covenant before the people; And as they that bare the ark were come unto Jordan, and the feet of the priests that bare the ark were dipped in the brim of the water, (for Jordan overfloweth all his banks all the time of harvest,) That the waters which came down from above stood and rose up upon an heap very far from the city Adam, that is beside Zaretan: and those that came down toward the sea of the plain, even the salt sea, failed, and were cut off: and the people passed over right against Jericho. And the priests that bare the ark of the covenant of the LORD stood firm on dry ground in the midst of Jordan, and all the Israelites passed over on dry ground, until all the people were passed clean over Jordan".
Etymology - behind the name:
Gilgal Argaman<<<---previous site---<<<All Sites>>>---next Jordan Valley site---> >> Makhruk


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75 Photos of Trey Ceiling Ideas
Trey Ceiling Photo Gallery
Trey ceilings can be designed as a centerpiece or subtle accent in your new home.
While some of the most popular trey ceiling styles - such as step, shallow step, vaulted, octagonal, angled, or single box - are often placed in the formal dining room or master suite, more home buyers are adding a specialty ceiling to their home office, great room and kitchen.
See over 75 different trey ceiling photos and get ideas for your trey ceiling design in this trey ceiling ideabook.
In this design build contemporary style kitchen, a single box trey was added to the kitchen and breakfast nook ceiling. This trey ceiling creates continuity between the kitchen and nook - and gives subtle room division in an otherwise open concept design.
In this Raleigh custom home, an octagonal trey ceiling was included in the first floor home office, located just off the foyer. This office is perfect for at-home work and visitor reception with a complex ceiling, tranquil green walls, and tons of natural light.
In this accessible custom home, a trey ceiling was incorporated into the living room. Here, a shallow vault draws the eye upwards, making the two-sided fireplace feel taller and more dramatic when entering the home.
See More Photos of Custom Home Specialty Ceiling Treatments:
Trey Ceiling Ideabook on Houzz - 75 Photos
Trey Ceiling Treatments - Master Bedrooms with Trey Ceilings
Vaulted Ceilings - Custom Home Vaulted Ceiling Styles
Coffered Ceilings - What is a Coffered Ceiling?
Barrel Vaults - Pictures of Two Story Barrel Vault Foyers
What Ceiling Height Should I Choose?


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NACDS File Photo
Arlington, Va. – NACDS President and CEO Steven C. Anderson, IOM, CAE, issued the following statement today upon the release of a report of the President's Commission on Combating Drug Addiction and the Opioid Crisis:
"NACDS appreciates and commends the work of the President's Commission on Combating Drug Addiction and the Opioid Crisis, which will serve as a catalyst for further collaboration and action in helping to create solutions to this epidemic.
"Consistent with pharmacy's ongoing work to bring about a simultaneous zero-tolerance for abuse and 100-percent commitment to patient care, NACDS contributed its perspective to the Commission's work. We appreciate that many concepts urged by NACDS and by others have been incorporated into the report released today.
"In addition, many of the concepts in the report are consistent with new public policy recommendations that NACDS issued last week, based on first-hand experiences of pharmacists on the front lines of patient care and intended to build on pharmacy's ongoing engagement on this issue.
"NACDS remains committed to working for collaborative solutions that will be meaningful and effective for the individuals, for the communities and for the nation whom pharmacies serve every day."


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I'm sorry you missed this freebie, but please check more Free Samples currently available. You can still pick out the freebie of Garnier Clean+ that you want to try (I first posted this freebie June 23). Choose either Clean+ Blackhead Eliminating Scrub or Clean+ Nourishing Cleansing Oil. You should receive your free sample within 6 to 8 weeks. Thanks goes to Megs for sharing! Get even more freebies when you subscribe!
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Are you prepared to begin creating your own concepts for photography? Are you looking for ideas about where to begin or how? Have you explored what techniques work best for your pictures? If you aren't sure how to answer those questions, then this article will lead you in the right direction.
Be quick when taking your pictures! If you take a long time, there is a good chance that the subject will move, take off or there could be a change in the background that will ruin the photo. The quicker you and your camera are, the better shots you will get.
Keep your technique for snapping photographs simple and easy. You don't need to mess with a bunch of different color and motion settings to produce a beautiful photograph.
Get a professional camera to take quality pictures. To get great shots, you are going to have to start looking at a digital SLR camera. This is the type of camera most photographers use, and if you desire quality photos you will need this as well.
A dSLR is a necessity if you're aiming to be serious about your photography. This type of digital camera will give you the most accurate view of your subject as you snap the picture. Ideally you would get a full framed DSLR camera that gives you the largest image sensor with the highest detailed photographs.
Use other photographers to get inspired. If you look at their photographs, you will get more ideas at what you can do.
Above all, you should enjoy the process of capturing images through photography. Photos should be taken of things you want to remember later on and show others, whether it be an event, a location or even just a space of time. When you enjoy taking photos, learning new photography skills is something you are likely to be excited about.
Always take a few notes while you take pictures. When you look back at your pictures, you might have a hard time remembering where you took them. Use a notepad to record brief descriptions of shots as you take them and note each picture's number next to its description.
Move closer to your subject when you are taking the photograph. It's frustrating for the viewer to not clearly see the details of the subject because the camera was too far away. Make sure that the subject of your photographs get the attention they deserve.
Are you aware of how to better your photography concepts now? Have you found a good starting point for taking photos? Can you understand the unique flare and concept of the shots that you enjoy best? After reading this article, the answer to all of these questions should be "Yes!".


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Judges Profile
founder and CEO,
Building People
Rebecca is the Founder of BuildingPeople, a social enterprise that connects people to opportunities across the Built Environment.
The vision of BuildingPeople is to create and enable an ecosystem that improves diversity, increases competent labour supply and maximises economic and social value across the UK Built Environment. This vision is being delivered through the collaborative development of a technology platform that will enable improved connections (work, learning and support) between supply and demand. A core value of BuildingPeople is that it aggregates and enables providers and activity; therefore it does not duplicate nor reinvent that which already exists.
Rebecca has almost twenty years experience in creating, connecting and enabling organisations, networks and partnerships across the Built Environment. Her focus is strategic employment and skills and her passion is 'joining the dots' between existing industry initiatives to enable more (diverse and disadvantaged) people to access and succeed in Built Environment careers.
Rebecca is a co-founder of BuildForce, the industry initiative to facilitate connections between Service leavers and veterans and industry employers.
Prior to BuildingPeople, Rebecca founded a niche consultancy (Circle Three Consulting), where she provided employment and skills/social inclusion/local community engagement support to industry. Rebecca set up Circle Three after seven years at Lendlease as a Community Development Manager where she co-founded Be Onsite, a non-profit company providing training and job opportunities for disadvantaged people in the property sector. Before discovering the world of the Built Environment Rebecca worked in the humanitarian aid and homelessness sectors. Rebecca has an MSc in Urban Regeneration and is a Fellow of the Royal Society of Arts.


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Mourning Sickness: Hegel and the French Revolution begins with the question of the cultural disenchantment facing Germany in the aftermath of the French Revolution, an historical condition that, following Marx and Engels, came to be called the "German misery." This disenchanted position results from the awkward acknowledgment that "Germany's experience of modernity is a missed experience," the trauma of which Rebecca Comay uses as a category of history, with the "German misery" being an exemplary model of her approach and Hegel representing "its most lucid theorist" (3-4). Hegel's philosophy stages history not only as a response to or record of events, but also as the history of making history. As spectators of the French Revolution, Germans were able to take on the feelings of thrill and terror while remaining at a privileged distance; yet, the possibilities of this encounter appear only as the lost possibilities of a "future already passed," with Germany being "in the melancholic position of mourning the loss of what it had never experienced as such" (3). In Comay's reading, this is the cornerstone of Hegelian history, which locates the modern subject within an unbridgeable temporal gap that separates an already lost past from a forever unattainable future. The French Revolution is "the burning center of Hegel's philosophy" precisely because it is experienced (as seen from Germany) as an indirect accounting of the experience that makes it an event (5).
Crystallized in Germany's response to the French Revolution, as Comay convincingly argues, is "the untimeliness of historical experience" that defines history—particularly in light of Marx's critiques of Hegel—as a virtual, vicarious and even voyeuristic encounter in which we are "forever latecomers and precursors to our experiences, outsiders to our most intimate affairs" (4-5). The most exceptional aspect of Comay's study is her argument for the untimely as a key feature of modernity. Through untimeliness, the "German misery" is extended into the more general malady of the modern misery, a condition resulting from the persistent incongruities of the self's quest for meaning and 'truth' in a world increasingly understood as inherently meaningless and relative. As modern subjects we are (or consistently feel like) latecomers to a world whose experience seems beyond the capabilities of our bodily senses. From this perspective, to be human in the modern sense is to be untimely since our experiences are always already repetitions of previous experiences that we knowingly or unknowingly missed; or, as Comay eloquently states, our "experience is the experience of the impossibility of experience" (128). Comay's proposal for untimeliness, as she succinctly outlines in her introduction, describes the fundamental relationship that Germany in general and Hegel specifically has with the French Revolution: the trauma of the event is resolved by replacing the lived experience with a symbolic representation of experience that is aesthetically detached from the reality of the Revolutionary events in-themselves.
Let us consider this untimeliness in more detail. The Revolution, says Kant, "finds in the hearts of all spectators (who are not engaged in the game itself) a wishful participation that borders closely on enthusiasm, the very expression of which is fraught with danger; this sympathy, therefore, can have no other cause than a moral predisposition in the human race" (Kant 302). Distinctly outside of the event itself, a subject can experience the social and political upheaval of the Revolution as an aesthetic phenomenon, the judgment of which is not prejudiced by personal involvement or interest but is instead based within a contradictory mode of, to return to the major theme of Comay's text, anticipating a missed experience. And yet, through history we also feel like precursors to a world of greater knowledge that, since Kant, is the privilege of an interiorized subjectivity. The basic tenets of this move towards an inner subjective judgment are present in the 16th century Protestant Reformation, with Luther making a marked appeal for the ability of people to interpret the Bible for themselves without recourse to Church authorities. It is primarily on this basis that Germany laid claim to the legacy of the French Revolution, believing the Reformation to be its obvious predecessor, even while denying any direct link to the events taking place in France; Germany can thus "celebrate, surpass, and mourn, at a distance, what was never its own to experience firsthand" (1). This distance is all-important for German Idealism, since it is strictly through the separation of self and world that Kant believes freedom is truly possible—an untimely freedom that is the purview of spectators, those who passively look at rather than participate in, whose engagement with the world is authoritatively aesthetic.
Through the untimeliness of modern experience we enter what Comay terms "the Kantian theatre" (as she titles her second chapter), a space in which—drawing notably on Hannah Arendt's reading of Kant—"political judgment is an extension of the aesthetic judgment that simultaneously finds and founds the cosmopolitan collective as the sensus communis of the enlarged community; judgment performatively invents what it discovers" (34). From this Kantian point-of-view, defined as it is through the common sensations of a generalized or universalized subjectivity, the events of the French Revolution are experienced as if originating in the viewing subject that wills it strictly as a representation divorced from any reality. This, stated simply, is the broken subject of which Comay speaks, a self for which the "world ceases to present a mirror in which I can recognize the objectified imprint of my own activity" (146). Such an untimely and broken subject is based upon Kant's "world spectator," who according to Arendt "decides, by having an idea of the whole, whether, in any single, particular event, progress is being made" (Arendt 58). Without a belief in the basic similarity of self and world, without a verifiable relation between (inner) experience and (outer) reality, the activities of the modern subject exist in the experience of untimeliness that is translated into an idea of the whole.
Through Kantian judgment, acts (or we might generally say events) are made real through the publicly shared opinions of the people who make the acts communicable. It is the collected judgments of these spectators that Hegel understood as contextualizing the event in a way that allows anyone to engage with it and perceive its meaning within the whole of history. This positioning of the subject as a spectator is fundamental to Comay's approach to Hegel and her overall discussion of the French Revolution, with experience being increasingly understood as archival in nature.
In her introduction to Lost in the Archive, Comay considers the dual etymology of arché as signifying both a promise of "command" or mastery and "the language of origins" that serves to suspend the reality of beginnings and rules because of the fact that the archive, as a "condition of the possibility of remembrance, exceeds and confounds the time of history" (Comay, Archives, 14). This interest in the archive is intimately connected to Comay's treatment of Hegel throughout Mourning Sickness and, more importantly, her argument for untimeliness. In the space of the archive, history masters the world ironically through an excess historicization, in which the 'truth' of subjective experience is determined strictly in relation to the untimely order of history. Whatever is not included as part of history has no definable reality in modern culture because, in Foucaultian terms, its identity and the series of its differences cannot be discovered until measured with a common unit. This epistemological shift from similitude to representation is, however, not as definitive as it has often been interpreted and Comay's untimeliness reflects this ongoing problematic; as she makes clear, the untimely operates not within the strictly representational mode that we associate with modernity, instead negotiating between this mode and the (supposedly) pre-modern search for similarities. To see the Reformation in the French Revolution represents a national act of similitude meant to override inherent differences—particularly, as Comay remarks, "the startling contrast between the breathtaking modernity of France and the general decrepitude of a Germany still mired in the swamplands of feudal absolutism" (2). Hegel's conception of history attempts to reconcile this problematic by making similitude a category of representation, turning the Kantian in-itself into a by-product of the act of representing.
It is this Kantian spectator who is able to "enjoy fearfulness without fear" and thereby to rewrite physical failure, such as "the mortal finitude of the frail, suffering body," as a spiritual triumph of "the infinitude of moral freedom"— a subjective sublimity that operates within the untimely realm of inner experience (31). Because of this, it is also the Kantian spectator who most suffers from the "German misery." Keeping in mind Arendt's observation that spectators (as plural) are always involved with fellow spectators, we can better situate Hegel's claim that consciousness
is not a single self which could be confronted by the object as equally having a self of its own, but is pure Notion, the gazing of the self into the self, the absolute seeing of itself doubled; the certainty of itself is the universal Subject, and its consciousness is the essence of all actuality. (Hegel 356)
What remains of this encounter—as we see with the German interest in the French Revolution—is the experience of an object stripped of experience, a specter of the world repeatedly created through the gazing of history into history.
Proclaiming an end to history—along with the over abundance of other ends that mark a sense of modernity—theorists from Hegel on have avoided confronting this untimely quality of our existence by structuring limitations into our represented existence (within an infinite universe). This ideal of the end functions as fulfillment through a type of death, an escape from the eternally recurring trauma of missed possibilities that plague the wills of modern subjects. We can relate this desire for an 'end' to a key structuring mechanism associated with the French Revolution, namely the guillotine, to which Comay devotes much of her third chapter. For Comay, this instrument of terror can in many ways be seen as the materialization of the untimely on the human body itself. "It generates a virtual theater and a theater of a virtualization—a spectacle of the unspectacular where objects and conjured up in their disappearance, disappearance is materialized, and repetition itself acquires an aura" (71). Comay's description of the guillotine speaks to the general conditions for modernity and the source for the cultural disenchantment facing the modern subject, since within this theatre meaning is only the meaning created.
Yet part of the cultural meaning of the guillotine is the inherent fascination of witnessing the spectacularly violent endings of an excessive number of lives, which notably occurs in front of mass audiences of spectators. This fascination operates on the interest in and need to discover meaning in experience, which the subject encounters most fully after the fact as a spectator—like Hegel and the French Revolution. Hegel's fascination, however, is also a type of boredom that is crucial to the untimeliness of both the move towards history and the possibility of its end. For Comay, "Hegel is the first to notice the strange mixture of thrill and boredom" specifically in relation to the guillotine, the repetitive and inexpressive functions of which prove a short-lived experience that is soon recognized as an impossible experience (72). Subjective will in this context is the desire to find or create meaning where none exists, turning the unspectacular fragments of a lost past into the spectacle of a future history. On the scaffold of the guillotine disappearance is materialized through the physical and temporal repetition of experiencing loss as history—which, to somewhat extend Walter Benjamin's proposal, allows objects to acquire an aura through the untimely balance of historical thrills and boredoms. Hegel, Comay tells us, suggests that boredom "is not just the antithesis of fascination," but instead the two are actually the same (72). It is this boring fascination that defines the modern subject-spectator as a discoverer of untimely meaning and a creator of the world as a representation of untimeliness.
The burning centre of Comay's argument is the question of the modern condition that she articulates in and through the notion of untimeliness, a concept of indisputable significance for many prominent theories of modernity and contemporary thought. I have been profoundly affected by Mourning Sickness, particularly in the strength of Comay's ability to communicate a vital area of philosophical research that, to my mind, is seriously underrepresented: the gap that we recognize beginning most powerfully in the 19th century between the self and world, in which subjectivity is experienced as out of step with lived existence. In this text, the French Revolution is to Hegel what Hegel is to us: an experience that is always already missed, even as we wait for it to occur. This is not to say that Comay herself fails to communicate this untimely relationship, quite the contrary. Her approach embodies the abstract power of untimeliness, presenting us with a representation of Hegel that (to borrow two important terms she employs) sways back and forth between a horror vacui—a fear of the void that Germany in particular experienced in comparison to the revolutionary events in France—and a Tabula Rasa—the blank slate that invites the terror of a missed experience. In this way Comay, like Hegel, "turns thought to the order of experience, even if it is a questions of a missed experienced, a lapsed experience, or even, in the end, another's experience" – such as my untimely experience of this timely book (153).
Works Cited
Arendt, Hannah. Lectures on Kant's Political Philosophy, ed. Ronald Beiner. Chicago: The University of Chicago Press, 1992. Print.
Comay, Rebecca. Introduction. Lost in the Archives (no. 8). Toronto: Alphabet City Media, 2002. Print.
Hegel, G.W.F. Phenomenology of Spirit, trans. A.V. Miller. Oxford: Oxford University Press, 1977. Print.
Kant, Immanuel. Conflict of the Faculties. In Religion and Rational Theology, trans. by Allen Wood and George di Giovanni. Cambridge: Cambridge University Press, 1996. Print.
Julian Jason Haladyn is a SSHRC Postdoctoral Fellow and instructor in the Department of Art at the University of Toronto. He is the author of Marcel Duchamp: Étant donnés (Afterall Books, 2010), as well as numerous journal articles and book chapters on art and visual theory. With Miriam Jordan he co-authored The Films and Videos of Jamelie Hassan, a publication that accompanied their curated project of Hassan's moving image works that toured Canada. Haladyn is also the founding Co-Editor of Blue Medium Press (www.bluempress.ca)


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Pharmacy Connection
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Editor's Message
President's Message
Council Report
Special Meeting of Council Report
Interested in Serving on a College Committee?
Are You Ready to Collaborate?
Common Principles for Interprofessional Care
Interprofessional Collaboration (IPC) eTool for healthcare professionals
Guidance to Minimize the Loss and Theft of Controlled Substances within Pharmacies
Apply Now to Provide Flu Shots this Fall!
New Regulation Enhances College's Inspection Authority
New Public Register of Pharmacies will include Outcome and/or Status of Inspections
Bulletin Board
Coroner's Message
Focus on Error Prevention: Dispensing of Vaccines
ISMP Report
Discipline Decisions
Maintaining Public Trust
CE Resources
Editor's Message
Registrar's Message
Council Report
Different Settings, Shared Rewards
Understanding What a Technicians Can Do... Key to Integration
Important Information: Expiring Technician Requirements
Pharmacists Giving it Their Best Shot
Community Pharmacy Steps Up to Fight the Flu
Joint letter from OCP, CPSO, OPA & OMA
Red Tape Awareness Week
Best Possible Medication Histories
The Cold Chain - Part Two
ISMP Canada Safety Bulletin: Risk Management in Community Pharmacy
Discipline Decisions
Thank You, Preceptors & Evaluators!
Focus on Error Prevention: Computerized Physician Order Entry (CPOE)
Member Statistics 2012
CE Resources
Editor's Message
President's Message
Council Report
Committee Appointments 2012/2013
2012/2013 Members of Council
Expanded Scope Regulation Now in Effect
Attendance is High at Orientation Sessions across the Province
Immunization for Health Care Providers
Pharmacists – Give it a Shot!
Using Professional Judgement, Key to
Implementing Expanded Scope
Call for Preceptors
Prescription Regulation Summary Chart
OCP Policy: Protecting the Cold Chain
OCP Guideline: Record Retention, Disclosure, and Disposal
ISMP Canada Safety Bulletin: Medication Mix-up with a Faxed Prescription
Focus on Error Prevention: Multiple Product Strength OTC
CE Resources
Editor's Message
Registrar's Message
Council Report
Council Election Results
What Role Do You Really Play?
Barrie Area Hospital Takes Lead in Regulated Technicians
Road to Regulation needs a Plan!
Prescription Regulation Summary Chart
Documentation Guidelines
Reminder: Pharmacists must be trained prior to Administering Injections
ISMP Report: Medication Incidents Reported to and Reviewed by the ICRC
Focus on Error Prevention: Deactivating Previously Prescribed Dosages
Discipline Decisions CE Resources
Editor's Message
President's Message
Council Report
Partners in Care: Integration of Pharmacy Technicians
Understanding Each Others' Roles and Responsibilities – Key to Technician Integration
Destruction of Controlled Substances
OCP Professor in Pharmacy Innovation Prepares Grads for Expanded Roles
Out of Africa: Volunteer Experiences Help Members Grow
Quality and Safety in Compounding Non-Sterile Preparations
Protecting the Cold Chain
Discipline Decisions
Get Involved in OCP Council Committees
Focus on Error Prevention: Similarity in Packaging and Labeling
CE Resources
Editor's Message
Registrar's Message
Council Report
Pharmacists and Technicians Working Together
Integrating Technicians into the Workplace
Coroner's Geriatric & Long-Term Care Review
Buprenorphine for Treatment of Opioid Dependence
Privacy Enhances Patient Consultation
Accessible Customer Service Regulation
Member Survey results
Discipline Decisions
Focus on Error Prevention: Computer Alerts
Thank You Preceptors!
Evidence-based Information for Practitioners
Annual CE Coordinators Meeting
CE Resources
Editor's Message
President's Message
Council Report
Committee Appointments 2011/2012
2011/2012 Members of Council
Navigating the Grey with Marshall Moleschi
Medication Safety in Pediatrics
Changes to the DPRA, Focus on Prescription Transfers
The IMAGINE Clinic
From the Student's Desk
Online Elections
Celebrating 140 Years
Call for Preceptors
Report on Technology
Resolving Inter-professional Conflict
Understanding Designated Managers Policies
Update on Registration
Renewing Ontario Registration
Recommendations for Prevention of Morphine/Hydromorphone Medication Errors
OCP Guideline on Dispensing Components Included in the Usual and Customary Fee
OCP Guideline on Maintaining Appropriate Boundaries and Preventing Sexual Abuse and Harassment
Ontario's Narcotics Strategy
Discipline Decisions
Focus on Error Prevention: Adding a Suffix to a Brand Name
CE Resources
Editor's Message
President's Message
Council Report
New Registrar for OCP
Joint Statement about Refilling Prescriptions
New U of T Curriculum starts this fall
OCP Helps Optometrists to See Prescribing Clearly
Workshops Emphasize Collaboration And Communication
New Branding Continues to Take Shape
Report of Patient Safety Review Committee Valuable for Pharmacists
IPG Goes Online
Report on Technology
Registration Review
New Hallman Director and Associate Dean of Pharmacy
Bulletin Board
New Accountabilities and Responsibilities for DMs
Understanding Registration Timelines
Discipline Decisions
Focus on Error Prevention: Computer-Generated Prescribing Errors
CE Resources
Editor's Message
President's Message
Council Report
Changes to DPRA Regulations
Farewell to Registrar Williams
Regulating the Use of Social Media
CE Coordinators
Report on Technology
SPT Moving Online
NCCMs Needed
Pharmacy Technicians Update
Registration Q&A
Practice Q&A
Pharmacy Practice Notices
Discipline Decisions
Focus on Error Prevention - Alternative Dosage Forms
Public Education Campaign
Editor's Message
Registrar's Message
The New Look of OCP
December 2010 Council Report
Celebrating Pharmacy Technician Regulation
Pharmacy Technician Regulation: What's Next?
Morphine For Pain Relief In Children
Narcotic Reporting
Practice Q&A
Pharmacists' Annual Renewal
Pharmacy Accreditation Renewal
Methadone Maintenance Treatment and Dispensing Policy
Compliance Packaging
Action Plans Move Online
Discipline Decisions
Our Thanks to 2010 Preceptors
Focus on Error Prevention - Travel prophylaxis
Continuing Professional Development for Pharmacy Technicians
Common Therapeutic Issues and CE Topics
Featured Articles:
OCP Policy: Fees for Professional Pharmacy Services
2010/2011 Members of Council
Committee Appointments 2010/2011
Protecting Personal Health Information
Patient Privacy is in Your Hands
Collaborative Practice
New Registration Regulation
A World of Opportunity for International Pharmacists
Continuing Professional Development for Pharmacy Technicians
2011 Preceptor Workshops
The Root of a Dispensing Error
Students share their perspective on working at the College
Update on Technology
Important dates for Pharmacy Technician Applicants
Workshops for Improved Opioid Use
Regular Articles:
Council Report
Practice Q&A - Privacy
Did you know?
Focus on Error Prevention - Methadone Maintenance
Deciding on Discipline
Featured Articles:
Remote Dispensing
Standards of Practice for Canadian Pharmacists
Anti-Infective Guidelines
Compliance Packaging
Medication Safety in Pharmacies
Regular Articles:
Letters to the Editor
Council Report
Did You Know...
Focus on Error Prevention - Illegible Prescriptions
Featured Articles:
Interested in Serving on a College Committee?
Pharmacy Technicians on the Road to Regulation
Improving care for the elderly
Take a trip back to the beginnings of Pharmacy at The Niagara Apothecary
Focus on Registration
Regular Articles:
Council Report
Did You Know...
Update on Technology
Focus on Error Prevention - Prescription Transfers
Featured Articles:
Enhancing MedsCheck, improving outcomes
New Electoral Boundaries to come into effect in June
Pharmacy Technicians: Staying on Track
New Summer Experience Course for U of T Students
Interprofessional study of transfer of care
Pharmacy Accreditation Renewals 2010
Best Practices for Dispensing Oral Liquids
Top 20 Continuing Education Topics
Regular Articles:
Update on Technology
Focus on Error Prevention - Millilitres or Milligrams?
Featured Articles:
Advisory Notices
A Tale of Two Classes
Colleges Collaborate on Medical Directives
NAPRA Unveils Mobility Agreement for Canadian Pharmacists
Pharmacy Practice - Did You Know?
Physicians Required to Print and Sign all EMR-generated Prescriptions
Pharmacists' Annual renewal Due March 10, 2010
Key Components of Chemotherapy Labelling
2008 Annual Statistics
Reconciliation 101
Preceptors: the key to hands-on learning
Regular Articles:
Update on Technology
Focus on Error Prevention - Understanding prescriber's intent
Featured Articles:
Electoral Districts & Members of Council
Committee Appointments 2009/2010
Model Standards of Practice
Quality Assurance Update
Hands-on learning key to co-op students
Pharmacist-physician collaboration key to patient safety
Help! We've been robbed
A Summer Student's Perspective of the College
Regular Articles:
Update on Technology
Focus on Error Prevention - Accurate and Complete Labelling
Featured Articles:
District Meetings 2009
Regulation of Pharmacy Technicians - Progress Report
The Ontario Physician Assistant Initiative
Documenting Dialogue
Elder Abuse
An update on the e-Prescribing project
Partnership in Lung Age Testing & Education Programme
Regular Articles:
Inspector's Corner - Action Plans
Focus on Error Prevention - DIN Billing Error
Featured Articles:
Prescription Delivery Regulation
Changing Lives with MMT
Understand the Culture in Which You Practise
Coroner's Inquest into Death due to Hyperthermia
Hyperthermia: Are Your Patients at Risk?
An Overview of Ontario's Cosmetic Pesticide Ban
Professional Image Considerations
Regular Articles:
Focus on Error Prevention - Tamiflu Oral Suspension
Featured Articles:
Front-end Counselling
Assessing Use of Medical Directives in Community Pharmacies
Health Human Resources – A Priority in Canada
The Niagara Apothecary – History of Our Profession
Legislative Amendments Coming into Effect on June 4th
Update on the Proposed Registration Regulation
Regular Articles:
Inspectors' Corner – Labelling errors
Focus on Error Prevention - Misinterpretation of Decimals
Featured Articles:
Profile of the Relief Pharmacist
eHealth Ontario
Report of the Geriatric and Long Term Care Review Committee to the Chief Coroner
ISMP - Medication Safety in Long-Term Care
Regular Articles:
Close up on Complaints - Do Medication Errors Result in a Referral to the Discipline Committee?
Focus on Error Prevention - Ambiguous Prescriptions
Featured Articles:
2009 Pharmacists' Annual Renewal
CE Coordinators Role Description
Annual Statistics
Regular Articles:
Focus on Error Prevention - Pediatric Dosages
Staying Informed about Pharmacy Technician Regulation
Featured Articles:
Electoral Districts & Members of Council
Committee Appointments 2008/2009
Liability Insurance
The MedsCheck Consult Pilot Project
Provincial OpiATE Project
Pharmacy Technicians' Commitment to Regulation
New Online Pharmacist Annual Renewal Process
A Summer Student's Experience at OCP
Call for Preceptors
HPRAC Launches Non-physician Prescribers Project
Regular Articles:
ISMP - Medication Incidents Report
Focus on Error Prevention - Pediatric Dosages
Featured Articles:
Launching the CPD Portal
Becoming a Registered Pharmacy Technician
Blueprint for Pharmacy
MedsCheck: A Student's Perspective
Remembering a Friend: Bob Luke
ISMP - Medication Safety Alert
ISMP - Medication Incidents Report
Seventeenth Annual Geriatric Report
Regular Articles:
Focus on Error Prevention - Administering drugs to infants
Featured Articles:
Pharmacy Practice at Sault Area Hospital
Ontario's Physician Assistant Initiative
Online Renewal Process
Bridging Education Program
ISMP - Methadone
Pharmacies, Long-Term Care Project Working Together on Common Assessment
Regular Articles:
Advisory Notice - Scope of Practice of Pharmacy
Advisory Notice - Proposed Registration regulations
Focus on Error Prevention - Similarities in Packaging
Featured Articles:
Changes to member annual renewal process
New Electoral Boundries to come into effect June 2010
Proposed Regulations for Issuance and Renewal of a Certificate of Accreditation
Educational Requirements for Pharmacy Technicians
Turning the Heat Down on Patient Anger
Changes that Affect Pharmacists and Pharmacies
Regular Articles:
Call for non-Council Committee Members and Pharmacy Technician Observers
Focus on Error Prevention - Similarity Between Two Product Names
Featured Articles:
Public Education Program takes new steps forward
Canada's Newest Pharmacy Program
Logged Prescriptions ≠ Refill Prescriptions
Nurse Practitioner is Now a Protected Title
National Pharmacy Technician Competencies
ISMP - Near Miss Identifcation and Reporting
Regular Articles:
Inspector's Corner (Securing Your Pharmacy)
Coroner's Report (Combined Toxic Effects of Methadone and Ethanol)
Focus on Error Prevention (Addition of an Incorrect Diluent)
Featured Articles:
Quality Assurance: A 10 Year Review
ISMP - Fentanyl Patch
Colorectal Cancer Screening Program
Practice Advisory
Regular Articles:
Coroner's Report (C.Difficile)
Focus on Error Prevention (Patient Unaware of Prescription Changes)
Please contact the College for past issues of Pharmacy Connection


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Pharrell is all about the ladies: His most recent album is called G I R L, its songs are almost exclusively about females, and at his American Express "Unstaged" show last night at Harlem's famed Apollo Theater, he made a special point to introduce his "baes" (a.k.a. his backup singers and dancers): "There's no stars on this stage, everybody up here's suns," he said, forgetting that suns technically are stars… but hey, the sentiment was there.
Pharrell is the latest to headline American Express' "Unstaged" concert series, a project that pairs musicians and directors — including Vampire Weekend and Steve Buscemi and Arcade Fire with Terry Gilliam— for a performance at-home viewers can stream live.
Spike Lee helmed Tuesday's show, but didn't take the stage: He was holed away in a cramped trailer outside the Apollo, directing the nine cameras shooting Pharrell's performance.
Inside the venue, Pharrell kept the energy high, taking the stage in his trademark hat (tonight's color: emerald green) to kick off the show with "Lose Yourself to Dance," a Daft Punk song he provided vocals for last year. Most of the songs he performed were originally collaborations with other artists — he only has two solo albums, but has produced or guested on multiple hits, including Nelly's "Hot in Herre" (produced by The Neptunes, the production duo Pharrell is one half of), Gwen Stefani's "Hollaback Girl" (written by Pharrell) which he touted as a "girl anthem" after a particularly feminist monologue. "Things are changing for women," he said, "y'all are standing up."
Last year's hit "Blurred Lines" was next, and T.I. slid onstage to deliver his verse. The Atlanta rapper was the second guest of the night — Busta Rhymes beat him to it, appearing for a wonderfully chaotic rendition of "Pass the Courvoisier."
Though much of the show consisted of Pharrell performing songs in the "Oh, I forgot he did this one!" category (see: Snoop Dogg's "Drop It Like It's Hot" and "Beautiful"), his songs from G I R L were highlights in their own right: His baes came out wearing fluffy bathrobes and sunglasses for a disco-fied version of "Hunter," and a stripped-down performance of album standout "Lost Queen" was dreamily hypnotic.
Not shockingly, Pharrell closed the set with Oscar-nominated "Happy." Sadly, Amy Adams and Lupita Nyong'o weren't there to show off their moves, but Williams did get on the audience's level for the last half of the song — he even paused to let some take selfies with him as he continued to sing. Pharrell: happy superstar and multitasking pro.


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A terminally ill teenager, who inspired Twitter fans with her bucket list of wishes, has enjoyed an early Christmas.
Alice Pyne suffers from Hodgkin's lymphoma and her parents Vicky and Simon held a family Christmas for her on Saturday.
They had a tree, opened presents, watched Christmas films, listened to carols and ate a roast.
'It's not that we don't expect her to reach Christmas, it's just because we don't know where we will be,' said Vicky.
'It has become our little tradition. Two years ago we didn't know if we would get a proper Christmas with her, so we thought we'll have one early.
'We don't believe in being miserable. Last year was the second time, but we really believed last year would be the last and, lo and behold, here we are.'
Alice, 16, from Ulverston, Cumbria, completed her bucket list in August when her parents surprised her with a holiday to Canada to watch whales.
She has met Take That and entered her pet Mabel in a dog show.


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The budget lacked the ambition and action to equip the nation for the challenges of Brexit, Unite said today (Wednesday March 8).
Responding to Chancellor Philip Hammond's budget, Unite general secretary Len McCluskey said: "This budget was extraordinary. The biggest challenge facing the UK economy for generations, Brexit, and the government's preparedness for dealing with it only received a passing mention.
"It was absent of any sense that the Chancellor or the government grasped the enormity of the shock that Brexit will bring to core manufacturing industries.
"There were none of the basic initiatives needed to demonstrate that the government is serious about making its industrial strategy work," McCluskey added.
'Not one word of reassurance'
He continued: "There was not one word of reassurance for the car industry or the tens of thousands of workers reliant on it for their job. The carmakers who are daily voicing their fears about a future in the UK will not have heard anything to soothe their fraying nerves.
"Workers and employers have been left none the wiser as to how this government will prepare the economy for the seismic changes that Brexit will bring.
"The only thing we remain sure of is this government remains wedded to the senseless austerity that hurts working class communities hardest. The only promise we have is that of yet more cuts to our public services which are already at the point of crisis because of years of Tory austerity."
McCluskey concluded: "We called upon the chancellor to show that he has listened to the concerns of working people, to prove that he is determined to create an economy based on decent, secure, well paid work. He failed."


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Scott Harris-Europa
Vision Care Specialists wants to make sure our customers have access to the most fashion-forward designs available. We're constantly on the lookout for names that are well respected as well as generating high levels of interest.
One of the newest additions to our extensive selection is Scott Harris eyewear.
Small and Light
While Scott Harris eye frames come in a variety of sizes, the most interesting frames are the ones that have been engineered to be as light as possible. For some, in their Scott Harris Underground line, the materials used are inherently lightweight. Others, in the Scott Harris Vintage line, make use of minimal amounts of materials in order to keep the weight down.
Shades of Cool
Scott Harris frames cover a broad spectrum of styles – from vintage to modern – but their sunglasses are equally intriguing. Their designs bring style to anybody's wardrobe, they provide not only a playful touch to your summer wardrobe, but also quality UV protection for your eyes.
The 2017 Line
The 2017 collection for Scott Harris covers frames from the main line, the retro-styled Scott Harris Vintage line, the nouveau-chic Scott Harris Underground line and the flashy fun of their Scott Harris Sunwear line.
For those people who want to have a distinctive look with comfortable glasses, Scott Harris represents one of the best frame lines available right now. We invite you to come down to Vision Care Specialists today and look over the latest frames with an optician to see which ones best match your particular. We look forward to seeing you soon.


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15 November 2016
Residents have been enjoying several painting sessions that have been taking place at Elmwood over the last few weeks.
One of the sessions 'Let's be creative' was designed to encourage the residents to use their fine motor skills. The residents spoke about their life experiences and their wonderful creations. They were very thankful for the opportunity to create something special they can hang in their rooms.
The residents were also delighted to join another creative activity, 'Discovery Painting', which gave them an opportunity to reminisce about their past life experiences. One of the residents, Peter, was a footballer so he was given an image of a footballer, which sparked some great conversation.
"The sessions were very successful and allowed us to get a deeper understanding of our residents' past," - noted Angelin Selvanathan, Activity Carer. "The residents also enjoyed being creative".


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[nggallery id=64]
It's summertime, which means time for the dreaded swimsuit shopping trip. Whether you want to make a statement by the Blackpool lido, in or blend in with the crowd in St. Lucia, stress no more with these SS12 swimwear picks.
1. Nautical stripe swimsuit by Ted Baker– £69.00
2. Halter zip one piece by Lisa Marie Fernandez– £435.00
3. Deep V striped one piece by Anna & Boy– £190.00
4. Floral ocelot strapless bikini by Zimmerman– £170.00
5. Vintage inspired cherry swimsuit by Esher Williams (For Luna)– £59.95
6. Swim for gold swimsuit by Sweaty Betty– £55.00
7. Light bronze leaf trim bikini by REISS– £31.00
8. London one piece by We are Handsome– £270.00
9. Lace swimsuit by Norma Kamali– £365.00
10. Green bow bikini by Tara Matthews– £145.00
11. Ruffled floral bikini by Zimmerman– £170.00
12. Anchor cut-out swimsuit by Yves Saint Laurent– £510.00
– Emily Cain