text:
Dada and Surrealism: Texts and Extracts
The Dadaists attached much less importance to the sales value of their work than to its uselessness for contemplative immersion. The studied degradation of their material was not the least of their means to achieve this uselessness. Their poems are "word salad" containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as reproductions with the very means of production . . . Dadaistic activities actually assured a rather vehement distraction by making works of art the centre of scandal. One requirement was foremost: to outrage the public.
(Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', 1936)
Press Notice, Zurich, February 2nd 1916
Cabaret Voltaire. Under this name a group of young artists and writers has been formed whose aim is to create a centre for artistic entertainment. The idea of the cabaret will be that guest artists will come and give musical performances and readings at the daily meetings. The young artists of Zurich, whatever their orientation, are invited to come along with suggestions and contributions of all kinds.
Hugo Ball, 'Dada Manifesto' (read at the first public Dada soiree, Zurich, July 14th 1916)
Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means "hobby horse". In German it means "good-bye", "Get off my back", "Be seeing you sometime". In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right". And so forth.
An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m'dada, dada m'dada dada mhm, dada dera dada, dada Hue, dada Tza.
How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world's best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein.
In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.
I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented. All the words are other people's inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words for it that are seven yards long. Mr Schulz's words are only two and a half centimetres long.
It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat miaows . . . Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language, as if put there by stockbrokers' hands, hands worn smooth by coins. I want the word where it ends and begins. Dada is the heart of words.
Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.
Hugo Ball, from 'Kandinsky' (a lecture given at the Galerie Dada, April 7 1917)
Three things have shaken the art of our time to its depths, have given it a new face, and have prepared it for a mighty new upsurge: the disappearance of religion induced by critical philosophy, the dissolution of the atom in science, and the massive expansion of population in present-day Europe.
God is dead. A world disintegrated. I am dynamite. World history splits into two parts. There is an epoch before me and an epoch after me. Religion, science, morality—phenomena that originated in the states of dread known to primitive peoples. An epoch disintegrates. A thousand-year-old culture disintegrates. There are no columns and supports, no foundations any more—they have all been blown up. Churches have become castles in the clouds. Convictions have become prejudices. There are no more perspectives in the moral world. Above is below, below is above. The transvaluation of values came to pass. Christianity was struck down. The principles of logic, of centrality, unity and reason were unmasked as postulates of a power-craving theology. The meaning of the world disappeared. The purpose of the world—its reference to a supreme being who keeps the world together—disappeared. Chaos erupted. Tumult erupted. The world showed itself to be a blind juxtapositioning and opposing of uncontrolled forces. Man lost his divine countenance, became matter, chance, an aggregate animal, the lunatic product of thoughts quivering abruptly and ineffectually. Man lost the special position that reason had guaranteed him . . .
The artists of these times have turned inward. Their life is a struggle against madness. They are disrupted, fragmented, dissevered, if they fail to find in their work for a moment equilibrium, balance, necessity, harmony . . . The strongest affinity shown in works of art today is with the dread masks of primitive peoples, and with the plague and terror masks of the Peruvians, Australian aborigines, and Negroes. The artists of this age face the world as ascetics of their own spirituality. They live deeply buried lives. They are forerunners, prophets of a new era. Only they can understand the tonalities of their language. They stand in opposition to society, as did heretics in the Middle Ages. Their works are simultaneously philosophical, political, and prophetic. They are forerunners of an entire epoch, a new total culture. They are hard to understand, and one achieves an understanding of them only if one changes the inner basis—if one is prepared to break with a thousand-year-old tradition. You will not understand them if you believe in God and not in chaos. The artists of this age turn against themselves and against art . . . They seek what is essential and what is spiritual, what has not yet been profaned . . .
TRISTAN TZARA, from 'Dada Manifesto on Free Love and Bitter Love', (c1920)
It seems that this exists: more logical, very logical, too logical, less logical, not very logical, really logical, fairly logical.
Well then, draw the consequences.
"I have"
Now think of the creatures you love most.
Tell me the number and I'll tell you the lottery.
Take a newspaper.
Take some scissors.
Choose from this paper an article of the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that makes up this article and put them all in a bag.
Shake Gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are—an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.
TRISTAN TZARA, from 'Monsieur Antipyrine's Manifesto', 1916
DADA remains within the framework of European weaknesses, it's still shit, but from now on we want to shit in different colours so as to adorn the zoo of art with all the flags of all the consulates. We are circus ringmasters and we can be found whistling amongst the winds of fairgrounds, in conventions, prostitutions, theatres, realities, feelings, restaurants, ohoho, bang bang.
To win the energies of intoxication for the revolution—this is the project about which Surrealism circles in all its books and enterprises. . . an ecstatic component lives in every revolutionary act.
(Walter Benjamin, 'Surrealism', 1929)
ANDRÉ BRETON, from
Manifesto of Surrealism
So strong is the belief in life, in what is most fragile in life—
life, I mean—that in the end this belief is lost . . .
The mere word "freedom" is the only one that still excites me. I deem it capable of indefinitely sustaining the old human fanaticism . . . Imagination alone offers me some intimation of what
can be
, and this is enough to remove to some slight degree the terrible injunction . . .
There remains madness, "the madness that one locks up", as it has been aptly described. That madness or another . . . We all know, in fact, that the insane owe their incarceration to a tiny number of legally reprehensible acts and that, were it not for these acts their freedom . . . would not be threatened . . . indeed, hallucinations, illusions, etc., are not a source of trifling pleasure. The best controlled sensuality partakes of it . . . I could spend my whole life prying loose the secrets of the insane. These people are honest to a fault, and their naiveté has no peer but my own . . .
It is not the fear of madness which will oblige us to leave the flag of imagination furled . . .
We still live under the reign of logic . . . But the methods of logic are applied nowadays only to the resolution of problems of secondary interest. The absolute rationalism which is still the fashion does not permit consideration of any facts but those strictly relevant to our experience. Logical ends, on the other hand, escape us. Needless to say that even experience has had limits assigned to it. It revolves in a cage from which it becomes more and more difficult to release it. Even experience is dependent on immediate utility, and common sense is its keeper. Under colour of civilization, under pretext of progress, all that rightly or wrongly may be regarded as fantasy or superstition has been banished from the mind, all uncustomary searching after truth has been proscribed. It is only by what must seem sheer luck that there has recently been brought to light an aspect of mental life—to my belief by far the most important—with which it was supposed that we no longer had any concern. All credit for these discoveries must go to Freud. Based on these discoveries a current of opinion is forming that will enable the explorer of the human mind to continue his investigations, justified as he will be in taking into account more than mere summary realities. The imagination is perhaps on the point of reclaiming its rights. If the depths of our minds harbour strange forces capable of increasing those on the surface, or of successfully contending with them, then it is all in our interest to canalize them, to canalize them first in order to submit them later, if necessary, to the control of the reason. The analysts themselves have nothing to lose by such a proceeding. But it should be observed that there are no means designed a priori for the bringing about of such an enterprise, that until the coming of the new order it might just as well be considered the affair of poets and scientists, and that its success will not depend on the more or less capricious means that will be employed . . .
. . .I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams . . . the dream finds itself reduced to a mere parenthesis, as is the night . . .
. . .I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a
, if one may so speak. It is in quest of this surreality that I am going, certain not to find it but too unmindful of my death not to calculate to some slight degree the joys of its possession . . .
. . .I am resolved to deal severely with that
hatred of the marvellous
which is so rampant among certain people, that ridicule to which they are so eager to expose it. Let us speak plainly: The marvellous is always beautiful, anything marvellous is beautiful; indeed, nothing but the marvellous is beautiful . . .
The marvellous is not the same in every period of history: it partakes in some obscure way of a sort of general revelation only the fragments of which come down to us: they are the romantic ruins, the modern mannequin, or any other symbol capable of affecting the human sensibility for a period of time. In these areas which make us smile, there is still portrayed the incurable human restlessness, and this is why I take them into consideration and why I judge them inseparable from certain productions of genius . . .
It was in 1919, in complete solitude and at the approach of sleep, that my attention was arrested by sentences more or less complete, which became perceptible to my mind without my being able to discover (even by very meticulous analysis) any possible previous volitional effort. One evening in particular, as I was about to fall asleep, I became aware of a sentence articulated clearly to a point excluding all possibility of alteration and stripped of all quality of vocal sound; a curious sort of sentence which came to me bearing—in sober truth—not a trace of any relation whatever to any incidents I may at that time have been involved in; an insistent sentence, it seemed to me, a sentence I might say, that
knocked at the window
I was prepared to pay no further attention to it when the organic character of the sentence detained me. I was really bewildered. Unfortunately, I am unable to remember the exact sentence at this distance, but it ran approximately like this: "A man is cut in half by the window." What made it plainer was the fact that it was accompanied by a feeble visual representation of a man in the process of walking, but cloven, at half his height, by a window perpendicular to the axis of his body. Definitely, there was the form, re-erected against space, of a man leaning out of a window. But the window following the man's locomotion, I understood that I was dealing with an image of great rarity. Instantly the idea came to me to use it as material for poetic construction. I had no sooner invested it with that quality, than it had given place to a succession of all but intermittent sentences which left me no less astonished, but in a state, I would say, of extreme detachment.
Preoccupied as I still was at that time with Freud, and familiar with his methods of investigation, which I had practised occasionally upon the sick during the War, I resolved to obtain from myself what one seeks to obtain from patients, namely a monologue poured out as rapidly as possible, over which the subject's critical faculty has no control—the subject himself throwing reticence to the winds—and which as much as possible represents
spoken thought
. It seemed and still seems to me that the speed of thought is no greater than that of words, and hence does not exceed the flow of either tongue or pen.
It was in such circumstances that, together with Philippe Soupault, whom I had told about my first ideas on the subject, I began to cover sheets of paper with writing, feeling a praiseworthy contempt for whatever the literary result might be. Ease of achievement brought about the rest. By the end of the first day of the experiment we were able to read to one another about fifty pages obtained in this manner and to compare the results we had achieved. The likeness was on the whole striking. There were similar faults of construction, the same hesitant manner, and also, in both cases, an illusion of extraordinary verve, much emotion, a considerable assortment of images of a quality such as we should never have been able to obtain in the normal way of writing, a very special sense of the picturesque, and, here and there, a few pieces of out and out buffoonery.
The only differences which our two texts presented appeared to me to be due essentially to our respective temperaments, Soupault's being less static than mine, and, if he will allow me to make this slight criticism, to his having scattered about at the top of certain pages—doubtlessly in a spirit of mystification—various words under the guise of titles. I must give him credit, on the other hand, for having always forcibly opposed the least correction of any passage that did not seem to me to be quite the thing. In that he was most certainly right.
It is of course difficult in these cases to appreciate at their just value the various elements in the result obtained; one may even say that it is entirely impossible to appreciate them at a first reading. To you who may be writing them, these elements are, in appearance,
as strange as to anyone else
, and you are yourself naturally distrustful of them. Poetically speaking, they are distinguished chiefly by a very high degree of
immediate absurdity
, the peculiar quality of that absurdity being, on close examination, their yielding to whatever is most admissible and legitimate in the world: divulgation of a given number of facts and properties on the whole not less objectionable than the others . . .
Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all:
. Pure psychic automatism, by which it is intended to express, verbally, in writing, or by other means, the real process of thought. Thought's dictation, in the absence of all control exercised by the reason and outside all aesthetic or moral preoccupations.
. Surrealism rests in the belief in the superior reality of certain forms of association neglected heretofore; in the omnipotence of the dream and in the disinterested play of thought. It tends definitely to do away with all other psychic mechanisms and to substitute itself for them in the solution of the principal problems of life. Have professed
absolute surrealism
: Messrs. Aragon, Baron, Boiffard, Breton, Carrive, Crevel, Delteil, Desnos, Eluard, Gérard, Limbour, Malkine, Morise, Naville, Noll, Péret, Picon, Soupault, Vitrac.
These till now appear to be the only ones . . .. Were one to consider their output only superficially, a goodly number of poets might well have passed for surrealists, beginning with Dante and Shakespeare at his best.
In the course of many attempts I have made towards an analysis of what, under false pretences, is called genius, I have found nothing that could in the end be attributed to any other process than this
Night Thoughts
are surrealist from cover to cover. Unfortunately, it is a priest who speaks; a bad priest, to be sure, yet a priest.
Heraclitus is surrealist in dialectic.
Lully is surrealist in definition.
Flamel is surrealist in the night of gold.
Swift is surrealist in malice.
Sade is surrealist in sadism.
Carrier is surrealist in drowning.
Monk Lewis is surrealist in the beauty of evil.
Achim von Arnim is surrealist absolutely, in space and time
Rabbe is surrealist in death.
Baudelaire is surrealist in morals.
Rimbaud is surrealist in life and elsewhere.
Hervey Saint-Denys is surrealist in the directed dream.
Carroll is surrealist in nonsense.
Huysmans is surrealist in pessimism.
Seurat is surrealist in design.
Picasso is surrealist in cubism.
Vaché is surrealist in me.
Roussel is surrealist in anecdote. Etc.
They were not always surrealists—on this I insist—in the sense that one can disentangle in each of them a number of preconceived notions to which—very naively!—they clung. And they clung to them so because they had not heard the
surrealist voice
, the voice that exhorts on the eve of death and in the roaring storm, and because they were unwilling to dedicate themselves to the task of no more than orchestrating the score replete with marvellous things. They were proud instruments; hence the sounds they produced were not always harmonious sounds.
We, on the contrary, who have not given ourselves to processes of filtering, who through the medium of our work have been content to be the silent receptacles of so many echoes, modest
registering machines
that are not hypnotized by the pattern that they trace, we are perhaps serving a yet much nobler cause. So we honestly give back the talent lent to us. You may talk of the "talent" of this yard of platinum, of this mirror, of this door and of this sky, if you wish.
We have no talent . . .
Written Surrealist Composition or First and Last Draft
Having settled down in some spot most conducive to the mind's concentration upon itself, order writing material to be brought to you. Let your state of mind be as passive and receptive as possible. Forget your genius, talents, as well as the genius and talents of others. Repeat to yourself that literature is pretty well the sorriest road that leads to everywhere. Write quickly without any previously chosen subject, quickly enough not to dwell on, and not to be tempted to read over, what you have written. The first sentence will come of itself; and this is self-evidently true, because there is never a moment but some sentence alien to our conscious thought clamours for outward expression. It is rather difficult to speak of the sentence to follow, since it doubtless comes in for a share of our conscious activity and so the other sentences, if it is conceded that the writing of the first sentence must have involved even a minimum of consciousness. But that should in the long run matter little, because therein precisely lies the greatest interest in the surrealist exercise. Punctuation of course necessarily hinders the stream of absolute continuity which preoccupies us. But you should particularly distrust the prompting whisper. If through a fault ever so trifling there is a forewarning of silence to come, a fault let us say, of inattention, break off unhesitatingly the line that has become too lucid. After the word whose origin seems suspect you should place a letter, any letter,
for example, always the letter
, and restore the arbitrary flux by making that letter the initial of the word to follow . . .
Q. "How old are you?"
A. "You" (
Q. "What is your name?"
A. "Forty-five houses" (
Ganser syndrome, or beside-the-point replies
There is no conversation in which some trace of this disorder does not occur. The effort to be social which dictates it and the considerable practice we have at it are the only things which enable us to conceal it temporarily . . . In the very short dialogue that I concocted above between the doctor and the madman, it was in fact the madman who got the better of the exchange. Because, through his replies, he obtrudes upon the attention of the doctor examining him—and because he is not the person asking the questions. Does this mean that his thought at this point is the stronger? Perhaps. He is free not to care any longer about his age or name.
Poetic surrealism, which is the subject of this study, has focused its efforts up to this point on reestablishing dialogue in its absolute truth, by freeing both interlocutors from any obligations of politeness . . . The words, the images are only so many springboards for the mind of the listener . . .
. . .the surrealist atmosphere created by automatic writing, which I have wanted to put within the reach of everyone, is especially conducive to the production of the most beautiful images. One can even go so far as to say that in this dizzying race the images appear like guideposts of the mind. At first limiting itself to submitting to them, it soon realises that they flatter its reason, and increase its knowledge accordingly. The mind becomes aware of the limitless expanses wherein its desires are made manifest, where the pros and cons are constantly consumed, where its obscurity does not betray it. It goes forward, borne by these images which enrapture it, which scarcely leave it any time to blow upon the fire in its fingers. This is the most beautiful night of all, the
lightning-filled night
: day, compared to it, is night . . .
The mind which plunges into Surrealism relives with glowing excitement the best part of its childhood . . . It is perhaps childhood that comes closest to one's "real life" . . .
Surrealist methods . . . moreover, demand to be heard. Everything is valid when it comes to obtaining the desired suddenness from certain associations. The pieces of paper that Picasso and Braque insert into their work have the same value as the introduction of a platitude into a literary analysis of the most rigorous sort. It is even permissible to entitle POEM what we get from the most random assemblage possible (observe, if you will, the syntax) of headlines and scraps of headlines cut out of the newspapers:
A burst of laughter
of sapphire in the island of Ceylon
The most beautiful straws
on an isolated farm
the pleasant
grows worse
A carriage road
takes you to the edge of the unknown
preaches for its saint
a pair
of silk stockings
is not
A leap into space
Love above all
Everything could be worked out so well
Watch out for
the fire that covers
of fair weather
Know that
The ultraviolet rays
have finished their task
short and sweet
Red will be
The wandering singer
in memory
in his house
I do
as I dance
What people did, what they're going to do
. . .Surrealism, such as I conceive it, asserts our complete
clearly enough so that there can be no question of translating it, at the trial of the real world, as evidence for the defense. It could, on the contrary, only serve to justify the complete state of distraction which we hope to achieve here below . . . This summer the roses are blue; the wood is of glass. The earth, draped in its verdant cloak, makes as little impression upon me as a ghost. It is living and ceasing to live that are imaginary solutions. Existence is elsewhere.
ANDRÉ BRETON, from
The Second Manifesto of Surrealism
, 1930
Everything tends to make us believe that there exists a certain point of the mind at which life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease to be perceived as contradictions. Now, search as one may one will never find any other motivating force in the activities of the Surrealists than the hope of finding and fixing this point. From this it becomes obvious how absurd it would be to define Surrealism solely as constructive or destructive: the point to which we are referring is a fortiori that point where construction and destruction can no longer be brandished one against the other. It is also clear that Surrealism is not interested in giving very serious consideration to anything that happens outside of itself, under the guise of art, or even anti-art, of philosophy or anti-philosophy — in short, at anything not aimed at the annihilation of the being into a diamond, all blind and interior, which is no more the soul of ice than that of fire.
. . . The simplest Surrealist act consists of dashing down the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd. Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in that crowd, with his belly at barrel level . . .
. . . let us not lose sight of the fact that the idea of surrealism aims quite simply at the total recovery of our psychic force by a means which is nothing other than the dizzying descent into ourselves, the systematic illumination of hidden places and the progressive darkening of other places, the perpetual excursion into the midst of forbidden territory . . .
André Breton, from
Introduction to the Discourse on the Paucity of Reality
Poetry evidences in our days such peculiar requirements. See what importance it attaches to the possible, and its love of the improbable. What is, or what might be—how insufficient that appears to be. Nature, it denies your rule. Objects, what does it care about your properties? . . .
Now consider words . . . Words are likely to group themselves according to individual affinities, which generally have the effect of making them re-create the world each instant upon its old model. Everything goes on, then, as though a concrete reality existed outside the individual; I might say, as if such reality were immutable. In the establishment of pure fact, pure and simple, if that is what we are after, we must have absolute certainty in order to advance something new, something the nature of which would shock common sense . . .
But, as I have already said, words, by virtue of the characteristics we find in them, deserve to have another decisive function. Nothing serves to modify them, since they respond in their own way with such promptness to our appeal. It is enough that our criticism should bear on the laws governing their assemblage. Does not the mediocrity of our universe depend essentially on our power of enunciation? In its most sterile seasons, poetry has often furnished proof of this; what debauches of starry skies, precious stones, dead leaves. Thank God a slow but sure reaction against this has finally developed in men's minds. Things said over and over again today meet a solid barrier. They have riveted us to this vulgar universe. It is from them we have acquired this taste for money, these constraining fears, this feeling for the native land, this horror of our destiny. I believe it is not too late to recoil from this deception, inherent in the words we have thus far used so badly. What is to prevent me from throwing disorder into this order of words, to attack murderously this obvious aspect of things? Language can and should be torn from this servitude. No more descriptions from nature, no more sociological studies. Silence, so that I may pass where no one has ever passed. Silence! After you, my beautiful language!
The object of language, they say, is to be understood. But understood how? Understood no doubt by me, when I listen like a child asking for the continuation of a fairy tale. Let them beware! I know the meaning of all my words and follow naturally a syntax (syntax which is not, as certain fools believe, a discipline). This being the case, I cannot see why there should be an outcry when they hear me declare that the most satisfactory image of the earth I can offer at this moment is that of the cardboard hoop. If such an ineptitude has never been advanced before me, then certainly it is not an ineptitude. Furthermore, I cannot be taken to account for a statement of this kind without my demanding the context. A rather dishonest person one day, in a note contained in an anthology, made a list of some of the images presented to us in the work of one of our greatest living poets. It read:
'The next day the caterpillar dressed for the ball' . . . meaning 'butterfly'.
'Breast of crystal . . . meaning carafe'.
No, indeed, sir.
It means nothing of the kind
. Put your butterfly back in your carafe. You may be sure Saint-Pol-Roux said exactly what he meant.
Do not forget if for no other reason the belief in a certain practical necessity prevents us from ascribing to poetic testimony an equal value to that given, for instance, to the testimony of an explorer . . . To satisfy this desire for perpetual verification, I recently proposed to fabricate, in so far as possible, certain objects which are approached only in dreams and which seem no more useful than enjoyable. Thus recently, while I was asleep, I came across a rather curious book in an open-air market near Saint-Malo. The back of the book was formed by a wooden gnome whose white beard, clipped in the Assyrian manner, reached to his feet. The statue was of ordinary thickness, but did not prevent me from turning the pages, which were of heavy black cloth. I was anxious to buy it and, upon waking, was sorry not to find it near me. It is comparatively easy to recall it. I would like to put into circulation certain objects of this kind, which appear eminently problematical and intriguing. I would accompany each of my books with a copy, in order to make a present to certain persons. Perhaps in that way I should help to demolish those concrete trophies which are so odious, to throw further discredit on those creatures and things of 'reason'.
Who knows? There might be idle machines of a very scientific construction: Plans for immense cities might be minutely outlined which, although we never could carry them out, at least might classify the present and future capitals. Absurd automatons, perfected to the last degree, which would function like nothing else on earth, might give us an accurate idea of action.
Must poetic creations assume that tangible character of extending, strangely, the limits of so-called reality? May the hallucinatory power of certain images and the true gift of evocation which certain people possess, independently of the faculty of memory, no longer be misunderstood? The God within us does not, indeed, rest on the seventh day. We still have the first pages of Genesis to read. It perhaps remains for us only to hurl on the ruins of the ancient world the foundations of our new terrestrial paradise. Nothing yet is lost, for we know by certain signs that the great illumination follows its course. The perils into which reason leads us, in the most general and debatable sense of the word, in subjecting the works of the spirit to its irrevocable dogmas, in depriving us of the mode of expression which harms us the least—this peril, doubtless, is far from being dispelled. The deplorable inspectors who pursue us even after we leave school make their rounds of our homes and our lives. They make sure that we always call a cat a cat and, since after all we accept this to a great extent, they refrain from sending us to the galleys or the poorhouse or the penitentiary. Nevertheless, let us get rid of these officials as soon as possible . . .
André Breton, from
Mad Love
(L'Amour fou), 1937
Lautréamont's "Beautiful as the encounter of a sewing machine with an umbrella on a dissection table. . ." constitutes the very manifesto of convulsive poetry. . .
. . . In any case, what is delightful here is the dissimilarity itself which exists between the object wished for and
the object found
. This
, whether it be artistic, scientific, philosophic, or as useless as anything, is enough to undo the beauty of everything beside it. In it alone can we recognise the marvellous precipitate of desire. It alone can enlarge the universe, causing it to relinquish some of its opacity, letting us discover its extraordinary capacities for reserve, proportionate to the innumerable needs of the spirit. Daily life abounds, moreover, in just this type of small discovery . . . You only have to know how to get along in the labyrinth. Interpretive delirium begins only when man, ill-prepared, is taken by a sudden fear in the
forest of symbols
. But I maintain that for anyone, watchfulness would do anything rather than pay a second's notice to whatever remains exterior to his desire.
What attracts me in such a manner of seeing is that, as far as the eye can see, it recreates desire . . .
Convulsive beauty will be veiled-erotic, fixed-explosive, magic-circumstantial, or it will not be.
. . .
chance is the form making manifest the exterior necessity which traces its path in the human consciousness
. . .
. . . Behind ourselves, we must
not let the paths of desire become overgrown
. Nothing retains less of desire in art, in science, than this will to industry, booty, possession. A pox on all captivity, even should it be in the interest of the universal good . . . Still today I am only counting on what comes of my own openness, my eagerness to wander
in search
of everything, which, I am confident, keeps me in mysterious communication with other open beings, as if we were suddenly called to assemble . . .
. . . It is only by making evident the intimate relation linking the two terms
that I hope to break down the distinction, which seems to me less and less well founded, between the subjective and the objective. . . . I intend to justify and advocate more and more choice of a
lyric behaviour
such as it is indispensable to everyone, even if for only an hour of love, such as surrealism has tried to systematize it, with all possible predictive force.
. . . What is strangest is inseparable from love, presiding over its revelation in individual as well as in collective terms. Man's and woman's sexual organs are attracted to each other like a magnet only through the introduction between them of a web of uncertainties ceaselessly renewed, a real unloosing of hummingbirds which would have gone to hell to have their feathers smoothed . . .
We will never have done with sensation. All rationalist systems will prove one day to be indefensible to the extent that they try, if not to reduce it to the extreme, at least not to consider it in its so-called exaggerations . . . Surprise must be sought for itself, unconditionally. It exists only in the interweaving in a single object of the natural and the supernatural, in the emotion of holding the lyrebird even as it is felt to be slipping away . . .
Nothing could be more worth an effort than making love lose this bitter aftertaste which poetry, for example, does not have. Such an enterprise cannot be entirely successful until on the universal scale we have finished with the infamous Christian idea of sin. There has never been any forbidden fruit. Only temptation is divine. To feel the need to vary the object of this temptation, to replace it by others — this bears witness that one is about to be found unworthy, that one has already doubtless proved unworthy of
. . .
Gerry Carlin & Mair Evans


text:
Thursday, August 7, 2014
Theology and Church: When women write to the pope
August 1, 2014
The contribution women are making to theological reflection in the Catholic sphere has become increasingly important in Italy. One particular sign of this was the International Theological Congress in Rome organized by the Coordinamento Teologhe Italiane [Coordination of Italian Women Theologians] on the 50th anniversary of the start of Vatican II, from 4 to 6 October 2012 on the subject "Female theologians reinterpret Vatican II: Accepting history, preparing for the future."
Two hundred and twenty five women theologians from 23 different countries participated in it. Now the proceedings have been published by Paoline editions (Avendo qualcosa da dire ["Having something to say"], Milan, 2014, edited by Marinella Perroni and Hervé Legrand, with the contributions of several theologians, including Cettina Melitello, who examined "La teologia delle donne: quale incidenza ecclesiale?" ["Women's theology: What impact on the Church?", pp. 48-60].
Lately, other books by Italian women theologians have been published that we should mention because of the richness and depth that characterize them, such as Le ribelli di Dio. Donne e Bibbia tra mito e storia ["The rebels of God. Women and the Bible, between myth and history"], by Adriana Valerio (Feltrinelli, 2014); and two books by Benedetta Selene Zorzi: Antropologia e teologia spirituale. Per una teologia dell'io theology ["Anthropology and spiritual theology: Towards a theology of self"] (Ed. San Paolo, Cinisello Balsamo, 2014); Al di là del gênio femminile. Donne e genere nella storia della teologia cristiana ["Beyond feminine genius: Women and gender in the history of Christian theology"] (Ed. Carocci, Rome, 2014).
However, the impetus for reflection that I intend to propose, comes from a smaller initiative, but one rich in significance. It is an expression of the enthusiasm stirred up by the gestures and words of Pope Francis, which have encouraged hope for renewal and opened a flood of petitions to the Church.
The book Caro Francesco. Venticinque scrivono donne al Papa ["Dear Francis: Twenty-five women write to the Pope"] (Ed. Il Pozzo di Giacobbe, Trapani, 2014) brings together 25 letters written in a confidential manner by 25 women. The subjects are summarized in a single word and develop quite varied reflections, in alphabetical order, from "A" for ambiente ["environment"] to "V" for vita religiosa ["religious life"].
The only male interjection is the introduction requested from the emeritus bishop of Caserta, Raffaele Nogaro, because of his social sensitivity and the support he has given to the innovative pastoral options made in Caserta by the Ursuline nuns, who seem to have originated the initiative.
The women writers bring together a variety of memberships and professions in search of new forms of solidarity and justice. The great diversity in training and origin shows the various ways in which womanhood can be lived out in convergent ways.
There is also an echo of the painful choice of 17 nuns who were expelled from their order in 2010 and are still living "in exile and with all its related precarity, thanks to stronger fraternal love and with help from Above and Below, the dynamic fidelity of the 'first times' ... With all the 'experience' of pain and joy that entails." (Maria Stella Fabbri, "Vita religiosa", p. 150).
The term that returns many times in these pages is "fear", "fear of women". Daniela Esposito, in the item titled "Liberazione" ["Liberation"], laments that in the preparatory document for the Synod on the Family, there is total silence about "gender violence, whether physical, sexual, economic (...) within the family. This scandalous blindness (...) is worrisome because the massacre of women, minute by minute, is demonstrated by statistics and only reinforces the idea that the 'concealment' of the feminine derives from men's fear of it. I believe it was this fear, natural to men, that, over time, became responsible -- not consciously -- for everything. Thus it is a necessary priority to free the world and the Church from fear of women." (Liberazione, ibid., p. 74). The question addressed to the Pope is clear: "Don't you think the time has come for the Church to open its arms to women in a gesture of love, for it to finally break free of fear and be a witness to Jesus' teachings?" (ibid., p. 75).
Therefore, others ask that "the clergy also [be] trained and educated. Seminarians will be afraid of women if they see in them a possible tempting Eve, who runs the risk of taking them away from their path of celibacy. If sexuality is freed from legalistic oppression, it could help candidates to the priesthood appreciate the otherness and difference of women as values to be acknowledged and welcomed..."
"Dear Pope Francis, the Church should not be afraid of women; help her in this way, continuing in your courageous decisions and, above all, giving confidence to women." (Donna, Adriana Valerio, ibid, p 44). It is precisely fear that leads to exclusion and marginalization.
Furthermore, when a woman is abandoned or a fugitive, she becomes a person one should be afraid of, whom one should fear (p. 122). The pages devoted to trafficking in women for prostitution very well express the passion and the enthusiasm with which some women religious "have tried to give concrete answers to the many female victims of human trafficking, especially for sexual exploitation." (Eugenia Bonetti, Schiavitù, p. 129).
What emerges most often from the letters is a lament for lack of power within the Church. That is, the fact that decisions relating to women are made by men, and women have no possibility to decide whatsoever.
With an incisive expression, echoing a quote from Sartre (Nausea, 1938), Anna Carfora invokes "the paradox of religion as a woman's thing run by male priests" (Clero, p. 27).
This phrase is even more significant because it was written by an educator of future priests as professor of church history at the Theological Faculty of Southern Italy, the S. Luigi di Napoli branch.
Carfora specifically takes up the denunciation of "the insidious and subtle temptation to careerism." "In fact, the clergy-power combination still persists. The clergy entrusts to itself the responsibility for, and management of doctrine and orthodoxy, of liturgy and ecclesiastical organization, law and government." (p. 27)
The Pope has spoken of "authority of women in the Church -- an authority, therefore, that doesn't come from being a priest." She wonders if "the scope of this statement" has been fully understood, "the decisive blow to the heart of clericalism that it entails." (Clero, p. 27)
There is spontaneous gratitude to Pope Francis for the path undertaken -- the path of inclusiveness, "the ability to enter into a relationship simply of human beings with other human beings", and "overcoming the fear of dissolving like yeast in dough. The yeast disappears, it isn't recognized, but thanks to the yeast, the dough becomes better."(p. 28)
The women are asking to be heard, demanding that space be created in the Church "for a presence that isn't decorative or advisory, but speaking and decision-making in all bodies in which the faithful leadership of the people of God is implemented." (Adriana Valerio, Donna, p. 43).
"The traditional ecclesiological models, therefore, should be revised according to the principles of communion and apostolic co-responsibility." (ibid., p. 43)
Marinella Perrone, starting from Pope Francis' December 13 homily last year, drew the contrast between clericalism and prophecy. The prophet has "piercing eyes" (Profezia, p. 116), but this is not "a gift, but a skill that is acquired through listening to the Word of God. Not a quality reserved for some, but the vocation of all the baptized, prophecy comes from the discipline of listening."(p. 116)
"It's the church as a whole that needs to regain prophetic strength -- every believer must be called to his or her commitment to witness, every theologian must find the courage to think about the faith and speak words of encouragement and incentive, every bishop must take responsibility for building and looking out for the communion of God's people." (p. 117)
The proof suggested by the pope in his homily is significant: "When there is no prophecy among the people of God, the void it leaves is occupied by clericalism." (quoted on p. 118) Perrone comments that, "Clericalism, that is, that lethal mixture of power and the sacred, has become a real plague. It distorts the mind, affects behavior ... It's hard, but that's how it is, and we have all seen this in recent years -- clericalism has grown in proportion to the decline of prophecy. Through this -- and only through this -- true reform of the Church will come." (ibid., p. 118)
Quoting the Pope that "those who have fallen into this worldliness look on from above and afar, they reject the prophecy of their brothers and sisters, they discredit those who raise questions, they constantly point out the mistakes of others and they are obsessed by appearances" (Evangelii Gaudium 97), Marinella Perrone notes that "in Europe there have been two ecumenical councils of women ... But all of this ... is looked down upon by those who feel they hold the keys to legality. Looking at our Church with "piercing eyes", then, means to me today believing that finally it is possible that attention be paid not only to the prophecy of the brothers, but also the prophecy of the sisters."
It is this hope that she, on behalf of all women, has entrusted to the Pope "with great gratitude." (ibid., p. 119)
Carlo Molari is a priest and former professor of theology at the Pontifical Urbaniana and Gregorian universities in Rome. He is past president of the Associazione Teologica Italiana. This article was originally published in Rocca, 7/15/2014. It is available in the original Italian here and in a Portuguese translation by Moisés Sbardelotto on Adital.
Posted by Rebel Girl at 7:00 PM
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text:
Boris Johnson has been called to put stalkers and domestic abusers on the sex offenders register.
New figures reveal there has been a 33 per cent rise in domestic abuse in the capital in the last four years.
Today London Assembly Conservative members called on the Mayor of London to make the change.
A petition calling on the government to make the changed has also garnered more than 120,000 signatures.
London Assembly Conservative member Andrew Boff and Laura Richards from Paladin, which campaigns for better protection from stalkers, explains more.


text:
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Ten Ways I am Doing Things Differently - Part 2
I've been working with wood since I was a kid. I took my first woodworking class at the 92nd Street Y when I was 6 years old. I've been taking classes and building stuff for over 35 years. For the last 17 I have been working at Tools for Working Wood. In that time, new tools and new techniques have come on the market. By and large I have ignored them in my personal work. However, I haven't ignored everything, and my methods of work have in certain areas changed dramatically for the better. I've broken up my list of ten things into three posts so I don't drone on and on here. This is part two.
Part 1 is here
Domino Joiner
When I studied in school, the idea of a powered joining system was an anathema to teachers and students of traditional methods. At the time, there weren't many options -- dowel joints were the most prominent. The Metropolitan Museum's Study Collection had Frank Lloyd Wright chairs that used dowel joints to hold the backs together. What made me notice this? The chairs were coming apart.
Towards the end of my studying time,
Lamello biscuit joiners
started gaining popularity, and by the 1990's biscuits had become the go-to method for joining cabinets. Many cabinet shops had stationary mortisers for floating tenons for stronger joints.
Then Festool introduced the
into the US in the first years of the 21st century. It was a portable, accurate machine for installing floating tenons. This was a game changer. I was so impressed with Festool's innovation that when I opened TFWW, a center for hand tools, I decided to add Festool to the mix. Over the years as a Festool dealer and user my faith in the system hasn't been challenged. We routinely use Dominos in our own shop for all sorts of construction. There are cases where manually cutting a mortise is easier, usually when working with bizarro angles, and there is the satisfaction of chopping a mortise by hand. The system isn't cheap, either. But for me, the Domino me is an enabler of projects I would not ordinarily have the time for.
I am getting older - better than the alternative - and for the past five years or so I haven't been able to see detail. My eyesight has been bad since third grade, but worsened with time. About ten years ago I started wearing continuous bifocals for reading. I also have a pair of computer glasses for focusing on my computer screen and reading . Close-up work become impossible until I re-discovered what everyone else in the same situation had already re-discovered: Magnification! Specifically, the
, which we now stock. They are surprisingly comfortable. I use a number 5 (2 1/2x magnification) with a headlamp. It makes a huge difference for small work. For just doing things like sharpening a saw, lesser magnification a #2 (which only magnifices 1.5x which isn't much at all) is a game changer for me. The lower magnification gives me a greater working distance which is nice. I wear them over my glasses. They are US-made and are of sufficiently high quality so I don't get eyestrain. I don't know what I would do without them. The game changing was especially sweet because between the time I noticed I could not do close work anymore and getting the Optivior, I went through an unhappy period of thinking that my woodworking days were behind me. I live in an apartment and I don't really need more furniture, but carving and miniatures have always held an attraction. I had been hoping that I would become good enough at relief carving to really enjoy the results of doing it - something not possible without magnification.
Flake Shellac
My first encounter with shellac was with a small bottle of hobby store shellac that might have been purchased during the Eisenhower administration. When I tried to use it during the Johnson administration it seemed to just lie there and not dry at all. Shellac was a mystery until maybe ten years ago. At that time I started understanding the difference between what you got in bottles pre-mixed, and what you could do if you mixed up shellac flakes with good alcohol yourself. While I had seen French polish in museums, it was only then that I saw fellow woodworkers finish their work with French polish. For the first time I really understood how wonderful shellac could be. Since that time I basically have three go-to finishes. Finishing oil, for anything that I want a matte finish on and anything walnut. Polyurethane from a can, for anything I just need to keep clean of fingerprints and I don't care about. And fresh shellac, mixed up from de-waxed shellac flakes as needed, French polished, or just brushed on and rubbed out. That's my classy finish. I still love my oil finishes but a shellac finish is just classier on so many levels.
That's all for now. More to come next time. What are your gamechangers?
Comments: 3
Daniel Burgoyne
The Optivisor has been a life saver for me. Dedicated light (right where I need it) is also important now with onset of cataracts.
I resist the Domino because it is so expensive for my needs as a hobbyist.
I am just back from visiting Japan. I was amazed that the wood in all older houses was not always protected but ratera left in its natural state. It left me reassessing my own finishes.
Rob Porcaro
Hi Joel,
I'm enjoying this series of posts.
Thank you for emphasizing the value of good magnification for certain work. No one balks at using a wrench to increase mechanical leverage to tighten a fastener, yet many woodworkers avoid aids to increase visual "leverage," which can improve the quality of their work.
For practical advice from a professional (me) on how to choose Optivisors: http://www.rpwoodwork.com/blog/2015/06/06/seeing-better-for-woodworking-a-guide-choosing-headband-magnifiers/ There are actually a lot of technical matters that come into play but I've boiled it down to simple practical guidelines.
Ed Koizumi
I am decidedly old school - much to my chagrin as new technologies have been introduced into my school workshop. But that's another discussion. I was not impressed with the first waterborne wood finishes I tried but Minwax's Polycrylic clear satin finish is certainly easy to use and does not stink up a school shop and adjacent study spaces as oil-based varnish. Apply one coat to seal, let dry 2-3 hours, lightly sand with 220grit, then another coat and it's good - or good enough. So far, I haven't applied it over oil or water-based stains.
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NoiseMeters Ghana supplies a large range of sound level meters, noise dosimeters and environmental noise monitoring systems to customers throughout Ghana and neighboring regions.
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This week we talk about Games We've Been Playing, weird right? After that, we go on a trip down memory lane and discuss some of the best, and worse voice actors in games. From Kyle Katarn to Peter Dinklage and FMV to CG movies, here's looking at you Metal Gear, we cover it all. Remember, It's All in the Voice
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Abu Dhabi is the capital of United Arab Emirates and in recent years it has become one of the famous tourist attraction and in 2013 Abu Dhabi has been awarded by Frobes as one of the hottest travel destination
Jumeirah at Etihad Towers serviced residences are Abu Dhabi's most exclusive and prestigious with spectacular views of the cityscape, Corniche and the Arabian Gulf. Guests and residents can indulge in the delectable cuisines available at our Restaurants & Bars, and have access to exceptional leisure facilities & activities, unique venues for social events and outstanding conference and meeting facilities at Jumeirah at Etihad Towers.
(source: The Jumeirah Group)


text:
In Connecticut finding health insurance for the unemployed can be easier than you might think. Many medical insurance carriers that provide group health insurance also provide medical insurance to individuals and families who are not affiliated with a group or employer.
The carriers include:
- Aetna
- Anthem Blue Cross Blue Shield
- Connecticare
- Cigna
- United Health Care
This means that when you request prices and information regarding health insurance for unemployed people you may be pleasantly surprised at the quality of coverage and the network of doctors available to you when you are insured by one of the aforementioned health insurance carriers.
Another thing that shocks most people is the price. Health insurance for unemployed people is often less expensive than group health insurance coverage.
The bad news is that many people are denied when they apply for an individual health insurance policy. The reason insurance companies charge less to individuals is because when you apply as an individual, the company has the right to deny your application. When you apply as part of a group this isn't the case. If you are healthy and your family is also in good health, you will probably pay a reasonable premium for good coverage. However, if you or a family member has a significant pre existing condition, coverage may not be available to you through one of the private health insurance companies.
If you are looking for health insurance in Connecticut, we would love to help you. If you are looking for Wyoming unemployed health insurance or coverage in another state, an agent local to you will get quotes and information to you.
1 Comment Recent Comments
Domenic CocchiaNovember 7, 2009Share
Can I get a health insurance quote. I am 61 years old and unemployed.
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2 years ago
"A breath-taking account of an epic adventure pitting two intrepid protagonists against an array of obstacles..." - Fuquay-Varina Independent
"...Gripping...truly powerful" - Derbyshire Tribune
This blog is dedicated to covering the exploits of a young family (J, B, and young Steven and Matthew), who, having left their home, have ventured into the world in an effort to improve it to the best of their ability. Welcome, and thanks for joining us today, at least in a digital sense.
Posted by Wandering Family at 5:07 AM


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Google has moved to dismiss a class action click fraud lawsuit filed in Pennsylvania in August, saying the plaintiff is required by his AdWords contract to file suit in California.
Google Watch was the first to break the story that Samuel Lassoff, a personal injury attorney and amateur Web site operator, filed suit against the search engine for breach of contract, negligence, unjust enrichment and unfair business practices.
Lassoff's class action complaint was the third against Google this year, following the Arkansas lawsuit in May, since settled for $90 million, and the lawsuit brought by Click Defense in California in June.
Google, according to their motion to dismiss Lassoff's lawsuit, argues that Lassoff's AdWords contract binds adjudication to Santa Clara County. Lassoff's case should be dismissed without prejudice, and Lassoff should be allowed to refile in California. It is not unusual for Google to file motions to dismiss on technical legal grounds.
Further reading
If the judge grants Google's request for dismissal, Lassoff can choose to refile in California. But since he's not licensed to practice in that state, he will either contract with a lawyer in the state to file for him or request to appear pro hac vice.


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1. Emory's Libraries: The Robert W. Woodruff Library is one of five library buildings on Emory's Atlanta campus. Resources for your work may also be housed in the Pitts Theology Library, the Macmillan Law Library, the Woodruff Health Sciences Library, and the Science Commons. Furthermore, the main Woodruff Library houses three libraries within itself: the Heilbrun Music and Media Library, the Goizueta Business Library, and Stuart A. Rose Manuscript, Archives, & Rare Book Library (special collections). Our electronic catalog, discoverE, searches across all these libraries at once (discoverE HELP videos).
2. Graduate Student Loan Period: To support your research, grad students may checkout books for four months, barring recall by another Emory patron. You may renew your books online at the end of your loan period 10 times before you are asked to return them.
3. Subject Librarians:
4. Databases @ Emory: The Emory Libraries subscribe to hundreds of databases to facilitate your research. You can search databases by name, browse them alphabetically, or use the drop-down subject groupings. Finally, you can access almost all of our databases when you are off-campus by logging in with your Emory NetID.
5. Workshops on Citation Management (and more!):
6. Interlibrary Loan: If you can't find the resources you need in our libraries, you can place an interlibrary loan or use direct borrowing privileges we have at many libraries in the Atlanta/Athens area and throughout North America. With Emory's Interlibrary Loan ILLiad system, you may place requests for books, articles, microfilm, and more. Turn-around time for loans averages 7-10 days although they are often much faster. Interlibrary loan is a free service for graduate students.
7. Library Computers and Laptop Loans: Hundreds of computers (large-screen Macs and dual-monitor PCs) with specialized software are available in the library's Learning Commons on floors 1, 2, 3, and 4. Laptops (both PC & MAC), ipads, adaptors, cameras, etc. are available for loan. (Check out the list of items and the terms on the Equipment guide) . Laptops and other devices can be checked out at the Music and Media Library on the Woodruff Library's fourth floor.
8. Assigned Carrels: Graduate students can apply to use individual open-study carrels, which are found on floors 4-8 of the stacks tower. Each carrel has a number of bookshelves on which you may keep checked-out library books. Carrels are assigned for one year, and you may apply to renew your carrel at the end of that time. Get more information and apply on our website.
9. Places to be Productive: Quiet Study and Collaborative Spaces: Find quiet study space in the Matheson Reading Room and stacks tower floors 4, 5, and 8. For collaborative space try level 1/Peet's Coffee Shop or the library's group study rooms, which you can reserve online through the Student Digital Life Resource Scheduler
10. Emory's Center for Digital Scholarship (ECDS): For advanced research and instructional support, ask about the Emory Center for Digital Scholarship, located on the 3rd floor of the Woodruff Library. Here you will find:


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AC power controller is a motion control device that controls motor speed. We provide complete motion control system solution as well as individual system components for the industrial motion control market with our range of products. It helps in facilitating the state of art motion control to match with today's trends to make the process which is optimized to requirements, reliable, user-friendly, compatible with the international standards, environment friendly and which can result in efficient production at mass scale at optimum cost with minimum dependence on manual operations.
Amtech Provides state of art motion control system, which helps in increasing productivity, quality and reliability of customers process and in some applications like pumps, fan and blowers, it helps in energy conservation.
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Fast Action Locksmiths provide 24/7 mobile locksmith services to the Melbourne area. True to our name we offer fast and reliable services at any time of the day in and around Melbourne.
30 July 2016•1 placemark
Fast Action Locksmith is your lock specialist, we provide emergency locksmiths services in Melbourne and surrounding suburbs. We pride ourselves on our services because we are efficient and...


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Key Benefits of Joining the Funding Information Network
Want to know more about Foundation Center's Funding Information Network? Check out the key information below for potential new partners!
What is the Funding Information Network?
Foundation Center's national network of partners connects nonprofits to the resources they need to thrive in the zip codes of every major city and many points in between. A Foundation Center partnership is nonprofit outreach "in-a-box", enabling organizations to become nonprofit funding experts. The partnership package includes access to their world-class database, Foundation Directory Online, and to grantseeking and proposal writing training curriculum. Want to support your nonprofit and small business community as a go-to fundraising resource? Join the network!
Why join the Funding Information Network?
Network partners are the nonprofit funding experts in their communities. They drive economic development by connecting nonprofits with potential funding opportunities. Partners can use our world-class funding research database for their own fundraising needs - at a deep discount.
What do partners receive when they join the network?
- Three database subscriptions and a collection of books and exclusive training materials (a retail value of over $10,000).
- Access to training materials created by expert trainers, so that partners can deliver classes to their own audiences.
- Free in-person and online training opportunities and conferences and access to a wider network of like-minded partners.
Who makes an ideal Funding Information Network partner?
- Active, engaged organizations who are plugged in to their community needs in a fundamental way.
- Connected or willing to get connected with their local funders, nonprofit agencies, and other community organizations.
- An interest in and passion for serving the public on nonprofit fundraising and management topics via trainings and outreach.
Where can organizations learn more?
- Visit foundationcenter.org/fin to learn more, read FAQs, see pricing options, and apply to become a partner.
- Email the Funding Information Network team at email@example.com or call a team member at (212) 807-2576.
- Sign up for our free webinar - FINinfo session hosted by our FIN staff! Join us on January 23, 2018 at 2pm EST. Register today!
KATE TKACIK is director of Network Engagement at Foundation Center. She leads the direction, growth, and deeper engagement of the Funding Information Network, a network of more than 400 local resource centers which support their nonprofit and social entrepreneurs with access to Foundation Center resources. She also oversees the GrantSpace.org website and AskUs online librarian service. In her role, Kate channels her experience as a librarian, focused on connecting social sector professionals with the quality information and training resources they need to thrive.


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Read our reviews on
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No chain. A beautifully presented, 'show home standard' detached family home set on a popular modern develo...
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St Asaphs Drive, Ashton-under-Lyne, Greater Manchester, OL6
No chain. This two bedroom detached bungalow is located on the highly sought after 'Hartshead' estate and a...
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No chain. A spacious semi-detached family home set in a sought after residential location. Internally the p...
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Miller Street, Ashton-under-Lyne, Greater Manchester, OL6
A wonderfully spacious mid-terraced home set on a popular street just a short walk from Ashton town centre ...
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Fantastic opportunity to purchase a 3 bedroom semi detached property in need of refurbishment close to Asht...
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No chain. A deceptively spacious first floor apartment in a small purpose built block, just short walk from...
I would highly recommend this estate agent and would not hesitate to use them again
- See all our independent reviews
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On March 7th, the New England Journal of Medicine named three teams hailing from universities in Israel and the United States as the winners of the SPRINT Data Analysis Challenge, which encouraged participants to explore and examine the potential of sharing clinical trial data. Open to health care professionals, researchers and data scientists, NEJM asked individuals and groups to analyze the dataset underlying the SPRINT article, "A Randomized Trial of Intensive versus Standard Blood-Pressure Control," and challenged them to identify a novel scientific or clinical finding.
Hear what was learned from the SPRINT Challenge directly from the SPRINT PIs, data analysts, patient participants, and the NHLBI repository and view the SPRINT Challenge winners present their findings at the NEJM Aligning Incentives for Sharing Clinical Trial Data summit and free live web event on April 3-4, 2017.
NEJM invites you to participate in this open conversation. Join our expert speakers in panel discussions featuring clinical trialists, data analysts, and patient participants, as well as government and funding agencies. These moderated Q&A sessions give you a chance to share your expertise on the subject.
Together, let's examine the potential for data sharing to teach us things we did not know, to maximize the contribution of patients who put themselves at risk, and to make a positive impact on health outcomes. Make sure to sign up here before April 3rd!


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Until August 18, 2013, in the halls of Palazzo Ducale, there will be exposed eighty paintings by Manet, drawings and engravings, in collaboration with the Orsay Museum in Paris.
Posts Tagged 'museo'
Manet comes back in Venice!Monday, June 10th, 2013
Fondazione Querini Stampalia: ships, "Squeri"(Shipyard), ferries from Jacopi De BarbariTuesday, April 30th, 2013
The exhibition, open until May 12, 2013, is a collection of 142 watercolors, etchings, gravers and preparatory drawings in ink of the famous view of the De Barbari. The view in question is a woodcut in six tables, a view of Venice bird sight style where the Arsenale is the main subject, a place where once were built the vessels of the Serenissima.
Exposition Adele Fornoni Bisacco Palazzi – Museo del Merletto, BuranoMonday, February 18th, 2013
A wonderful collection by Adele Fornoni Bisacco Palazzi illustrates the ancient and extraordinary art of lace.
The fascinating history of this art is well described in this exposition…
Modern Views of Ancient Treasure – A Lynn Davis WorkTuesday, November 20th, 2012
This show can be found only until the 13th January 2013, it's held between the ancient walls of the Archeological Museum of Venice. This particular collection is inspired to all the pics she took all over the world about places and monuments who represent the"holy".
XIV Art WeekFriday, April 13th, 2012
The XIV Art Week will start tomorrow 14 April 2012. Until the 22nd April the entrance all the State's Museum, Archeological Sites, Monuments, Mansions and Public Libraries will be FREE OF CHARGE!!!
And in this days this is a quite surprising new here in Italy.
Burano – The Enchanting LacesThursday, July 21st, 2011
One of the most famous legends about Burano narrates that an ancient betrothed fisherman, while he was fishing outside the lagoon, in the east sea, hold up to a siren who tried to entice him by her canto.
Anita Sieff – PsycheThursday, May 26th, 2011
In conjunction with the 54th Venice Biennale, the Museum of Ca 'Pesaro presents a site-specific project by Anita Sieff at the first floor, hall 10.
The Museum of Torcello celebrates its 124th anniversary.Thursday, May 12th, 2011
The Cathedral of Santa Maria Assunta (Cattedrale di Santa Maria Assunta) is a basilica church on the island of Torcello. It is a notable example of Venetian-Byzantine architecture, one of the most ancient religious edifices in the Veneto.
At Correr Museum, the exhibition, the Hope of Venice – The Unification of Italy (1859 – 1866)Monday, March 28th, 2011
The Correr Museum of Venice, for the celebration of the 150th Birthday of the Unification of Italy, hosts the exhibition "Venezia che spera – L'unione all'Italia (1859-1866)".
A Ballad of the Flooded MuseumWednesday, August 11th, 2010
The Bevilacqua La Masa Foundation is happy to announce A Ballad of the Flooded Museum, a solo exhibition of Italian artists Hilario Isola and Matteo Norzi, curated by Paola Nicolin. The exhibition will open to the public on August 26th 2010 during the inauguration of the 12th International Architecture Exhibition in Venice.


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CORPUS CHRISTI - Nearly $34 million!
That's the value of a slate of newly submitted and permitted project city officials reviewed during the first week of April, and the developments are planned for a bevy of industries across the city.
The headliner project on the weekly list is a rehabilitation hospital destined for 345 S. Water St., which received the permit required for work on about $11.3 million of the approximately $23 million build. Construction is expected to take about a year.
Two other notable projects that received permits for construction earlier this month.
The new projects' list, which includes newly submitted and recently updated plans, includes proposals valued at $1 million or more.
Our twice-weekly e-newsletter provides a quick overview of Texas real estate markets. Because your time is valuable.


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Aquatics & Wellness
You're invited to take advantage of our aquatics, land fitness and wellness center!
Whether you prefer your exercise be on dry land or in the shallow end of a pool, there are a host of activities to choose from here. A membership provides access to:
- A strength training area equipped with a full line of state-of-the art Life Fitness Signature Series training equipment and Hammer Strength free weight training equipment.
- A cardiovascular training area filled with state-of-the-art Life Fitness treadmills, cross trainer ellipticals, recumbent bikes and upright bikes.
- The open activity area is used for multipurpose recreational activities and open-exercise classes, as well as credit and non-credit classes.
- The aquatic center — newly remodeled in 2014 — features an indoor heated pool with whirlpool, sauna, locker and dressing rooms.
- The wellness assessment lab offers risk factors, body fat, flexibility, blood pressure, muscular strength and cardiovascular endurance screenings.
Learn more about Aquatic & Wellness memberships, classes and offerings.
Spring 2018 Lifeguard Schedule (PDF)
Summer 2018 Aquatic & Wellness Schedule (PDF)
Summer 2018 Youth Schedule (PDF)
Fall 2018 Raider USA Swim Team (PDF)


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2017 OfficialLouis Vuitton Messenger Beaubourg MM M97038
Louis Vuitton Messenger Beaubourg MM M97038
-One exterior zipped pocket allows quick access to essential items
-Interior includes one short zipped pocket and four patch pockets
-Two pen holders
-One D-ring for attaching keys...
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Hilary Duff Takes Baby Luca To Mommy & Me Class — Cute Pic
Luca is getting so big! The former Disney star took her adorable baby boy to a mommy and me class in Beverly Hills, and he looks just like a mix of his gorgeous mom and hot hockey player dad!
Hilary Duff loves spending time with her baby boy Luca Cruz Comrie, 9 months, and even had more bonding time with him on Jan. 17 when she took him to a mommy and me class in Beverly Hills!
Luca's blonde hair matches his former Disney Star mom's bright hair, but his handsome face looks more like dad Mike Comrie!
He looks so cute in a blue shirt while gnawing on his polka dot stuffed animal. Hilary also looked gorgeous just going to class, in big sunglasses, a trendy scarf and Chanel bag.
Hilary Duff Reveals The Story Behind Luca's Name
"We had the names Cruz and Luca on our list with some others and decided at the very last minute what it was going to be," she told Parade magazine in April just a few weeks after giving birth. "We just liked the way it sounded together."
"Afterwards we found out his name means 'bringer of light,'" she added. "I love that."
She also added that being a parent strengthened her marriage to her husband of two years.
"[Mike is] not going to do everything the way I would do it — and vice versa — but we just want the best for Luca," she said. "It's helped me appreciate Mike's role in his life and that we're doing things with the most love that we can."
We're glad Hilary is such a hands-on mom — and we love seeing her out with her baby boy! What do YOU think of Hilary and Luca HollyMoms?
— Christina Stiehl
More Hilary Duff & Luca news:
- Hilary Duff Tweets Adorable Pic Of Son Luca — So Cute
- Hilary Duff Out Shopping With Baby Luca — Cute Pic
- Hilary Duff Shows Off Luca's Baby Blues — Cute Pic


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Radio31 was initially instituted as another platform to share the gospel of Christ through the airwaves for a local parish in Aberdeen (The Fountain of Love Church). The primary goal is to share a word of encouragement with someone who needs it and when they need it most.
This objective, within the context of the wider community – is what has informed its growth and expansion to morph into a community based radio station, which would enjoy the participation of the members of local parishes, and the wider community.
As a station, we would like to redefine media from being just a passive information-sharing medium to one that focuses on improving the lives of people right from the family unit; through the content of the message it shares.
At Radio31, we are committed to bringing you a 24/7 transmission; courtesy of our team of creative and resourceful presenters who are primarily volunteers. These include sessions of life-transforming messages by established men and women of God, knowledge sharing sessions by seasoned experts on health, relationships, career and daily-living, and non-stop contemporary Christian music.
At Radio31, we want everyone who tunes in to hear the gospel of Jesus Christ in a language and form they understand.
Welcome to our world- bringing good news all day every day!


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CHILD & YOUTH PROGRAMMINGStarting at ages 3, we have a program to suit you and your child! Dynostars are for our littlest climbers… Base Camp and High Altitude are perfectly suited for your bravest climbers in grades 1-6… and Summit and Arq Angels is perfect for those wanting to develop more technique and start training more intensely (for grades 7+). Plus we also now offer two teams for our youth (Progressive & Competitive Team) as well as yoga for you parents!
FACEBOOK FEED[powr-social-feed id=5b744474_1537980036]
"We built a climbing gym because we have a firm desire to make a positive difference in the lives that people lead."
ARQ Mountain Centre: Climbing, fitness, and community.
A facility for alternative fitness. Featuring state of the art climbing walls, for all ages, fitness, yoga, and a dedicated kids area. It's built for community, for the social aspect, and most importantly…it's built for your entire family. The goal at ARQ is to provide you with the best customer service possible, so that you have a great experience…every time.
Follow us on Facebook and Instagram to keep up with updates regarding the facility (programming, events, specials, new routes, etc.). We'll be constantly updating with pictures, news, special event details, and lots of other exciting things to share and keep you excited.
Fill out our waiver.
By filling out Arq's waiver online, we already have your information in our system upon your arrival. So, when you show up…you can get right to the good stuff. Simply click on the "waiver" link, follow the steps, confirm your waiver, and then all done. It's that easy. Once you've submitted your information, it automatically gets entered into our system.
From its original conception in a basement, with two friends thinking, "this is such an awesome idea", to now…standing in the middle of a dream that has come true. These videos take you for a tour through Arq; from the beginning, to our current operations. What an incredible journey to say the least. And we're still totally excited.
Welcome to Arq Mountain Centre.
Inspire movement.
The word "ARQ" (pronounced 'ark'), came from the french word "Arqué", which means "arch", or "overhanging". We liked this, but wanted to make it a bit more original, so we dropped the ué and kept "Arq". (Giving credit to High Country Sports for the idea.) Along with many people over the years, we, Gord McArthur and Fraser Bowden, bring you this facility, this dream, with passion, excitement, and a lot of enthusiasm built up from years of planning.
ARQ Mountain Centre will act as a hub for people passionate about mountain life in a venue that captures and reflects the surrounding beauty and recreational inspiration that is so abundant in our region. Dedicated to providing a fun, safe and socially interactive form of alternative exercise, its emphasis will be on a state of the art climbing facility that will include the areas' most knowledgeable, experienced and friendly staff to create a welcoming and enthusiastic environment for new and adept climbers alike.
ARQ will also offer a space for social interaction, dedicating itself to educational commitments, for groups to meet, or simply just to "hang out and chill". Filled with reading material (guide books, maps, magazines), visuals for motivation (tv for playing movies ie. climbing movies), couches, and of course free wifi, this area will be the connection for community.


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Monday to Saturday 8am - 4pm
sunday 9am - 3pm
spring / summer 2018
Spring Summer 2018 is light and fresh focusing on feminine cuts that create fluid movements. Intricate details, high quality fabrics, natural fibres and clever construction techniques bring you garments of distinction. Soft hues of pinks, earthy neutrals and striking bold greens and blues.
Supporting local with Australian womenswear collections Eva Cassis, Morgan Marks, Eva's Sunday, Banana Blue Label, Valia Collections and Zoe Kratzmann. We also feature well-curated collections from international labels such as Tahlia Benson made in Italy, Gershon Bram made in Irsael and Japanese label, Moyuru.
The aim is to complete the entire concept from head to toe, taking you from day to night, creating your own free expression.
Did you know we offer catering?
With all food made on premises our catering services are personalised to your needs.
We supply, we style, we serve. Celebrate your next event in the courtyard or an intimate setting indoors, or we can come to you!
Gift ideas
Have you got a difficult person to buy for?
Why not share the Mallalieu experience with a gift voucher or take home a delicious gourmet food gift hamper. Everybody likes food right?
Did someone say wine?
Yes, we are fully licensed! We stock a fabulous range of local wines, beers and ciders. Why not enjoy with a cheese board and share among friends in the sunny courtyard; bliss!