He was born 1988

Minnie wants some tummy cuddles. If you see closey you can still see the shaved spot at her tummy, from the sonography. She is fine, she likes to eat :-)

Minnie möchte am Bäuchlein gestreichelt werden. Wenn man genau hinsieht, kann man noch die rasierte Stelle vom Ultrachall erkennen. Minnie geht es gut, sie frisst wieder sehr gerne:-)

A very welcome view: Minnie eating! Wednesday she didn´t feel fine, she vomited and she didn´t eat either drink and wasn´t interested in anything. So yesterday we went to the vet with her. The vet made a x-ray and sonography (in case she swallowed something or ate something wrong) and also a blood test. X-ray and sonography were well, the blood test showed that there is an inflammation. She got some injections by the vet, antibiotic, something against nausea/sickness and against pain. The vet told me that the main thing is that Minnie starts eating! So my husband went to buy some chicken and I made it. At home she was much better very soon, she ate something of the chicken, and acted much better. Now she has to take antibiotics twice a day for one week.

Today we were so glad that she continues eating well, drinking and this morning she ate the first antibiotic pill !

At our vet one person is allowed to join the cat/dog into the doctor´s office. With a mask of course.

Am Mittwoch hat sich Minnie gar nicht gut gefühlt. Sie hat erbrochen, nichts gegessen oder getrunken und war überhaupt recht apathisch und schlapp. Deshalb sind wir gestern vormittag zu unserer Tierarztpraxis gefahren. Die Tierärztin hat geröngt, einen Ultraschall gemacht (falls sie etwas verschluckt oder was falsches gefressen hätte) und Blut abgenommen. Zum Glück waren Röntgenbild und Sono in Ordnung, das Blut hat gezeigt, dass Minnie eine Entzündung hat. Die Ärztin hat ihr gleich mehrere Medikamente gespritzt, Antibiotikum, ein Mitttel gegen Übelkeit, Schmerzmittel und noch irgendwas (?). Daheim soll sie jetzt zweimal täglich Antibiotikum nehmen. Die Hauptsache ist, sagte die Ärztin, dass sie wieder anfängt zu fressen. Deshalb ist das Foto ein sehr willkommener Anblick: Minnie beim Fressen! Schon gestern nachmittag ging es ihr viel besser, sie hat wieder gefressen und getrunnken und heute morgen hat sie auch ihre erste Antibiotika-Pille genommen!

Bei unserm Tierarzt darf eine Person das Tier ins Behandlungszimmer begleiten.

This morning I heard Linus whining and found him under a bench in the garden. He was lying on the floor and when I tried to put him on his feet I realised that he couldn't stand on his hind legs. I took him to the vet as an emergenceý and after an X-ray and a sonography they told me that the situation wasn't just bad, it was disastrous. Linus has a huge thrombus in his heart which apparently reduces the blood flow into his legs. He has water in his lungs too. They are now trying to stabilize him and to dissolve the thrombus. It's the only chance to rescue him but there are all kinds of possible complications. All in all his chances aren't good but there is a certain hope.

Update: There was no miracle for Linus. The vet called me to tell me that it was getting worse and worse and that Linus could hardly breathe. I went there to stay with him when he was put to sleep. He seemed to be well and okay early this morning and now my sweet little ghost is gone. I'm in a state of shock right now. There will be no new photos from me for a while. I will look at your photos but don't know if and when I will be able to comment. Forgive me.

I want to introduce you her majesty, our unnamed beloved chick =)

She's -4 months old, and is growing in such a way that we simply can sense her size change every day!

While we both expecting her and can't wait to see her eyes, but in a totally paradoxical situation, we are afraid of her born...

If you are a father or mother, I think you should know what I mean! It looks the greatest and heaviest responsibility for us up to now in our life!

And I can't describe you how much I envy Somayeh, or better to say I envy all you girls! Because you have the ability to experiencing a real real real creation just inside your body, and Somayeh is now experiencing what I even cannot imagine.. I envy her!

We are making ourselves ready for welcoming this new "human being" in last days of June or first days of July.

Let's pray for her health, of both body and soul..

Sonogram.

A modern method of assessing the health and position of the baby and placenta during pregnancy. High frequency sound waves examine the uterus and are shown on a screen.

I've shot several thousand photos myself this year, and seen tens of thousands more, but for me, this is the most important and exciting picture i've seen so far. Please say hello to soulsurfing junior!

My partner Gemma and I had the 12 week scan today and we're expecting a baby in the new year.

Of course the first thing i thought of was the dictionary of image (not really :)

The Dictionary of Image Group on Flickr

The Dictionary of Image Website

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©2010 Jason Swain, All Rights Reserved

This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.

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Links to my website, facebook and twitter can be found on my flickr profile

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Camera Model Name: Canon EOS 400D DIGITAL

Lens: EF-S18-55mm f/3.5-5.6

Tv (Shutter Speed): 1/125

Av (Aperture Value): 7.1

Metering Modes: Evaluative Metering

ISO Speed: 100

Focal Length: 24.0 mm

Flash: Off

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DAY 11

Distance & Time: By car - 110 km / 4 hrs

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We had reached the resort in Alchi around 17:00 hrs yesterday and retired to our respective rooms till dinner. Not much unpacking was to be done since the plan is to depart for our next destination after bath, breakfast and visit to Alchi Gompa.

Ankur ordered an elaborate breakfast of cereals, toast, omelets, puri (deep fried Indian bread), sabji (diced potato in gravy) and coffee. Could manage only a small portion of it (which earned me a frown). We eat in silence mostly engrossed in our read (the dining area has a small library in the corner).

Walk towards Alchi Gompa through the narrow shaded alleys, which have little souvenir shops for the benefit of foreign tourists with all merchandise grossly over priced. Near the gompa entry there is a poplar tree bearing a board that claims it grew from the walking stick of the 10th century Buddhist scholar and translator Lotsava Rinchen Zangpo (who had revived Buddhism in Tibet).

Alchi monastery is different from the other gompas of Ladakh in ways more than one. Built in 12th century and probably abandoned in 15th century it is situated on a flat land and Kalden Shesrab (a monk from the Nyarma monastery which is presently in ruins) is attributed as the founder. Originally of Kagyu-pa sect but is now administered by the Gelug-pa monastery of Likir.

Though the first sight of the gompa is unimpressive, it is a treasury of superb murals bearing the signature Kashmiri style of art rather than Tibetan. There are six chapels and each of the interior walls are intricately painted. Though some of it have been damaged from water seepage and butter lamp shoot, an attempt of restoration has been made from time to time. The lower parts of the walls are painted in mosaic like small figures of Buddha (in different forms) while the top areas towards the ceiling are covered with animals, flowers and other figures. As there is no other light than that of the yellow flicker of the lamp, Ankur fishes out a tiny flash light from his trouser pocket to not only help us see better but painstakingly explains much of the common connections (of some of the figures) between Hinduism and Buddhism.

Sum Tsek or the 'three-tiered' temple is the most impressive of all the six chapels with high entrance supported by wooden columns and beams. I'm told that the Greco-Gandhara architectural motifs, which can be seen, are in typical Kashmiri style popular in 7th-10th century AD. It houses the 4m / 13.1 ft. clay Avalokiteswara (Buddha of Compassion) statue draped in a 'dhoti' (a flowing garment covering the lower part of the body), which is painted with palaces, shrines, divinities, monks, men riding horses etc. It is dwarfed by the 4.6m / 15 ft. red bronze hue statue of Maitreya (Future Buddha) also wearing an elaborately painted 'dhoti'. In the walls of the upper galleries, which is off limits to tourists but can be seen from the opening has terrific 'mandalas' (diagrammatic art forms) painted.

The other chapels are dedicated to Manjushri (god of divine wisdom) and Lotsawa (meaning translator and thus dedicated to Richen Zangpo), the Dukhang (congregation hall), Soma Lhakhang ('soma' means new), has a noticeable mural of Vairochana (the first of the Five Dyani Buddhas or meditating Buddhas, he is the illuminator to light the way) in the rear wall and Kangyur Lhakhang (the library room).

Though there are boards everywhere forbidding 'flash photography' a couple of tourists prefer to over look it. Instead of getting into direct confrontation Ankur takes the issue to a member of the gompa committee. Apparently he has strong views about the disregard many tourists show towards the locals, their religion, culture, art, privacy and worst a superior attitude.

Meantime, taking a look around the courtyard and the glass case exhibiting postcards and calendars (featuring the gompa) for sale.

====================================================================

Note: The past few weeks have been quite traumatic because inspite of numerous medical investigations (blood serum, MRI scan and Ultra Sonography) the reason for tenderness and inflammation of quadriceps continued to elude the doctors. Finally, the sports medicine and injury specialist have concluded (hoping he is correct) that I've sustained Grade I Hamstring injury (meaning torn a few microscopic tissues). Thus, been strapped up for the next 6 weeks to be followed by three months of rehab program.

Though Hamstring injury might sound fashionable (some friends have called it the 'Beckham Syndrome' teasingly; he is down with Achilles tendon injury as most of you know), it is actually very painful and frustrating with movement restrictions. However, I'm very glad it is nothing more serious and would like to thank you all for your constant support and good wishes. Promise to be a good gal and get fit by summer (keeping all the fingers crossed), fetch new shots and travel accounts for you folks out there! :-D

====================================================================

Hello my friends! Long time no see, Happy New year to everyone and hope you enjoyed your holidays, today I notice blood in Rocco's litter and I was frightend so I took him to Vet imidiatly, after Xray and Sonography they said he has Bladder inflammation, and inject him some antibiotics and pain killer and precribe some oral pills, and I take him to vet to trim his teeth almost every month!

My question is how to encourage him to eat more hay instead of alfalfa and pelletes? Should i cut off all of them to force him eat hay? I am really desprated and donno what to do?!

p.s He turns 9 yr old next month☺

Any help from you is really appreciated.

Lots of Love from Rocco & me

After the walk... relaxed & happy

Available here

Moving the tassel to the left

Ultrasound control panel. Diagnostic sonography or ultrasonography is an ultrasound-based diagnostic imaging technique used for visualizing internal body structures

Available here

The board

renal ultrsound

Doctor and modern ultrasound investigation equipment in antenatal maternity welfare clinic.

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

My name is Yoceline Borrayo,and I am a superhero. If i'm not comforting a sick baby, changing diapers, cooking, cleaning the house, going to school, going to work, I am supporting not only my husband and his dreams, but our families dream as well. Seeing my life through the lens has had a huge impact because I've come to realize that the love and beauty I find in things I enjoy can be captured, shared and stored for many people to see. It is an amazing feeling being able to capture the right moment, the way you in-visioned it.. however when it comes to little kids they're not the most cooperative.. but there are instances where it's ok, you're able to capture that much personality when it is a candid picture( my fav). Reasons for my choice in pictures: 1. My husband and son are my entire world in itself, I met my husband in 5th grade when we were 10 years old and I had the biggest crush on him since 5th grade, we started dating Junior year in highschool got married a year after graduation, and had our son a few months later 2. My husband has a love for classic cars, although I don't share the same passion we do go to car shows together and I take pictures of cars for him ( it's a win-win for both of us) 3. I am a server, and have been a server for 5 years now and it is something I pride myself in, and now being able to work at The Grill inside the SAP center is just amazing ! 4. I have a sweet-tooth, and im not picky about sweets either ! I've picked up a habit of eating skittles whenever i'm taking pictures ( helps me concentrate) 5. I am attending my 2nd year at Foothill where I am majoring in Radiology with hopes on moving onto Medical Diagnostic Sonography, I am also contemplating in double majoring in Photographing.. if not minoring in it ! ... Imagine someone who is able to do everything and more with only a few hours of sleep and wouldn't trade it for the world.. super hero? Ehh I guess not, I'm just a mom (:

37 week ultrasound of unborn child

Read the Way He Writes: A Festschrift for bpNichol.

edited by Paul Dutton & Steven Smith.

Toronto, summer/fall [ie 14 october] 1986.

5-3/4 x 8-11/16, 136 sheets ivory zephyr antique laid perfectbound into cream mayfair card wrappers, all except inside covers printed offset, black interiors in blue covers.

cover photograph by Michael Ondaatje.

53 contributors ID'd:

Margaret Avison, David Aylward, Douglas Barbour, Rafael Barreto-Rivera, Earle Birney, Bill Bissett, George Bowering, Giordano Bruno, Barbara Caruso, Thomas A.Clark, Bob Cobing, Victor Coleman, Margaret Coole, jwcurry, Frank Davey, Brian Dedora, Christopher Dewdney, David Donnell, Charles Doria, Louis Dudek, Paul Dutton, Glenn Goluska, Rosalind Goss, Brian Henderson, Dick Higgins, Roy Kiyooka, Robert Kroetsch, G.Lind, Daphne Marlatt, John Bentley Mays, Steve McCaffery, David McFadden, Avis Nichol, bpNichol, D.J.Nichol, Barb O'Connelly, Sean O'Huigin, Michael Ondaatje, Andy Phillips, John Riddell, Raquel Rivera, Joe Rosenblatt, R.Murray Schafer, Stephen Scobie, Gerry Shikatani, Steven Smith, Paul Soucy, Sharon Thesen, Lola Lemire Tostevin, Richard Truhlar, Jiri Valoch, Fred Wah, Marilyn Westlake.

Nichol inclusions:

i) "just another just another" (quoted in full in (xix-5) below; poem)

ii) [Aleph Unit Opened], redrawn by Barbara Caruso (p.36; visual poem; reduced)

iii) [Aleph Unit Distance], redrawn by Barbara Caruso (p.36; visual poem; reduced; (i) & (ii) under the heading from Aleph Unit (Seripress, 1973))

iv) H: a collaboration (quoted in full in (xxiv) below, pp.44-45; prose in 2 numbered parts:

–1. "H - the eighth letter of the Roman alphabet, ancient and modern. h comes,"

–2. (in 7 numbered parts:

––a. "Mostly white. A line that completes itself. An inside. An outside too. An image at"

––b. "Blue then in the midst of white. The shape of a feeling. A felt shape and a mood"

––c. "Two tall ones and a small one. A small one who is lost between two tall ones. It is"

––d. "Little i. Little me. Three versus two and a kind of joining. Five. A hand that does"

––e. "Broad strokes. An embrace. Absolutely equal space with something in between."

––f. "Everyone's small. What happens. Surely things are lighter. There is a sequence and"

––g. "It has disappeared. It is all gone. Among them all there is something lighter as if"))

v) "what happened" (quoted in full in (xlii1) below, p.115; poem)

vi) "pile up the movement the fingers" (quoted in full in (xlii1) below, p.117; poem)

vii) "it is the minute haunts you" (quoted in full in (xlii1) below, pp.118-119; poem)

viii) "wond'ring to wed them" (quoted in full in (xlvii5) below, p.139; an aria, possibly in full, from Space Opera)

ix) [DOORS 2] (visible reduced in full in (lxv7) below, p.167; visual poem)

x) [TU 4 (IKONIK)] (visible reduced in full in (lxv7)below, p.167; visual poem, center section only as on the cover of Transformational Unit)

xi) ["photobooth, Vancouver, 1950s?"] (p.182; photostrip in 4 parts, all face-on selfportraits:

–1. [expressionless]

–2. [slight smile]

–3. [slight smile turned slightly more to left]

–4. [smiling, left side of face shadowed])

xii) ["photobooth, Toronto, 1960s?"] (p.182; photostrip in 4 parts, all selfportraits:

–1. [face on]

–2. [looking right]

–3. [looking left]

–4. [looking rear])

xiii) "layers", photographed by Marilyn Westlake (p.214; concrete poem)

xiv) "from Nichol's Sea and Sky Series, watercolour on paper, 1977", photographed by Marilyn Westlake (p.214; graphic)

xv) "blue" (quoted in full in (lxxix6) below, p.22o; poem)

also includes:

xvi) "bpNichol", by Michael Ondaatje (front cover; cropped photograph, portrait at Coach House Press; see also (xci) below)

xvii) "Note" Special thanks to Ellie Nichol for the collusion in the purloining of", by [Paul Dutton?] (p.4; prose acknowledgement for photographs)

xviii) Foreword, by Paul Dutton & Steven Smith (pp.5-6; prose, with quote by David McFadden on Nichol (from an interview?))

xix) bpNichol On The Train, by George Bowering (pp.7-2o; prose in 9 parts:

–1. "A FEW YEARS BACK, SOME CANADIAN WRITERS - PIERRE BERTON AND OTHERS" (pp.7-8; no Nichol references)

–2. "It comes as no surprise that the leading train poet is bpNichol. His first" (pp.8-9; Nichol quotes from:

––a. "prairie, lakes, trees" (line 7)

––b. "rolling into night" (lines 6-7)

––c. "sun overhead" (lines 5-7)

––d. "father i have so much to say" (lines 14-15))

–3. "'Trans-Continental' is made of forty-nine short sections, and a trip from" (p.9; Nichol quotes from:

––a. "a drainage ditch" (lines 1-2)

––b. "a d in a cloudbank" (lines 1-2)

––c. "a longing for flesh" (line 5)

––d. "hornpayne to armstrong" (lines 1-2))

–4. " The brain of a poet like bpNichol is as much animated toward composition" (pp.1o-11; Nichol quotes from:

––a. "a drainage ditch" (lines 8, 9)

––b. "this many miles from home" (lines 1-2, 7-9)

––c. "ness" (lines 1-2, 5-6, part of 8)

––d. "up & down" (lines 14-16))

–5. "The same reader or any other can read each each speck of the poem over and" (pp.11-13; Nichol quotes from:

––a. "empty eyes" (lines 8-14)

––b. "father i have much to say" (lines 14-15)

––c. "just another just another" (see (i) above)

––d. "a longing for flesh" (lines 12-13)

––e. A Letter to Mary Ellen Solt

––f. "a trance state" (lines 1-2)

––g. "mist again at dawn" (lines 12-14)

––h. "a new beginning" (lines 1-2)

––i. "final finale" (lines 1, 12))

–6. "The journeying of 'Trans-Continental' is followed a decade later by the" (pp.14-16; Nichol quotes from:

––a. "minus the ALL ABOARD" (lines 1-5)

––b. "the old guy who spoke to the porter just now said:" (lines 1-1o (with quote by Agnes Workman), part of 16)

––c. "vanishing" (lines 13-14)

––d. "insistent instances" (line 17)

––e. "beginnings & endings" (lines 4-5)

––f. "because i was raised on trains" (lines 16-21)

––g. "blueberry bushes, fruit shrunken, dried," (part of line, 3 part of 5, 9-11)

––h. "mile what?" (lines 1o-11)

––i. "final finale" (lines 1-2))

–7. "That is perhaps the neatest irony of the contemporry long poem - that we" (pp.16-18; Nichol quotes from:

––a. "beginnings & endings" (lines 2-3, 8, part of 15)

––b. "insistent instances" (lines 1, 18 misquoted with added "can")

––c. "because i was raised on trains" (part of line 16)

––d. "the conductor takes our luncheon reservations" (line 7)

––e. "so there it is" (lines 3, 5)

––f. "the old guy who spoke to the porter just now said:" (part of line 8)

––g. "vanishing" (part of line 8, 19-21)

––h. "where is this poem going?" (parts of lines 1, 7)

––i. "mile what?" (part of line 11)

––j. "too much like a rock song" (lines 4-1o)

––k. "minus the ALL ABOARD" (part of line 1)

––l. "i don't like the "symbol"" (part of line 1, part of 2-3, 5-6, part of 8-9)

––m. "later" (lines 16, 17))

–8. "The saints, familiar to readers of The Martyrology, visit after a routing" (pp.18-2o; Nichol quotes from:

––a. "okay saints" (part of line 6, 1o-13)

––b. "this next bit doesn't quite cohere" (lines 5-16)

––c. "as night falls" (lines 11-14)

––d. "in Hornpayne" (parts of lines 2, 3, 7, 8; 12-16)

––e. "is this the poem i wanted to write?" (lines 4-6)

––f. "that's that tone" (lines 3, part of 8, 12-15))

–9. "The first stanza of Continental Trance tells of giving up a plan for the nar-" (p.2o; Nichol quotes from:

––a. "mist against dawn" (lines 11, 12-14)

––b. "too much like a rock song" (line 9)))

xx) METAMORPHOSIS A TRIBUTE TO B P NICHOL, by Bob Cobbing (pp.21-29, visual poetry in 8 parts with title page:

–1. [METAMORPHOSIS 1] (p.22; derived from 3 visual poems by Nichol from ABC The Aleph Beth Book:

––a. "DEAD. HAVING ACCEPTED THIS" (the "B" in ABC)

––b. "BETWEEN OURSELVES & THE POEM" (the "P" in ABC)

––c. "BEYOND OURSELVES BY" (the "N" in ABC))

–2. [METAMORPHOSIS 2] (p.23; derived from:

––a. "TTTT", by bpNichol (visual poem)

––b. "(Rubber stamps and letraset (sheets of cellophane printed with trans-", by John Robert Colombo (prose on Nichol's "TTTT"))

–3. [METAMORPHOSIS 3] (p.24; derived from 2 concrete poems by Nichol:

––a. "arrow worra worra arrow"

––b. Blues)

–4. [METAMORPHOSIS 4] (p.25; derived from:

––a. Historical Implications of Turnips, by bpNichol (concrete poem)

––b. "("Turnips are" is a permutational sound poem -- permutational in that", by John Robert Colombo (prose on Nichol's Historical Implications of Turnips))

–5. [METAMORPHOSIS 5] (p.26; derived from Nichol's mind trap)

–6. [METAMORPHOSIS 6] (p.27; derived from 2 visual poems by Nichol:

––a. Allegory 6

––b. Allegory 7)

–7. [METAMORPHOSIS 7] (p.28; derived from Nichol's Allegory 32)

–8. [METAMORPHOSIS 8] (p.29; derived from visual poems by Nichol:

––a. eyes 4

––b. eyes 5

––c. eyes 2

––d. eyes 3))

xxi) Henri Chopin, Sten Hanson, Lilly Greenham, Bob Cobbing, bpNichol. Tenth International Poetry Festival, Glasgow 1978, by Sean O'Huigin (p.3o; photograph, group portrait (note that "Lilly" should be "Lily" & it was at the 1oth International Sound Poetry Festival))

xxii) A Visit, by Robert Kroetsch (pp.31-35; poem in 5 numbered parts with epigraph by Nichol, lines 158-16o of IN THE PLUNKETT HOTEL:

–1. "I was going to Plunkett Saskatchewan" (pp.31-32; quotes part of line 85 of Nichol's IN THE PLUNKETT HOTEL in line 14)

–2. "and when the kid came by on his bike" (p.32; Nichol referenced line 12)

–3. "the continent is contained" (pp.32-33; Nichol referenced line 6)

–4. "when a stoutish gal in a half-ton roared" (pp.33-34; Nichol referenced line 25)

–5. "writing / riding" (pp.34-35; quotes lines 17-18 of Nichol's IN THE PLUNKETT HOTEL))

xxiii) "PLUNKETT GENERAL STORE", probably by Avis Nichol (p.36; photograph on baby bp on Glenn Nichol's knee)

xxiv) The Seripress Collaborations: Nichol & Caruso, by Barbara Caruso (pp.37-46; prose with quotes from:

–1. bpNichol (from conversations with Caruso)

–2. Introduction, by Caruso & Nichol (to The Adventures Of Milt The Morph In Colour)

–3. "our next approach", by Caruso (from notes toward H An Excursion)

–4. a possibility for bp, by Caruso (from further notes toward H An Excursion)

–5. Barbara Caruso (from journal notes for april 1976)

–6. H: a collaboration, by Nichol (in full; see (iv) above))

xxv) From A Commonplace Book (for bpNichol), by Thomas A.Clark (p.47; a collection of quotes by William Blake, Maurice Denis, Gertrude Jeckyll, Hugh Macdiarmid, Vladimir Mayakovsky, Gertrude Stein, Ludwig Wittgenstein)

xxvi) Nichol in performance at Harbourfront, Toronto, 1984, by Marilyn Westlake (p.48; photograph)

xxvii) Surviving the Paraph-raise, by Stephen Scobie (pp.49-68; prose in 7 numbered parts & footnotes (no direct Nichol references in pts.1, 2, 4, 5:

–1. "FIRST THEN, BY WAY OF EXPLANATION, A NOTE ON THE TITLE. SURVIVING THE" (pp.49-5o)

–2. "Leonard Cohen's poem 'The Cuckold's Song,' included in his 1961 volume" (pp.5o-53)

–3. "The signature is one of those forms of utterance, much beloved by Derrida," (pp.53-58; with quote by Nichol (lines 93-95 of Hour 18, p.54) & reference to McCaffery/Nichol p.56)

–4. "The paraph was originally intended, you will recall, 'as a kind of precau-" (pp.58-62)

–5. "But she's not doing too badly herself. 'Phyllis' – 'a generic name in pastoral" (pp.63-64)

–6. "Writing about Nietzsche, Derrida sums up what is involved in an author's" (pp.64-66; with quotes by Nichol from:

––a. "orange" (lines 1-12)

––b. STATEMENT)

–7. "What remains to be said: the raising of the paraph into the text, as rare an" (pp.66-67; passing reference to Nichol)

–[8. footnotes, pp.67-68])

xxviii) bpNichol: Sonic Snapshots. Fragmentary Movements, by Steven Smith (pp.69-72; prose with quotes from:

–1. Mayakovsky, by Four Horsemen

–2. BEAST, by bpNichol

–3. "stear clear", by bpNichol)

xxix) bpNichol, Rafael Barreto-Rivera, Steve MCaffery, Paul Dutton – The Four Horsemen performing Mayakovsky, Erindale College, 1974, by Frank Davey (p.72; photograph)

xxx) Wizard Oil and Indian Sagwa, by R.Murray Schafer (pp.73-75; prose, preceded by Note, p.73, on collaborations with Nichol & his part in as Johnny Mailloux in Wizard Oil)

xxxi) Johnny Mailloux, selling, by Marilyn Westlake (p.75; photograph, portrait of Nichol)

xxxii) Nichol, around 1966, by Andy Phillips (p.76; photograph

xxxiii) Paternal Body as Outlaw, by Lola Lemire Tostevin (pp.77-8o; prose in 3 numbered parts & notes:

–1. "MUCH HAS BEEN WRITTEN, IS BEING WRITTEN, ON THE MATERIAL BODY," (p.77; with quote by Nichol, lines 1-4 of "so many bad beginnings")

–2. "Since many women are now rethinking the maternal at the level of" (pp.78-79; Nichol quotes from:

––a. "SAINT REAT" (line 4)

––b. "the girl approaced me when the reading ended" (lines 1o, 24-25)

––c. "sleepless night nothing takes shape" (line 17)

––d. "ah reason there is only feeling (part of line 1-3)

––e. EPILOGUE: (line 31)

––f. the quote "intellect or emotions" does not appear anywhere in the martyrology as a phrase

––g. the martyrology book 4 (lines 11o1, 11o5)

––h. Hour 11 (line 19)

––i. Hour 13 (lines 1-2))

–3. "The son's voice has come through loud and clear. There is no need for a" (pp.79-8o; quote by Nichol, lines 41-51 (without spaces) of Hour 26)

–[4]. NOTES(p.8o))

xxxiii) St. Rum (for bp), by Victor Coleman (p.81; poem, 22 lines)

xxxiv) Victor Coleman, Steve McCaffery, Ellen Tallman, Nichol, Roy Kiyooka, bill bissett, 'Writing In Our Time' panel discussion, Vancouver, 1979, by an uncredited photographer (p.82; group portrait)

xxxv) Nichol, McCaffery, Tenth International Sound Poetry Festival, Glasgow, 1978, by Douglas Barbour (p.82; photograph)

xxxvi) Book bells, slowly moving (for bpNichol), by Dick Higgins (pp.83-99; prose in 5 parts:

–1. Note (p.83)

–2. Book Three, Chapter Four The numerator of the third seal (pp.83-87)

–3. Book Head, Chapter Slide The slip of the third crown (pp87-91)

–4. Book Jordan, Chapter Tip The working of the heavenly splendor (pp.91-95)

–5. Book Tip, Song Barrie The waking up of the dragons (pp.95-99))

xxxvii) "Photo", by Andy Phillips (p.1oo; portrait of Nichol at lower right on a sand road walking away from beach, hat in right hand, teees at left, bush at right)

xxxviii) Random Walking The Martyrology's Book V, by Rafael Barreto-Rivera (pp.1o1-1o7; prose essay wth quotes by Nichol from

–1. The Martyrology Book V:Chain 3 (lines 4o5-411 (p.1o1), 12o9-121o, 471-473 (p.1o2), 492-493, 118o (p.1o3), 1182-1184 (pp.1o3-1o4), 534-548 (p.1o5), 8o7 (p.1o6), part of 8o9, 416-418 (p.1o6), 1192-1195, 1197-1212 (p.1o7), 125o-1252 (relineated as 4 lines, p.1o7))

–2. The Martyrology Book V:Chain 1 (lines 2o5-2o6 (p.1o1), 269-271 (pp.1o1-1o2), 118o (p.1o2), 643-644 (p.1o3), 768-771 (p.1o4), part of 161-164, 724-727 (p.1o6))

–3. A Note on Reading The Martyrology Book V (p.1o2)

–4. The Martyrology Book V:Chain 2 (lines 77-9o (misspaced pp.1o2-1o3))

–5. The Martyrology Book V:Chain 9 (part of line 179-181, 134-138 (p.1o4), 217 (misquoted p.1o7), 224-225 (p.1o7))

–6. The Martyrolgy Book V:Chain 5 (line 24 (p.1o4), 136 (misquoting "illusions" for "delusions", p.1o6))

–7. "blue" (ie "...bluer / bloor"; in full unlineated p.1o6)

–8. "blue" (ie "...bluer / blur"; in full unlineated p.1o6)

––note that the quotes "in a throw of the cosmic dice" (p.1o2) & "valley of the shadow" (p.1o6) are not in The Martyrology Book V)

ixl) Nichol in performance, 1972, by Paul Soucy (p.1o8; photograph)

xl) for bpn, by Margaret Avison (p.1o9; poem)

xli) Griffin Ondaatje, Ellie Hiebert, Quintin Ondaatje, bpNichol, Michael Ondaatje, 1971, by Roy Kiyooka (p.11o; photograph)

xlii) Soul Rising out of the Body of Language: Presence, Process and Faith in The Martyrology, by Brian Henderson (pp.111-128; prose in 2 numbered parts & notes with epigraph by Nichol, lines 1275-1276 from the martyrology book 4:

–1. "IN ITS CONCERN WITH THE 'ACTIVE PRESENT,' THE PROCESS WRITING OF" (pp.111-12o; with quotes by Nichol from

––a. the martyrology book 4 (part of line 1276 (p.111), 781-783 (pp.111-112), 915-92o (p.112), 892-9o3 (pp.112-113), 437-444, 1275-1276, 362-365, part of 136 misquoted (p.113), 622-624, 258-262 (p.114), 137-14o, 1o97-11oo (p.116), 23o-236 (p.117), 8o-82 (p.118), 1358-1368 (p.119), 1144-115o, 329-33o (p.12o))

––b. "there must be a beginning made" (lines 4-5, p.113)

––c. "we gather round to talk at night" (part of line 66 (p.114), 45, 8-9 (p.119))

––d. "make the setting here" (lines 1-7 misspaced, p.114)

––e. "saint orm" (ie "...i throw up"; lines 2-4, p.114)

––f. "opened & told them" (line 8-part of 9, 12, p.115)

––g. "saint of no-names" (line 1o, p.115)

––* [see (v) above]

––h. "ah reason there is only feeling" (lines 4-1o misquoting "absence" for "presence" (p.116), 18-19 (p.118)

––* [see (vi) above]

––i. "the window reverses itself" (parts of line 19, 5-6 misquoted (p.117)

––j. "a frog drops in the pond" (lines 58-59, p.118)

––k. "one woman who was all women to me" (lines 12-14, p.118)

––• [see (vi) above]

––l. "hot night" (part of line 9, p.119)

––m. "early morning victria's streets" (line 6, p.119)

––n. "looking out the window at the snow" (lines 29-3o, p.119)

––o. "sleepless night nothing takes shape" (lines 1o-16, p.119)

––p. "out of the side of the buddha's mother" (lines 43-45, p.12o)

––q. "a thing without eyes or lips" (part of line 9, p.12o))

–2. "It is not by accident that Nichol has alluded throughout much of his long" (pp.12o-127; with quotes by Nichol from

––a. "i wanted an image or a metaphor" (lines 14-16, p.12o)

––b. "where is my place in this world father" (lines 61-62 (p.12o), 66-69 (p.121))

––c. the martyrology book 4 (part of line 1222-1226, part of 138, part of 9 (p.121), 244-245 misquoted (p.127))

––d. "ellie & me" (line 28, p.121)

––e. "'older than adam's' older than me i am old" (lines 1-5, p.121)

––f. "gazing into the sky" (lines 47-51 (p.122), 4-9 (p.123))

––g. "from the lake's edge" (part of line 29, p.122)

––h. "how it is done how it is said the head sheds the lies its lived by" (part of line 18, p.124)

––i. "moving down to where the farmhouse stood" (line 14, p.124)

––j. "bushes" (lines 1-13, p.126)

––k. "you walk thru the door into the room filling the mind with (quaint" (part of line 3, p.126)

––l. "there are many roads to that centre" (lines 17-18, p.127)

––m. ""in the midst of life we are in death" draco" (lines 13-16, p.127)

––n. "one woman who was all women to me" (lines 12-14, p.127)

––o. "the sky is as this word is" (lines 1o-12, p.127)

––p. "driving west thru albion's hills adjala climbing" (lines 49-51, p.127))

–3. NOTES (p.128))

xliii) Nichol and dsh (Dom Sylvester Houedard), Glasgow, 1978, by Sean O'Huigin (p.128; photograph)

xliv) bpNichol: The Movies, by Michael Ondaatje (pp.129-13o; prose with quotes by Ondaatje from

–1. sons of captain poetry)

xlv) [untitled photograph], by David McFadden (p.13o; group portrait of Nichol & Michael Ondaatje)

xlvi) "Here's an old snap of bp along with Michael Ondaatje. A couple of springtime", by David McFadden (p.13o; prose caption to (xlv) above)

xlvii) Confronting Conventions The Musical / Dramatic Works of bpNichol, by Paul Dutton (pp.131-14o; prose in 5 numbered parts:

–1. "WITH THE EXCEPTION OF 'THE BROWN BOOK: A PLAY,' WHICH APPEARED IN" (p.131)

–2. "In his early thirties, possessed of encyclopedic knowledge of the musical" (pp.131-133; with quotes by Nichol from

––a. I Can't Talk (line numbers unknown (not in revised Group), p.132)

––b. We're In The Group (lines 1-5 version 1, p.132)

––c. Ordinary Man (lines 1-2, 13-14, p.132)

––d. If It Wasn't For You (lines 2, 6-7, p.132)

––e. I Am Obsessed (line 2, p.132))

–3. "But first, let us treat briefly of Tracks, a two-act musical drama, co-written (pp.133-135)

–4. "While researching material for Tracks, Nichol came upon a bit of local lore" (pp.135-137; with quotes y Nichol from

––a. Cross-Purposes (excerpts of 13 lines, p.136)

––b. Dreams (4 lines, p.136)

––c. "What is this curse" (8 lines, p.137)

––d. Faces (6 lines, p.137))

–5. "While Space Opera is, in sequence of composition, the second of Nichol's" (pp.137-14o; with quotes by Nichol from

––a. Space Opera (dialogue, 4 quotes p.138, 2 p.14o)

––* [see (viii) above]))

xlviii) On Toronto Island, around 1966, by Andy Phillips (p.141; 2 photographs:

–1. [untitled, Nichol on beach with hat in right hand, tree top left, sky top right, beach bottom left, water bttom right]

–2. [untitled, Nichol looking to left close-up at left from below, no background])

il) On Toronto Island, around 1966, by Andy Phillips (p.142; 2 photographs:

–1. [untitled, Nichol at left from crotch up with hat on, tree & sky background]

–2. [untitled, Nichol at right full figure silhouette with hat on, on beach with water about to wash over his feet])

l) "around 1966", by --?-- (p.143; photograph, potrait of Nichol seated lower left in front of painting by --?--)

li) "with brothers Bob and Don (a.k.a. dj)", probably by [Avis Nichol] (p.143; group portrait of 3 Nichol brothers)

lii) With Steve McCaffery, somewhere over Manitoba, 1974, by Paul Dutton (p.145; photograph, portrait of Nichol & McCaffery in airplane)

liii) With Sten Hanson, Glasgow, 1978, by Sean O'Huigin (p.145; photograph, portrait of Nichol & Sten Hanson)

liv) Michel Dean receives a sprinkling of 'Plaster de Paris' (the user can look just like Alfred Jarry, come from his low-ceilinged garret) from the proprietor of The ''Pataphysical Hardware Co. at 'L'Affaire ''Pataphysique', Toronto, 1985, by Marilyn Westlake (p.146; photograph; also visible are copies of

–1. Plaster de Paris (object in Nichol's hand)

–2. '' (T-shirt designed by Nichol & jwcurry, pink on tan variant worn by Michel Dean)

–3. '' (T-shirt designed by Nichol & jwcurry, white on black variant worn by Nichol))

lv) With Steve McCaffery, Harbourfront, Toronto, 1985, by Marilyn Westlake (p.147; photograph of reading with text by McCaffery & Nichol visible,

–1. "DENTA")

lvi) bpNichol, Steve McCaffery, Paul Dutton, Rafael Barreto-Rivera. The Four Horsemen performing Mixed Metaphors, Toronto, 1981, by Marilyn Westlake (p.147; photograph)

lvii) Johnny Mailloux takes a shot of Wizard Oil and Indian Sagwa (see pp.73-75), Toronto, 1981, by Marilyn Westlake (p.148, photograph, portrait of Nichol performing work by R.Murray Schafer)

lviii) St. Riking (a pose, with arms outstretched), by Marilyn Westlake (p.149; photograph, portrait of Nichol)

lix) Nichol, around 1966, by Andy Phillips (p.15o; photograph)

lx) Project For An Opera Of The Twentieth Century G. S.: something tht happened once and it is very interesting, by John Bentley Mays (pp.151-153; script, act 2 scene 3 (2nd version) dedicated "for bpNichol, who introduced me to G.S.")

lxi) Outside 27 Rue-de-Fleurus, Gertrude Stein's Paris home, 1985: Steve McCaffery, Paul Dutton, Stephen Scobie, bpNichol, Margo Barreto-Rivera, Gerry Shikatani, by Raquel Rivera (p.154; photograph, group portrait)

lxii) Addition to the Great Canadian Dictionary, by Earle Birney (p.155; poem, 23 lines)

lxiii) "Photos", by Marilyn Westlake (p.156; 4 untitled portraits of Nichol:

–1. [looking down to left holding microphone] (top left)

–2. [looking to left eyes closed holding microphone & stand] (top right)

–3. [straight on looking down at microphone & beating chest] (bottom left)

–4. [leaning into frame top left looking down with hands over mouth] (bottom right))

lxiv) bpNichol: A Sonography, by Richard Truhlar (pp.157-16o; list in 5 parts:

–1. RECORDS (p.157)

–2. CASSETTES (pp.157-158)

–3. ANTHOLOGIES (p.158)

–4. COLLABORATIONS (pp.158-159)

–5. NOTES (pp.159-16o; prose with quote by Nichol from

––a. Ear Rational • Sound Poems 1970-80))

lxv) letters for NICHOL, by John Riddell (pp.161-167; concrete poetry in 7 parts:

–1. "book book book book book book book" (ie "N", p.161)

–2. "writing a reading of a writing being written/having been read reading that" (ie "I", p.162)

–3. "of a reader to feel pleasure" (ie "C", p.163)

–4. "location" (ie "H", p.164)

–5. "poem sound poem sound poem" (ie "O", p.165)

–6. "L" (p.166)

–7. "UR" (p.167; collage of covers to Nichol's

––a. A Draft Of Book IV Of The Martyrology (top half of David Aylward's graphic St. Reat?)

––b. Familiar (much reduced anonymous cover photograph, "DRINK CocoCola", group portrait with Nichol 5th from left)

––c. Journal (Glenn Goluska's cover typography)

––*. Doors: To Oz & Other Landscapes (see (ix) above)

––d. The Captain Poetry Poems (part of D.J.Nichols rear cover graphic)

––e. Ballads Of The Restless Are (Barb O'Connelly's cover lettering)

––*. Transformational Unit (see (x) above)

––f. The Teaching Of Aress Kinken (most of Gareth Lind's cover graphic Tales Of The Myth Collector By Rawl Castz)

––g. Konfessions Of An Elizabethan Fan Dancer (Barbara Caruso's cover typography for the 3rd edition))

lxvi) humble people, by Rosalind Goss (p.168; graphic dedicated "for bp")

lxvii) Exegesis / Eggs à Jesus The Martyrology as a Text in Crisis, by Frank Davey (pp.169-181; prose essay in 13 parts:

–1. "ANYONE WHO HAS ATTEMPTED TO HELP STUDENTS IN A READING OF ALL OR PART" (pp.169-17o, with quotes from

––a. Douglas Barbour, This courageous poet stalks the trails of saints

––b. Frank Davey, bpNichol

––c. bpNichol, the martyrology book 4, lines 348-357)

–2. "Such praise reflects one of the difficult problems The Martyrology raises:" (pp.17o-171, with Nichol quotes from

––a. "i wished i has a ship", lines 36-41

––b. the martyrology book 4, lins 124-136)

–3. "Another serious probem that a reader encounters in The Martyrology is" (pp.171-172, with quote by Nichol from

––a. "i wished i has a ship", lines 13-2o)

–4. "A third problem created by The Martyrology lies in the distinction" (pp.172-173, with quote by Nichol from

––a. "orange", lines 2-13)

–5. "The structure of this essay appears to promise some answers to these ques-" (pp.173-174)

–6. "Another awkward feature of The Martyrology that impedes this essay from" (pp.174-175, wit quote by Nichol from

––a. the martyrology book 4, lines 1233-1239)

–7. "A third element that complicates this essay is the increasingly exegetical" (pp.175-177, with quotes by Nichol from

––a. the martyrology book 4, lines 81-82, 265-285, 497-515, 521-534, 576-589, 1246-13o1)

–8. "Yet Nichol might well in response to this essay point to various other passages in" (pp.177-178, with quote by Nichol from

––a. the martyrology book 4, lines 1o43-1o5o)

–9. "Further complicating any attempt to deal with these various puzzles is the" (p.178, with quote from

––a. Frank Davey, bpNichol)

–1o. "The most recent of the published volumes of The Martyrology, Book 5," (pp.178-18o, with quotes by Nichol from

––a. the martyrology book 5:chain 1, lines 424-435

––b. the martyrology book 5:chain 2, line 22o

––a. the martyrology book 5:chain 3, lines 397-412, part of 775, 777, 778-78o)

–11. "Book 5 also contains didactic passages which appear, much ike those in" (p.18o, with quotes from

––a. bpNichol, the martyrology book5:chain 5, lines 93-1o1

––b. Stephen Scobie, "The Martyrology is the culmination...")

–12. "By Book 5, The Martyrology can be read as a writing looking for language," (p.181, with Nichol quotes from

––a. "nights that run together on the bed", lines 1-3 misquoting "myths" in place of "nights"

––b. "open your heart", lines 5-9)

–13. NOTES)

lxviii) 2 (for bp Nichol), by Jiri Valoch (p.183; poem, 2 lines)

lxix) three exercises (for bp Nichol), by Jiri Valoch (p.183; poem, 3 lines)

lxx) Around a pillar, around 1970, by Andy Phillips (p.184; photograph, portrait of Nichol)

lxxi) B. P. Specific Writing, by Christopher Dewdney (pp.185-187; prose in 2 parts:

–1. B. P. Specific Writing (pp.185-186)

–2. Abstract (pp.186-187))

lxxii) Nichol with sister Deanna, brothers Don and Bob, parents Avis and Glenn, 1966, [possibly by Avis Workman?] (p.19o; photograph, group portrait)

lxxiii) With his niece, Avis, 1966, [possibly by Avis Nichol?] (p.19o; photograph, group portrait)

lxxiv) The Martyrology as Paragram, by Steve McCaffery (pp.191-2o6; prose essay in introduction, 5 numbered parts & notes:

–o. "WE WILL FOCUS ON THE LUDIC FEATURES OF 'THE MARTYROLOGY,' THOSE" (pp.191-192)

–1. The Scene of Witz (pp.192-195, with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 566-567 as epigraph)

––b. the martyrology book 5:chain 3 (lines 35-37, 44-45, 49-5o, 51-52, 2o4-2o7))

–2. The Paragram (pp.195-197; with quotes by Nichol from

––a. the martyrology book 4 (lines 273-282)

––b. "last note" (lines 5-12))

–3. The Unconscious as a Lettered Production (pp.197-199; with quotes by Nichol from

––a. the martyrology book 4 (ines 72-77, 348-365, 1155-1157)

––b. the martyrology book 5:chain 1 (lines 787-788)

––c. the martyrology book 5:chain 3 (lines 1o61-1o66, 1o79-1o81))

–4. Cratylean Linguistics Through Ramus (pp.199-2o2; with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 46-61)

––b. the martyrology book 4 (lines 124-125, 1217-1221, 1228-1236)

––c. "bushes" (lines 6-1o)

––d. "within the difference" (lines 7-9)

––e. "'dogma i am god'" (part of line 6-28)

––f. the martyrology book 5:chain 3 (lines 778-78o, 962-965))

–5. Mikhail Bakhtin: the Dialogic Utterance (p.2o3)

–6. NOTES (pp.2o3-2o6))

lxxv) UR L: on the autobiography of you, by Daphne Marlatt (pp.2o7-2o9; prose with quotes by Nichol from sections of Journal:

–1. "how can i write with nothing in my head no pressure" (x4)

–2. "as these things are they are only dreams as i have told" (x3)

–3. "maybe there are stories make sense maybe theres a"

–4. "i have said everything i can say having started ot so" (x2))

lxxvi) Sixteenth (?) birthday,\, [likely by Avis Nichol] (p.2o9; photograph)

lxxvii) bp (front) with brother Don, Sister Deanna, about 1946, [likely by Avis Nichol] (p.21o; photograph, group portrait)

lxxviii) The Child in Him, by Sean O'Huigin (pp.211-213; prose essay with quote by Nichol from

–a. The Child in Me)

lxxix) Some Notes in Progress about a Work in Process: bpNichol's The Martyrology, by Douglas Barbour (pp.215-224; prose essay in 8 parts:

–1. "NOW I CAN NEVER FLY WITHOUT IT HAPPENING. SUDDENLY I'M UP THERE" (p.215)

–2. "Cloudtown" (p.215)

–3. "Part of what I seek to do in these notes is to register, through a reference to" (pp.215-216, with quote by Robert Kroetsch on Nichol from

––a. The Continuing Poem)

–4. "Although neither T.S. Eliot's poetry nor his criticism springs immediately" (pp.216-217; with quote by Al Purdy on Nichol from

––b. A.W.Purdy: An Interview, by Gary Geddes & Al Purdy)

–5. "In Poetry as Discourse, Anthony Easthope argues a lengthy and interesting" (pp.217-22o; with quotes by Nichol from

––a. the martyrology book 5:chain 2 (lines 69-71 (69 including quote from

–––1. the martyrology book 4, line 9))

––b. A Note on Reading The Martyrology book V)

–6. "Book 5 opens with a map of one part of downtown Toronto – a closed" (p22o; with quotes by Nichol from

––* [see (xv) above)

––a. the martyrology book 5:chain 1, line 12o1)

–7. "Much of what I have written so far takes its bearings from recent post-" (pp.22o-223; with quotes by Nichol from

––a. Statement

––b. the martyrology book 4 (lines 1o97-1o99))

–8. NOTES (pp.223-224))

lxxx) now they found th wagon cat in human body, by Bill Bissett (p.225; poem, with dedication "for bp")

lxxxi) "as always ths pome first apeerd in we sleep inside each othr all wch", by Bill Bissett (pp.225-226; prose with quotes by Nichol from

–1. Cycle No. 22 ("drum and a wheel")

–2. Lament ("for dalevy"))

lxxxii) Briefly, To Martyr and Suffer, by Gerry Shikatani (pp.227-236; prose with quotes by Nichol from

–1. "hot night" lines 27-28 (p.227)

–2. the martyrolgy book 4 lines 82o-836 (pp.227-228), 1o49-1o5o (p.228), 1358-1364 (pp.228-229), 348-365 (pp.229-23o), 1-12 (pp.234-235), 1322-1331 (pp.235-236)

–3. "horrendous degree of personl reference" (from an unID'd interview, p.228)

–4. "this morning there are no clouds anywhere", part of line 3 (p.23o)

–5. Hour 11, part of line 3, 5-8 (p.23o), 2o, 21-23, 82 misquoted, 83, 112-115, 38-39 (all p.231)

–6. Hour 13 lines 3-9, 38-41, 38-39 misspaced (all p.232)

–7. Hour 14 parts of line 1o, 11-12 misquoted (p.232), 42, 57 misquoted, 64 misquoted, 65-67 misquoted (all p.233)

–8. the martyrology book 5:chain 1 lines 1o-31 (p.233)

–9. "there are many rods to that centre" lines 1-5 (p.234)

–1o. the martyrology book 5:chain 9 lines 184, 217-223, 256 misquoted (all p.235))

lxxxii) Receiving the Governor General's Award from Governor General Roland Michener, 1971, by --?-- (p.236; photograph, group portrait of Nichol, Michener & othrs unID'd)

lxxxiii) The Mutual Friend, by Brian Dedora (pp.237-238; prose)

lxxxiv) Music at the Heart of Thinking Journeying & the Returns, by Fred Wah (pp.239-242; prose in 11 parts:

–1. "This series of MHT is written in the development of a critical poetic that sees" (p.239)

–2. music at the heart of thinking, no. 21 (p.239)

–3. music at the heart of thinking, no. 22 (p.239, with quotes by Nichol from

––a. "the woods", lines 1o-11

––b. .End, lines 11-13

––c. "nothing will have taken place but the place", source unID'd)

–4. music at the heart of thinking, no. 23 (p.24o, with quotes by Nichol from

––a. "the woods", line 5

––b. "(putting a match to paper", lines 1o-11)

–5. music at the heart of thinking, no. 24 (p.24o, with quotes by Nichol from

––a. "prairie, lkes, trees,", part of line 9

––b. "rolling into night", line 8

––c. "always, lines 1-2 misquoted)

–6. music at the heart of thinking, no. 25 (p.24o, with quotes by Nichol from

––a. "always", lines 16-17

––b. "looking out", line 9)

–7. music at the heart of thinking, no. 26 (pp.24o-241, with quotes by Nichol from

––a. "eyes close, line 14

––b. Prologue: 1335 Comox Avenue, line 14)

–8. music at the heart of thinking, no. 27 (p.241, with quote by Nichol from

––a. Prologue: 1335 Comox Avenue, line 41)

–9. music at the heart of thinking, no. 28 (p.241, with quotes from

––a. Margaret Avison, A Letter from Margaret Avison (to Nichol)

––b. bpNichol, "the circle", line 12

––c. ____ "always", lines 18-2o)

–1o. music at the heart of thinking, no. 29 (pp.241-242, with quotes by Nichol from

––a. "such", lines 37-38

––b. "the sun", line 2o)

–11. music at the heart of thinking, no. 30 (p.242, with quotes by Nichol from

––a. "if to explain", lines 4-5

––b. . And ., lines 13-14, 32-33, 38-42

––c. "covered with patches cut from its own cloth", source unID'd)

lxxxv) bpNichol: Some Notes on Myth, by David Donnell (pp.242-245; prose in 12 numbered parts:

–1. "I THOUGHT OF BARRIE AS A SOUND POET AT FIRST. I HEARD HIM READ AT A" (p.243; with quote by Nichol from

––a. the martyrology book 5:chain 1, lines 1-9)

–2. "But it was only some time later that I started reading a number of the" (p.243)

–3. "Maybe it's tempting to think of the longer text poems or The Martyrology" (p.244)

–4. "Barrie has a very compelling voice. Physically, sort of country, but with a" (p.244)

–5. "The completeness of a complex transition slowly becomes a frame" (p.244)

–6. "This concern with consciousness is a concern with how we become what" (p.244)

–7. "Barrie talks about the world constantly by putting himself at the centre of" (p.244)

–8. "The body (Organ Music), which is the body of us all, is always his first" (p.244)

–9. "Barrie has a remarkable ability for utilizing small-town histories as exam-" (p.244)

–1o. (p.245; in 3 lettered parts:

––a. "Barrie's myth isn't anecdotal, but it subsumes anecdote."

––b. "One difference between The Martyrology and Olson's The Maximus"

––c. "A lot of he individual concentrations in the longer text poems or the")

–11. "A lot of the Toronto or New York writers I've been reading lately seem to" (p.245)

–12. "The most important single thing about a text is the frame. The frame is" (p.245))

lxxxvi) bpNichol as John of Patmos, Paul Duton as Michael the Archangel, in R.Murray Schafer's Apocalypsis, London, Ontario, 1980, by Margaret Coole (p.246; photograph, group portrait)

lxxxvii) Could've Been, by Sharon Thesen (pp.247-248; poetry)

lxxxviii) Nichol (second from right) with friends in the mid-60s, when he administered psychological tests and 'felt people weren't getting their money's worth unless I wore a jacket and tie.', by --?-- (p.248; photograph with quote by Nichol in caption (source unID'd))

ixc) Notes toward a beepliography, by jwcurry (pp.249-27o; in 2 parts:

–1. Notes toward a beepliography (pp.249-27o; list with quote by Nichol:

––a. "love (ie "...dove / above", in full unlineated in text))

–2. NOTE (p.27o; prose))

xc) "H", by --?-- (p.271; photograph, portrait of Nichol)

xci) [untitled photograph], by Michael Ondaatje (rear cover; photograph, reduced larger crop of front cover portrait with graphic (by --?--) of Milt The Morph superimposed)

___________________________

• also includes:

– 2 peripherally-related photographs of Plunkett, Saskatchewan (p.144)

– Joe Rosenblatt's Poems – Nocturnes, with no discernible Nichol-specificity (p.188)

– Louis Dudek's Poetry, likewise with no discernible Nichol-specificity (p.189)

Your life is your story and the adventures ahead of you are your journey to fulfill with their own purpose and potential.

We are extremely proud of you all and look forward to seeing you advance through the next phase of your journey.

Love,

Mom & Dad

Sophia Ferentinos - pursuing a career in Criminal Justice; with a minor is sociology or psychology. Will attend Montgomery College in the fall for general studies and then transfer to a University of choice.

Helena Ferentinos - pursuing a career in radiology/sonography, will be attending Montgomery College fall 2020-2021

Kosta Ferentinos - pursuing a internship/apprenticeship in the HVAC arena to complete his training.

Catherine Ferentinos - pursuing a career in Marine Biology/Veterinary. Will attend Montgomery College in fall for general studies and then transfer to a University of choice.

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

this is an echocardiography of my heart.

i edited the single videos with fitting auscultation sounds from my own heart (recorded with a PC microphone; sorry for the poor quality) and added some descriptions.

the HIGH QUALITY version of this video can be found on my youtube channel!

Available here

Students in the Sonography Certificate Program at the University of Hartford practice scanning techniques and protocols in diagnostic medical sonography with anatomically specific training phantoms, designed with imbedded pathological conditions, enhancing the student’s clinical experience.”

Photo by University of Hartford staff

Island Health has partnered with Camosun College to open an outpatient ultrasound clinic embedded within Camosun’s School of Health and Human Services. Campus Ultrasound is the first clinic of its kind in the country to support on-site learning.

Campus Ultrasound clinic has two general ultrasound rooms and two echocardiogram rooms, allowing four students to be trained in-house simultaneously with access to real patients, advanced simulation and experienced Island Health sonographers and radiologists — all in one space.

Students training at the clinic will administer ultrasound scans used to diagnose, treat and monitor a variety of medical conditions within two specialty disciplines: general and cardiac. Approximately 32 Camosun College Diagnostic Medical Sonography students will receive hands-on training at Campus Ultrasound each year.

PCC health sciences students took part in training last week that gave them a better perspective of the teamwork that goes into providing quality patient care.

Held Sept. 29, “Interprofessional Simulation Day” involved students from PCC’s cardiovascular sonography, emergency medical science, medical sonography, nursing, occupational therapy assistant (OTA), radiography and respiratory therapy programs. After separating into multidisciplinary teams, the students rotated through training stations representative of the various participating curricula.

Partners In Health facility in Lascahobas, Haiti.

Haiti is considered the poorest nation in the Western Hemisphere Haiti has the highest prevalence of maternal mortality, infant mortality, and HIV infection in the Western Hemisphere. Primary public health problems include HIV/AIDS, respiratory infections, and perinatal conditions, including low birth weight and birth trauma.

Direct Relief has provided medical material assistance to Haiti, focusing on primary health care and basic medical supplies.

One of Direct Relief’s key partners in Haiti includes Partners in Health (Zanmi Lasante). Zanmi Lasante is Partners in Health's oldest project. It began as a small community clinic treating patients in the village of Cange. Today the clinic has become the Zanmi Lasante Sociomedical Complex, featuring a full-service hospital with two operating rooms, adult and pediatric inpatient wards, an infectious diseases center, an outpatient clinic, a women's health clinic, opthalmology and general medicine clinics, a laboratory, a pharmaceutical warehouse, a Red Cross blood bank, radiographic services, and a dozen schools. Zanmi Lasante has expanded its operations to other sites across Haiti's Central Plateau. Direct Relief has helped equip the newly constructed hospital in Lacolline with donations of beds, exam tables, sterilizers, and general hospital supplies.

Direct Relief’s work in Haiti to provide emergency obstetric care reflects the organization’s worldwide commitment to reducing maternal mortality rates.

www.DirectRelief.org

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

Diagnostic Cardiac Sonography — Echocardiography August 2016

Students from the College of DuPage Diagnostic Medical Imaging programs in Radiography, Nuclear Medicine and Sonography recently shared their knowledge on a wide range of diseases at the 13th annual Pathophysiology Panorama.

Due in July 2010.

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

Joyful doctor with ultrasound investigation sensors in hands

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

37 week ultrasound of unborn child

Students from Glenbard North and Glenbard South high schools watch while Glenbard North teacher Caroline Gonzalez undergoes an ultrasound screening performed by Diagnostic Medical Imaging Sonography Instructor Melissa McKirdie in the College of DuPage Sonography Lab.

Citation: Godani M, Canavese F, Del Sette M, Walter U. Update on transcranial sonography applications in movement disorders. Journal of Diagnostic Imaging in Therapy. 2014; 1(1): 110-128.

dx.doi.org/10.17229/jdit.2014-1113-008

Abstract

Over the past 20 years transcranial B-mode sonography (TCS) of brain parenchyma is being increasingly used as a diagnostic tool in movement disorders. The most widely recognised finding for movement disorders has been an increase in echogenicity of the substantia nigra, an area of the midbrain that is affected in idiopathic Parkinson’s disease (IPD). This finding has enabled a reliable diagnosis of IPD with high predictive values. Other sonographic features - such as hypoechogenicity of the brainstem raphe and hyperechogenicity of the lentiform nucleus - might help to increase the differential diagnosis of IPD and other movement disorders. In comparison with other neuroimaging modalities such as magnetic resonance imaging (MRI) and computed tomography (CT), TCS can currently be performed with portable machines and has the advantages of non-invasiveness with high resistance to movement artifacts. In distinct brain disorders TCS detects abnormalities that cannot be visualized - or can only be visualized with significant effort - with other imaging methods. This present update summarizes the current methodological standards and defines the assessment of diagnostically relevant deep brain structures such as substantia nigra, brainstem raphe, basal ganglia and ventricles for differential diagnosis of IPD and other movement disorders. Finally, we provide detailed information about the advantages and limitations of this novel neuroimaging method.

Keywords: transcranial sonography; Parkinson’s disease; atypical parkinsonian syndromes; secondary parkinsonian syndromes