docview photos on Flickr

#FreshPerspectives #perspectives #clouds #cloudy #cloudporn #cloudorgy #sky #docreo #docstock #docreonews #theskyaccordingtodoc #docnews #docprint #docreotv #docview #docsky #docreoradio by Doc Reo Rico Warilla

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The skies inside the concrete jungle. #ConcreteJungle #hoodsky #urbanaccents #sun #clouds #cloudy #cloudporn #cloudorgy #sky #docreo #docstock #docreonews #theskyaccordingtodoc #docnews #docprint #docreotv #docview #docsky #docreoradio by Doc Reo Rico Warilla

British Columbia / B.C. Postal History - 26 January / 12 February 1921 - St. Gillies, Brussels, Belgium to Manor Farm, CANFORD, B.C., Canada (split ring / broken circle cancel / postmark) via Spence's Bridge, B.C. by Treasures from the Past

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CANFORD, British Columbia lying in the peace of the Lower Nicola Valley, fifteen kilometers west of Merritt is unique among British Columbia's many ghost settlements. Here the Nicola Valley abruptly narrows and the river hurries to join the Thompson at Spence's Bridge. LINK to the article - www.proquest.com/docview/205007524

(from - Wrigley's 1918 British Columbia Directory) - CANFORD - a Post Office and station on K. V. Railway, near Merritt. Yale Provincial Electoral District. Government telegraph, good school. Anglican church. Farming and lumbering.

The CANFORD Post Office was established - 1 May 1907 and closed - 31 August 1954.

LINK to a list of the postmasters who served at the CANFORD Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;

- sent by - / A. Denys / 87 Rue d'Espagne, Saint-Gilles, Brussels, Belgium - in an old Y.M.C.A. envelope - contained postage stamps.

- sent from - / ST GILLES (BRUXELLES) • ST GILLES (BRUSSELS) / 19-20 / 26 / 1 / 1921 / - cds cancel

- transit - / SPENCE'S BRIDGE / AM / FE 10 / 21 / B.C. / - partial very light duplex backstamp

- arrival - / CANFORD / FE 12 / 21 / B.C. / - split ring arrival backstamp - this split ring hammer (A1-1) was not listed in the Proof Book - it was most likely proofed c. 1907 - (RF C).

Addressed to: H. A, Purdiman Esq. (should have been T. R. Hardiman) / Manor Farm / Canford / Nicola Valley / B.C. / Canada /

Theophilus Richard Hardiman

(b. 14 November 1851 in Bournemouth, Hampshire, England, United Kingdommap - d. 18 November 1928 at age 77 in Victoria, British Columbia, Canada) - he was the Postmaster at CANFORD, B.C. from - 1 May 1907 to 15 December 1914.

His son - Lionel Theodore Hardiman

(b. 4 September 1891 in Vancouver, British Columbia, Canada - d. 23 January 1968 at age 76 in Vancouver, British Columbia, Canada) - Lionel Hardiman sold the Manor Farm and all its properties in 1955 to the aptly-named Canford Lumber Company.

Theophilus Richard Hardiman - A simple obituary notice in the Winnipeg Daily Times on - 5 June 1882, along with the Registers of Burials and Deceased of Winnipeg’s St. John’s Anglican Cathedral cemetery, give quiet evidence of a painful and tragic family tale. In April 1882, Theophilus and Mary Theresa Hardiman left Bournemouth, England, for Canada and the booming, blustery new city of Winnipeg. Rosella (noted also as Prisella), age 7, Alice Maude, age 4, and Horace, age 2, accompanied their parents. Within a few short days of the family’s arrival, little Rosella and her brother perished from typhoid fever, the dreaded disease known locally as Red River fever. Theophilus (TRH), the son of a long-established coach-builder in Holdenhurst (Bournemouth) Hampshire, had immigrated to Winnipeg not to speculate on burgeoning prairie land sales or to exploit the opportunities offered by the recent railroad and steamer traffic. Rather, he sought to further his artistic talents and interests, and to develop entrepreneurial skills in markets related to a ‘civilized’ life in a promising part of the decidedly British Empire. It is not surprising then that a discouraged and disgruntled TRH decided to leave Winnipeg. It was time to again look west. As the story of his future years would reveal, TRH made some lasting personal contacts among new Canadians who, like himself, spent several years in Winnipeg before moving on. In May 1887, the family boarded the Canadian Pacific Railway to Port Moody, British Columbia, detraining less than two weeks prior to the arrival of the first trans-continental train at the Vancouver terminus. Vancouver was a city of less than 8,000. By 1889, the newcomer had opened a shop that dealt in all manner of art, framing and decorative works and supplies. Hardiman’s Pioneer Art Gallery was Vancouver’s first commercial Art Gallery. The Vancouver chapter of Hardiman’s story is a fascinating one—but not without questions and curiosities. And then there are also the Klondike and Canford, Nicola Valley chapters! LINK to the complete article with photos - www.mhs.mb.ca/docs/mb_history/48/hardtimes.shtml

The Creators of Canford, B.C. - All about the Hardiman Family (pages 13 to 17) - open.library.ubc.ca/collections/bch/items/1.0190615#p12z-...

#JulyReplay #Vid2Print #IndependenceDay #Replay #quote #clouds #flagporn #flag #americanflag #starsandstripes #sky #docreo #docstock #docreonews #theskyaccordingtodoc #docnews #docprint #docreotv #docview #docsky #docreoradio by Doc Reo Rico Warilla

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Alan Turing's hand-drawn Monopoly board, the Turing Papers, Bletchley Park, UK.jpg by Cory Doctorow

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Update: William Newman has the true history of this artifact: "May I confess to being the perpetrator of said 'board', which I drew on a sheet of paper back in the 1950s when I was in my early teens and lacked the money to buy a proper set. My brother and I played on it, and when Alan asked if he could join us in a game we played a threesome (Alan lost). Later the board fell into disuse and I lost track of it about 50 years ago, but it recently turned up (together with the rules), see www.bletchleypark.org.uk/news/docview.rhtm/644565. The Roman numerals indicated property prices. I forget why I added the diagonal. "

My interview for Mario Rubio's "Fotografo Nocturno" magazine by Sergey Churkin

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Originally, my interview was in english, Mario just translated it to Spanish. So, if you can't read Spanish - welcome to read in english :) Spanish version with images www.fotografonocturno.com/larevista/

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

Q1: First of all, talk a little bit of yourself for the Spanish Speaking Readers, please.

A1: I am self-educated graphic motion designer, working for national TV channels for more than 20 years. Thus, I have good skills in visual mixture of colors and objects composition. In my job I always trying to use new tools, tips and methods. One day I was looking for a fresh solution for a job, and I saw the experiences with long exposure made by my son Mikhail. Mike gave to me initial knowledge, next night I has tried by myself… That is how I discover light painting in 2009. Thank God, my lovely wife support me in this. Since then, we travel together around the world and share our love for light and movement almost every night.

Q2: We know you are a representative person in the Light Painting World Alliance. Can you explain what this Alliance is about?

A2: Size of journal article don’t allow me speak too much… Complete LPWA manifesto published on official website, in chapter “LPWA Documents”, but briefly main Alliance’s goals are: 1) spread light painting art all over the globe to attract newbies to taste it or common public just to enjoy; 2) unite light painting artists into creative community for changing the skills, ideas, contacts or even support each other; 3) teach to our art, everywhere and any time it is possible.

Q3: What is your role in there?

A3: I am founder of LPWA. This idea was widely discussed through my Flickr contacts in 2010. I wrote about hundred letters to my fav artists, asked them about Alliance idea. Some of them answered, they told me the idea could be good, if execute it properly. Since then I started to work, and September 01 2012 I launched official LPWA website. Of course, such a giant work couldn’t be possible without help of my friends. A few famous and highly experienced light painters agreed to form with me Advisory Board – working team for searching solutions in complicated things and just help me in translation and information support. Advisory Board is live team, the list of members changes sometimes. From the start in 2011 till modern days there was (are) following artists: Patrick Rochon, Mike Ross, Dennis Calvert, Eric Mellinger, Hannu Huhtamo, Janne Parviainen, Hugo Baptista, Brian Hart and TigTab.

Q4: How do any other photographers can be involved in the Alliance?

A4: LPWA door is always open! Any light painting artist could join the Alliance in 5 minutes, by 3 clicks and it is free :) We don’t ask for high skills, even amateur artists are welcome www.lpwalliance.com/index2.php?type=docview&id=18

Q5: Are there many achievements you’ve got with the LPWA?

A5: I can’t be a judge in this case :) Only people could estimate LPWA success, because of we have worked for community. But I think, following info could tell a lot:

- 4 worldwide exhibitions (Moscow, Paris twice and Oviedo), more than 400 artworks from more than 110 artists

- 8 international special events (Mumbai, Moscow, Aubervilliers, Hong Kong, Lanzhou, Stuttgart, Madrid, Astana), more than 600 artworks from more than 100 artists

- Global Contest for International Year of Light by UNESCO

- LPWA is official Collaborating Partner of International Year of Light 2015 www.lpwalliance.com/event/66

- More 600 registered members from 53 countries, and all contacts are in our artists database.

Q6: What’s your opinion about Spanish Light Painters? Can you tell us the name of someones?

A6: I spend a lot of time browsing the web, searching any new nice light painting images. Mostly Flickr’s and Facebook’s dedicated groups. And I see a lot of interesting artworks from Spain. Generally, Spanish light painters are very well-skilled artists. A lot of very scenic images, where combination of heroes and light is dramatic and story-telling. In other words – I can recognize exactly Spanish artwork by its detail’s perfection. Russian and Spanish people are very similar in feelings :) I met personally more 30 spanish light painters (thanks to Oviedo and Alfredo Alvarez!), other artists I know looking to their artworks. Pedro Javier, Riders of Light, Alfredo Alvarez, Erasmo Daaz, Salva Mico, Dave Astur, Eric Marsinyach, Sergi Boix, Carles Calero, David Gnowee, Jordi Soriano, FlashesEnLaNoche, Santiago Salinas, Jose Antonio, Jose Luis, Fran Redondo, Mario Lechuga, Paco Quiles, Antonio Martinez. Sure thing, in Spain there are many more light painters, sorry for not calling you personally, I hope to learn all great names in the future :)

Q7: We’d like to know the situation of Light Painting in Russia. Spain is in its best moment with loads of activities related to Night Photography. Does it happen the same in your country?

A7: Light painting in its artistic meaning isn’t very popular in Russia. All Russian light painters could be counted by fingers of both hands, no more. Some amateurs start, but almost the same week, they stop. Night photography is very popular, with some Russian photographers being presented regularly on world’s top resources like professional magazines and 500px.

Q8: Do you think people become part of an association in order to share Light Painting knowledge and experiences?

A8: Yes. It is a main reason to be a part of the Alliance. Of course, LPWA isn’t the only way to do so :) Maybe, just more suitable.

Q9: How do you imagine the future of LP all over the world?

A9: Creating completely new visual technologies to express emotions and thoughts. Does it sound like a fairy tale? Who could guess the appearance of the iPad thirty years ago? :) With light painting we are able to add aesthetically pleasing and message driven elements and characters to a scene that are not reproducible with any other methods.

Making a special device for light painting, I call it “light recorder”. A sort of DSLR camera, but highly modified to light painting needs, with absolutely new functionality and breaking all usual limits.

I am sure, that light painting art is next level for usual photography. Thus, light painting is not exactly the photography. It is much closer to usual painting (fine art). LPWA official slogan “Light Is Paint, Night Is Canvas” explain it clearly. Detailed idea presented here: www.flickr.com/photos/chukos/10909696294

I think, light painting is more sensual, than usual painting (fine art) or photography.

Q10: Many people think Light Painting is just a mixed of light with no sense. Any message for them?

A10: Really? Did you see such people? :) My message could be – light painting is the only art form, which have natural (biological) sense! Because we all saw the light before we were born! And the light plays the first role in human lives. Light movements, light color&brightness, time changing – all have a great sense to all of God’s creatures. And light painting is a way to form a unique message, talking on language which is understandable by people from any places of the Earth.

Q11: Recently we found the winners of the Light Painting Award. Good photos, no doubt. What can you enhance from them?

A11: First of all – I am not ILPA2015 organizer. This Award is organized and managed by JanLeonardo Woellert (Germany). The Alliance featured this Award, in order to sharing any supportive information and making judgement by LPWA Advisory Board plus 4 involved artists. Thus, I can’t officially comment any ILPA results and activities, but of course, I can express my personal opinion. The ILPA results were taken by counting jurors rates. Some winners gets highest mark from me, some no – and this is normal. Award could show to community different samples of artistic message, and I think we have it in better manner, possible for the moment. Brodowsky’s artwork prove us, that sometimes just one second is enough to catch the lucky moment of light creature. Bauer’s artwork is perfect scenic and ambience compostion of interesting lightman structure, reflections and icicles. Ireson’s artwork is most unusual and could ignite lot of discussions… let ‘em in! Scott made it with light, this is another (and nicely!) way to go and as a part of light painting stream his “Tiger” slide limits of imagination. Rauscher’s artwork is unusual too. It shows another element of nature, involved into light painting world. Magic and peace in one! Leroux’s artwork is not light calligraphy in general, mostly light arabesques, but such a perfect combination of background and sophisticated light shape! And finally, Palateth’s artwork present specific technique and again – very cool composition of different kinds of light impact. My special comment for Special Photokina Prize winner Darren Pearson. Photokina prize is absolutely amazing thing - and very very important for community. Photokina prize Winner will get possibility to present light painting art itself on next Photokina exhibition. Best 10 winner's artwork should show to visitors our art form in it's best way. Voting for candidates to this special prize, we had take in mind this important moment - we selected not just simple image, but the whole art background of candidate.

As I told earlie, main goal of the Alliance is to spread light painting art to common audience.

To be honest, I gave highest rate to Darren Pearson and Pedro Javier (El Nino De Las Luces). Both artists, in my humble opinion, are highly skilled light painters, with most creative artworks in general, and both can perfectly present our art form on photo exhibition for usual visitors.

Most important conclusion – all winning images definitely are the piece of art. Not just a samples of how to use long exposure :)

Q12: Maybe this Award has given you an idea of which countries have got bigger representation. Do you know photographers of all the represented countries?

A12: We haven’t any limits for ILPA taking in mind countries of participants. Any artist from any country could take a part. Statistics still not published, so let’s wait. And yes, I know in person (or at least – via email correspondence) most part of light painters who participate. Someone not yet, but I wrote to them to make connections.

Q13: Do you think this Award represents the very best of the LP photographers all over the world?

A13: Again, it is my humble opinion. Unfortunately, some of the top light painters did not took a part. I don’t know why, but it is a fact. If only we could imagine, these non-participants had submitted their best works perhaps the results would be different. Also some participants, highly skilled artists, didn’t submit their best works (I mean, their portfolio contain much more brilliant artworks, than they choose for ILPA). I know the community awaited light calligraphy to be among the winners. I totally understand, light calligraphy (light drawing) is a very important part of our art form. I would gladly vote for the best light calligraphy submissions if there were any. Apparently, the same point of view was shared by other Jury members. In total, this Award could be more representative for the light painting art form. I hope, next time it will happen :)

I have to note, that any kind of public activity in the light painting art field actually is very young. A lot has happened for the first time in history of mankind – 1st worldwide Light Painting Exhibition in Moscow, 1st international Light Art Congress in Oviedo, 1st LPWA partnership with UNESCO, 1st International Light Painting Award by JanLeonardo… We just got started ! Yes, we learn lessons well, trying to extract positive moments for future success. The Alliance gets a lot of feedback about every event, and I am very grateful for all correspondents for their criticism. Everyone can see, we changed our rules for exhibitions twice, making it better and more flexible. Also, regarding any contests, I think we should include a wider range of artistic expressions. More nominations, more sub-nominations.

Q14: Once many nationalities have meet in the Award, can you suggest any idea to share experiences between all of them? Maybe a new on line resource like a website o something like that?

A14: I think, many nationalities have met and will continue to meet in the Alliance’s events :) And yes, I have a lot of ideas about how to communicate and share experiences between artists – but any idea requires work and simple efforts by more than one man. That is why, I am always looking for collaboration, to make our art passion more visible. Where are the volunteers who work well together?

Q15: We love the winners photos but, would you have liked to see any other photos in better position? Which one and why?

A15: Haha, there is Russian saying “After death the doctor”. I will publish my personal like-list for nominees and winners a little bit late.

Q16: Finally, we’d be very happy if you send a message of inspiration to the Light Painters who read you.

A16: Free your mind, forget about vanity, enjoy the process. Heal your soul with light waves. Remember, today you create the future art.

Q17: Do you usually work on your own or you have a team?

A17: I haven’t regular team. But I like very much to collaborate with my friends while traveling around the world.

Q18: What equipment do you usually use?

A18: Canon 5D Mark II, Led Lenser Torches Kit, Manfrotto tripod, a lot of custom light tools.

Q19: Which photographers inspire your work nowadays?

A19: Perhaps, it could sounds strange, but I get inspiration from a lot of artists, from top level to newbies. Inspiration comes not from the techniques or styles, but from ideas and artistic messages. In other words, brilliant execution of nothing-telling image can’t inspire me more, than simple rough sketch with great message inside. I can tell a lot of artist’s names, at least a half hundred… It’s not honest to talk about ones, don’t having a chance to talk about everyone :)

Q20: Have you visited Spain before? Talk us about it.

A20: Yes, I visited Spain a few times (Mallorca, Torremolinos, Malaga, Madrid, Asturias). Most beautiful places I found in Asturias, while 1st Light Art Congress in Oviedo. More important for me – I found a lot of friends, kind and neighborly Spanish people. Dream to come here again!

2016.08.19 H Street NE Washington DC USA 07517 by Ted Eytan

Mrs. (Loree) Murray, who died March 27 (2009) at 88 of pancreatic cancer, founded the Near Northeast Citizens Against Crime and Drugs to lead street patrols that helped police document evidence of drug dealing. She was joined by a handful of other men and women, including a 105-year-old who had once worked for the Brotherhood of Sleeping Car Porters.

"She was one of the first people who decided to take back her community, and to do that, she had to break up some of the most notorious drug rings operating at Second and K streets Northeast," said developer Ronald J. Cohen, who worked with Mrs. Murray to win community support for a building project on land that had once been a haven for vice.

He said Mrs. Murray no longer wanted her neighborhood to be seen as "the other side of the tracks."

Cohen said he plans to name a building in her honor. The "Loree Grand" will be part of the Union Place residential-retail complex, scheduled to open next spring at 200 K St. NE.

Adam Bernstein - Washington Post,Staff Writer. (2009, Apr 03). Fought D.C. cocaine epidemic. The Washington Post Retrieved from search.proquest.com/docview/410327192?accountid=46320

2016.08.19 H Street NE Washington DC USA 07512 by Ted Eytan

Mrs. (Loree) Murray, who died March 27 (2009) at 88 of pancreatic cancer, founded the Near Northeast Citizens Against Crime and Drugs to lead street patrols that helped police document evidence of drug dealing. She was joined by a handful of other men and women, including a 105-year-old who had once worked for the Brotherhood of Sleeping Car Porters.

"She was one of the first people who decided to take back her community, and to do that, she had to break up some of the most notorious drug rings operating at Second and K streets Northeast," said developer Ronald J. Cohen, who worked with Mrs. Murray to win community support for a building project on land that had once been a haven for vice.

He said Mrs. Murray no longer wanted her neighborhood to be seen as "the other side of the tracks."

Cohen said he plans to name a building in her honor. The "Loree Grand" will be part of the Union Place residential-retail complex, scheduled to open next spring at 200 K St. NE.

Adam Bernstein - Washington Post,Staff Writer. (2009, Apr 03). Fought D.C. cocaine epidemic. The Washington Post Retrieved from search.proquest.com/docview/410327192?accountid=46320

2016.08.19 H Street NE Washington DC USA 07513 by Ted Eytan

Mrs. (Loree) Murray, who died March 27 (2009) at 88 of pancreatic cancer, founded the Near Northeast Citizens Against Crime and Drugs to lead street patrols that helped police document evidence of drug dealing. She was joined by a handful of other men and women, including a 105-year-old who had once worked for the Brotherhood of Sleeping Car Porters.

"She was one of the first people who decided to take back her community, and to do that, she had to break up some of the most notorious drug rings operating at Second and K streets Northeast," said developer Ronald J. Cohen, who worked with Mrs. Murray to win community support for a building project on land that had once been a haven for vice.

He said Mrs. Murray no longer wanted her neighborhood to be seen as "the other side of the tracks."

Cohen said he plans to name a building in her honor. The "Loree Grand" will be part of the Union Place residential-retail complex, scheduled to open next spring at 200 K St. NE.

Adam Bernstein - Washington Post,Staff Writer. (2009, Apr 03). Fought D.C. cocaine epidemic. The Washington Post Retrieved from search.proquest.com/docview/410327192?accountid=46320

2016.11.28 DC People and Places 08973 by Ted Eytan

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Henry's Soul Cafe on U Street is open again after it was destroyed by fire in 2014. Thanks to Henrietta, Henry's daughter for chatting with us on the street.

for more info: Fisher, M. (2007, Nov 15). The mysterious, transporting bliss of henry's sweet potato pie. The Washington Post Retrieved from search.proquest.com.dclibrary.idm.oclc.org/docview/410136...

and www.borderstan.com/2016/11/15/henrys-soul-cafe-reopens-u-...

2016.08.19 H Street NE Washington DC USA 07514 by Ted Eytan

Mrs. (Loree) Murray, who died March 27 (2009) at 88 of pancreatic cancer, founded the Near Northeast Citizens Against Crime and Drugs to lead street patrols that helped police document evidence of drug dealing. She was joined by a handful of other men and women, including a 105-year-old who had once worked for the Brotherhood of Sleeping Car Porters.

"She was one of the first people who decided to take back her community, and to do that, she had to break up some of the most notorious drug rings operating at Second and K streets Northeast," said developer Ronald J. Cohen, who worked with Mrs. Murray to win community support for a building project on land that had once been a haven for vice.

He said Mrs. Murray no longer wanted her neighborhood to be seen as "the other side of the tracks."

Cohen said he plans to name a building in her honor. The "Loree Grand" will be part of the Union Place residential-retail complex, scheduled to open next spring at 200 K St. NE.

Adam Bernstein - Washington Post,Staff Writer. (2009, Apr 03). Fought D.C. cocaine epidemic. The Washington Post Retrieved from search.proquest.com/docview/410327192?accountid=46320

Duwamish River under Tukwila International Boulevard....20130725_0268 by listorama

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Shot from the seat of my recumbent trike on the Green River Trail in Tukwila, Washington. Overhead is Tukwila International Boulevard. The highway used to be called “Pacific Highway South” but in 1998 it was changed for political reasons. At one time it also carried the “State Route 99” label.

Why is the Green River Trail following the Duwamish River? At a confluence upstream from here, the Green becomes the Duwamish. The Duwamish River flows leftward into Elliott Bay in Seattle, a body of salt water. Thus the river is affected by tides. When I took this picture, the tide was coming in. The upstream flow was strong enough to create little eddies along the edge. I sat here for a few minutes watching the river flow.

Google Earth and Wikimapia label the highway with both names. Bing Maps still calls it “Pacific Highway South” The Thomas Guide “King, Snohomish, and Pierce Counties Street Guide” label it with its current name.

My vantage point was at the center of this WikiMapia aerial view and I was looking northeast.

iPhone photo.

The Mirror of the Japanese is not the Gaze of the others by Timothy Takemoto

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The majority of research on the effect of mirrors find that looking in a mirror is NOT the same as being looked at by others, or being aware of the gaze of others at all. (Brockner, Hjelle, & Plant, 1985; C. S. Carver, 1975; Charles S. Carver, 1977; Charles S. Carver & Scheier, 1981, 2001; Davies, 1982; Dijksterhuis & Knippenberg, 2000; W. J. Froming, Walker, & Lopyan, 1982; William J. Froming & Carver, 1981; F. X. Gibbons, 1978; Frederick X. Gibbons, Carver, Scheier, & Hormuth, 1979; Frederick X. Gibbons & Gaeddert, 1984; Goukens, Dewitte, & Warlop, 2007; Hormuth, 1982; Macrae, Bodenhausen, & Milne, 1998; Porterfield et al., 1988; M. F. Scheier & Carver, 1980; M. F. Scheier, Carver, & Gibbons, 1979; Michael F. Scheier, 1976; Michael F. Scheier, Carver, & Gibbons, 1981; Spengler, Brass, Kühn, & Schutz-Bosbach, 2010)

Indeed some research shows that looking at oneself in a mirror produces exactly the opposite effect as being looked at by others. Being looked at by others encourages people to conform to other's expectations. Looking at a mirror generally encourages people to conform to their own internal standards.

There is some research however, that has shown mirrors to increase private self awareness, and at least one paper that has argued that mirrors increase conformance.

So bearing in mind that Japanese are largely unaffected by mirrors (Heine et al, 2008), what does this suggest?

1) That as in the minority of experiments that show mirror's increase public self awareness, and increasing conformance (Diener & Srull, 1979; Govern & Marsch, 1997; Plant & Ryan, 2006; Wheeler, Morrison, DeMarree, & Petty, 2008; Wiekens & Stapel, 2008; Zanna, 1990) the mirror that they are mentally simulating is "the eyes of the world" (seken no me 世間の目）. This is quite likely, and I predict in part true. Mirrors are found to increase both public AND private self awareness, so it seems likely that the mental mirror of the Japanese has both of these effects. The "Interdependent self" (Markus and Kitayama, 1991) of the Japanese is not an absense of self but a self that is both aware of itself, and aware of the impact of others upon itself. The dual influence of the Japanese mental mirror would explain the two aspects of the Japanese self.

2) Even if it were the case that the mental mirror of the Japanese is increase private self awareness there is research to suggest that Private self awareness is not a unitary phenomenon (Grant, Franklin, & Langford, 2002; Mittal & Balasubramanian, 1987; Trapnell & Campbell, 1999) but instead

2.1) motivated in different ways by curiosity (leading to self reflection) and a automatic, morbid desire to see the self (rumination)(Trapnell & Campbell, 1999).

2.2) It is also argued that Private self awareness has a motivational and cognitive aspect: on the one hand is an awareness of internal self states and attitudes, and on the other it is the desire to reflect upon the self(Grant, Franklin, & Langford, 2002).

It may be that the Japanese are high in the second ruminatory, motivational element of private self-awareness which is not coupled by an increase in self-cognition, as Ma-Kellams recent research tends to suggest.

3) The Japanese have a different type of independent self, that sees itself from the positition of a super-addressee, Other or God (known in Japan as Amaterasu the sungoddess) visually, with an aesthetic rather than logical impartiality.

Whatever way you cut it however, seeing oneself in a mirror is different from being seen by an audience. In order to unpack this distinction, I claim it will be necessary to reject the argument that the Japanese are "collectivists" in the sense of being socially dependent, since the mirror that the Japanese carry with them also provides a impartial, objective, viewpoint because it is a "riken no ken," a view of self not from that of others, but from a self away from self.

The excellent, for my purposes, image is original artwork by Ms. Miho Fujimura, a former student, commissioned by myself.

Bibliography

Aaker, J. L. (2000). Accessibility Or Diagnosticity? Disentangling the Influence of Culture on Persuasion Processes and Attitudes. Journal of Consumer Research, 26(4), 340–357. doi:10.1086/209567

Bakhtin, M. M. (1986). Speech Genres and Other Late Essays. (V. W. McGee, Trans., C. Emerson & M. Holquist, Eds.) (Second Printing.). University of Texas Press. pubpages.unh.edu/~jds/BAKHTINSG.htm

Brockner, J., Hjelle, L., & Plant, R. W. (1985). Self-focused attention, self-esteem, and the experience of state depression. Journal of personality, 53(3), 425–434.

Carver, C. S. (1975). Physical aggression as a function of objective self-awareness and attitudes toward punishment. Journal of Experimental Social Psychology, 11(6), 510–519. Retrieved from www.sciencedirect.com/science/article/pii/0022103175900025

Carver, Charles S. (1977). Self-awareness, perception of threat, and the expression of reactance through attitude change. Journal of Personality, 45(4), 501–512. doi:10.1111/j.1467-6494.1977.tb00167.x

Carver, Charles S., & Scheier, M. F. (1981). Self-Consciousness and Reactance. Journal of Research in Personality, 15(1), 16–29. Retrieved from www.eric.ed.gov/ERICWebPortal/detail?accno=EJ248215

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Case 1 of "The Inevitable Present: Integration at William & Mary" by W&M Libraries

Shown here is an image of Case 1 of the "'The Inevitable Present': Integration at William & Mary" Exhibit located in the Marshall Gallery (1st Floor Rotunda) and the Read & Relax area of Swem Library at the College of William & Mary, on display from February 4th 2013 to August 13th 2013

The following is a transcription of the labels in this case:

In late 1950, the Dean of the Department of Jurisprudence, Dudley W. Woodbridge reinforced the statements of the Board of Visitors and the Alumni Gazette when he told a meeting of the Norfolk and Portsmouth Bar Association that William & Mary would accept African American applicants.

Edward Augustus Travis was the first African American law student at William & Mary entering in the 1951 fall semester and graduating in August 1954 with a BCL degree, making him the first African American alumnus of William & Mary. Travis, born in Reed’s Ferry, Virginia, had attended Hampton Institute and graduated from Florida A&M before applying to William & Mary. Travis passed away in Newport News in November 1960.

While William & Mary had cracked open a door to integration, other battles continued throughout the nation, including in Washington, D.C. The Coordinating Committee for the Enforcement of the D.C. Anti-Discrimination Laws sent this flyer to William & Mary president Alvin Duke Chandler asking him to share the group’s boycott of department store Hecht’s with students. There is no indication in the records of the Office of the President if Chandler shared this information with students or others.

Hulon Willis was the first African American student admitted to William & Mary. He began in the summer 1951 term, pursuing his masters of education. At the time of his admision, Willis was already a graduate of Virginia State College (now Virginia State University) and a teacher in the Norfolk school system. He earned his degree from William & Mary in August 1956. The William & Mary Alumni Association’s Hulon Willis Association, a constituent group founded in 1992 by and for African American alumni, was named in honor of Willis, preserving his name and place in the university’s history for the future.

As a graduate student, Willis naturally had a different experience on campus than today’s undergraduate students. During the summers when he was attending classes, Willis lived on Braxton Court in a boarding house operated by Miss Gwen Skinner. When they attended football games at William & Mary, Hulon & Alyce Willis sat in the student section, not in the end zone where other African Americans were seated in the segregated stadium. When Willis was inducted into Kappa Delta Pi, an education honor society, according to Mrs. Willis another member told the group that he would be not be a part of an organization that admitted an African American. The group told this member he could leave and Willis was inducted in August 1956. As an alumnus, Willis joined the Order of the White Jacket, an Alumni Association constituent group for those who worked in campus dining halls, Colonial Williamsburg restaurants, and other dining establishments. After earning his graduate degree, Willis became an assistant professor at Virginia State University and then the director of campus police.

Like all students applying to William & Mary at the time, Willis was required to include a photograph of himself with his application. In a 2005 oral history interview with Jenay Jackson ’05, Hulon Willis’ wife Alyce, who had encouraged her husband to apply to William & Mary, recounted that upon receiving his acceptance letter in March 1951, she wondered if the photograph had fallen off his application. But a few weeks later, William & Mary released a public statement, announcing that Willis was the first African American student admitted to the institution. Willis was accepted not because the institution was opening its doors to all potential African American students, but because of the case brought by Gregory Swanson against the University of Virginia in 1950 after he was denied admission to the university’s School of Law. The U.S. Circuit Court of Appeals ruled that Swanson could not be barred from admission because of his race. Willis was pursuing his master’s degree specializing in physical education and since that program of study was not offered by a state-supported institution accepting African American applicants, William & Mary could not decline to admit Willis based solely on his race. The college established a procedure to confer with Attorney General J. Lindsay Almond, Jr. in Richmond on the admission of African American applicants beginning in the 1950s. William & Mary specifically wished to avoid a court case, while some, like A. W. Bohannan, who wrote to President Pomfret in May 1951 after Hulon Willis’ admission, saw forcing applicants to take the institution to court as the next step in preventing integration.

New Journal and Guide, 28 August 1954

This article is available through the ProQuest Historical Newspapers database at

proxy.wm.edu/login?url=http://search.proquest.com/docview...

William & Mary’s first non-white undergraduate student was Art Matsu, ’28. Born to a Scottish mother and Japanese father, Matsu was an exceptional athlete who was successfully recruited from Cleveland by William & Mary to play quarterback and became captain of the football team. He also played basketball, baseball, ran track, became a member of the 13 Club and the Varsity Club, and took part in other student activities. But Matsu's attendance did not open the door widely to Asian American students. William & Mary’s student body would include only a handful of Asian and Asian American students throughout the 1930s-1950s.

The Colonial Echo, William & Mary’s yearbook, has been digitized by Swem Library and all volumes from 1899-1995 are available from the W&M Digital Archive at digitalarchive.wm.edu/colonialecho/.

Searching for a specific yearbook?

Contact Swem Library’s Special Collections Research Center at spcoll@wm.edu or 757-221-3090 to inquire if copies from your William & Mary years are available.

William & Mary admitted its first African American students under President John E. Pomfret. Pomfret would depart William & Mary soon after Willis and Travis were admitted due to the unrelated football scandal of 1951. He was replaced by former admiral Alvin Duke Chandler who was new to academia.

Correspondence, internal memos, and other materials relating to integration were filed by the Office of the President in the 1950s-1960s under the heading “Negro Education.” After being transferred to the University Archives, these folder titles were maintained to document the organization and practices of the office and the era.

You can both listen to and read Alyce Willis’ 2005 oral history interview at hdl.handle.net/10288/600.

The Swem Library and William & Mary’s Lemon Project conduct oral history interviews to document the stories and lives of college alumni, faculty, and staff. To volunteer, contact Swem Library’s Special Collections Research Center at spcoll@wm.edu or 757-221-3090.

Center for Student Diversity Records, UA 260,

Series 1: Office of Minority Student Affairs

Read more of The Black Presence at William and Mary at hdl.handle.net/10288/16118

The Flat Hat, 1 May 1951.

hdl.handle.net/10288/3781

The Flat Hat student newspaper, first published in 1911, was digitized by Swem Library and is available from the W&M Digital Archive at digitalarchive.wm.edu/handle/10288/20

Jacqueline Filzen’s 2012 Charles Center Summer Research paper “African Americans at the College of William and Mary from 1950-1970” offers further information on this subject and provided much useful material for this exhibit. The paper can be read at hdl.handle.net/10288/17049

From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/research/special-collections for further information and assistance.