Domino (2016, Reissue)

This LP has been missing from my Pavement collection for way too long. Yes, I have had the Perfect Sound Forever and the other various 7"s that make up the bulk of the songs for a really long time. And sure, the CD version of this is actually the 2nd Pavement record I ever bought back in 1995 after being thoroughly blown away by Wowee Zowee (At the time I thought surely the indie one before they were even on Matador would be even cooler). But I never got around to buying this on LP.

Domino rereleased it a couple of years ago. It's on nice thick 180 gram vinyl and these terribly recorded songs have never sounded more terrible (and by that, I mean they sound great). The fidelity was never the point of any of these songs. They were recorded super early in the bands history and a recording budget was pretty much nonexistent at the time. Still, these songs are some of my favorite all of these years later.

"Box Elder" is a smash hit from the band's very first, self released 7" "Forklift" is a fuzzy bit of weirdness that really connected with me in high school and has been lodged in my brain ever since. "Debris Slide" is just perfect with an anthemic chorus that gets me singing along all these years later (even though it still sounds like they're saying "grease fire" and not "debris slide" to me). Maybe this compilation isn't Pavement's most polished or best outing, but there's something magical in these songs that has kept me coming back over and over again for the past twenty five years.

Pavement - "Box Elder":

www.youtube.com/watch?v=G_6NEePhHCA

Pavement - "Debris Slide":

www.youtube.com/watch?v=KwHTMrZptG4

Pavement - "Forklift":

www.youtube.com/watch?v=k67p7DN-SWo

Choice: I chose Jordi Koaltic because he has some of the most imaginative and creative pictures I’ve come across. He typically uses many inanimate objects to help enhance his photos. Through these inanimate objects, he managed to create impossible angles, nonexistent depths. All in all, he was able to create photos from scratch.

Intention: a lot of Koaltic’s pictures have a fun and light aspect to them and I figured bubbles were a perfect fit for the picture

Reference: “the sooner you wean yourself from [your ego] the sooner you’ll make honest art that you want to make”

Outcome: I took these by myself so I couldn’t get the picture exactly how I wanted, but the message of the photo still comes across well.

Edit: I had to heal the creases on the sheet in the background and remove the strings that held up the brushes. I also increased the saturation and vibrancy along with adding a bit of contrast.

The acoustics in a room are the first thing I notice.

Here, in this bunker the sound is muffled, flat, nonexistent. The entire world has ground to a halt above you. You're being dragged down into a void, into the darkness.

Story I hear of this bomb shelter involves illegal construction by a crazed local during the cold war. The location includes a number of underground rooms and a water tank. Apparently authorities ordered he cease his construction as he didn't have the necessary permissions to build where he did.

Locals had found his unfinished sanctum and burned it in a fit of satanic rage and childish arson.

While I don't know it, the sounds, the warmth, the smell in here leads me to believe the local was with us while we poked and prodded about his citadel.

He didn't like us exploring.

Bookmobile supporting Meredosia, Bad Catman, The Flips, and Looming at Black Sheep Cafe in Springfield, IL on January 17, 2014.

Words cannot describe how good it felt to be shooting another show at Black Sheep after so long. It doesn't have the greatest lighting and the photo pit is nonexistent, but I just feel so at home there because that community of people is just incredible. They all support each other so much and it's amazing to be a part of that and to get to photograph it every so often. And then getting to be the guest photographer for Harm House's "Record of the Night" was absolutely awesome. Honestly, when I look back, I can't even begin to describe how thankful I am to the Black Sheep venue and community for everything they've done for me. This was my training ground when I was really getting started, and these are the people who took me in and accepted me without question and without reservation. That, and they put on some kick-ass shows =)

I love the opportunity to be backstage at my granddaughter's dance competitions, in spite of the almost nonexistent lighting and cramped (often just plain ugly) dressing rooms. This is from one of favorite routines done by her group choreographed to "All the Best People are Crazy (Mad Hatter)".

the power tower is a totally underrated ride here. the lines are almost always nonexistent, the view from 250 ft up is great, and the drop is so scary that even i, manliest of men, screams like a little bitch. dig it: www.youtube.com/watch?v=YPs3IOs_V0w

Nonexistent.

Carpenter bees (the genus Xylocopa in the subfamily Xylocopinae) are large bees distributed worldwide. There are some 500 species of carpenter bee in 31 subgenera. Their name comes from the fact that nearly all species build their nests in burrows in dead wood, bamboo, or structural timbers (except those in the subgenus Proxylocopa, which nest in the ground). Members of the related tribe Ceratinini are sometimes referred to as "small carpenter bees". The genus was described by French entomologist Pierre André Latreille in 1802. The name is derived from the Ancient Greek xylokopos/ξῦλοκὀπος "wood-cutter".

In several species, the females live alongside their own daughters or sisters, creating a sort of social group. They use wood bits to form partitions between the cells in the nest. A few species bore holes in wood dwellings. Since the tunnels are near the surface, structural damage is generally minor or nonexistent. Carpenter bees can be important pollinators on open-faced flowers, even obligate pollinators on some, such as the Maypop (Passiflora incarnata), though many species are also known to "rob" nectar by slitting the sides of flowers with deep corollas.

Carpenter bees are traditionally considered solitary bees, though some species have simple social nests in which mothers and daughters may cohabit. However, even solitary species tend to be gregarious, and often several will nest near each other. It has been occasionally reported that when females cohabit, there may be a division of labor between them, where one female may spend most of her time as a guard within the nest, motionless and near the entrance, while another female spends most of her time foraging for provisions.

Carpenter bees make nests by tunneling into wood, vibrating their bodies as they rasp their mandibles against the wood, each nest having a single entrance which may have many adjacent tunnels. The entrance is often a perfectly circular hole measuring about 16 millimetres (0.63 in) on the underside of a beam, bench, or tree limb. Carpenter bees do not eat wood. They discard the bits of wood, or re-use particles to build partitions between cells. The tunnel functions as a nursery for brood and storage for the pollen/nectar upon which the brood subsists. The provision masses of some species are among the most complex in shape of any group of bees; whereas most bees fill their brood cells with a soupy mass, and others form simple spheroidal pollen masses, Xylocopa form elongate and carefully sculpted masses that have several projections which keep the bulk of the mass from coming into contact with the cell walls, sometimes resembling an irregular caltrop. The eggs are very large relative to the size of the female, and are some of the largest eggs among all insects. There are two very different mating systems that appear to be common in carpenter bees, and often this can be determined simply by examining specimens of the males of any given species. Species in which the males have large eyes are characterized by a mating system where the males either search for females by patrolling, or by hovering and waiting for passing females, whom they then pursue. In the other type of mating system, the males often have very small heads, but there is a large, hypertrophied glandular reservoir in the mesosoma, which releases pheromones into the airstream behind the male while it flies or hovers. The pheromone advertises the presence of the male to females.

Is this good? shot him with my 18-55 kit lens without extention tubes or filters or reverse lens technique

7.1 25sec. Dank an die Kulissenbauer für das gutplazierte Schildstativ.

Thanks to the construction managers for the well-placed sign, which I used as stand.

Although the wildflowers in lower Ice Lake Basin were almost nonexistent this year, we found some really nice patches of red paintbrush in the upper basin. This one was about a hundred steps from our camp site.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

Girl Scout Troop 3201 sent a message to Hershey!

"Troop 3201 has made a pledge to spread the word about Fair Trade cocoa. We have given out Fair Trade chocolates to our community for the past two Halloweens (Reverse Trick or Treating Campaign) and only make our smores with Fair Trade products. It is sad to know that Hershey does not use Fair Trade cocoa in their chocolate products. We ask that you “Have a Heart” this Valentine’s day and consider the suffering that comes with your non-Fair Trade candies. Your company has the power to buy cocoa from farms where workers are paid fairly, and abusive child labor is nonexistent. PLEASE move forward with Fair trade and make Hershey sweet again!"

Veloso had discovered the body of Jonathan Levin, then-Time Warner CEO Gerald Levin's son. "Because [Veloso] told me so vividly what happened, I couldn’t get these images out of my head,” Nassif says. Nassif barricaded her door that night with a chair (“I was so crazy!”), purchased a dead bolt, and searched for nonexistent blood stains.

Nicely posing Willow Flycatcher, low on the trees/shrubs right over the water. While no doubt one or more of the "oh an empid buzzed by" birds I've seen in my life were this species - they're common around here - this is the first one I was able to identify, so a lifer ;-)

I had this photo shoot (and a following less productive one) with this bird, while in one of the gazebos. Shortly after the bird vacated, we had an unexpected rain squall (good timing, being in the roofed gazebo.) Two other birds and I had a nice chat while it rained about what we had seen, and they helped me ID this empid. Around here, that much white beneath combined with the almost-nonexistent eye ring is a good clue for Willow, it's one of the standard empids here that had been reported recently on social media, and Sibley indicates that the 'low above water' behavior is typical for this species. So many other empids do treetops.

A Japanese rock garden (枯山水, karesansui?), sometimes called a Zen garden, is an enclosed shallow sandpit containing sand, gravel, rocks, and occasionally grass and/or other natural elements. The main elements of karesansui are rocks and sand, with the sea symbolized not by water but by sand raked in patterns that suggest rippling water. Plants are much less important (and sometimes nonexistent) in many karesansui gardens. Karesansui gardens are often, but not always, meant to be viewed from a single, seated position. Some Westerners believe that karesansui gardens can be used to calm human minds, but they were not intended for such in their native Japanese settings.

(from wiki)

When love is nonexistent: Aesha Mohammadzai had her nose and ears cut off by husband and father-in-law after serving 5 months in Taliban jail. She tried to leave her husband.

John Dee’s tarnished reputation did not dissuade adherents of his intricate philosophy and noble goal of a Hermetic Christianity capable of providing the world with salvation. Seventeenth-Century Europe was in the midst of a political, religious, and epistemological crisis.1 Szönyi argues that new approaches in Seventeenth-Century natural philosophy and science had created a vacuum that experimentation with magic was more than ready to fill.2 Szönyi’s assertion is exemplified in Valentin Weigel’s (1533-1588) belief that the inner spirit reigned over outer nature, including alchemy, Paracelsian elementals, daemons, and spirits, and inspired radical theologians to push forward interpretations of esoterica that focused on an inner transmutation rather than the outer mastery of nature.3

Johann Arndt (1555-1621) was one such figure (influential in his own right regarding the Pietist movement) who accepted the works of Weigel and Paracelsus, among others.4 Arndt’s seminal Pietist work was his Vier Bücher vom wahren Christentum (1605-1610),5 a work that greatly influenced one Johann Valentin Andreae (1586-1654).6 7 Andreae translated extracts of Arndt’s work into Latin around 1615, praised Arndt’s model of Christianity wherein Christians live their lives in accordance to the faith they professed in his Mythologia christiana (1619), and dedicated his utopian work Christianopolis (1619) to Arndt.8 Andreae also surrounded himself with friends who espoused utopian agendas, such as Tobias Hess (1586-1654), Christoph Besold (1577-1638), Abraham Hölzl, Tobias Adami and Wilhelm van der Wense.9 Adami and van der Wense were disciples of Tommasso Campanella, author of the utopian Civitas Solis (1602). Civitas Solis was notable in its shared similarities between the proposed utopian communities presented in Andreae’s Christianopolis and the Picatrix’s Adocentyn.10 11

The utopianism displayed in the works above was joined with profound Hermetic influence in the Fama Fraternitatis, Deß Löblichen Ordens des Rosenkreutzes, an alle Gelehrte und Häupter Europae geschrieben (1614; hereafter called the Fama), Confessio Fraternitatis (1615; hereafter called the Confessio, largely attributed to Andreae, Hess, and Besold) and the Chymische Hochzeit Christiani Rosenkreutz Anno 1459 (1616; hereafter called the Chemical Wedding, which Andreae claimed authorship of).12

In a time rife with apocalyptic and utopian philosophy that made extensive use of Hermetic philosophy and Kabbalism, one wonders what John Dee’s role constituted in the cry for a spiritual and epistemological revolution. An interesting link between Dee and Andreae exists through Dee’s acquaintance with Heinrich Khunrath (1560-1605), who in turn was known to maintain correspondence with Johann Arndt.This chapter will explore the linkage between Dee and Andreae as well as the transmission of Dee’s Hermetic philosophy, namely through his Monas Hieroglyphica. Rosicrucianism adopted an interest in Dee’s Monas, which kept alight the torch of his uniquely equipped form of angel magic until it was delivered into the hands of Frederick Hockley.

!

Early Rosicrucianism and the Monas Hieroglyphica

In Tübingen, Johann Valentin Andreae and his two close friends, Tobias Hess and Christoph Besold, are thought to have formed an inner circle amongst a group of like- minded acquaintances in order to produce the Rosicrucian Manifestos, the Fama and the Confessio; two works that sparked a furor of more than 200 responses between 1614-1620 (both positive and negative)14 in Reformation-era Europe.15 The titular symbol of John Dee’s philosophical work, the Monas Hieroglyphica, served as the emblem of The Chemical Wedding and from that point on Dee was connected to the Weigelian, inwardly alchemical transmutation of the soul.

Elias Ashmole (1617-1692), an antiquarian and founding member of the Royal Society with a great interest in alchemy, astrology, and astral magic,16 possessed a profound interest in Dee and his angel magic.17 Ashmole hoped to explore these themes in a biography of Dee that he never completed.18 In his book, Theatrum Chemicum Britannicum (1652), Ashmole related a connection between the Rosicrucian movement and Dee. The connection, as Yates attests,19 was on June 27th, 1589 in Bremen when Dee met Heinrich Khunrath (1560-1605).20 It is not known what the two discussed, but Yates noted the appearance of Dee’s Hieroglyphic Monad21 in Khunrath’s Amphitheatrum Sapientiae Aeternae (1595) in the image of the alchemical hermaphrodite where the ‘O’ of ‘AZOTH’ on the Raven/Peacock/Swan’s22 breast is the circular part of Dee’s symbol.23

Khunrath’s theosophical alchemy and Kabbalism was a continuation of Weigel’s inward mysticism24 and his stance was, despite its criticism of scholastic Lutherans, mediatory in much the same way as Arndt and Weigel.25 Szulakowska asserts the importance of Dee’s position as a mentor of Khunrath, as evidenced in his proclamation of Dee in his Quaestiones Tres Per-Utiles (1607) as ‘Londinensem [...] hoc est, Sapientiae Sincerioris Gazophlacem magnum; Angliae Hermetem’, an accolade repeated in his Amphitheatrum.26

Szönyi aptly points out that despite his reputation in his homeland as the sorcerer who conjured angels, Dee was well-received on the continent due to the more positive reputation conferred on the author of the philosophically elegant Monas Hieroglyphica.27 This image of Dee, as an important contributor to Pietism rather than as a sorcerer who talked to spirits, makes the Rosicrucian interest in the Monas Hieroglyphica more appealing; especially after being so well regarded by Khunrath and found to be compatible with Arndt’s theosophy. But how did Dee’s Hieroglyphic Monad come to be included in Andreae’s Chemical Wedding?

Tobias Churton posits a few interesting possibilities as to how the Hieroglyphic Monad was included in Andreae’s Chemical Wedding. First: Andreae may have ‘lifted’ Dee’s symbol from the Amphitheatrum for use in The Chemical Wedding despite his poor regard for Khunrath’s Kabbalistic, alchemical Christology and suggestions of the existence of a Christian ‘para-religion’ that ignored the sacrament of brotherhood and selfless love.28 Second: another unidentified party involved in the creation of The Chemical Wedding insisted on its inclusion.29 Third: Andreae obtained the Hieroglyphic Monad directly from the work itself, despite never having written about it.30

Still another possibility is the transmission of the Monas Hieroglyphica through the first person who responded to the Fama Fraternitatis with wishes to join the nonexistent society. The response of Adam Haslmayr (c. 1560-1630) was included in the first printing of the Fama and its endorsement of Rosicrucianism served to turn what was perhaps intended as an allegorical organization into what was perceived as a recruitment pamphlet for the true teachings of Paracelsus.31 Haslmayr’s response echoed the ecstatic outcry of many other impressed readers of Rosicrucian texts; the popular Paracelsian influence on the Monas only served to bolster its reputation amongst the spiritual, or ‘true’, alchemists.32

The Monas Hieroglyphica had been republished in Lazarus Zetzner’s Theatrum Chemicum (1602) and was available across Europe.33 Haslmayr included the Hieroglyphic Monad in several of his manuscripts, including the Novum Lumen Physico-Chemicum (1616), Consideratio Figurae Ergon er Parergon Fratrum RC (1626),34 and Amphitheatrum Chymicum Sacrum (1629).35 Carlos Gilly (a scholar noted for his skepticism regarding Dee’s influence on Rosicrucianism),36 conceded that through Haslmayr’s imitation of Dee’s symbol in his Consideratio Figurae the Monas may have served as a source of influence in the inclusion of a work in the first edition of the Confessio that also used the Monas as a source of inspiration: the Secretioris Philosophiae Consideratio Brevis (1615).37 38

The Consideratio features direct quotations of the first 13 Theorems of the Monas interspersed throughout its writing and is credited to the pseudonymous Phillipus a Gabella, though he makes absolutely no mention of Dee in his work and replaces the word ‘monas’ with ‘stella’.39 The positive reception and influence of the Monas was indeed notable in continental Europe, but uncredited usage of the symbol was not limited to the Consideratio. Gerard Dorn, a translator responsible for altering Paracelsus’ works from German to Latin, featured Dee’s Hieroglyphic Monad on the cover of his Chymisticum Artificium Naturae (1568; published four years after the first edition of the Monas Hieroglyphica).40 Other plagiarisms include: Cesare della Riviera’s Il Mondo Magico de gli Heroi (1605), where Riviera openly lifted Dee’s insight that the Latin numerals for fifty, five, and ten form the word LVX (or Light); the Jesuit Athanasius Kircher’s Oedipus Aegypticus (1653-1655) featured both the original Monad (he dubbed the Crux Hermetica) and a variant (dubbed the Crux Ansata) in a chapter on ‘Mathematica Hieroglyphica’; and Johann Christoph Steeb’s Coelum Sephiroticum (1679) also retitled his own variant of the Dee’s Monad, renamed the Sigillum Hermetis Mercurii Trismegisti.41 If imitation is indeed the sincerest form of flattery, then Dee had more than a few devoted admirers.

Given that the Monas Hieroglyphica was held in such high regard as to merit repeated plagiarism, it made it more likely that Andreae knowingly used the Hieroglyphic Monad despite his misgivings for Khunrath. Perhaps he sought to uplift what he perceived as a potent, but misguided, vehicle for world-wide reformation and so he attempted to mold it in a fashion that conformed to his own vision of the inward spiritual transmutation that occurs with true Christianity. Andreae distanced himself entirely from Rosicrucianism due to the failure of The Chemical Wedding to cease attachments to Pagan philosophy and theosophy that he found to be in conflict with his own view of Christianity. Regardless of how the Monas was included in The Chemical Wedding, Dee’s expanded vision of the cross granted further depth to the its Christian context by using Kabbalistic techniques to enhance the cross’ profundity through numerological, symbolic, and alphabetical analyses.43 To Dee the cross was a ternary of two lines and a central meeting point44 representing the body, spirit, and soul45 and reasonably the Holy Trinity (see fig. 11).46 The cross also contained a quaternary of four right angles created by four straight lines that also create a ‘secret’ octonary47 representing the four classical, terrestrial elements of Fire, Air, Water, and Earth (see fig. 10). The ternary and quaternary virtues of the cross also add up to a septenary representing the seven planets, the seven days of the week of the creation, and numerous other significances,48 via the two lines, the point at which they bisect, and the four straight lines.

Dee also bisected the cross to create what he perceived as the Latin characters for the numbers five (V; see fig. 12) and fifty (L; see fig. 13), evidencing a quinary derived from a denary, representing a marriage of spirit and matter.49 This bisecting of the cross also reflects the Hermetic adage ‘As Above, So Below’.50 51

The Monas Hieroglyphica and the Confessio bear similarities. In the Monas, Dee differentiates between the ‘real cabbala’ and the vulgar cabbalistic grammar. [...] No mortal may excuse himself for being ignorant of this our holy language, which, in the aphorisms [1 directed] to the Parisians, I have called the real cabbala, or [the cabbala] of that which is, as I call that other and vulgar one, which rests on well-known letters that can be written by man, cabbalistic grammar or the cabbala of that which is said. The real cabbala, which was born to us by the law of the creation (as Paul intimates), is also [a] more divine [gift], since it invents new arts and explains the most abstruse arts very faithfully, as others, following our example, may try out in some other field.53

The Confessio makes much the same claim of the ‘great book of nature’ which ‘stands open to all men’, but, like Dee’s ‘real cabbala’, ‘few can read and understand the same’.54 The book prophesies a coming time when ‘honour shall be given to the tongue’ and from there all the senses and the awakening of the whole of humanity.55 The Confessio further states that the Rosicrucian brotherhood possesses a language capable of ‘expressing and declaring the nature of all things’.56

It seems logical that such an awakening that prepared man to receive the ‘real cabbala’ was the signifier of a change, or transmutation, of the soul. The Chemical Wedding utilizes hallmark alchemical imagery to tell its tale, but in such a manner that focuses on the spiritual change of the soul.57 The Chemical Wedding has Christian Rosencreutz, the hero of the Rosicrucian Manifestos, invited to a wedding that requires the passing of a variety of tests where Christian Rosencreutz proves his worth and is rewarded with bearing witness to the bizarre unfolding of events leading up to the wedding. Yates noted the deeply symbolic nature of the Chemical Wedding to have its basis in an inner, spiritual alchemy within the soul of the individual.59 On the Fourth Day, it is noteworthy that six Royal Persons are beheaded60 and resuscitated on the Fifth Day,61 their blood used on the Sixth Day to speed the growth of a bird.62 The colorful transformation of the bird is reminiscent of the classical alchemical stages of nigredo and albedo.63 However, rather than being gifted with a physical gold, the worthy souls bearing witness to the wedding are made ‘Knights of the Golden Stone’.64 It was not any metal that was transmuted in the wedding, but the participants themselves.

Rosicrucian literature grew and progressed to the point that its philosophy began to be included in more tangible organizations, such as The Royal Society, though subtly due to Dee’s infamy caused by Casaubon’s True & Faithful Relation.65 The next section will examine how Dee’s practice and philosophy returned to England and eventually to the hands of Frederick Hockley, who in turn influenced the rituals and thought of the Hermetic Order of the Golden Dawn.

The Children of Rosicrucianism: Heirs to the Legacy of John Dee:

Despite the intense interest in Rosicrucian literature, the movement remained merely literary; it wasn’t until the eighteenth century that history saw the first groups openly labeling themselves as Rosicrucian.66 There is some irony in that Dee’s lack of popularity did not seem to affect the enthusiastic reception in England of an esoteric philosophy that he provided with a formative influence.

Robert Fludd is credited with bringing Rosicrucianism to England with several writings in support of the Rosicrucian Manifestos. Andreas Libavius (1540-1616), a German Lutheran alchemist, wrote a polemical Analysis of the Confession of the Fraternity of the Rosy Cross (1615) where he accused the Fraternity of heresy, sedition, and diabolical magic.67 Fludd provided a vigorous counter-argument in his Apologia Compendiara (1616) supporting the notion that the Rosicrucians provided a renovated Christianity and further developed this argument in his Tractatus Apologeticus (1617),68 which concluded with his own request to join the Fraternity.69 John Dee’s divine madness for the secret hidden in the Book of Nature was shared by Fludd and those other diligent scholars of Western esoterica who wrote works attempting to bring to the human mind the intentions and machinations of the divine.

Michael Maier (1569-1622), a German alchemist who lived in England from 1609-1616,70 was another scholar who found that Rosicrucianism agreed with his own notions in addition to his millenarianism and Lutheran heterodoxy, which spurred him to provide writings that further spread a positive view of Rosicrucianism in the land that had rejected Dee.71 Hereward Tilton asserts that Maier treated the initials ‘R. C.’ as a hieroglyph under which the alchemists of Germany were working.72 Maier’s interpretation of Rosencreutz’s initials extended the Monas’ form of divine attribution to certain symbols to the legendary father of Rosicrucianism.73 In his envisioning of the Rosicrucians, Maier emphasized and expounded on the alchemical aspect as the key principle and ultimate focus of the Fraternity.74

Other figures that supported Rosicrucianism in England include Samuel Hartlieb (1595-1662), John Drury (1595-1680), and Amos Comenius (1592-1670), who were all in contact with Johann Valentin Andreae and were also responsible for translating Andreae’s utopian writings. Hartlieb and Comenius had large roles in the creation of the highly influential ‘Invisible College’. Hartlieb was responsible for convincing Comenius to come to England in the first place.76 Once there, Comenius penned the Via Lucis (1641), a work describing a pansophic college that eschewed professorships in divinity, civil laws, and rhetoric and replaced them with technical, tangible teachings in glass and metal working.77 Sadly, as Comenius was proposing his educational reform, civil war erupted in England and sundered Comenius’ hopes despite interest from the ruling class.78 The ghost of Comenius’ educational outline lived on in the form of what Robert Boyle dubbed the ‘Invisible College’.79

The Invisible College served as a common ground for scholars to escape the turmoil of the times80 through a pansophic virtual institute that existed in the minds of those who agreed with an improved form of education that utilized experimentation.81

Thomas Vaughan (1612-1666), an alchemist, a member of the Royal Society with active relationships with its founding members (Thomas Henshaw and Robert Moray), and a former rector, scribed a translation of the Fama and Confessio82 with a lengthy preface.83 He entitled this work the Magia Adamica, clearly alluding to Fludd’s Philosophia Moysaica.84 It also bears mention that Vaughan also praised Agrippa, Trithemius, and Reuchlin in several of his works.85

Vaughan’s translation of the Fama and Confessio returns us to Elias Ashmole, who copied the two works by hand from a manuscript before Magia Adamica was published.86 Ashmole was an important figure in the transmission of Dee’s works; he attempted to rescue John Dee’s reputation through his skills as an antiquarian.87 Ashmole combined Rosicrucianism and the continental reception of the Monas Hieroglyphica to form an excellent vehicle for Dee. The Rosicrucian theme of scholarly, epistemological reform served to increase the chances that a dedicated erudite would eventually take note of and carefully compile Dee’s works in a light far brighter than the one Méric Casaubon provided in his True & Faithful Relation.

On August 20, 1672, Elias Ashmole received John Dee’s manuscripts (including the 48 Claves Angelicae, Liber Scientiae Auxilii, and De Heptarchia Mystica) in a parcel from Thomas Wale.88 Wale and his wife related to Ashmole the story behind the manuscripts on September 10 of the same year. By chance, the late and former husband of Wale’s wife had owned a chest that once belonged to Dee.89 After discovering the manuscripts they at first ascribed little worth to them and roughly half were lost ‘under pyes & other like uses’.90 Fortunately, their worth was later discovered and as a result the remaining manuscripts were saved from the Great Fire of London in 1666.91

Ashmole was connected to Rosicrucianism and its prescribed epistemological reform through his correspondence with Samuel Hartlieb92 and his philosophical ‘father’, William Backhouse (1593-1662), who supposedly taught Ashmole the secret of the Philosopher’s Stone near his death.93 The prominence of the Monas may have provided a revitalized view of Dee for Ashmole to capitalize on, which is precisely what he endeavored to do.

In 1674, Ashmole transcribed the first book of Dee’s Mysteriorum Libri Quinque and followed up with interest in a biography and investigations into Dee’s character.94 Initially, the investigations were done by proxy through fellow antiquarian John Aubrey, but later Ashmole conducted them personally.95 Ashmole personally travelled to Dee’s home at Mortlake and interviewed one ‘Goodwife Faldo’ who had the pleasure of viewing an eclipse with John Dee.96 He also interviewed Rowland Dee, John Dee’s grandson, who gave him a great deal of information as passed on to him by his father, Arthur Dee (Ashmole had translated Arthur Dee’s Fasciculus Chemicus in 1650)97.98

Despite never finishing his biography of John Dee, Ashmole succeeded in collecting and preserving Dee’s legacy.99 At his death, Ashmole bequeathed his collection and library to the University of Oxford. Furthermore, Ashmole was one of the founding members of the Royal Society;100 a group concerned with the Baconian notion of the ‘absolute regeneration of science’ through experimentation rather than mere observation, which included alchemical experimentation.101

William Lilly (1602-1681), a friend of Ashmole’s who was responsible for maintaining interest in astrology,102 also bears mention in the transmission of Dee’s angel magic for his accounts of those who used crystals to contact angels. This was exemplified in the cases of Richard Delahay,103 William Hodges,104 Sarah Skelhorn, and one who called himself Mortlack (perhaps drawing on Dee’s reputation through his home on the Thames; Lilly denounced him as a ‘pretending ignoramus’ for his failures to conjure Queen Mab, which were attributed to Lilly’s presence after multiple failures).106 Lilly also gave some account of Dee and Kelly and began to conjecture on their failure to receive clearer answers from the angels.107 He stated that Kelly was likely to blame due to his viciousness, thus making the angels disobedient, but suddenly ceased his postulation, merely stating, ‘but I could give other reasons, but those are not for paper’. What now follows is a brief outline of Rosicrucianism’s influence within Freemasonry essential to later arguments in this dissertation. Though Rosicrucianism inspired the epistemological offshoots exemplified in the Invisible College and the Royal Society, it was not until 1777 that an organization existed that openly bore the name ‘Rosicrucian’.109 110 In 1630, Petrus Mormius claimed to have met a man named Rose who stated he was a part of an order of the Gold and Rosy Cross.111 From this point in history onward, the words ‘Gold’ and ‘Golden’ in the names of Rosicrucian groups persist to the Rosicrucian-influenced Hermetic Order of the Golden Dawn.112

In 1654 in Nuremburg, an alchemical society with clear Rosicrucian elements counted Gottfried Leibniz (1646-1716), who was very interested in the Chemical Wedding,113 as a member.114 In 1710, Samuel Richter, under the name Sincerus Renatus, published Die wahrhaffte und vollkommene Beschreibung des philosophischen Steins der Bruderschaft aus dem Orden des Gülden- und Rosenkreutzes denen Filiis Doctrinae zum Besten publiciret; a work that outlined the practical organization and continuation of the ‘Society of the Golden and Rosy Cross’.115 Again, despite claims of the existence of such a society within the work, no such society existed.116

The complete works of Renatus first appear in 1741 and presented a philosophy in direct opposition of the materialistic atheism of the Enlightenment.117 After 1741, a number of Rosicrucian elements were added to Freemasonic lodges, as well as the first documented organizations that claimed to be ‘Rosicrucian’ in their title.118

The most relevant of movement to this dissertation is that of the Golden Rosicrucians of the Ancient System, a movement that grew within Freemasonry119 and attempted to assert its primacy as a tradition with greater erudition than anything Freemasonry could offer.120 The organization flourished within Freemasonry from 1777 until 1782 when J. C. Wöllner (1732-1800), a figure significant to the rapid growth and popularity of the Ancient Order, responded to the attempt to remove Rosicrucianism from Freemasonry.121 This was done at the Convention in Wilhemsbad with a memorandum asserting the intent of the Ancient Order to uplift Freemasonry while reserving the higher grades for themselves.122

Despite the fall of the Ancient Order, the influence of Rosicrucianism as a form of fringe-Masonry was not extinguished and continued on in France (established in 1754) where it eventually influenced British Freemasonry in the Ancient and Accepted Scottish of Rite of Freemasonry; the 18th degree is notably entitled the Rose-Croix of Heredom.123 In England, the transmission of angel magic continued through the prominent English occultists Ebenezer Sibly (1751-1799), Francis Barrett (1774-ca. 1830), and Frederick Hockley (1809-1885).

The role of Sibly, a doctor and brother of the noted Swedenborgian pastor Manoah Sibly,124 was that of a rejuvenation of interest in Rosicrucianism within English occultism in the nineteenth century.125 Sibly’s goal seemed in line with Dee’s aims and those inspired by the epistemological reform presented in Rosicrucianism; the combination of esoterica and science to form a more complete whole.126 Sibly’s Complete Illustration of the Celestial Art of Astrology (four volumes; 1784-1792), despite clear plagiarism of sources (and those not even the best on the topic), was well- circulated. In the Celestial Art, Sibly presented a Swedenborgian view of a Christian spirit world separate from the physical,127 and provided a brief description of seven good angels and their seven demonic counter-parts complete with lamens and names presented in a manner and purpose reminiscent of those described in the Ars Goetia in the Lemegeton.128 129

Sibly’s personal library was passed to the bookseller, John Denley, and from Denley to the occultist Francis Barrett.130 Barrett’s successful work, The Magus, or Celestial Intelligencer; being a complete system of Occult Philosophy (1801), was a book that plagiarized selected chapters of Agrippa’s De Occulta Philosophia, pseudo- Agrippa’s Fourth Book of Occult Philosophy, and Abano’s Heptameron, among others, while giving the impression that these sources were only a handful among many and that Barrett had translated all of the works himself.131 Barrett’s inclusion of The Art of Drawing Spirits Into Crystals in his Magus, which he attributed to Trithemius, is highly relevant to this dissertation for its inclusion of angel magic similar to Dee’s practice, as well as the Ars Paulina of the Lemegeton.132 133 The premise of The Art of Drawing Spirits is a simpler representation of angel magic involving a miniaturized table of practice that the crystal ball sits on, candles, a magic wand, and a torch for burning suffumigations. The prayer/orations are quite similar to Dee’s,134 135 as is the use of a series of questions similar to what Dee used in his first recorded angelic conversations to positively identify the spirit in question.136 137 Godwin conjectures that Barrett’s only original contributions to the Magus may have been a result of his own visions in the crystal.138 Barrett’s deep interest in crystal-gazing is probably best evidenced through the works of his acquaintance, Frederick Hockley.139

Arthur Edward Waite, an influential member of the Golden Dawn and founder of the Fellowship of the Rosy Cross,140 wrote of Hockley, ‘Among the many persons who in recent years have conducted experiments with the crystal, one of the most successful was the late Frederick Hockley [...].’141 The bulk of Hockley’s life is a mystery, though we know he expressed an interest in crystals and magic mirrors.142 This interest evolved with, as Godwin puts it, the ‘Madison Avenue’ draw of Spiritualism.143 144 He was also an adherent of Mesmer’s animal magnetism and well schooled in astrology.145 In terms of Spiritualism, Hockley was familiar with all its forms, but he believed the most fool- proof method of contacting spirits (whether angels or deceased persons)146 was through scrying with a crystal or mirror.147 Hockley believed the use of crystals originated with the Jews, who were given the method through divine command by Urim and Thummim as told in Exodus 28:30.148 149 It is also clear that, despite Hockley’s acceptance as a Rosicrucian, his later membership in Freemasonry, and the Societas Rosicruciana in Anglia six years after its inception, he was aware of the spurious origins of these movements, keeping himself distanced from them.150

Much to Hockley’s disappointment and quite like John Dee, he was unable to see anything in the crystal and was resigned to using what he termed a ‘speculatrix’ in order to perform his experiments.151 His desperation led him to attempt to find a means to see visions within the crystal.152 This resulted in an encounter with an evil spirit that demanded his obedience in return for a favor, which he refused.153 Hockley addressed the argument of Dee’s conversations with angels being mere psychological events by stating that Dee could not have been so narrow-sighted as to have mistaken his own thoughts for the visions and responses of the angels.154

Hockley’s pursuit in finding methods to enrich his crystal magic through esoteric manuscripts is clearly presented in his own collection, copying, and production of them.155 Ebenezer Sibly plays a prominent role of influence, as exemplified in Hockley’s transcription and reception of a number of Sibly’s manuscripts.156 The interest in Sibly served as a point of connection between Barrett and Hockley, as both were acquainted with Denley.157 Denley had lent Sibly’s manuscripts to Barrett who used them to create his Magus;158 According to Hockley’s own words, Denley often complained to Hockley that Barrett never repaid him with even a copy.159 Hockley, on the other hand, freely lent from his own library and became an important resource to his acquaintances and successors.160

One such beneficiary was Kenneth Robert Henderson MacKenzie (1833-86), who referred to Hockley as the ‘most profound Occult student in the country who has preserved his results in an admirable form so as to be easy of reference’.161 Such was his friendship with Hockley that after his meeting with Eliphas Lévi at Paris in 1861 he went straightaway to Hockley to discuss it upon his return to England.162 MacKenzie was an esotericist who Waite described as ‘multifarious’163 for his numerous occult projects.164 MacKenzie was an expert on high-degree Freemasonry and Rosicrucian fringe-Masonry of continental Europe; his friendship with Hockley neatly connects angel magic and Spiritualism with crystals to Rosicrucian-themed organizations.165 Both Hockley and MacKenzie became members of the Society of Eight, and other members included Francis Irwin, occultist Samuel Liddell MacGregor Mathers (1854-1918), and the alchemist Rev. William Alexander Ayton (1816-1909).166 Hamill noted that Dr. William Wynn Westcott (1848-1925) was distrusted by Hockley, MacKenzie, and Irwin and was never granted admittance into the Society and postulated that perhaps Westcott created the Golden Dawn in response to this refusal.167 Bearing these connections in mind, it is not a long leap of logic to accept Goodrick-Clarke’s assertion that MacKenzie played a role in the formation of the Societas Rosicruciana in Anglia.168 MacKenzie’s fascination with Tarot cards was certainly transmitted into the Golden Dawn169 and his knowledge of Rosicrucian fringe-Masonic orders may have inspired the grade-system for the Hermetic Order of the Golden Dawn due to his familiarity with the Gold and Rosy Cross materials.170

Westcott, a Coroner of the Crown, and Mathers, a self-styled occult scholar, went on to create the first temple of the Hermetic Order of the Golden Dawn in 1888 with the assistance of The Supreme Magus of the SRIA, William Robert Woodman.171 Westcott openly praises Hockley and MacKenzie in his Historical Lecture (under his magical name Sapere Aude),172 and their influence (and through that influence, the tradition of Dee’s angel magic) was certainly felt.

A reverse lens shot.

This is a Formica worker carrying a dead Asian Needle Ant, Pachycondyla chinensis.

Curiously, while the Formica workers where quite abundant aboveground, the Pachycondyla was almost nonexistent, save for the dead ones that were being carried by Formica. Admittedly, this ant (Pachycondyla) is primarily a subterranean species. A thorough search of the area only brought a single individual under a rock.

I can only infer that the Formica workers were raiding a nest of Pachycondyla chinensis and were carrying the workers killed in the battle.

Edit: P. chinensis is now known as Brachyponera chinensis.

I'm also apparently about to tell those nonexistent darn kids not to make me turn this car around.

Tiffany & Co.

Original@twitter

(*｀_´*) "I have no words"

---------------------------------

I....I ordered a 4th Haruka figma....OTL|||

I was originally going to sell the figure since I just ordered the figure for the bonus it came with, but after a while, the tracking status was nonexistent for it despite the EMS I paid so I just ended up keeping everything. I also wanted to actually keep him but originally was going to sell him to get my mother's money back since she gifted him to me. (In the end I couldn't even have it delivered properly and had to pick it up.)

Coat by me.

My nonexistent train...

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

A daring Florida couple quit their jobs and sold all their worldly goods then moved into a 12'X14' hut (no electricity or plumbing) on a 3-acre island in the Gulf of Mexico to fulfill a dream: exploring The Ten Thousand Islands and Everglades by canoe -- covering 3,500 miles -- during their 30-month sojourn there, 1957-1960.

University of Florida, Class of 1952: Barbara Home Stewart (BA, Psychology) is featured with her husband Orin Good Fogle in the video Everglades Odyssey, which portrays the couple exploring the Everglades when development of that area was almost nonexistent.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

excerpted from Ariel Parrella Aureli's poem:

Just a Sestina

Sometimes I just need to fly

away to find a new reign,

where my heart jumps as I see the iridescent

rainbow cover my eyes from the nonexistent pressure.

Feeling the freedom on my cloak of twilight,

Nothing better can clear the mind.

Snowdrops fall on my forbidden mind

reminding me that now is time to fly.

Opening the paradoxical world of twilight,

try to understand the tracks of this new reign,

Pushing through the facets of an unknown pressure.

Swimming to find the meaning of iridescent.

Quietly turning to the color iridescent

The sky, stars and moon speak to my mind

Freezing the need to pressure

company when I feel like a useless, invisible fly,

trying to find my own ruler of my own sort of ‘reign’

We are simply stuck in vanilla twilight.

After the last light has blown out, turned to twilight

I wait till my veins feel the iridescent

rainbow circling around my new reign

World of my own; just like my mind.

Where I can sail away and high fly

to my reality, full of no man’s pressure.

What they call peer pressure

does not exist in my world of twilight.

I am best myself when I take off to fly

towards the never ending sunset iridescent

Robbing me of my reality to accept the mind

Entering a true world without true reign.

You can live life without needing to reign.

Lead your own way –

without forceful pressure.

Listen to your heart and follow the mind

Hide yourself within your cloak of twilight.

Catch the snowdrops that fall into the murky puddle of honey, with a

tinted touch of innocent iridescent.

Sip them up as you gather strength to fly.

Look up, you will see me in the sky, free in my mind, ready to fly!

The iridescent moon will reign over the world as the air pressure increases

And I will

start my world with the hues of your vanilla twilight.

This Stromberg WA3-219 ("Model W") 1bbl carburetor was original equipment as a production option to the Carter BBS and Holley 1920 on 1963 (only) Dodge and Plymouth B-body (only) cars with 225 engine and automatic transmission (only). No variant of this carb was used on any other year or model. I don't know why this was done, nor does it make any sense for Chrysler to have spent what must have been an enormous sum in tooling for such a low-volume carburetor. Was there some kind of a strike at Carter and/or Holley that reduced the available volume of carburetors? It is worth noting that this carb has the largest venturi of any 1bbl used as factory equipment on a slant-6. I've tried a few of these over the years, but have never gotten one to run quite right. Kits and parts are almost nonexistent.

The sky in this one is horrible (or nonexistent, even), but I console myself with the fact that it was taken at 9 p.m. and the sky was actually that color.

“By believing passionately in something that still does not exist, we create it. The nonexistent is whatever we have not sufficiently desired.”

- Franz Kafka -

www.goodreads.com/author/quotes/5223.Franz_Kafka

A nonexistent corn field is behind her, torn down for some commercial space.

Of Iowa's 99 counties, Polk County is the only one where blue pentagon county markers are nonexistent. However, in early 2024, contractor-made County Road F22 markers were put up on both sides of I-35 as part of the reconstruction of the Elkhart/Polk City exit. That project was part of the ongoing widening of I-35 between Huxley and Ankeny.

High. Low. Squat. Elongated. Nonexistent. Resolutely brown, however.

The Flips supporting Meredosia, Bad Catman, Bookmobile, and Looming at Black Sheep Cafe in Springfield, IL on January 17, 2014.

Words cannot describe how good it felt to be shooting another show at Black Sheep after so long. It doesn't have the greatest lighting and the photo pit is nonexistent, but I just feel so at home there because that community of people is just incredible. They all support each other so much and it's amazing to be a part of that and to get to photograph it every so often. And then getting to be the guest photographer for Harm House's "Record of the Night" was absolutely awesome. Honestly, when I look back, I can't even begin to describe how thankful I am to the Black Sheep venue and community for everything they've done for me. This was my training ground when I was really getting started, and these are the people who took me in and accepted me without question and without reservation. That, and they put on some kick-ass shows =)

Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.

Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.

Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov

Geometrically, Spaceship Earth is a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller equilateral triangles (with a bit of fudging to make it rounder). Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 of them, with 954 partial or full flat panels.

The cladding was designed so that when it rains, no water pours off the sides onto the ground. (All water is "absorbed" through one inch gaps in the facets and is collected in a gutter system - and finally channeled into the World Showcase Lagoon.)

Maybe you're not overseeing limpness. The Virmaxryn may confirm that you basically don't get as amped up for sex any more. Or then again, that you don't have the essentialness for it. Conceivably your sex drive is essentially nonexistent. Taking everything into account, don't pressure. Virmaxryn Pills can help with the total of that, too. Extremely, there's nothing about your introduction this customary condition can't deal with. It uses clinically showed home developed fixings that have been around for a serious long time. Old Asian medications have used them by and large to fix each piece of men's presentation and sexual prosperity. Furthermore, by and by you can get this riddle condition for yourself legitimately here, right now. Thusly, you'll be feeling dynamically like yourself in bed right away! Tap underneath to get a low Virmaxryn Cost and endeavor this before it's gone!Click Here www.emailmeform.com/builder/emf/officialwebsites/Virmaxry...

gumroad.com/primalgrowpr/p/how-does-primal-grow-pro-work

Sidney Woodruff, graduate student, talks about the data they will be recording and how it helps with her research with Emily Phillips (blue), a ecology graduate student, Natalia Younan (pink), a wildlife and fish coservation major, Raaghav Sexena, animal biology major, and Catelyn Bylsma (grey), evolution, ecology and biodiversity major, in the Arboretum on June 8, 2022.

The project involves assisting Dr. Brian Todd and Ph.D. Student Sidney Woodruff in a research study evaluating how native species respond to the removal of non-native species and waterway restoration. The research objectives are to investigate the abundance and population demography of the native Western pond turtle (Actineymys marmorata) and population response in growth and demography from the removal of non-native red-eared sliders. Natural populations of the Western pond turtle are found in the UC Davis Arboretum where red-eared sliders occupy the same ecological niche in high densities. Natural populations of Western pond turtles are found in the nearby South Fork of Putah Creek where the presence of non-native turtles is extremely low or nonexistent. This work can highlight the importance of waterway restoration in building a more resilient ecosystem while supporting the recovery and conservation of native species.

Providing this opportunity will allow undergraduate students to be involved in wildlife conservation research under the supervision of a graduate student mentor and PI while also supporting the objectives of this study and the restoration of the UC Davis Arboretum.

Part way along the Eagle trail, trail itself was nonexistent. Hounds scrambled up the rocks to avoid being washed out to sea. A few were not so lucky though.

Leeville, Louisiana

on Bayou LaFourche

LaFourche Parish

Some of the greatest fishing is right here.

Leeville was settled by flood victims. On October 1, 1893, a hurricane wiped out the area's main settlement, Caminadaville, which sat on a spit of land bordered on three sides by the Gulf and on the fourth by swamp. Nearly half of Caminadaville's inhabitants perished in the storm, most by drowning, some when the buildings they had taken refuge in collapsed.

Survivors sailed up the bayou in their damaged canots and began buying land from an orange-grower named Peter Lee, who was selling plots for $12.50 each. For sixteen years, they fished, planted rice, and held fais do-do dancing parties in homes with covered verandas.

Then, in 1909, the Leeville Hurricane struck. (A contemporary newspaper account described survivors of that storm subsisting on drowned rabbit.) Six years later, a third hurricane forced residents to flee north once more. According to local legend, the storm surge carried one house from Leeville nine miles inland. The owner simply bought the plot underneath it and moved back in.

In the nineteen-thirties, Leeville rebounded briefly. Oil was discovered in the area, and by the end of the decade there were ninety-eight producing wells in town. The pay was good and regulation nonexistent. Blowouts routinely rained sulfur and brine onto the houses, into the cisterns, over the trees. Tin roofs corroded and vegetable gardens shrivelled up. When the wells ran dry, oil production moved offshore and Leeville was again deserted.

There were no more jobs, and the town itself had begun to wash away. Where once men in straw hats picked oranges and harvested rice, today there is mostly open water.

from: www.accessmylibrary.com/coms2/summary_0286-15339115_ITM

ucmmuseum.com/leesville.htm

When love us nonexistent: Aesha Mohammadzai had her nose and ears cut off by husband and father-in-law after serving 5 months in Taliban jail. She tried to leave her husband.

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

[image: image.png]

[image: image.png]

[image: image.png]

[image: image.png]

Stewart

On Jan 29, 2013, at 11:20 AM, Jeffrey Warren

wrote:

iOS screenshot pls!!

On Tue, Jan 29, 2013 at 2:17 PM, Stewart Long

wrote:

> Very exciting updates. The archive page looks great in iOS. It is

> excellent to see the global map of maps as well!

>

>

> On Mon, Jan 28, 2013 at 8:38 PM, Jeffrey Warren > wrote:

>

>> Also, a revision to the archive front page:

>> alpha.publiclaboratory.org/archive

>>

>>

>> On Mon, Jan 28, 2013 at 10:16 PM, Jeffrey Warren > jeff@publiclaboratory.org> wrote:

>>

>>> I made the search look through note/wiki body, not just titles, and the

>>> search seems much more robust. I'd start using it instead of the regular

>>> site now!

>>>

>>> Also unlike before if you search for a term, or look for a tag, where

>>> that term or tag does not exist, it now tells you so nicely and suggests

>>> how you should search for it.

>>>

>>> Thirdly, it now prompts you to create a wiki page if you go to a page

>>> which doesn't exist yet. Although of course for now you cannot actually

>>> create one, it's a dummy page.

>>>

>>> I've been working a little on getting the actual login system working so

>>> we could start creating real content on the new site... ! But its going to

>>> be a busy month so it may go slowly. We'd probably start with tagging and

>>> commenting.

>>>

>>> Jeff

>>>

>>>

>> --

>> You received this message because you are subscribed to the Google Groups

>> "plots-alpha" group.

>> To unsubscribe from this group and stop receiving emails from it, send an

>> email to plots-alpha+unsubscribe@googlegroups.com.

>> To post to this group, send email to plots-alpha@googlegroups.com.

>> For more options, visit groups.google.com/groups/opt_out.

>>

>>

>>

>

> --

> You received this message because you are subscribed to the Google Groups

> "plots-alpha" group.

> To unsubscribe from this group and stop receiving emails from it, send an

> email to plots-alpha+unsubscribe@googlegroups.com.

> To post to this group, send email to plots-alpha@googlegroups.com.

> For more options, visit groups.google.com/groups/opt_out.

>

>

>

--

You received this message because you are subscribed to the Google Groups

"plots-alpha" group.

To unsubscribe from this group and stop receiving emails from it, send an

email to plots-alpha+unsubscribe@googlegroups.com.

To post to this group, send email to plots-alpha@googlegroups.com.

For more options, visit groups.google.com/groups/opt_out.

--

You received this message because you are subscribed to the Google Groups

"plots-alpha" group.

To unsubscribe from this group and stop receiving emails from it, send an

email to plots-alpha+unsubscribe@googlegroups.com.

To post to this group, send email to plots-alpha@googlegroups.com.

For more options, visit groups.google.com/groups/opt_out.

When love is nonexistent: Aesha Mohammadzai had her nose and ears cut off by husband and father-in-law after serving 5 months in Taliban jail. She tried to leave her husband.

SHIP, work in progress, nonexistent investment in parts.

What should I change?

Mendon Ponds Park is owned and very poorly maintained by the County of Monroe, NY.

Unfortunately, this extraordinary property is rapidly deteriorating due to an egregious lack of care. Trails are not cleared of debris... signs are useless. Park maintenance is essentially nonexistent. They do have a marketing department. Seriously, the taxpayers are paying the salaries of a county parks marketing department.

Email Mendon Ponds Park complaints to: countyexecutive@monroecounty.gov

Originally built between 1793 and 1797 during the Second Spanish Period, this Spanish Colonial and Neoclassical-style cathedral is the fourth church to occupy a prominent position at the heart of the city of St. Augustine. The original church, built of flammable materials, stood from 1565 until 1586, when it was burned during an attack by English Privateer Sir Francis Drake. Not even a year later, the church was rebuilt of palm logs, with a straw roof, which succumbed to fire in 1599. In 1605, thanks to a tithe from Spain, a timber church was constructed, which stood until a failed English attack on the city in 1702 by James Moore, then-governor of Carolina colony. There were attempts to rebuild the church during the First Spanish Period, starting in 1707, but these went nowhere, and the money intended for the church’s reconstruction were misallocated by corrupt officials. Instead, during the remainder of the First Spanish Period, mass was held in the St. Augustine Hospital. Following the transfer of governance of Florida to the British in 1763, the need for a new Catholic church was nonexistent, as the catholic population of the colony fled to other Spanish colonies. At the start of the Second Spanish Period in 1784, the need for a new church became more apparent, and work on the current cathedral’s Coquina stone walls began in 1793. The facade of the church features Neoclassical elements around the front doorway, with the Spanish Colonial style being employed on the roofline and limited fenestration on the front facade. The church stood in its original configuration until a fire in 1887 destroyed the timber roof structure and did major damage to the interior. Following the fire, Henry Flagler led the effort to have the cathedral rebuilt, with James Renwick, Jr. designing an expansion of the old building, giving it a rectangular cruciform layout, and adding the Spanish Renaissance-style bell tower and European-style transept to the building. The interior was rebuilt to feature exposed decorative timbers that supported the roof structure, and a decorative polychromatic tile floor. The building has since received a few more additions, which house a chapel, service areas, and offices, as well as a building to the rear of the cathedral along Treasury Street, built in the Mediterranean Revival style, which houses the offices of the Diocese of St. Augustine. Today, the cathedral remains a prominent landmark in the city, and was listed on the National Register of Historic Places and listed as a National Historic Landmark as part of the St. Augustine Town Plan Historic District in 1970.

Here's another paring chisel, this time from the small and nowadays nonexistent Finnish maker Billnäs Bruk. It was a very nice find, not because the steel is so special but because Billnäs chisels are very seldom seen. This one is a good performer and works well enough but the steel is clearly not on par with the Berg chisels.