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Molarchae's BOOK collection melds together our love of science, creativity, and reuse. Science is an ever-evolving body of knowledge, and as a result, many older books are almost laughably outdated. We rescue books that are past their informative and/or physical prime and give them a new life with the help of a laser cutter and a lot of love.
PUTTING PRINCIPLES INTO PRACTICE: Multilateralism and other Values in EU Trade Policy.
Speech by Cecilia Malmström
European Commissioner for Trade.
Monday 2 May 2016 at the Graduate Institute Geneva
from the notebooks of bpNichol.
by bpNichol; edited by Derek Beaulieu & Gregory Betts.
Toronto, Coach House Books, [september] 2o24.
ISBN 978 1 55245 490 9.
5-1/16 x 7, 8o sheets ivory zephyr antique laid perfectbound in light blue mayfair card wrappers, all except inside covers & 3 pp (2, 8, 16o) printed black offset with purple foil letterpress addition to front cover.
introduction by Derek Beaulieu & Gregory Betts.
includes:
i) some lines of poetry (front cover; concrete poem in metallic purple; also in black on white p.87 between (liv) & (lv) below)
ii) "the light hit them too wrapped up in himself no self to tie into making" (front & rear endpage; prose excerpt (from --?--) in holograph reproduced white on grey)
iii) a river (p.17; concrete poem)
iv) Some Mountains (pp.18-19; concrete poetry in 3 numbered parts:
–1. "TKYSMPEIASKTSY" (p.18)
–2. "AINMOIIUNTAIN" (p.18)
–3. "INSMOUNTAINSMOUNTAINSMOUN" (p.19))
v) The Body: In Light (p.2o; sound score)
vi) Steve McCaffery 'The Risk of Video' (pp.21-22; graphic sequence in 3 parts:
–1. Steve adjusts set for 50th time in attempt to essay performance at York University August 1, 1980 (p.21)
–2. A whole set of principles that were rejected around framing (p.22)
–3. Two channels (p.22))
vii) Saussurian Connections (p.23; mathemaical linguistics)
viii) Saussure Linedrawing (p.24; concrete poem)
ix) Landscape 8: Birds Among Clouds Above a Stormy Sea (p.25; graphic)
x) Landscape # 9: Flock of birds over the ocean (p.26; graphic)
xi) Afternoon Attentions: 3 (pp.27-28; concrete poetry in 7 parts:
–1. "plants" (p.27)
–2. "air" (p.27)
–3. "light" (p.27)
–4. "fire" (p.27)
–5. "stick" (p.28)
–6. "log" (p.28)
–7. "and a" (p.28))
xii) Horizon # 3: Translation (p.29; concrete poem)
xiii) "fifty and one" (p.3o; poem in 3 numbered parts (of 4(?), apparently skipping part 2):
–1. "fifty and one" (7 lines)
–3. "many or one 'r" (7 lines)
–4. "hello" (5 lines))
xiv) birds emerging from the alphabet (p.31; visual poem)
xv) fish swimming out of alphabet (p.32; visual poem)
xvi) nothing emerging from alphabet (p.33; visual poem)
xvii) Sketching 2: CCMC with Steve McCaffery (pp.34-38; poem in 9 numbered parts:
–1. "an empty stage" (p.34; 5 lines)
–2. "birds" (p.34; 11 lines)
–3. "saxophony" (p.35; 5 lines)
–4. "screaming or a kind of pleading" (p.35; 7 lines)
–5. "voices / ices / ov -" (pp.35-36; 13 lines)
–6. "two beats" (p.36; 7 lines)
–7. "auto horn" (p.37; 8 lines)
–8. "quareltet" (p.37; 7 lines)
–9. "altoed states" (p.38; 1o lines))
xviii) Mono Tones IV (pp.39-4o; poem, 25 lines)
xix) to become obessed with the single image (pp.41-5o; prose in 6 parts:
–1. A Introduction (pp.41-42)
–2 "the days accumulate their borders out of the sense of things" (pp.43-44; roman-numeralled "I")
–3. "phillip watched the water churn the white foam not quite" (pp.45-46; roman-numeralled "III")
–4. "maybe there are faces make sense maybe there's a point" (pp.46-48; roman-numeralled "II")
–5. "i can still see your back disappearing thru the trees the leaves" (pp.48-49; roman-numeralled "III")
–6. "i have said everything i can say having started out so sure i" (pp.49-5o; roman-numeraled "IV"))
xx) sketch # 6 (p.51; concrete poem)
xxi) STANZAS (Some Notes) (p.52; prose)
xxii) "finally we are the homeless ones" (p.53; poem, 27 lines)
xxiii) 8 8-Lines H's (pp.54-55; visual poem in 8 numbered parts)
xxiv) For Ellie (p.56; poem, 12 lines)
xxv) Martyrlogy 7 (VII) (p.57; poem, "at night, looking out from the Lido", 18 lines)
xxvi) Martyrology Bk 9 (p.58; poem, "A pageant", 16 lines)
xxvii) "you along" (p.59; (incomplete?) poem in 2 parts:
–1. "you along for the ride" (8 lines)
–2. "mist" (18 lines))
xxviii) 8 Implied H's (pp.6o-61; visual poetry in 8 numbered parts)
xxix) single letter translation of Basho's FROG/POND/PLOP (p.62; visual poem)
xxx) 26 Letters (p.63; visual poem)
xxxi) 4 Possible Q's (p.64; visual poem in 4 numbered parts)
xxxii) the illogicality of it (p.65; linguistics chart)
xxxiii) Some of H's (p.66; visual poem)
xxxiv) Second Vortext (pp.67-68; sound poem)
xxxv) 5 H's (p.69; visual poem)
xxxvi) 25 H's (p.7o; visual poem)
xxxvii) 5 Implied H's (p.71; visual poem)
xxxviii) S Ays (Book X) (p.72; prose essay)
xxxix) 8 Dots # 1 (p.73; visual poem in 2 parts:
–1. Take 1
–2. Take 2)
xl) 8 Dots # 2 (p.73; visual poem)
xli) 8 Dots # 3 (p.73; visual poem)
xlii) Landscape # 16 (p.74; concrete poem)
xliii) Horizon # 10: sketch 6 (p.75; concrete poem)
xliv) After Michael Snow: Lndscape # 7 (p.76; concrete poem)
xlv) The Sudden Setting of the Moon Landscape # 18: A Narrative (p.77; concrete poem)
xlvi) Landscape # 18: Sketch 7 (p.78; concrete poem)
xlvii) Words (p.79; concrete poem)
xlviii) Counting (p.8o; concrete poem)
il) Three Lines (p.81; concrete poem)
l) Counting 2 (p.82; concrete poem)
li) Absolute Statement For My Mother 2 (p.83; concrete poem)
lii) "slight sealight" (p.84; poem, 2 lines)
liii) San Juan Solo (p.85; poem, 16 lines)
liv) Passages: Winter (p.86; concrete poem)
lv) Seascape With Bird (p.88; concrete poem)
lvi) Water Poem # 7 (p.89; concrete poem)
lvii) A Line of Research (p.9o; visual poem)
lviii) Eight Lines (p.91; visual poem)
lix) Point to Point: One Dozen H's (pp.92-93; visual poem)
lx) Sewing Card (p.94; visual poem; draft of p.1 of bp & Eleanor Nichol's th'read)
lxi) Sewing Card / 2nd Version (p.95; visual poem; draft of bp & Eleanor Nichol's one thread: two H's)
lxii) Implied Sculpture # 1 (p.96; graphic plan for a visual poem)
lxiii) Some Lines of Prose (p.97; concrete poem)
lxiv) Fin de Ligne (p.98; graphic)
lxv) 26 H's (p.99; visual poem in 26 panels)
lxvi) After an Inscription in the Egyptian Museum (p.1oo; visual poem)
lxvii) First Turin Text: Vertical (p.1o1; sound score)
lxviii) Second Turin Text: Horizontal (p.1o2; sound score)
lxix) Third Turin Text: Vertical + Horizontal (p.1o3; sound score)
lxx) Fifth Turin Text: Vertical, Horizontal + Vertical (p.1o4; sound score)
lxxi) Running in the Family (p.1o5; concrete poem)
lxxii) Homage to Schwitters (p.1o6; visual poem)
lxxiii) Cosmology (p.1o7; concrete poem)
lxxiv) song (p.1o7; concrete poem)
lxxv) Instructions re Incomplete H (p.1o8; concrete poem)
lxxvi) "o8/o8/88" (p.1o9; visual poem)
lxxvii) nsformation 1 (p.11o; concrete poem)
lxxviii) Curled Paper Sculpture: Homage to Kurt Schwitters (p.111; visual poem)
lxxix) 'IM: mortality play (pp.112-113; poem draft, 88 lines)
lxxx) Translation of Niikuni Seiichi (p.114; concrete poem based on Seiichi Niikuni's "rain")
lxxxi) "MARTYROLOGY" (p.115; concrete poem)
lxxxii) parked poem (p.116; poem, 6 lines)
lxxxiii) radio work (p.117; poem, 17 lines)
lxxxiv) for robert duncan (p.118; concrete poem)
lxxxv) 'Don't Forget the Author' (pp.119-153; prose lecture includes anonymous audience questions)
lxxxvi) "THE END" (p.154; concrete poem)
also includes:
lxxxvii) WILD WORD PLAY: AN INTRODUCTION TO THE NOTEBOOKS, by Derek Beaulieu & Gregory Betts (pp.9-16; prose in 2 parts:
–1. "bpNichol (1944-1988) was the author of thirty books of" (pp.9-14; with quotes from
––a. ["first notebook"] (pp.1o (x2), 11 (x5))
––b. "Meanwhile 4oo" (p.12)
––c. "Meanwhile 39o" (p.13))
–2. "After the birth of his daughter, Sarah, Nichol spent more" (pp.14-16; with quote from
––a. "Banff Publishing Workshop programme", by [--?--] (on Nichol's lecture Don't Forget the Author)))
lxxxviii) ACKNOWLEDGEMENTS, by Derek Beaulieu & Gregory Betts (p.155; prose)
lxxxix) ABOUT THE AUTHOR, by [--?--] (p.156; prose)
xc) ABOUT THE EDITORS, by [--?--] (pp.156-157; prose in 2 parts:
–1. Derek Beaulieu (pp.156-157)
–2. Gregory Betts (p.157))
xci) "One of Canada's most beloved poets, bpNichol (1944-1988), left a", by [--?--] (rear cover; with quotes from
–1. bpNichol ("apprenticeship to language", from --?--)
–2. Michael Ondaatje, from Afterword (to An H in the Heart))
___________________________
• a note on the editorial claim that some lines of poetry "selects eighty unpublished works" from Nichol's notebooks:
first off, even excluding the endpaper reproduction, there're 85 distinct works in here, not 8o; but it's the "unpublished" claim that seems presumptuous in the light of, most obviously:
• Horizon # 3 appeared in Some Scapes, 1986, & An H in the Heart, 1994
• fish swimming was on the cover of Song for saint ein, 199o
• CCMC with Steve McCaffery appeared as a pamphlet in 1988 & was included in both Art Facts (Chax Press, 199o) & An H in the Heart
• single letter translation appeared in Cross-Canada Writers' Quarterly vol.9 nr.3/4, 1987 & Rampike vol.6 nr.1 , 1988
• Horizon # 1o appeared in Some Scapes
• After Michael Snow appeared on the rear cover of Some Scapes
• A Line of Research was issued in unique multiples in 1993
• both "Sewing Card" & "Sewing Card / 2nd version" are drawings of the plotted punctures for threading patterns by Eleanor Nichol, released as collaborations in 1987 as th'read ("Sewing Card" the pattern printed on p.1 (of 4)) & one thread: 2 H's (Sewing Card 2)
• Turin Texts have appeared in Offerta Speciale in issues [unnumbered, june 1987] (texts 2 & 3) & nr.1, may 1988 (4, 5 & 6)
• for robert duncan appeared separately in 1998
i may have missed some things.
This photos are from a Principles of War on Mars game played at the Canberra Games Society, Sunday 21/03/2010.
Here the Red Martian Eastern and Western Horde sweep off the ridge to attack the Alien Invaders (A European Column)
Principles of Engineering
Technology
From row L to R: High School medalists—Silver-Adele Wilson, Northeast Technology Center-Claremore (Okla.); Gold-Connor Nelson, Ramona High School (Calif.); Bronze-Brody Hoke, Edgecombe Community College (N.C.). Back row L to R: College/Postsecondary medalists—Silver-Payden Kiser, Edgecombe Community College (N.C.); Gold-Markus Zhuk, Volunteer State Community College (Tenn.); Bronze-Claudio Molina, Northern Virginia Community College (Va.).
Save on Fundamental Accounting Principles with Connect Plus Saving, Order Now! Want it delivered within 1 day? Choose One-Day Shipping at checkout.Fundamental Accounting Principles with Connect Plus See More Detail at this Link: Read Full Detail | Compare
Fundamental Accounting Principles with Connect Plus
Smart growth helps community leaders and everyday citizens envision "What kind of community do we want?" Smart growth seeks growth solutions that:
1.emphasize predictable outcomes yet remain open to innovation,
2.involve citizens in the decision-making process,
3.emphasize long-term effectiveness over short-term gain, and
4.balance the broader general public good with narrower private interests.
Paul Taylor, Global Head of Shipping & Offshore, Societe Generale Corporate & Investment Banking and Deputy Chair of the Poseidon Principles drafting committee.
Credits: Marine Money and John Galayda.
DIAL created a new suite of tools and resource documents to help digital development practitioners better utilize the Principles for Digital Development in their work.
These include:
• Digital Principles 101 training course
• Program and grant proposal evaluation matrix (""Maturity Matrix"") • Principles x SDG Framework
• Quick reference one-pagers for project management
• Self-study guides on relevant and emergent digital development topics
At ICT4D 2019, DIAL hosted a workshop where participants had the opportunity to engage with these new tools and learn how they can be applied directly to their work. They also received training on how to share the Digital Principles with colleagues and associates and learned how to better incorporate the Digital Principles into their organization’s processes for more effective program management.
To learn about these tools visit: digitalprinciples.org/out-of-the-box-content/
© Digital Impact Alliance (DIAL)
Objective 3: Elements and Principles of Design
Texture: This photo contains many different textures, the rocks create large bumps, the mud itself is not smooth but bumpy, and there are small pieces of grass that create a sharp look. When texture is added it adds interest to the photo, because it gives the photo more to look at.
Line: This photo has a curved leading line. The edge of the water and the mud creates the curved leading line. The line starts at the bottom left corner and curves along to the top left corner, the curve in the line creates a sense of beauty and elegance.
Colour: The colour scheme in this photo is monochromatic. The photo is full of all different shades of brown in the mud, the water, the leaf, and even the few pieces of grass. The monochromatic colour scheme helps to tie together all the pieces of the photo.
Form: This photo was shot with side lighting. When side lighting is used it creates shadows on one side of the object. When these shadows are formed it gives the object a 3D effect which is form.
Objective 4: Lighting
The type of line that was used in this photo was side lighting. The day this photo was taken was an overcast day so the sun was slightly diffused. In the photo you can see that the sun is hitting in the top right corner. I chose to take the photo with a side view because there are so many parts to it and the side view really helped to bring out all of the pieces.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
Corrections/adjustments made:
Sharpening: Sharpening was used to help define the photo’s edges.
Contrast: I used contrast to help give further definition between the lighter and darker areas.
Resizing
Objective 6: Critique
I think that this photo is a good photo that used some of the skills I know. The strongest elements I used in this photo were texture and form. I think the texture worked well because it was not just in one area in the photo, but it was spread out throughout the entire photo. The form was well defined because of the lighting that I was able to use. The areas were not flat, but all different heights so form worked very well. The curved leading line was included in the elements of design used, but it was not strong. The line does not lead to anything specific, instead it just leads from one end of the photo to the other. In the future I would adjust my camera angle to get a stronger leading line. I think the overall feeling in this photo works well because it is relatable. The water and mud is something that we see every year in the spring and most people strongly dislike it, but when you get close enough you can see that there is beauty in something that most people think of as gross weather conditions.
Paul Taylor, Global Head of Shipping & Offshore, Societe Generale Corporate & Investment Banking and Deputy Chair of the Poseidon Principles drafting committee.
Credits: Marine Money and John Galayda.
The dahlia is great example of radial balance. The center of the flower is the center and the petals radiate out from it.
a scribblemap by @ShandisC which depicts the big takeaways for her from semester one of Principles of Biology: mwsu-bio101.ning.com
though i still plan to scan this set of scribbles to archive on the network to preserve the content, some of them seemed like they actually begged a photograph.
Michael Parker, Global Industry Head of Shipping & Logistics, Citi and Chair of the Poseidon Principles drafting committee.
Credits: Marine Money and John Galayda.
Recurrent Discussion Committee on Fundamental Principles and Rights at Work, CDR, 112th Session of the International Labour Conference in Geneva, Switzerland, 4 June 2024. Photo Ania Freindorf / ILO