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text:
Xoanon
Cultus Sabbati
Emanations
What is Traditional Craft?
A Brief Discourse regarding the nature of Traditional Witchcraft and allied forms of Magical Practice
By Andrew D. Chumbley, 1996
Such are my own thoughts to this question and as such they are but mine own, but nonetheless they are the thoughts of a man who has walked the Circle of the Cunning-folk many times round.
To the question: "What is Traditional Craft?", there are as many useful answers as there are practitioners of this mysterious persuasion. There is no single straightforward answer to such a query, and it is the wonderful diversity of possible responses which genuine practitioners may offer that is, for myself, most enthralling. The scope of practices and beliefs which may be encompassed by the name "Traditional Craft" is unknown and shall ever remain so; and yet if a sense – an ambience – of this diversity can be gained through discourse, we may then perhaps intuit the hidden nature which unifies all.
When referring above to 'useful answers', I mean specifically those responses which may be of direct use and value to fellow practitioners. For the spirit in which this discourse is intended is that which may be of service to each and all of us to whom the very question is addressed. Although there exists a certain number of people who can give first-hand account about the nature of the Traditional Craft, such adherents are, in truth, few and secretive. During recent times there has been an evident surfacing of the Old Craft into the public domain of published literature, books and articles.
This public activity is an echo of an inner resurgence of knowledge. The wellspring of the Elder Faith is letting forth its vital lifeblood, effusing the underground streams of magical practise, granting its power to the veins that thread throughout the land, nourishing and nurturing the verdant earth of Albion anew. For we who partake of the Elder Faith's Mystery are the guardians of the land: our knowledge is the arcanum of its heart and our own. To this troth we must be true!
The public manifestation of the Elder Faith has not appeared in a uniform manner, but has exhibited a stimulating variey of forms. These various forms or streams of the Tradition, one may refer to as 'observances' or recensions of the Old Rite; each differing according to the Master or Mistress responsible for the dispensation of its knowledge. One might think that the very existence of publically available literature would indicate a tendency towards a weakening – a watering-down of the spiritual essence of the Tradition, but this has not been the case. In fact, the very opposite is true: the direction is toward a broadening and deepening in the spiritual wealth of the Elder Faith. The Old Craft is emerging as a Path possessing a diverse array of aspects, ranging from the practical spell-craft generated at the level of folk-magic – the artes of wort-cunning and animal encharming, through a learned spectrum of magical techniques, reaching in apotheosis to the heights of genuine mysticism.
In order to clarify this diversity it is useful to cite and give brief resumé of specific exemplary observances which are at the forefront of our present resurgence:-
The Way of the Eight Winds,- this is an East Anglian recension of the Nameless Arte propounded by Nigel Pennick. In essence, it represents a specific school of magical practise derived from, and continuing the Tradition of Cunning-folk indigenous to the general locus of the Cambridgeshire and Fenland regions. It is derived from the initiatory stream of 'Sigaldry', a runelore tradition incorporating both pagan and christian elements in a coherent magical synthesis. Its manner of succession is, according to Pennick, passed down from Master to pupil and is perpetuated by both oral and textual transmission of knowledge. It is of importance to note that in his book, "Secrets of East Anglian Magic", reference is made to the Antient Order of Bonesmen, to the magical fraternity of the Horse-whisperers and to the solitary mysteries of the Toadsmen and women. These are other forms of magical practise still operative in the selfsame regions and which may be referred to, in broad terms, as 'Traditional Craft'.
Via Nocturna: the Spirit-hunt Covenant. This is the initiatory stream of Wisdom-teaching propounded by Nigel Aldcroft-Jackson, the Magister Janus ben Azazel. His teachings are derived from both textual and oral transmissions of knowledge and, in their entirety, constitute a synthesis of many diverse aspects of witch-lore. In brief, the central core of the Covenant is enshrined within the state of magical gnosis in which the seeker undertakes the nocturnal spiritual pilgimage to the Sabbat. The Via Nocturna is therefore the invisible conclave of initiates conjoined through parity of experience within trance-ectasis. Its wisdom is accessible to those whom have passed through the transliminal gateways of this world and whom have undertaken the initiatory night-journey to the oneiric realms of the Sabbatic revelry. This particlar stream of Traditional Craft is notable in its contribution to what may be called 'Witanic Mysticism', the corpus of lore derived directly through the gnostic experience of Sabbatic formulae. In its contribution to this field, the Covenant has been instrumental in extrapolating the inner mystical essence from the teachings of various other Craft observances, most importantly perhaps from that of the Clan of Tubal-Cain.
The Clan of Tubal-Cain,- this is the Tradition of Craft Observance perpetuated by late Robert Cochrane. According to Cochrane, the Clan was a body of initiates deriving their myth and methods of occult practice from old Norfolk witches. It is notable in that the components of its mythic construct show evidence of influence from late medieval daemonological sources, especially with regard to the Teachings concerning the descent of the Watchers, the role of Tubal-Cain and the reverence paid to him as the preceptor of initiatory genealogy or Witchblood. The importance of the Clan's contribution to the on-going evolvement of the Traditional Craft is evidenced in the creative influence which it has brought to bear upon those who were directly involved within its work. The foremost example is Evan John Jones, who has done much service in expounding various aspects of the Clan's Teachings, especially those surrounding the mythic forms of the Castle, the Skull and the Rose, and the Roebuck in the Thicket.
Cultus Sabbati,- this is a name adopted for purposes of communication and identity by an otherwise nameless body of Traditional Craft initiates. In its present form the Cultus is served by the author of this discourse in the role of its Presiding Magister. As such I shall seek to describe its nature and function with suitable objectivity.
The Cultus operates as the vehicle for the transmission of the Quintessential Magical Current and is active in the evolving recension of magical practice referred to in oral, ritual and textual transmissions as 'The Sorcery of the Crooked Path'. Within the Cultus several observances of the Craft are in concurrent operation; this is reflected in the structure of its constituent groupings. These incorporate the working contexts of both covines and smaller working cells; the emphasis throughout all being upon the autonomy of each initiate. An important function of the Cultus is to serve as a meeting-ground for various initiatory streams of the Elder Faith and thereby to act as the medium for the confluence of their magical forces of empowerment. Although its field of operation is presently centralised within the county of Essex, the Cultus is informed by a number of trans-cultural initiatory lines of succession from around the country and farther afield, The core wisdom-teachings of the Cultus Sabbati are passed down, both orally and ritually, through the Transcendental Sorcerie and Gnosis of the Sabbatic Mysteries.
These are only four expressions of the Elder Faith, but their diversity is testament to the rich texture of British Magical Spirituality. The historical validity of these four examples as 'Traditional Craft' is not wholly mine to affirm or question, but nonetheless the sheer creative impulse which they generate is, for myself, the worthiest form of authenticity, irrespective of aught else.
There is a notable impression of creative insight and syncretism imparted by the published work of these exemplars and this lends itself to the further 'answering' of my initial question. It is typical of genuine Cunning-folk to utilise whatever is closest at hand and to turn all influences, irrespective of religious provenance, to the secret purposes of the Arte. It is therefore that the Old Craft embraces for itself an array of attitudes and methods, ranging from the simple matters of spell-craft to the highest ceremonial forms of conjuration. In all contexts one may find pieces of magical lore and belief from many disparate times and places, but all are brought to function within the trans-historical arena of the sacred dimension, whether it be the magical circle of Witcherie or the ninefold plot of Sigaldry. From out of its roots in folk-magic, in all of its many aspects, the form of the Traditional Craft is continually evolving, and it is in this respect that one may perceive the trajectories of its own possibilities. The spiritual landscape of the Arte is being moulded, through the power of its own current, by a potent aesthetic of mythopoetic eclecticism; its rich variety of ancestral lore is achieving a new definition of form, culminating in the refinement of a profound metaphysic of ecstasy: the true wisdom-teaching of magical gnosis. This may be seen as a natural evolvement from one stage of religious practise to another more sophisticated level, or yet – from an initiatory stance – one may perceive the emergence of Witanic Mysticism as the timely unveiling of knowledge which has always been at the heart of the Tradition. For even as the fire has always burned brightly at the circle's centre, so we and the circle must eternally turn around its axis through the many seasons of Time and Fate; and through the sacred dimension of the Arte, we are brought ever closer to the timeless centre amidst the changing whirl of aeon and hour.
It is possible that one might perceive a development towards the seemingly abstract heights of mystical thought to be occuring in rejection of the simple heritage of the 'good folk of Elphame' that have lived before us, but this is not so. For myself and in example, the basic skein of witcherie – the knotted cord – may be used for both healing and hurting, and also for the mystical task of contemplating the stations of the soul. The horizon of the circle is boundless and the extent of our real initiation is measured solely by our own Self-delimitation within its infinite compass.
To return to the initial question of this discourse and to follow another spoor through the maze, let us consider the Traditional Craft, its names and their significance in general discussions about magic, and also the means by which its Path is perpetuated.
In general terms and throughout this discourse 'Traditional Craft' refers to pagan magical and religious practices which have been passed down from at least before the beginning of the twentieth century. Geographically, the term herein applies to past and contempory British folk-magic, but this may be extended to embrace beliefs and practices of European, mainly Northern, provenance. Despite the spatial demarcation assumed for the purposes of this discourse, the Elder Faith has innumerable forms and can be seen in many far-flung regions of the Earth. Furthermore, the cultural influences bearing upon past and modern forms of Traditional Craft in Britain are many and diverse, bearing marks of knowledge which testify to a distinctive admixture of initiatory streams from around the world.
In esoteric, historical and anthropological literature of the latter half of this century the term 'Traditional Craft' is generally used to refer to the forms of folk-magical practise which predate, or run in concurrent distinction to, the modern or 'reformed' recensions of Craft practice. The modern form of Witchcraft is known generically as 'Wicca', although it should be noted that many variations of this modern movement exist and are called by many other terms. In distinction to 'Wicca' the Old Craft is sometimes referred to by its adherents as 'Weikka' ; this is often pronounced in the parlance of Arte as 'Wytcha'. The common root of these variants is held to be the Indo-european WEIK – said to signify 'The religion of the sorcerers'. Other useful connections and derivations are as follows:- Anglo-saxonwicce/wicca 'witch'; wiccian – 'to cast a spell',witte – 'wise', wittan 'to be wise'; Old German Wikkerie – 'Witchery'; Icelandic – vita – 'To know' ,vitki – 'a wizard'; Swedish –wika – 'to bend, to turn'; Norwegian –vikja – ' to turn aside; to conjure away, to exorcize'; Anglo-saxon –wikken – 'to make evil', hence wicked – 'to be evil' and thus to be yfel – beyond the edge of the mortal concensus of perception.
Much discussion is made out of such words and names; this can be made useful to the practitioner since it may encourage new perspectives about the path, but when this cannot be done such discussions are irrelevant to those engaged in the practise of the Arte. One should pay heed to what is of use within the circle and what is not.
Certain scholars of conventional academia have claimed that the word wicca was originally used solely in a pejorative sense, that is, as a term of abuse or slander against anyone disliked or suspected ofmaleficia or black magic, and that it has, in fact, been out of use in any form whatsoever until the modern witchcraft movement. One may nonetheless cite the non-pejorative use of connected derivations such as witan – "to know" – in various historical instances. However, irrespective of such claims, it may be stated that the derivant wordWytcha has been in use during the twentieth century amongst certain contemporary descendants of the Cunning-folk Traditions in Essex. Whether the term has been passed down through centuries of secret practise or resumed as a identifying name only yesterday, it is pertinent to state some of the reasons for its present use. From the perspective of one practitioner the adoption of this term is a self-conscious means of stating identity as one of the Cunning-folk, as a 'Knowing One', a bearer of wise-blood and thus as an initiate of the true witch tradition. Also wytch being 'to bend or turn' is appropriate in regard to the 'crooked' nature of the sorcerous path. If the pejorative use of wicca is accepted, then the present use of Wytcha embraces this. The Man of Arte moves at the edge of society; he walks within the world of Mankind but is truly 'outside' of it. A path of blame and slander will be trodden out of necessity when one moves beyond the normative parameters of society. Furthermore, one could say that 'Wytcha' is simply the correct pronounciation of the Anglo-saxon word wicca and that it is used self-consciously by contemporary Cunning-folk as a deliberate reclamation of unique and distinctive identity amongst the scope of modern magical religion. This being said, it is a customary preference of such practitioners to use the self-identifying terms of 'sorcerer' and 'sorcery' for themselves and their Arte, and more often than not to use no name at all.
Other epithets in use for the Elder Observances of the Craft are, as mentioned above, 'The Nameless Arte', 'The Via Nocturna', 'The Sabbatic Craft' et alia. All such epithetical names may be used in discussions of magic in order to give a name to 'something' which by nature has no name: names are functional for the purposes of communication and self-identity.
Whilst it is useful to define and therefore distinguish the various modes of the Old Craft from one another and from their modern counterparts, it should be borne in mind that in certain instances the Old Craft has merged with or adopted beliefs and practices from such reformed observances. Given the natural inclinations of the magical practitioner toward syncretism, there is constant cross-fertilisation between those who interact in and out of the circle; consequently we have all borrowed ideas from one another. However, the various forms of modern Wicca are not the matter in question and although they have an important role within the history and development of magical practise in the twentieth century, it is the purpose of this discourse to enquire into the nature of those streams of the Craft whose provenance is of greater antiquity. For within such streams will be found a syncretism which has simply been operative for a longer period of time and is thus likely to have absorbed more influences and to have integrated these within a body of greater spiritual maturity. The integration of modern Wiccan influences into older magical streams is but one aspect of confluential development; there are many other influences upon Traditional Craft practices which could also be cited. In speaking about such integration, I must, for courtesy's sake, give full respect to those practitioners of the Old Craft who view their own observances as pure and distinct. The fact of influence from other sources is no blemish nor is it a necessary act of compromise; it can be a conscious part of an ongoing creative spirituality. Within the context of my own path I have had direct contact with initiates of other notable magical traditions and have always learned greatly from such interaction. Such contact has led me to active involvement within the Paths of the Uttara Kaula Tantrikas and, upon a subtle level, with the Sufi Tradition of the Ovaysiyya. This involvement has only served to enrich my work within the Conclaves of the Sabbatic Mysteries. Both through the Cultus Sabbati and as independent practitioners, myself and other initiates of the Essex Cunning-folk Tradition have pursued trans-cultural initiatory connections and through such endeavours many important influences have been brought to bear upon the present-day recensions of our practise. A deeper consideration of such influences I shall leave aside for another occasion. Fundamentally, it is the motives which underlie the purposes of such interaction which, for me, distinguish the various streams of the Craft. In Belief, we are all driven by seemingly similar motivations, but amidst the Breed of Cain there is a distinctive methodology of Believing which has arisen out of natural disposition toward a sorcerous mentality. It is not for nothing that they are called 'Cunning-folk!'.
When talking of Traditional Craft there is often much mention of it being something 'passed down' or 'passed on'. What is meant by this turn of phrase?
From my own experience as an initiand and initiator within the Sabbatic Cultus, I can recount several ways in which the Tradition is transmitted from one person to the next over the generations. The most obvious way is that of oral transmission: the spoken word. This is the 'ear-whispered knowledge' that is related from one practitioner to the next, whether from Master to apprentice, or in the manner of knowledge shared in discussion amongst contemporaries in a circle or clan. It is often in this context that the most precious pieces of lore are preserved and it is around such unwritten wisdom that an aura of taboo exists. For in being untranslated to the written word the oral teachings of the Craft exist in the realm between Thought and Text; they dwell with the spirits in the shifting realms of memory and re-membrance. When should such lore be written down? -this is a question I have often asked myself. In answer, I conclude that one should write down such things when there is a danger of their being lost or forgotten. Nonetheless, I believe that nothing is truly forgotten about the Arte, for within its own domain – the Circle – the spirits will speak to those with ears to hear. It is by word of mouth that the true and invisible grimoire of the Cunning-man is carried through the ages; it is a book whose leaves are scattered amongst many hands and yet is bound in a common cloak of skin and blood.
In certain instances, the oral transmission of the Tradition is performed in the formal context of instruction. This is where the spoken mode of transmission is operative within the specialised context of ceremonial initiation. This leads us to the most important manner in which the Tradition is passed down: the ritually transmitted genealogy of spiritual power. This is a complex matter due to the variety of procedures involved, but basically the process to which I am referring is the fulfilment of an aspirant's initiatic induction via the ritual point known as 'the passing-on of power'. This is the magical act whereby the entire power of the Tradition is transmitted directly from an Initiator to his/her pupil, as from Master to appentice. Within various bodies of the Craft, and also within Guild fraternities affiliated/derived from Freemasonic Orders, the act of the 'passing-on' is fulfilled thus:- the aspirant kneels upon one knee before the initiator, the left knee directly touching the ground and the right leg forming a square with the earth. The candidate holds in both hands the gramarye or Holy Book of the Order/Covine. The initiator in turn places his right hand atop the candidate's head and his left hand upon their right foot, forming a greater square. The initiator then 'wills' all of the power of the Tradition into the receptive body of the candidate. This act, performed in many variations of the manner stated, is executed in order to 'seal' the teaching process through which the candidate has passed. The teaching process lasts for different periods of time and is constructed in accordance with that which is being taught. Within the Sabbatic Tradition, the teaching process is divided into two parts. Firstly, a nine month probationary period is undertaken, during which the aspirant is simply assessed for various requisites of character. When this is completed, the aspirant is invited to take a rite of dedication; this avows them to the path of the Tradition and begins the formal phase of tuition which lasts for one year and one day. During the initiatory year, the candidate is literally led around the circle in a complete circumambulation of mind, body and spirit. At the fulfilment of this circuit, the formal rite of initiation takes place; the central aspect of which is the act of aforementioned 'passing-on'. The act of 'sealing' the tuition process effectively creates the truly autonomous stance of the new initiate. For within the act of the passing-on the entire knowledge of the Tradition flows into the candidate in a state of gnostic transmission. It is then up to him or her to re-member the body of the Tradition according to their own predilection. It will be noted by those acquainted with this mode of transmission, that there are many variations to its execution; these are all equally valid, for it is the initiatic significance encrypted within the ritual gesture which is of sole importance.
A third form of the 'passing-down' is the textual transmission of lore; this is somewhat akin to the manner of perpetuating shastras or verses of holy scripture in Tantrism. Within the Craft there are a number of manuscript books or gramaryes of the Arte which are handed down from one initiate to the next. Such books are the repositories of lore belonging to specific streams or observances. Various names are known for such tomes: The Secret Granary; The Bonesman's Bible; The Devil's Plantation; The Dragon-book, et alia. Alongside these is the 'Book of Shadows', the generic name for the hand-written book of Wiccan observance. This name has, in some cases, been adopted by certain members of the Old Craft; its poetic resonance often being the main reason for this. In some forms of the Craft, each candidate must make their own hand-written copy of their Master's book, for each initiate's book of Arte is burned after their death. The essential nature of all such texts is that they are the personal/lineal collections of magical knowledge accumulated through direct experience and understanding of the Arte. It is thus that their contents is the sole preserve of their owners; this is their natural taboo and rightly so. The Circle of Arte is cast on many levels and on all it must be cast without a flaw.
Akin to the manner of textual transmission is the handing down of magical artifacts. For instance, the passing-on of the wand or stave from Master to apprentice is a form of this custom active in Essex Craft. This establishes a link between initiates over successive generations and endows such objects with a distinctive numen or spiritual aura approximating personality. Such objects often bear names which testify to the belief that they have become the dwelling-place of a spirit. It is worthy of mention to note that transmission of magical knowledge can occur solely through the medium of such objects. This may be because of their talismanic nature and also because their appearance may encode certain arcana through sigaldric markings. From an initiate's perspective, I believe that a magical object can convey knowledge through the activity of the spirit dwelling within it. This form of transmission can operate independently of any other means and can bridge the divide of both time and place. One might, for example, obtain a old scrying-glass from an antique shop or a carved wooden image from a foreign tribal source such as West Africa. Working cautiously with such an object may permit the initiate to engage in communication with the indwelling spirit and derive therefrom, in trance or dreams, untold wisdom without any physical contact from the object's previous custodians. Such a method of working can bring new influences into the praxes of the Traditional Craft initiate and can activate deep strata of ancestral wisdom which have lain dormant within both the circle and the body. Although a magically-empowered object partakes most obviously of the material plane, it can serve as a conduit for transmission of the most subtle and intangible kind.
The passing-on of magical artifacts is in itself a potent means for the continuation and accumulation of magical knowledge and power. It can occur through the seemingly chance acquisition of such, or else can occur in the formal context of the ritual initiation or may even be a matter of family inheritance. This latter form can operate through the initiatory kinship of spiritual descent and/or through the blood-line of an hereditary tradition.
This brings us to the next form of the 'passing-on': Hereditary Craft and Family Magical Traditions. This type of lineal transmission occurs within the context of familial descent: the knowledge, customs and/or magical possessions of a pagan magico-religious belief being preserved within the confines of a close-knit and insular kinship group. Such forms of belief can vary greatly from one instance to the next. Examples with which I am familiar range from the Traditions of American Hex-craft to the British Christo-pagan faith (sometimes referred to as a dual observance) in the power of saints as spirit-guides.. Such beliefs can been cited as belonging, although not exclusively, to Hereditary Traditions; for they can also be found transecting and becoming operative within other streams. I am at liberty to relate from personal contact, an instance where a family preserved an interest in magical and occult matters to the point of collating material from classical sources, such as might be useful in conjurations of the old gods. When a daughter of the family became involved with more modern witchcraft, she then began to use the material passed down to her. The folk-magic, or whatever you might call it, of her family interest became directly operative and moved outside of its original parameters. Through subsequent initiatic generations such 'hereditary' magical material has become integrated with other observances and has developed into its own stream of succession. Such an example contains elements of both familial descent and ritual initiatory succession; as such it must be regarded as a part of Traditional Craft distinctive in its own right.
The manner in which Hereditary Traditions are perpetuated varies from family to family and may be handed down using certain of the ways cited previously. Family Traditions are a rarity and can be highly secretive. In some cases they do not wish to be seen as part of, or as having any connection with, other forms of paganism or magical practise. This has to be respected as an intrinsic facet of their path, but nonetheless such survivals of pagan belief are all part of the spiritual essence which informs the Elder Faith. In instances where a Family Tradition interacts with Crafters from outside the family fold, there can be a mutual enriching of practical knowledge and an assurance of old lore surviving with integrity. Such interaction is, therefore, to be commended.
Aside from the previously described ways in which the Tradition is passed down, there are other ways of transmission such as those belonging to the subtle realm. The primary means is that of oneiric induction.
It is at this point that I shall cease to write about magic and begin to write through and in magic. It is folly to persist in discussing contexts without contents: the Mystic need not express his heart's revelation in any terms other than those of the heart's native tongue and neither should an artist spend so much time building his own picture-frames that he neglects to paint the picture. Translators and frame-makers will always follow after!
There is a manner of spell-craft which I shall relate and by it seek to invite the reader, irrespective of his or her standing, to step outside and thus within the mysteries of which they are reading.
For this deed of Arte a leather thread and a hagstone are required; the latter being a stone thorough which there is a hole naturally worn through: a gateway graven by the hands of earth and charmed to open by the tongues of the river. Taking the hagstone in one's grasp, one should contemplate its opening and entreat it to be a doorway for your going-forth in dreams. One should then take leathern thread and, holding it in one's hands, should phantasise about the ways of the magical night-procession. Consider the spirits. Think of She who flies forth out of the body and into the freedom of the darksome midnight. Ascend with the spirits through the openings of the flesh; take leave of your mortal abode and roam abroad with the unseen companie of the aire. Step upon the wind and lay yourself into the arms of the sky. Hear the sonorous beating of bird-wing and spirit-wing; hear the rhythm of their flight echoing words of enchantment, patterning the nocturnal plains with sigils of forgotten desires. Behold the gateways to the Other : silhouettes glimpsed against the vault of the stars. Be at one with them; be at one with the night-wandering host of the sky. Let the coolth of the star-river enliven your soul and lead you to the scent-trail of the pathless path. Hear the wing-beats of the spirit and feel your heart-beats; hear the heart's drum and count your steps into the boundless dance of god, man and beast. Behold the companions of the round dance. Behold!
With each poignant atmosphere of phantasie, knot the thread and thus create a rosary of dreaming potentials. When the thread has seven knots, pass it through the mouth of the hagstone and tie to form a loop through which one's hand may be placed. The stone and thread should be entreated with a final prayer for the spell to work. Then, at the end of one's waking day, the stone should be held in one's hand (generally the one most seldom used) and the cord wrapped around the wrist. The stone should rest within the hand like a child in its crib. Then I bid you forget about it 'til morning. Perchance in dreaming your spirit shall pass through the stone-mouth and wander abroad in the night-walkers' procession, flying freely to the place that some have called 'Sabbat'. Where-ever the dreaming takes you, the thread of knots shall guide and bring you home, once more to waken at the edge of day.
If no dreams befall you by night, then recall the deeds of the spell – for there in phantasie are the fore-echoes of that which is not yet remembered.
Such is a spell to enter the Dream of the Sabbat.
It is held by some practitioners of these mysteries that the true Sabbatic Rite or Circle-feast of the Arte is celebrated in a state of lucid trance. The Sabbat is believed in as a hidden realm beyond-between the worlds of waking, sleeping and normal dreaming consciousness; it is a secret domain to which the initiates of the Cultus can travel, passing through the crack in the worlds which opens at dawn, dusk and at the moment of midnight, to participate in the Convocation of Arte. The road to the Sabbatic trance is accessed by means of an array of procedures, often incorporating complex divertive and obsessional praxes of sexual magic and narco-aesthetic induction. The gnosis of the Dreaming Sabbat derives specifically from those initiatory streams of the Craft whose work is focused in Wytchan or Witanic Mysticism (Spirit-hunt Covenant and Cultus Sabbati). Therein, the Sabbat is perceived as the prototypal form of all magical workings and as the unifying circle of a living and vital symbolism, integrating all aspects of witch-lore and magical technique. These aspects are re-interpreted via personal mythopoesis and thus re-vitalised by the direct experiential dreaming of the initiated practitioner. From the experience of the dreamer, specific elements are extracted and utilised as the bases for ritual procedures in the waking. The converse can also be useful: aspects of waking ritual can be translated into dream and therein can assume new and deeply significant meaning. It is thus that the Sabbat of the Witanic Mystic operates as the crossroads betwixt the worlds and as the arena for the reification of a primal magical power from its source beyond.
Initiation into the Dreaming-sabbat is unlike other forms of transmission within the Craft; it occurs outside of the context of temporal linearity and permits the en-trance of anyone possessing sufficent magical ability. Although oneiric transmission is frequently a part of the tuition process within the formal mode of the ritual passing-down of knowledge, it is nonetheless a manner through which any true aspirant can attain entry to the sacred mysterium of the Arte. One might therefore suppose that anyone could claim initiatic status via this means, this may be so, but genuine contact with the inner current of magical gnosis is always apparent and cannot be simply assumed. One must be called forth by night, to leave the carnal house of the body and fly outwards with the Companie of the Spirits. The call from the otherworld of the Sabbatic Convocation leads the aspirant directly to the source of initiatory power. Some may interpret this as a fanciful expression or an elaborate re-interpretation of controlled imaginal path-workings, but I can assure one and all that the Dream of the Sabbat – the Spiritual Convocation of the Night-wandering Souls – is a reality through and beyond all Imagination! It is the very secret of the Great Return, whereby we may attain congress with the Arcanum of Primordial Being and thus with all and aught we may call the Tradition of Magical Wise-craft.
To return to our beginning: 'What is Traditional Craft'. If we have gained a sense – an ambience by aught in this discourse, then perchance an 'answer' has been given through nostalgic re-assemblance of truth. For we may seek through many ways, but it is often through the atmospheres of magic that its essence may be apprehended in a manner most conducive to the realisation of its substance. I have therefore sought to give brief intimation of the spirit pervading the Old Craft and allied forms of magical practise. With this intent in mind I have made reference to exemplary forms of the Tradition, together with an outline of their range of activity and a précis of five ways in which their knowledge attains perpetuation. All of these aspects transcend the limitations imposed by name and all are often interwoven in a profound contexture of living mythology – in a halo of mystery which surrounds the reality of the Cunning-folk. Some might say the question ought to be 'Does Traditional Craft exist?'. The fact of the title-question and the nature of this discourse are an assertion in the affirmative. The real answers are bound in books of skin and blood.
Now, who are the 'Cunning-folk', and has the initial question of this article really been given any form of answer whatsoever? Well, let each reader decide for themselves. As to who the Cunning Folk are, well…They are amidst the procession of They who walk by Night, whether they be called Witch, Sorcerer, Cunning-man, Wise woman, Wart-charmer or Old Mother Red-cap – they are all part of the magical and mystical heritage of Albion's Craft of the Wise.
Dragon Book of Essex
Eikostos
The Psalter of Cain
The Sabbatic Tradition
Sodalities
Consortia
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PewDiePie recently hit 50 million subscriptions. And is still the most viewed, and most subscribed YouTube channel in the world. THE WORLD [insert flashing graphics here]. As an avid fan and proud member of the Bro Army, I'm excited for what's to come. But it also got me thinking – where, and how, did he start his empire of bro's? And what YouTube strategy did PieDiePie use to get his 50 million subs? So here's how you should be doing a YouTube strategy.
Looking at his first video upload and first ever vlog, I admittedly had a laugh at his thick swedish accent doing the commenting/voice overs. But as he also says on his channel, it's flippen hard work to get to where he is. Obviously, it all starts with a creating a channel. Then comes in customisation, creation, optimisation and metrics.
There are 7 main things to customise and keep on continuously customising after you've created your channel.
Channel icon: Create high res images that can be viewed on mobile phones. Keep the design simple and have it relate back to who you are/what your brand stands for.
Time stamps: A nice cheat if you want to get more views on video content as it helps viewers navigate through content easily. You can include timestamp links in the description field by simply adding '#t=1m50s' to the end of a video URL.
Channel banner: Yay! YouTube recommends a single 2560 x 1440 px image so that it's compatible with most devices/screens.
A Welcome video: Also known as channel trailer. Here you can add your most recent content or create your own promotional video. Check our Riyadh K's channel trailer.
Thumbnails: DON'T CLICKBAIT. Do however create high definition custom images that work with the video you've uploaded, title and context. Think about your channel CI and use of colours. Tyler Oakly does it it well on his channel. So does Joey Graceffa.
Create channel sections and playlists: It helps to organize your content and makes it easy for users to navigate through your video content.
Featured channels: A nice to have but not necessary – a feature that allows you to feature other channels/promote other channels as your brand.
YouTuber Tyler Oakly's epic Thumbnails.
Let's first look at content types, and then we'll move into a programming strategy. When looking at content types, YouTube talks about Hub, Help and Hero videos as guidelines for success.
Hub video content: YouTube defines this as "regular, scheduled content that provides a reason to subscribe to a channel and return on a regular basis". It's episodic, editorial and acts as your channel's main "pull" factor.
Help video content: This is basically anything that targets your audience's passion points, and educates by answering questions they could be searching for. It is also known as "hygiene content".
Hero video content: It refers to big, and what YouTube calls tent-pole events. It can be anything from live streams, a viral video, or creating content for events like Halloween or the Rugby World Cup.
Once you've determined what your hub, help and hero content will be, you can start with your programming strategy.
Example of a Programming Strategy that runs over a one year period.
Metadata: Think meta descriptions, titles, tags – and no click-baiting. Ever.
Descriptions: Every video should have a detailed description about what users can expect from the content – also use outbound social links and website URLS in all video description areas where relevant.
Annotations, interactive cards and calls to action: Adding buttons, website URLs and verbal call to actions in videos will help drive engagement.
Playlists: As mentioned before – organise content so that users can easily find what they are looking for (see below example of Joey Graceffa's Escape the night playlist).
Channel experiences: users are more likely to respond or be interested in channels if it's visually appealing – think channel name, icon, description, channel art, what to watch next/we do this every week lines, recent activity, channel trailer, sections/playlists, recognise the community by reading audience comments.
Enable related channels: This helps drive future partnerships and possible collaborations.
Feature channels: If you like something you see on YouTube – do a shout out to that brand/person/video content and give credit to others in the YouTube community too.
Average video length: Keep it fairly consistent and use YouTube analytics to analyse early video content drop-offs.
Content ID: Use YouTube's content ID claim to manage your content online. And when using other videos on your channel, make sure it doesn't have a content ID claim – or that you have gone through the right channels that will enable you to use other user's pieces of content.
Transcribe: Probably my favourite optimisation function. YouTube has an automatic function built into the video editor (video manager) that transcribes videos. Here's how you can review, edit, or unpublish automatic captions.
Great, now that you know the basics on how you should be doing a YouTube strategy, hopefully you'll have an empire of bro's too. In a while.


Some people have also created routes using Routebuilder. If you want to try the unsupported graphical (WYSIWYG) route editor, you can do so. We have very limited support for Routebuilder, so if you do plan to use this and have questions, you may or may not recieve answers due to the extremely low amount of developers on BVEStation using it.
This page was last modified on 2 February 2015, at 02:21.


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Context and analysis
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novel by Camus
https://www.britannica.com/topic/The-Stranger-novel-by-Camus
Internet Archive - "The Stranger"
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Alternate titles: "L'Étranger", "The Outsider"
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Kathleen Lohnes was an editorial intern at Encyclopaedia Britannica in 2017 and 2018. She received her bachelor's degree in philosophy and creative writing in 2020 at the University of Iowa.
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The Stranger, enigmatic first novel by Albert Camus, published in French as L'Étranger in 1942. It was published as The Outsider in England and as The Stranger in the United States.
The title character of The Stranger is Meursault, a Frenchman who lives in Algiers (a pied-noir). The novel is famous for its first lines: "Mother died today. Or maybe it was yesterday, I don't know." They capture Meursault's anomie briefly and brilliantly. After this introduction, the reader follows Meursault through the novel's first-person narration to Marengo, where he sits vigil at the place of his mother's death. Despite the expressions of grief around him during his mother's funeral, Meursault does not show any outward signs of distress. This removed nature continues throughout all of Meursault's relationships, both platonic and romantic.
The Literary World (Famous Novels)
Raymond, an unsavoury friend, is eventually arrested for assaulting his mistress and asks Meursault to vouch for him to the police. Meursault agrees without emotion. Raymond soon encounters a group of men, including the brother of his mistress. The brother, referred to as "the Arab," slashes Raymond with a knife after Raymond strikes the man repeatedly. Meursault happens upon the altercation and shoots the brother dead, not out of revenge but, he says, because of the disorienting heat and vexing brightness of the sun, which blinds him as it reflects off the brother's knife. This murder is what separates the two parts of the story.
The novel's second part begins with Meursault's pretrial questioning, which primarily focuses on the accused's callousness toward his mother's funeral and his murder of "the Arab." His lack of remorse, combined with his lack of sadness expressed toward his mother, works against him and earns him the nickname "Monsieur Antichrist" from the examining magistrate. During the trial itself, Meursault's character witnesses do more harm than good, because they highlight Meursault's apparent apathy and disengagement. Eventually, Meursault is found guilty of murder with malice aforethought and is sentenced to death by guillotine. As he waits for his impending death, he obsesses over the possibility of his appeal being accepted. A chaplain visits Meursault against his wishes, only to be greeted by Meursault's intense atheistic and nihilistic views. In a cathartic explosion of rage, Meursault brings the chaplain to tears. This, however, brings Meursault peace and helps him to accept his death with open arms.
Camus utilized The Stranger as a platform to explore absurdity, a concept central to his writings and at the core of his treatment of questions about the meaning of life. However, Camus did not identify himself as a philosopher. In fact, he abjured "armchair" philosophy and argued that sitting around and thinking was not enough. One needed to live life as well. He also did not identify himself as an existentialist. He agreed with some proponents of existentialist thought that life has no inherent meaning, but he criticized others for their pursuit of personal meaning. Camus's concept of the absurd instead implored people to accept life's lack of meaning and rebel by rejoicing in what life does offer. Elements of this philosophy can be seen in Meursault, as he refuses to behave as if there is meaning where there is none—or, as Camus himself put it in a preface to The Stranger, Meursault "does not play the game." Society thus feels threatened and cuts off Meursault's head. Similar themes can be seen in Camus's essay Le Mythe de Sisyphe (The Myth of Sisyphus), also published in 1942.
Camus wrote The Stranger from a place of tragedy and suffering. His father had died in World War I, and the unfolding carnage of World War II forced a questioning of life and its meaning. Camus had also witnessed mistreatment of native Algerians during the French occupation of Algeria, which had begun in the first half of the 19th century and, after World War I, was opposed by a growing nationalist movement. This conflict can be seen specifically in Meursault's killing of "the Arab," the only name he uses to refer to Raymond's mistress's brother. The murder has been read by some as a metaphor for the treatment of Algerian Muslims by the colonizing French. Camus published The Stranger at a time when Algerians were demanding political autonomy with increased forcefulness; although France did extend some rights during the 1940s, ongoing conflicts and failed French promises of more independence culminated in the outbreak of the Algerian War in 1954.
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Max Lambert Peter van Heeswijk (nascido em 2 de março de 1973) é um ex-ciclista profissional holandês.

Representou os Países Baixos competindo na prova de estrada (individual) em Sydney 2000 e Atenas 2004, terminando na 14ª e 17ª posição, respectivamente.

Ver também
Lista de ciclistas olímpicos holandeses

Ciclistas olímpicos dos Países Baixos
Ciclistas nos Jogos Olímpicos de Verão de 2000
Ciclistas nos Jogos Olímpicos de Verão de 2004

redpajama_set_name: RedPajamaWikipedia


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SILVERTON HIGH SCHOOL PROTECTS STUDENTS WITH JVC SURVEILLANCE CAMERAS, NVRS
Robin Hoffman
– For its first 12 years of occupancy, Silverton High School only had about 300 freshman on campus. Part of the Silver Falls School District in Silverton, Ore., the school was designed to be constructed in two phases. When a community bond was passed and the second phase was completed in 2009 – and the student population grew to 1,200 students – the administration installed dozens of JVC V.Networks VN-C215E4U indoor network dome and VN-C215VP4U vandal-proof outdoor dome cameras, which are monitored through JVC VR-N1600U network video recorders (NVRs). While the bond advisory committee was resistant at first to spend money on such an expansive IP-based video surveillance system, the general feeling now is that is was money well spent. "We've solved everything from theft to assaults to vandalism," explained Mark Hannan, principal of Silverton High. "It has been absolutely the best part of this project in terms of taking care of our students' welfare and safety." The security system purchase was justified before the second phase even opened for classes. Hannan said two juveniles broke into a new greenhouse structure during the construction process and stole several items. Using footage from JVC cameras that had already been installed, school officials were able to identify the suspects. Apart from a few isolated incidents, Silverton High does not have significant disciplinary issues, though Hannan will sometimes use the surveillance system to verify student tardiness. He said the Milestone XProtect Smart Client video management software embedded within JVC's VR-N1600U NVR is very easy to use, so he can quickly review footage from several different cameras in various "zones" across campus. Before the second phase was built, Silverton High had very limited surveillance. In fact, Hannan would position a camcorder on a tripod to keep watch over the lunchroom during lunch hour. Now, cameras keep watch over the common areas on campus, including parking lots, inside halls, and the lunchroom. "There are very few 'blind spots' in this facility now," he said. "The eye in the sky is always watching."
ABOUT JVC PROFESSIONAL PRODUCTS
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WATCH: Bank Robber Shot Dead in Tai'an, Shandong
By Lars James Hamer, November 16, 2022
A man was shot dead while holding a civilian hostage during a bank robbery in the Taishan district of Tai'an city, Shandong province on Tuesday, November 15, 2022, China Daily reports.
The robbery occurred in the early afternoon and police arrived on the scene shortly after they received calls that an armed, unnamed individual had entered the bank and taken one person hostage.
The suspect was reportedly shouting that he wanted to die with the hostage and was acting erratically, police said.
After issuing several warnings, police shot and killed the man at 1.12pm. The hostage was unharmed.
Several images on Weibo show armed forces moving into position around the entrance to the bank.
Image via Weibo
One image even shows a sniper taking aim at the bank from atop a neighboring building.
No information on the suspect or the weapon he was carrying has been released by the police and a further investigation is underway, police revealed.
[Cover image via Weibo]
PHOTOS: Shanghai Metro Pickpockets Caught on CCTV
Commuters wearing earphones are easy targets for pickpockets.
More Plainclothes Police, Fewer Robberies in Shanghai
Well that's a bit of good news.
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Home » MAA Publications » Periodicals » Convergence » Braess' Paradox in City Planning: A Mini-Primary Source Project for Multivariable Calculus Students
Braess' Paradox in City Planning: A Mini-Primary Source Project for Multivariable Calculus Students
‹ Bhāskara's Approximation to and Mādhava's Series for Sine: A Mini-Primary Source Project for Second-Semester Calculus Students up Completing the Square: From the Roots of Algebra, A Mini-Primary Source Project for Students of Algebra and Their Teachers ›
Kenneth M Monks (Front Range Community College – Boulder County Campus)
Optimization, via both the second derivative test and Lagrange multipliers, is a standard topic in undergraduate multivariable calculus courses. There is also a well-known canon of lovely applications of these techniques, including least squares lines of best fit, Cobb-Douglas production functions, and three-dimensional packaging/container problems.
An entirely separate paradigm for optimization—combinatorial optimization—also exists. While it would be excessive to venture heavily into this topic in a multivariable calculus course, it is possible to offer students a small glimpse into the world of graph theory that further allows them to witness a setting in which either discrete or continuous techniques can be used. This easy detour can be accomplished by looking at a fairly recent, but highly accessible, bit of mathematics known as Braess' Paradox. Braess' Paradox is a counterintuitive phenomenon in which the removal of an edge in a congested network strangely results in improved flow. This is often witnessed in traffic flow settings. For example, when New York City's busy 42d Street was closed to automobiles for an Earth Day celebration, it did not generate the gridlock that people expected, but rather resulted in improved flow [Kolata,1990]. In fact, New York City ultimately decided to make this area permanently pedestrian-only.
Opening shot from time-lapse video "Transit Day 1990 Auto-Free 42nd Street," filmed on 22 April 1990.
Uploaded to YouTube by Trainluvr, 21 September 2011. Reprinted with permission.
The primary source project Braess' Paradox in City Planning: An Application of Multivariable Optimization walks the student through a guided reading of excerpts from the 1968 paper "Uber ein Paradoxon aus der Verkehrsplanung" [Braess, 1968] (or, in English, "On a paradox of traffic planning" [Braess, 2005]) in which this intriguing phenomenon was first studied. Written by Dietrich Braess, currently professor emeritus at Ruhr Universität Bochum, this paper describes a method for detecting this paradox in a network using the framework of combinatorial optimization. When Braess' paper first appeared, the application of mathematics to traffic planning was still a relatively new idea.1 Today, the paradox that bears his name continues to be studied by mathematical researchers who are interested, for example, in exploring the conditions under which it will not occur. Braess' paradox is also put to practical use by transportation specialists who are responsible for designing today's real-life traffic networks. As catalogued by Nagurney & Nagurney [forthcoming], additional applications of Braess' paradox have been introduced into the modeling of telecommunication networks and the Internet, as well as the study and design of electrical power systems and electronic circuits, mechanical and fluid systems, metabolic networks and ecosystems, and even sports analytics!
Braess' Paradox simulation involving four routes, two of which (in yellow and green) cross the creek bridge.
Observe that the average travel time never exceeds 2 units before the bridge roadblock is removed,
then becomes larger than 2 units once the bridge is opened.
Movie produced by author using the interactive traffic simulator developed by Brian Hayes;
see also (Hayes 2015a, 2015b).
In the student project based on his classic paper, we first retrace Braess' work, and then see how the examples he provided can also be analyzed using standard optimization techniques from a multivariable calculus course. Thus, we provide the student simultaneously with exposure to a second optimization framework and with practice applying the standard multivariable calculus optimization techniques.
The complete project Braess' Paradox in City Planning: An Application of Multivariable Optimization (pdf) is ready for student use, and the LaTeX source code is available from the author by request. A set of instructor notes that explain the purpose of the project and guide the instructor through the goals of each of the individual sections is appended at the end of the student project. This project is the fifteenth in A Series of Mini-projects from TRIUMPHS: TRansforming Instruction in Undergraduate Mathematics via Primary Historical Sources appearing in Convergence, for use in courses ranging from first-year calculus to analysis, number theory to topology, and more. Links to other mini-PSPs in the series appear below, including four additional mini-PSPs on topics from first-year calculus courses. The full TRIUMPHS collection offers a total of eleven mini-PSPs and one more extensive "full-length" PSP for use with students of calculus.
1. The first efforts to formulate traffic flow problems mathematically began only in the 1950s, and two publications from that decade [Wardrop 1952, Beckmann et al. 1956] represented the state of the art when Braess himself entered the field. Surprisingly, Braess was completely unaware of those important prior works! His interest in the mathematical modeling of traffic flow instead was inspired by a 1967 seminar talk in which German mathematician W. Knödel presented a certain algorithm that roused Braess' curiosity. At the time, Braess was 29 years old and had only recently turned to the study of mathematics after completing his doctorate in theoretical physics just three years earlier. Nearly 40 years later, in 2006, Braess delivered his first North American lecture on the paradox named in his honor at the Virtual Center for Supernetworks at University of Massachusetts Amherst. In that lecture, he remarked that both his lack of knowledge of the then-current state of transportation science and his background in physics, which had trained him to look for a counterintuitive symmetry-breaking argument, were important factors in shaping the work that led to his discovery of the paradox that now bears his name.
The author would like to thank his advisor Alexander Hulpke and former graduate school classmate Cayla McBee for initial exposure to this wonderful topic! Thanks also to Brian Hayes for creating the simulator which was used to generate the animation above, and for granting permission for its use to produce that animation and to provide a link to the related article Hayes 2015a.
The development of the student project Braess' Paradox in City Planning: An Application of Multivariable Optimization has been partially supported by the TRansforming Instruction in Undergraduate Mathematics via Primary Historical Sources (TRIUMPHS) project with funding from the National Science Foundation's Improving Undergraduate STEM Education Program under Grants No. 1523494, 1523561, 1523747, 1523753, 1523898, 1524065, and 1524098. Any opinions, findings, and conclusions or recommendations expressed in this project are those of the author and do not necessarily reflect the views of the National Science Foundation. The author gratefully acknowledges this support, with special thanks to TRIUMPHS PI Janet Heine Barnett, who provided assistance with the historical content of the project.
Martin J. Beckmann, C. B. McGuire, and C. B. Winsten. 1956. Studies in the Economics of Transportation. New Haven, CT: Yale University Press.
Dietrich Braess. 1968. Uber ein Paradoxon aus der Verkehrsplanung. Unternehmensforschung, 12: 258–268.
Dietrich Braess. 2005. On a paradox of traffic planning. Transportation Science, 39, no. 4 (November): 446–450. Translation of the original 1968 paper "Uber ein Paradoxon aus der Verkehrsplanung" into English by Anna Nagurney and Tina Wakolbinger.
Brian Hayes. 2015a. Traffic Jams in Javascript. bit-player blog entry, posted 18 June 2015.
Brian Hayes. 2015b. Playing in Traffic. American Scientist, 103 (July–August): 260–263.
Gina Kolata. 1990. What if they closed 42d Street and nobody noticed? New York Times, December 25, 1990, page 38.
Anna Nagurney and David Boyce. 2005. Preface to "On a Paradox of Traffic Planning". Transportation Science, 39, no. 4 (November): 443–445.
Anna Nagurney and Ladimer Nagurney. ForthThe Braess Paradox. In International Encyclopedia of Transportation, edited by B. Noland, R. Vickerman, and Dick Ettema. Elsevier. Invited chapter, pre-print available at https://supernet.isenberg.umass.edu/articles/braess-encyc.pdf.
John G. Wardrop. 1952. Some theoretical aspects of road traffic research. Proc. Institution Civil Engineers, Part II, 1, no. 2 (August): 325–378.
Kenneth M Monks (Front Range Community College – Boulder County Campus), "Braess' Paradox in City Planning: A Mini-Primary Source Project for Multivariable Calculus Students," Convergence (May 2020)
Multivariable Calculus
A Series of Mini-projects from TRIUMPHS: TRansforming Instruction in Undergraduate Mathematics via Primary Historical Sources
Babylonian Numeration: A Mini-Primary Source Project for Pre-service Teachers and Other Students
Bhāskara's Approximation to and Mādhava's Series for Sine: A Mini-Primary Source Project for Second-Semester Calculus Students
Completing the Square: From the Roots of Algebra, A Mini-Primary Source Project for Students of Algebra and Their Teachers
Connecting Connectedness: A Mini-Primary Source Project for Topology Students
Euler's Rediscovery of e: A Mini-Primary Source Project for Introductory Analysis Students
Euler's Calculation of the Sum of the Reciprocals of the Squares: A Mini-Primary Source Project for Calculus II Students
Gaussian Guesswork: Three Mini-Primary Source Projects for Calculus 2 Students
Generating Pythagorean Triples: A Mini-Primary Source Project in Number Theory for Mathematics Majors, Elementary Teachers and Others
Henri Lebesgue and the Development of the Integral Concept: A Mini-Primary Source Project for Undergraduate Analysis Students
How to Calculate \(\pi\): Machin's Inverse Tangents, A Mini-Primary Source Project for Calculus II Students
Investigations Into d'Alembert's Definition of Limit: A Mini-Primary Source Project for Students of Real Analysis and Calculus 2
Regression to the Mean: A Mini-Primary Source Project for Statistics Students
Seeing and Understanding Data: A Mini-Primary Source Project for Students of Statistics
The Cantor Set Before Cantor: A Mini-Primary Source Project for Analysis and Topology Students
The Derivatives of the Sine and Cosine Functions: A Mini-Primary Source Project for Calculus I Students
The Logarithm of −1: A Mini-Primary Source Project for Complex Variables Students
The Origin of the Prime Number Theorem: A Primary Source Project for Number Theory Students
Topology from Analysis: A Mini-Primary Source Project for Topology Students
Why be so Critical? Nineteenth-Century Mathematics and the Origins of Analysis: A Mini-Primary Source Project for Introductory Analysis Students
Wronskians and Linear Independence: A Theorem Misunderstood by Many – A Mini-Primary Source Project for Students of Differential Equations, Linear Algebra and Others


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Immigration and Citizenship Law
The Law Offices of Mary Lyn T. Sanga, A Professional Corporation > Visa Application Processes > Nonimmigrant Visa Processing
Nonimmigrant Visa Processing
There are two ways to apply for a nonimmigrant visa. An individual can apply at a U.S. consulate abroad. Depending on the type of nonimmigrant visa, a previously approved nonimmigrant petition filed with the USCIS may be required. If the individual is already in the United States and maintaining a valid nonimmigrant status, he or she may apply to USCIS for extension or change of status without need of departing from the United States during the pendency and beyond the expiration of his or her current status up until the extension or change of status application is adjudicated. Application through a U.S. embassy or consulate abroad is called "consular processing" while application made while in the United States is called "extension of stay" or "change of status," as the case may be.
This section discussed applications for nonimmigrant visas through consular processing.
Visa Exemptions
Before a foreign national can enter the United States in a nonimmigrant status, he or she must obtain a visa from a U.S. consulate abroad. There are a certain exceptions to this rule, including the following:
• In general, citizens of Canada traveling to the United States for a temporary purpose need only present to the immigration officer at a port of entry documentation showing they are eligible for admission to the United States. This exception does not apply to certain travel purposes, including those falling under A, G, NATO, E, K, and S categories.
• Citizens of Canada seeking admission as a NAFTA Professional (TN) may enter the United States to work in a pre-arranged business activity for a U.S. or foreign employer without need of a visa. However, a Canadian residing in another country with a non-Canadian spouse and child will need a visa to enable the spouse and child to apply for a visa to accompany or join the NAFTA Professional.
• Nationals of foreign countries participating in the Visa Waiver Program (VWP) may enter the United States without a visa, provided they meet the requirements of VWP.
The Visa Waiver Program permits the arrival of aliens into the United States without a visa if they are citizens of certain designated countries visiting the United States in the B category. The program is available to nationals of countries with good "track records" of tourists and business persons who abide by the terms of their admission to the United States and do not work or overstay their visits. Currently, there are 36 countries participating in the Visa Waiver Program, as follows:
Andorra Hungary New Zealand
Australia Iceland Norway
Austria Ireland Portugal
Belgium Italy San Marino
Brunei Japan Singapore
Czech Republic Latvia Slovakia
Denmark Liechtenstein Slovenia
Estonia Lithuania South Korea
Finland Luxembourg Spain
France Malta Sweden
Germany Monaco Switzerland
Greece The Netherlands United Kingdom
Nationals of the above enumerated 36 countries may use the Visa Waiver Program under the following conditions:
• They have received an authorization to travel under the VWP through the Electronic System for Travel Authorization (ESTA).
• They present passport valid for at least 6 months past their expected stay in the United States.
• The purpose of their stay is for B visa category, i.e., business or tourism.
• Their visit to the United States is for 90 days or less.
• If traveling by air or sea, they are traveling on an approved carrier and have a return trip ticket to any foreign destination.
• They can demonstrate sufficient funds to support themselves while in the United States.
Aliens coming under this program are allowed to stay for a maximum period of 90 days only and they cannot extend or change nonimmigrant status. Hence, aliens who are planning to change their status or request for extension of stay should not seek to enter the United States through the Visa Waiver Program but should seek the appropriate visa at a U.S. consulate abroad.
The Visa Waiver Program also makes an alien coming to the United States through this program ineligible to apply for adjustment of status, unless he or she is an immediate relative of a U.S. citizen or is eligible for adjustment under Section 245(i) of the INA.
• Citizens of Bermuda traveling to the United States for up to 180 days do not require a nonimmigrant visa, except for certain travel purposes, including those falling under A, G, K, and S categories.
• Citizens of the Federated States of Micronesia (FSM) and the Republic of the Marshall Islands (RMI) by birth and those citizens of the former Trust Territory of the Pacific Islands (TTPI) who acquired citizenship in 1986 are entitled to travel and apply for admission to the United States as nonimmigrants without visas. Immediate relatives of FMS/RMI birth citizens and former TTPI citizens may also benefit from this visa exemption provided they meet certain requirements.
The first step to apply for a nonimmigrant visa is to fill out the DS-160, a web-based form that consolidates all the information previously collected on the DS-156, DS-157, and DS-158 for appropriate applicants, and the DS-3052. This electronic form is available on the Department of State website. Currently, this form applies to all nonimmigrant applicants, except K visa applicants who must use DS-156, Nonimmigrant Visa Application. The information entered on the DS-160 combined with the personal interview and supporting documentation form the basis for determining an applicant's eligibility for a nonimmigrant visa.
After completing the DS-160 application online, the applicant must pay the required visa application fee. The applicant must also schedule an interview with the U.S. embassy or consulate at which he or she wishes to be interviewed. At the interview, the applicant must be prepared to present supporting documentation depending on the type of visa applied for.
Different consular posts may have different rules on how to schedule an interview and pay the visa fee. Applicants for nonimmigrant visas must visit the website of the U.S. embassy or consulate where they intend to apply for additional country-specific instructions.
Each family member, even infants, accompanying a visa applicant must submit a separate nonimmigrant visa application, with supporting documentation.
Categories Requiring Approved Petitions
For H, L, O and P nonimmigrant visa categories, a prior petition approved by USCIS is required. Petitions for classification under these categories are filed with USCIS on Form I-129, Petition for Nonimmigrant Worker. The petition must indicate whether the beneficiary is applying for a visa at a U.S. embassy or consulate abroad or requesting for an extension or change of status. If a petition indicates that the beneficiary will apply through consular processing, the petition and supporting documentation must be submitted in two copies. Once approved, the USCIS will forward the duplicate copy of the approved petition to the designated U.S. embassy or consulate.
The transmittal of the approved petition to the U.S. embassy or consulate may take considerable time. To avoid delay, the beneficiary may apply for a visa as soon as he or she receives a copy of the Form I-797, Approval Notice. An attorney-certified copy of the petition may be presented by the applicant if required. However, the consulate may require the actual approved petition from USCIS and defer processing the application until such arrives.
If the applicant changes his or her choice of consulate after the petition has been approved and forwarded by USCIS to the designated consulate, the petitioner may request that the new consulate or port of entry be notified of the previous approval of a petition. Such a request must be made on Form I-824, Application for Action on an Approved Application or Petition and filed by the petitioner with the USCIS service center that approved the petition. The Form I-824 application could take several months to process which could result in significant delay in obtaining a visa. .
Nonimmigrant Intent
In most cases, refusal of nonimmigrant visa applications at the consular post is based on Section 214(b) of the INA. This section provides that foreign nationals seeking entry on nonimmigrant status, with a few exceptions, are presumed to be intending immigrants. If visa is refused under this section, this means that the applicant has not been able to overcome the presumption that he is an intending immigrant by demonstrating strong ties to his home country and that he has a residence in his home country that he has no intention of abandoning.
There are no hard-and-fast rules on what type of evidence will satisfy the requirement for demonstrating strong ties to the home country. Ties are the aspects of one's life that bind him or her to his or her place of residence. Ties include family relationships, employment, and property ownership or possessions. Other factors may also be relevant, such as the applicant's educational background, status in the society, and prospects of employment in the place of residence. The following is a list of documents typically required to be presented at the interview to establish strong ties to the home country:
• Bank statements for the last three (3) months and both current and former bank account passbooks
• Employment certification including salary, tenure and position
• Form W-2
• Income tax returns
• Audited financial statements
• Paycheck stubs for the last three (3) months
• Credit card statements for the last three (3) months
• Vehicle registration
• Real property titles or other proof of ownership
• Pictures of family, home or business
• Wedding photos
• Marriage certificate (original or certified true copy)
• Birth certificate(s) of child(ren) (original or certified true copy)
• For students, certificate of school registration
• Certification of membership to legitimate organization(s)
The presumption of Section 214(b) does not apply to the following visa categories: H-1B, H-1C, H-4, L-1, L-2, and V. These are the so-called "dual intent visas." The regulations provide that the approval of a permanent labor certification or the filing of an immigrant petition for an individual shall not be a basis for denying an H-1C or H-1B petition or a request to extend such a petition, or the individual's admission, change of status, or extension of stay.
Visa Issuance or Denial
The consular officer who conducted the interview will inform the applicant at the conclusion of the interview whether he or she qualifies for a U.S. visa. If the applicant qualifies for the visa, the applicant will be required to submit his or her passport for visa stamping. The passport with the U.S. visa stamp will be delivered to the applicant in accordance with the procedure of the particular consulate issuing the visa.
If a visa cannot be issued to the applicant, the consular officer will inform the applicant of the legal and factual bases for the denying the application, unless the facts cannot be disclosed because they are classified. As the case may be, the consular officer may provide the applicant an opportunity to submit additional evidence to establish his or her eligibility for a visa before denying the application.
I. VISA CATEGORIES
A. NONIMMIGRANT VISAS
2. TYPE OF NONIMMIGRANT VISAS
3. TYPE OF VISA DETAILS
B. IMMIGRANT VISAS
1. EMPLOYMENT-BASED
2. FAMILY-BASED
3. DIVERSITY LOTTERY
II. VISA APPLICATION PROCESSES
A. CONSULAR PROCESSING
1. NONIMMIGRANT VISA PROCESSING
2. IMMIGRANT VISA PROCESSING
B. APPLICATIONS WITHIN UNITED STATES
1. EXTENSION OF STAY OR CHANGE OF STATUS
2. ADJUSTMENT OF STATUS
III. NATURALIZATION
IV. REMOVAL DEFENSE
V. WAIVERS
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JavaScript is a real programming language
The world is divided into "real" programming languages like C and Java, and then "scripting" languages like Ruby and PERL. Real programming languages are about 100 times faster than scripting languages, with features designed for "large scale" programming projects.
In the past, JavaScript was just another scripting language. As the name suggests, it's a lot like Java, but designed for small-scale scripts rather than large scale programming. (By "a lot" I mean simply that it shares the C-family syntax, and could equally be called "C-Script", "C++Script", "C#Script", and so on. It's actually a retro-name: it was originally named LiveScript, but when Java came out, they renamed it to leverage the name recognition.)
But JavaScript has grown up. Today, JavaScript can be used to write robust, large-scale, server-side applications with performance on par with "real" programming languages.
This can be shown in the following benchmark graph comparing the performance of several popular languages side-by-side. as you can see, JavaScript is consistently faster than "Lua", which has long been known as the fastest scripting language, and is often as fast as the C#-Mono language. It's still slower than Java and C, but not by a lot. This graph is from http://shootout.alioth.debian.org/u64q/which-programming-languages-are-fastest.php.
Critics will point out that JavaScript is missing many features like "object-oriented" programming. That's not actually true. It's just that the programmer has to build up objects and classes manually rather than having a clean syntax that does it for them.
This leads to "language on language" features, as people strive to standardize the messy way that JavaScript manually builds things. For example, the "require.js" is becoming the standard way for doing modularity (similar to "include" or "import" statements from other languages). This is part of the "CommonJS" spec, and used in popular projects like "NodeJS". Frankly, this "language on language" cruft is no worse than in other languages (for example, like the STL cruft in C++).
The driving force behind JavaScript's maturity is Google's "V8" JavaScript engine. When Google released their "Chrome" web browser to compete against Internet Explorer and Firefox, they released their JavaScript interpreter as a separate component. This allowed JavaScript to be used on the command-line and for services just like any other scripting language.
In addition, V8 focused on speed. It introduced the "JIT" (just in time compilation to native code). Because of V8, the first versions of Chome had a massive competitive advantage over competing browsers in running JavaScript code. The other vendors have caught up and occasionally surpass Chrome in benchmarks today. It's this constant competition that is making JavaScript faster and faster, approaching that of a real language.
In some cases, JavaScript may be even faster than a real language. The above benchmarks are simple algorithms that don't test JavaScripts strengths. The DOM in browsers is a messy data structure. Optimizing messy data structures is therefore a key feature to JavaScript. The end result is that if you are writing an application with similarly messy data structures, it may run faster on a JavaScript engine than in a "real" programming language.
The V8 engine has spawned other projects, most famously the "NodeJS" project. NodeJS is an asynchronous web-server for building web-apps in JavaScript. It's asynchronous event-driven nature means that it's much more scalable than Apache. NodeJS has spawned an entire ecosystem of APIs and addons (managed with "npm", a NodeJS package manager).
Completely separate from browsers and servers, there is also the "ActionScript" dialect of JavaScript, part of Adobe AIR, which has become a popular alternative to Java for writing cross-platform applications.
JavaScript is still missing some things, like an integrated IDE with a source-level debugger, multicore support, light-weight fibers/coroutines, and some other features. But on the other hand, these often don't work well for "real" languages, either, and they are improving rapidly in JavaScript. For example, a popular package for NodeJS includes a source-level debugger -- run through a web-browser, naturally.
That JavaScript is becoming a "real" language means one more thing: it would be an excellent teaching tool. Colleges struggle with find the best language for teaching computer science concepts. Colleges often choose LISP, C, or Java. I suggest JavaScript as the better choice. It has enough "functional" and "object oriented" features to teach these concepts. But the biggest reason is that all students have to learn it anyway, since it's part of the browser (and what computer science geek doesn't do "View Source" on web pages?).
So in conclusion, in the competition among "real" programming languages to find the best one for your next project, consider JavaScript as an alternative.
Labels: JavaScript
There is support for threads in most JavaScript engines these days via WebWorkers.
The language benchmarks game famously removed a bunch of alternative language implementations. The Lua you see there is not LuaJIT ( http://www.reddit.com/r/programming/comments/glvgk/lua_jit_pypy_tracemonkey_python_27_jruby_and/ ) whereas as you pointed out v8 is JIT'd.


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Seniors Reflect on Abrupt End to School Year
LITTLE ROCK (KATV) — It's been more than a month since Governor Asa Hutchinson ordered all schools in the state to close in an effort to slow the COVID19 pandemic. For seniors in high school, that means their monumental year was cut short.
Normally this time of year, Robinson High School senior Justin Nelson would be on the baseball field.
"I never thought it would just get taken from us," he said.
Nelson says his team only played seven games this season before his time on the field ended.
Like so many other seniors, the pandemic cut his season and his school year short.
"Not getting to have a senior night or a graduation, it just kills us," Nelson said.
As schools shut their doors, students finished their school work at home and missed milestone events including senior prom.
Maumelle High School senior Kaitlyn Anderson had her shiny new dress ready to go.
"When we got the news about prom and graduation, that's when it got to me the most," she said. "I had my moments where it really made me upset."
But Anderson is still making the best of the situation, and finding creative ways to keep in touch with classmates.
"We have been decorating driveways and making signs," she said. "So we have all been staying in touch, just in a different way."
For Conway High School senior Katlyn Stapleton, it's the encouragement from her teachers keeping her spirits up.
"Some of our teachers have sent us mail and sent notes saying they miss us," she said.
Stapleton is preparing to start college in the fall at UCA, working hard towards her dream of becoming a teacher.
She says the unique end to her school year only brings the class of 2020 closer.
"I think we're such a strong class and we've been through so much," she said. "I know we're going to get through this and make the best of it."
The governor says in-person graduations are not allowed prior to July 1. Some districts have decided to hold virtual ceremonies, while some are hoping to meet in person on a later date.


System i CL Programming for Operators and Administrators London, Birmingham, Leeds, Edinburgh and UK locations.
This course provides an introduction to Command Language (CL) programming for operators and system administrators. It is assumed that attendees have little or no programming experience. On completion, delegates will be able to write CL programs to perform operations and administrative functions.
NOTE: The content of this course is very similar to our CL Programming for Programmers course, however emphasis is placed on writing programs for an operations and system administration environment.
This course is intended for operators and system administrators with little or no programming experience.
Attendees should be familiar with the operating environment of the system and should have attended our iSeries/i5 Operations course, or have equivalent experience.
A quick introduction to SEU and PDM (if required).
Using Output Files from commands.


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Q: When is the Lie Bracket of a Lie Algebra of a Lie Group *not* a commutator? I know that the Lie bracket of a matrix Lie group is always the matrix commutator.
However since the 'raw' left-invariant vector fields (defined in terms of differential operators) carry a commutator, I'm struggling to figure out when the Lie bracket would not have to be represented by a commutator?
Actually is the adjoint representation an example?

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