text:
HAIMO OF AUXERRE, Expositio in epistolas Pauli
In Latin, illuminated manuscript on parchment
France, Paris, c. 1460-1480 (before 1481) and c. 1500
ii + 193 folios on parchment, complete (collation: i9 [8+1, with i a singleton], ii-xxiv8), foliated in Roman numerals throughout "ii-clxxx" [omitting first and last two leaves], foliation followed here, the bifolios 107/110 and 108/109 transposed in binding, informal vertical catchwords in cursive script, written in dark brown ink in a lettre bâtarde, two columns of 34 lines (justification: 178 x 130 mm), capitals touched in yellow, running titles, chapter numbers and marginal references in red, many guide words still visible in ink, list of contents with two-line initials and paragraph marks in red, some line-endings in red and blue, numerous small initials in alternate red and blue, 10 large decorated initials, 5- to 9-lines in height, in blue or red overlaid with liquid or liquid gold and infilled with foliage and flowers in liquid gold or silver, all on contrasting blue or red grounds with gold or silver penwork (ff. 1v, 21v, 45v, 68v, 77v, 81, 92, 100, 102v and 108v), 11 larger decorated initials, 10-lines in height, in blue or dark-pink overlaid with white penwork in geometric designs, infilled with sprays of foliage in blue and white terminating in orange and brown ivy leaves, all on burnished gold grounds (ff. 1, 21, 45v, 60v, 68v, 77v, 81, 92, 100, 102v, 107v), large two-compartment miniature set in a liquid gold architectural frame (f. 1), half-page in height, miniature and text framed in full border decoration of colored acanthus leaves, sprays of colored flowers and fruit, ivy leaves in burnished gold, enclosing in bas-de-page the arms of Jean Budé, bar of burnished gold with red and blue framing the text on three sides, some slight cockling and a few skilled repairs to tiny holes in the last few leaves, smudging to initial on fol. 60v, a bit of oxidization of silver in initials and coat of arms, else in outstanding condition. Bound in late eighteenth-century straight-grained red morocco, covers gilt-tooled, spine in six compartments and richly gilt, binding attributed to Bozerian, placed in a fitted red slipcase with gilt-tooled spine. Dimensions 278 x 105 mm.
Still in need of a revised critical edition, this manuscript contains a copy of the most notable of the exegetical commentaries by Haimo of Auxerre, a key figure of the Carolingian Renaissance. Beautifully illuminated, the manuscript boasts an illustrious provenance having belonged to or even originally been commissioned by Jean II Budé, father to the famous humanist-bibliophile Guillaume Budé. The miniature added at a slightly later date (some 20 or 30 years after) must have been painted in Troyes, where the Budé family had strong ties.
1.This manuscript was copied in the 1460s or 1470s based on the existing decorative elements (initials and full border on the opening leaf). It must have remained unfinished and received its frontispiece (and arms?) at a later date, most likely some twenty to thirty years after, to judge from the style of the illuminated miniature which bears comparisons with a group of manuscripts painted by a painter active at the end of the fifteenth and the turn of the sixteenth century, probably associated with Troyes (see Illustration below). It belonged to Jean II Budé (1430-1502), royal courtier, "audiencier de France," father to the foremost French humanist Guillaume Budé (1468-1540). His owner's inscription is found on f. 190, partially effaced with the date reinforced in pencil; in most of his manuscripts, Jean Budé was careful to give a date of acquisition in his manuscripts, here 1481 (see Omont, 1885, p. 101: "Les manuscrits de Jean Budé paraissent avoir été acquis par lui vers les années 1481-1488. A la fin de plusieurs de ses livres il a pris soin en effet de mettre une note de possession, exactement signée et datée de sa main…."). One can just make out the beginning of the inscription, f. 190: "Hunc librum scribere fecit Johannes Bude…" (f. 190). The present manuscript was most likely commissioned for Jean Budé and bears his arms in the lower bas-de-page on f. 1 (d'argent, au chevron de gueules accompagné de trois grappes de raisin pourpres, deux en chef, une en pointe) [see Section below].
2. Nicolas Thoynard of Orléans, most probably the seigneur de Villamblain (1629-1706), antiquary, numismatist and scientist, his inscription on parchment endleaf at front of text. He studied and eventually settled in Paris, where he maintained close relationships with the book collector Emeric Bigot and the royal librarian Jacques Dupuy, as well as active correspondence with a number of learned scholars and collectors. He was actively involved in exegetical and antiquarian research concerning the Scriptures, which certainly accounts for his interest in the present commentaries on the Pauline Epistles. Upon his death his books were bequeathed either to the Bibliothèque du Roi or to M. Loger, procureur-general of d'Aguesseau (see Cuissard, 1902).
3. Joseph Barrois (c. 1785-1855) and acquired from him as part of a group of 702 manuscripts by Lord Ashburnam in 1849 (Eighth Report of the Royal Commission on Historical Manuscripts. Appendix, Part III, 1881, no. 28, p. 73).
4. Bertram Ashburnham, 4th Earl of Ashburnham (1797-1878), his sale in London, Sotheby's, 10-14 June 1901, lot 259, sold to Belin.
5. Sold at Sotheby's, 9 December 1909, lot 404.
6. William Foyle, Beeleigh Abbey (1885-1963), his bookplate; bought from Kundig, Geneva, June 23, 1948, Catalogue no. 95, lot 25; his sale in London, Christie's, 11 July 2000, lot 24, sold to Kraus.
7. H. P. Kraus, his sale at Sotheby's (The Inventory of H. P. Kraus), New York, 4-5 December 2003, lot 306.
ff. II-IIv, List of contents running through the liturgical year with the folio numbers of the appropriate lessons, rubric, Tabula contentorum in hoc volumine;
ff. 1-21, Haimo of Auxerre, Commentary on Galatians, incipit, "Primo querendum est in exordio huius epistole unde sint galathe … et per plateas tractus," Explicit expositio in epistola ad galathas. Incipit expositio haymonis in epistola pauli apostoli ad ephesios;
ff. 21-45v, Commentary on Ephesians, incipit, "Ephesus est civitas asie et grecie … elices in secula seculorum manebunt," Explicit exposito [sic] haymonis in epistola ad ephesios. Incipit expositio haymonis in epistola pauli apostoli ad philippenses;
ff. 45v-60, Commentary on Philippians, incipit, "Philippenses sunt macedones … in mente manebit et in corpora," Explicit expositio epistole ad philipenses. Incipit expositio haymonis in epistola pauli apostoli ad colosenses;
ff. 60v-68v, Commentary on Colossians, incipit, "Misterium quod absconditum fuit… maneat semper vobiscum," Explicit expositio epistole ad colosenses. Incipit expositio haymonis in epistola prima pauli apostoli ad thessalonicenses;
ff. 68v-77, Commentary on I Thessalonians, incipit, "Macedonia provincia est grecorum… de premio recte conversentur," Explicit expositio epistole primie ad thessalonicenses. Incipit expositio haymonis in secundi epistola pauli apostoli ad thessalonicenses;
ff. 77v-81, Commentary on II Thessalonians, incipit, "Thessalonicenses accipientes priorem… cum omnibus vobis. Amen," Explicit expositio epistole secunde ad thessalonicenses. Incipit expositio epistole prime ad timotheum;
English translation in S. R. Cartwright and K. L. Hughes, Second Thessalonians. Two Early Medieval Apocalyptic Commentaries. Haimo of Auxerre, Expositio in Epistolam II ad Thessalonicenses, Kalamazoo, 2001, pp. 21-33 (based on the Migne, Patrologia Latina edition). The editors stress that 2 Thessalonians is arguably the most significant theological source for the development of the doctrine of the Antichrist.
ff. 81-91v, Commentary on I Timothy, incipit, "Timotheus filius fuit mulieris … hactenus dixi," Explicit expositio epistole primie ad timotheum. Incipit secunde;
ff. 92-100, Commentary on II Timothy, incipit, "Secundam epistolam timotheo scribit ... que hactenus scripsi," Explicit expositio epistole secunde ad timotheum. Incipit expositio epistole ad titum";
ff. 100-102, Commentary on Titus, incipit, "Transiens apostolus a creta insula … et ihesu christo salvatore nostro, " Explicit expositio epistole ad titum. Incipit ad philemonem";
ff. 102v-107v, Commentary on Philemon, incipit, "Beato apostolo predicatione … dominus unus spriritus est," Expositio epistole ad philemonem explicit. Incipit expositio haymonis in I. epistola pauli apostoli ad hebreos;
ff. 107v-190, Commentary on Hebrews, incipit, "In primordiis huius epistole dicendum est que causa … pertinigere mereamur. Amen," Explicit expositio haymonis in epistolis pauli apostoli [followed by partially effaced inscription, see Provenance above]";
This manuscript contains the commentary on the Epistles of Paul by Haimo of Auxerre, with a systematic working through of all the Pauline Epistles, with the exception of Romans and 1-2 Corinthians, present in the Patrologia Latina edition, but absent here. The contemporary foliation, the opening frontispiece illumination, and the absence of any reference in the list of contents all suggest that the commentary on Romans and Corinthians was not planned in this manuscript. There is an unsatisfactory edition of Haimo's Commentary on the Pauline Epistles published in Patrologia Latina, vol. 117, 765-784 (based on the editio princeps, published at Strasbourg, 1519), and the work is listed in Stegmüller, III, 3101-3114, with a provisional list of known codices (Stegmüller listed the commentary as Ps. Haimo de Halberstadt, probably Haimo of Auxerre). The commentary apparently survives in 166 manuscripts, of which 137 are dated (see Iogna-Prat, 1991, p. 161, pp. 172-174). A thorough critical evaluation of all these codices remains to be undertaken and is much-needed, especially because Haimo's text represents such an important moment in the exegetical transmission of Pauline commentaries: "Il est d'autant plus urgent de disposer d'un bon texte que le commentaire d'Haymon représente ... un temps fort dans la chaîne exégétique paulinienne" (Iogna-Prat, 1991, p. 161). The work is a comprehensive commentary on the Pauline corpus, including the minor letters to Titus and Philemon. Haimo begins his exegesis of each letter with an extensive argumentum setting it in a historical context.
Haimo of Auxerre (fl. c. 840-860? perhaps as late as 875?) has long been confused with several other contemporary Haimos, especially Haimo of Halberstadt. In 1907, E. Riggenbach demonstrated that the commentaries attributed in the Patrologia Latina to Haimo of Halberstadt were actually the work of another Haimo, at Auxerre, a Carolingian exegete, about whom information remains regrettably scant. We know that he taught at the school of the Benedictine house of Saint-Germain at Auxerre and is the author of many widely read commentaries on the Song of Songs, Revelations, and the Minor Prophets, as well as of many sermons. He evidently studied with the Irish grammarian Murethach and was for a time the abbot of the monastery of Sasceium (Cessy-les-Bois). His activity at the school in Auxerre produced other Carolingian scholars such as Remigius of Auxerre (c. 850-908) and Heiric of Auxerre (841-876) (see Jeauneau, 1972, ii, pp. 495-522). Haimo's commentaries on Scripture are amongst the most innovative and learned in the Carolingian era, and his works are exemplary of what has been called the Carolingian Renaissance: "When the history of the ninth century Carolingian renaissance ... is written, Haimo of Auxerre will occupy a large place in that account" (Contreni, 1975, p. 303). A recent overview of the work and influence of Haimo of Auxerre was undertaken by D. Iogna-Prat in 1991.
To his contemporaries, Haimo of Auxerre was perhaps best known for his pedagogical skills. In both the monasteries of Auxerre and Cessy-les-Bois he was an innovative teacher, focusing the attention of his students on the study of grammar in order to discipline and sharpen their minds. It is now agreed that Haimo's exegetical scholarship anticipated scholasticism by nearly three centuries (see Bertola, 1961, pp. 29-54).
An illustrious provenance: Jean II Budé (1430-1502)
The present manuscript was commissioned by Jean Budé, secrétaire and conseiller to Louis XI (1461-1483) and Charles VIII (1483-1498). It is in keeping with his known literary and exegetical tastes, and we know that approximately a fourth of his library was dedicated to theological and exegetical works (see H. Omont, 1885, p. 101). The little that has been published on this under-studied bibliophile and his library allows us a glimpse of a book collector with an eye for lavish illuminated works, but clearly a personal preference for studious and theological texts. Jean Budé amassed a stately collection of manuscripts and books in the 1480s and 1490s. Many of these manuscripts bore his arms, and many had an inscription that proclaimed his standing and patronage of learning and date of acquisition. Although the current census of localized manuscripts is badly in need of revision, for Jean Budé's Library, see Omont, 1885, who lists some forty-one manuscripts, including the present manuscript, listed no. 11, p. 104 ("Ashburnham, Barrois, 28, Haymonis expositio in epistolas Pauli..."). Omont's list has been amended by Martin-Demézil, 1938; by Droz, 1939; and by Garand, 1967-68, bringing the total number of manuscripts once owned or commissioned by Jean Budé to about sixty.
Jean II Budé fell seriously ill between 1480 and 1490, the period during which he assembled his collection of books, which consisted mostly of manuscripts, but also of early imprints. Collecting books appears to have been a family tradition. One finds traces of a manuscript having belonged to Jean II Budé's grandfather (hence Guillaume Budé's great-grandfather), Jean I Budé, thus witnessing an inherited interest in manuscripts and book collecting that extended through at least four generations. Jean II Budé's habit of annotating his purchases was not, in turn, an innovation but something of a family tradition, and can be traced back to the time of his own grandfather Jean I Budé who also inscribed his books (see the fascinating piece of detective work on Paris, BnF, MS lat. 2827, narrated in Ouy, 1985). In the present manuscript, one finds (although effaced but still legible using ultra-violet light) Jean II Budé's personalized inscription, with the date of acquisition 1481. Interestingly, another illuminated manuscript containing works of Anselm of Canterbury was acquired by Jean II Budé in the same year (Paris, BnF, MS lat. 2885, see Omont, 1885, p. 104). Further research on this collection might yield more information on the painters, scribes and successive owners of these codices. Martin-Demézil has called for more caution in the identification of the manuscripts having belonged to Jean Bude: "Ce qui touche les ascendants de Guillaume Budé ne nous est connu que de manière hypothétique, fragmentaire, incertaine. En l'absence de documents nouveaux, une grande réserve s'impose" (Martin-Demézil, 1938, p. 222).
Famous humanist and hellenist, Guillaume Budé (1468-1540) recognized the influence of his father's library on his intellectual development: "[...] excitante me tantum patris exemplo doctrinae laudatoris, ut erat hominis ingenium, et librorum emaciassimi..." (...stimulated to do so by the example of [my] father, who in his great intelligence, praised learning and was a passionate buyer of books...) (see Delaruelle, 1907, pp. 62-63, note no. 2; translation in Grafton, 1997, p. 148). A more recent study on Guillaume Budé as a reader underscores the importance of his father's collection and interest in manuscripts, and Jean Budé is said to have been a "great buyer of books" (librorum emacissimus) (see L. Katz, 2009). Upon his death in 1502, Jean Budé's collection was dispersed: the BnF in Paris preserves some 40 manuscripts from his library; another 17 have been localized in other institutional holdings. In her study on the scribes of Jean Budé's manuscripts, M.-C. Garand has identified a number of hands that worked for Jean Budé. Further research on Jean Budé's library and the manuscripts he commissioned would surely allow to better place the present manuscript within his collection, perhaps even to identify a scribe having executed other manuscripts for the patron. Jean Budé's books went mostly to his sons (of which he had 10 and his offspring totaled 15 or 18 depending on the accounts): these include Dreux II Budé whose inventory after death lists his books including some 25 manuscripts; Guillaume Budé, the great humanist for which unfortunately we have no surviving inventory (but there are inventories of the "librairies" of his son Dreux III Budé and his grand-daughter Marguerite Budé (both preserved in the Archives nationales de France, Minutier Central, see Exhibition Catalogue Guillaume Budé (1968), respectively no. 165 and 166); Etienne Budé, canon of Saint-Pierre de Troyes (died before his father in 1501, so probably not concerned by his father's inheritance); Louis Budé, also canon at Saint-Pierre de Troyes and humanist close to his brother Guillaume who taught him Greek, whose detailed inventory with some 314 books does not include this particular manuscript (Chalandon, 2001, pp. 22-23 and inventory pp. 49-69).
f. 1, Saint Paul portrayed enthroned on the left gives a sealed letter to a messenger for the Galatians, portrayed on the right. The name "S. Pol" is inscribed below Saint Paul and "Les juifs" below the Galatians.
The miniature is divided into two panels. On the left, Saint Paul is shown enthroned and holding his sword in one hand as he hands his Epistle to the Galatians to a messenger, who then reappears in the background of the panel striding across a landscape toward the center. In the right panel, the kneeling messenger doffs his cap as he proffers the letter to members of the Galatian court. At the foot of its seated leader is an inscription in white ink, "Les Juifs." The panels are divided by an architectural frame in liquid gold studded with painted gems. As the architectural motif atop the left frame consists of Gothic spires, while the panel on the right is capped by a dome inscribed "Galathiens," there is a visual connotation of the messenger traveling from the West to the East.
Because this manuscript seems to have been painted in the milieu of Troyes, it is possible that the task of adding the painted frontispiece might have been undertaken by one of the sons of Jean Budé, established in Troyes and canons at the Cathedral St.-Pierre. More particularly, one might have thought of Louis Budé, great collector and humanist, younger brother of Guillaume Budé. It is said that Guillaume Budé came to Troyes quite often to visit his two brothers Etienne and Louis, close to their uncle Jacques Raguier, influential bishop of Troyes (1483-1518) and also amateur of manuscripts and early imprints (see F. Bibolet, "Le mécénat troyen," in Avril, 2007, p. 22; see also Duhem, "Deux frères de Guillaume Budé, chanoines de Troyes...," in Mémoires de la Société académique d'agriculture, des sciences, arts et belles-lettres du département de l'Aube, XCV (1932), pp. 73-87). Might the present manuscript have been completed in this milieu by an artist close to the Budé in Troyes? Stylistic elements, along with further research in the various inventories after death of the heirs of Jean Budé, might help identify the subsequent owner at the turn of the sixteenth century who had this manuscript completed with the lovely painted frontispiece.
The added miniature set in an earlier decorated frontispiece page bears comparisons with a group of manuscripts painted by an artist active in Troyes at the end of the fifteenth century and during the first quarter of the sixteenth century. This artist painted an Office de la Croix à l'usage de la Confrérie de la Sainte Croix (Saint-Rémi de Troyes) circa 1510-1520, described in Avril, 2007, p. 202 and fig. 50 (p. 57) and 178 (p. 203). This artist also painted a number of Horae for local patrons in Troyes such as the Hours of Anne du Plessis, wife of Gaucher de Dinteville (Paris, sold at Drouot, Ader Picard Tajan, 19 May 1976, lot. 55) or the Hours of Jeanne d'Availly (Catena aurea: 50 illuminierte und illustrierte Handschriften..., H. Tenschert, [1984], cat. 16, no. 24). F. Avril also ascribes to this artist a Diurnal (Chaumont, BM, MS.31) and the artist is said to have collaborated with an artist from Dijon for the illustration of an edition of the Faits et gestes des Françoys de Robert Gaguin (Troyes, Médiathèque, Ed. précieuse B24) (see Avril, 2007, p. 202).
The portrayal of Saint Paul as a king seated on a throne draped with a cloth semé with the royal fleur-de-lis may have had personal significance for a member of the Budé family. Both Jean Budé and his son Guillaume had begun their careers in the French Court as royal secretaries, and the subject matter of the illumination, that of a sealed diploma and its conveyance to a foreign court, must have been a subject close to both their hearts.
Avril, F. and N. Reynaud. Les manuscrits à peintures en France, 1480-1520, Paris, 1993.
Avril, F., M. Hermant, F. Bibolet. Très riches heures de Champagne. L'enluminure en Champagne à la fin du Moyen Age, exh. cat., Paris, 2007.
Bertola, E. "Il commentario paolino di Haimo di Halberstadt o di Auxerre e gli inizi del metodo scolastico," Pier Lombardo 5 (1961), pp. 29-54.
Chalandon, A. Les bibliothèques des ecclésiastiques de Troyes du XIVe au XVIe siècle, Paris, 2001.
Contreni, J. "Haimo of Auxerre, Abbot of Saceium (Cessy-les-Bois) and a new sermon on I John V, 4-10," Revue bénédictine 85 (1975), pp. 303-320.
Cuissard, C. "Nicolas Thoynard et son testament 1629-1706," Mémoires de la Société archéologique et historique de l'Orléanais 28 (1902), pp. 33-57.
Delaruelle, L. Guillaume Budé, les origines, les débuts, les idées maîtresses, Paris, 1907.
Droz, E. "Livres imprimés de la Bibliothèque de Jean Budé," in Humanisme et Renaissance, vol. VI, 1939, pp. 288-293.
[Exhibition]. Guillaume Budé, Bibliothèque nationale, Paris, 1968.
Garand, C. "Les copistes de Jean Budé (1430-1502)," Bulletin d'information de l'Institut de recherche et d'histoire des textes 15 (1967), pp. 294-328.
Grafton, A. "How Guillaume Budé read his Homer," in Commerce with the Classics: Ancient Books and Renaissance Readers, Ann Arbor, 1997, pp. 135-183.
Iogna-Prat, D. "L'Oeuvre d'Haymon d'Auxerre: Etat de la question," in L'Ecole carolingienne d'Auxerre: de Murethach à Remi, 830-908, Paris, 1991, pp. 157-179.
Jeauneau, E. "Les écoles de Laon et d'Auxerre au IXe siècle," in La scuola nell'Occidente latino dell'alto medio evo, 1972, ii. pp. 495-522.
Katz, L. Guillaume Budé et l'art de la lecture, Turnhout, 2009.
Martin-Demézil, J. "Un manuscrit de la bibliothèque de Jean Budé," Bibliothèque de l'Ecole des Chartes 99 (1938), pp. 220-222.
Migne, J.-P. ed. Haymonis Halberstatensis episcopi opera omnia .... Praemittuntur Ebbonis Rhemensis, Hartmanni monachi S. Galli, Ermanrici Augiensis monachi..., Patrologiae cursus completus omnium SS. Patrum, doctorum scriptorumque ecclesiasticorum sive Latinorum, sive Graecorum, Patrologia Latina, reprint, Turnhout, 1995, vol. 117.
Omont, H. "Notes sur la famille de Guillaume Budé"; "Notices sur les collections de manuscrits de Jean et Guillaume Budé," Bulletin de la société de l'histoire de Paris et de l'Ile de France 12 (1885), pp. 45-50 and pp. 100-113; 13 (1886), pp. 112-113.
Ouy, G. "Histoire 'visible' et histoire 'cachée' d'un manuscript," Le Moyen Age 64 [1958], pp. 115-138
Quadri, R. "Aimo di Auxerre alla luce dei Collectanea di Heiric di Auxerre," Italia medioevale e umanistica 6 (1963), pp. 1-48.
Riggenbach, E. Die ältesten lateinischen Kommentare zum Hebräerbrief, Leipzig, 1907.
Shimahara, S., ed. Etudes d'exégèse carolingienne: autour de Haymon d'Auxerre: atelier de recherches du Centre d'études médiévales d'Auxerre, 25-26 avril 2005, Turnhout, 2007.
Stegmüller, F. Repertorium biblicum medii aevi, Tomus III: Commentaria, Madrid, 1951.
H. Omont, "Notice sur les collections de manuscrits de Jean et Guillaume Budé," Bulletin de la Société de l'histoire de Paris et de l'Ile-de-France 12 (1885), pp. 100-113 [lists 41 manuscripts having belonged to Jean Budé]
http://gallica.bnf.fr/ark:/12148/bpt6k32991p.image.langFR.f104.pagination
E. Petit, "Les Budé dans l'Auxerrois," Bulletin de la société des sciences historiques et naturelles de l'Yonne 49 (1895), pp. 417-422.
http://www.notteghem.fr/genea/genebude/petit.htm


2018/19 season / 435 words. Not to be altered without permission.
"Baldur Bronnimann led the orchestra with clear, concentrated gestures and worked out the subtleties of the pieces without loss of sound, dynamism and expressiveness."
"All performed dazzlingly… Baldur Brönnimann, conducting, marshalled these disparate forces with the ease of one taking a stroll."
"Precision and spirit, rhythm and harmony: all contributed, as they might have done under Boulez himself, to a splendid performance... Brönnimann's strong sense of direction was palpable, as was the security of every performer."


This duo exhibition functions as an intense dialogue between the works of two artists who are generational contemporaries: Sophie von Hellermann (1975 Munich, lives and works in London) and Josh Smith (1978 Tennessee, lives and works in New York). At the same time, the exhibition takes on a retrospective character, as it presents an overview of both artists' painterly activities of the last five years. Both approach painting as a permanently creative process: every work presents itself as a physical fragment that characterises their painterly thinking, rather than consistently aspiring to be recognised as a 'masterpiece'. In this way, their work creates, each in its own way, a mental opening toward new pictorial possibilities. Despite the similarity in the way they create great freedom and energy through their working process, the painterly result is radically different for both artists. This exhibition project develops into a subjective investigation of the fundamental approaches to painting.
Sophie von Hellermann makes both large and smaller compositions through which she develops a fairy tale-like and imaginative visual imagery. Every composition becomes a dynamic spectacle of motifs, lines, and colours, in which the boundaries between reality and fantasy, between the personal narrative and the collective past, and between abstraction and figuration are fully dissolved. She uses art history and painting's acquired freedoms in a painterly game that carries us as spectators into an unfamiliar world. The choice of subject matter, but also the very agile brushstrokes, the flowing lineage, and the use of a peculiar colour palette make Sophie von Hellermann's paintings particularly pleasing and dreamy looking. Every work testifies of her exceptional emotional sensitivity and is simultaneously a crystallisation point in her ongoing practise as a painter.
Josh Smith belongs to a painting tradition that seemed extinct, but which he manages to transform into a free repertory of forms. The work, with its explicit references to the history of painting, its 'expressive' style, its use of the signature and the absence of subject matter, could perhaps be considered non-contemporary. Josh Smith, however, refuses to employ contemporary art's typical strategies to assert its contemporaneity. Much like the artists he refers to – E.L. Kirchner, Pablo Picasso, Keith Haring, or Christopher Wool – Josh Smith uses painting not to illustrate something, but radically chooses to think through painting, evidenced in a considerable production. The fact that every subsequent painting is an elaboration on, and continuation of, the one before it, creates the notion of works generated in series. In this way, to the work of Josh Smith resists the quality criteria and style characteristics with which painting is normally evaluated.
This exhibition was realised in collaboration with Le Consortium Dijon (FR). An 'artist book' in which both artists pursue their collaboration further is published to accompany this exhibition.


text:
WIZKID SHINES WITH 3 WINS AT MTV AFRICA MUSIC AWARDS 2016!
… Yemi Alade, Emtee, Patoranking, Tekno, Others Win Big
After weeks of excitement and anticipation, Africa's music fans have spoken at the sixth edition of Africa's premiere annual music showcase, the MTV Africa Music Awards Johannesburg 2016. Unfolding at the TicketPro Dome in Northgate, Johannesburg, South Africa on 22 October 2016, the exhilarating celebration of African music and achievement made its Joburg debut with an electrifying display of live performances and incredible state-of-the-art staging and lighting.
Nigerian pop sensation WizKid scooped three awards with wins in the prestigious Best Male and Artist of the Year categories, and scoring one extra trophy for his featured performance on Best Collaboration. South African stars Cassper Nyovest and Emtee won for Best Live and Best Hip Hop respectively, with Shekhinah and Kyle Deutsch scoring gold in Best Pop/Alternative.
Other deserving winners at the show included Nigerian artist Yemi Alade who walked away with the Best Female trophy. Kenyan Afro-pop band, Sauti Sol lifted the Best Group award, while Patoranking won the Song of the Year category sponsored by Google for his chart-topping hit, "My Woman, My Everything".
The excitement in the crowd was palpable as world-renowned South African jazz legend and Grammy award winner, Hugh Masekela, took to the stage to accept the Legend Award, for his indelible contribution to the music industry. The Africa Reimagined award, a category honouring individuals reshaping the narrative around Africa, was awarded to youth activists, Vivian Onano and Mary Taedzerwa, for their pro-social activism on the continent.
Hosted by South African media darling Bonang Matheba supported by Nomzamo Mbatha and Yemi Alade, the live telecast on MTV Base and MTV featured awards in 18 categories, presented by famous faces from around the continent, including Minnie Dlamini, Jackie Appiah, Weza, Navy Kenzo, R2Bees, Juliet Ibrahim, Sheeba, Somizi and Sizwe Dhlomo.
Thrilling collaborations from Africa's foremost artists were the highlight of the show, including Kwesta and Stonebwoy, who performed a high-powered remix of Kwesta's hit song "Ngud". Big winner Wizkid thrilled the crowd with rousing support from the world famous Soweto Gospel Choir. The most touching moment of the night was a show-stopping tribute to late "Nkalakatha" of Kwaito, Mandoza, by legends Mdu, Trompies and DJ Cleo.
US Hip Hop star and nominee Future lit up the stage with hits "Wicked", "Lowlife" and "Commas", while the trophy for Best International went to Drake.
Commenting after the show, Alex Okosi, Senior Vice President & Managing Director, Viacom International Media Networks (VIMN) Africa, said: "Tonight #MTVMAMA2016 brought the continent together, showcasing the amazing creativity and talent that Africa has to offer. This is a night for Africa to be proud of, and we are thrilled that the MAMA has once again delivered a powerful platform to celebrate African achievement."
2016 MTV Africa Music Awards Winners:
Artist of the Year: Wizkid (Nigeria)
Best Female: Yemi Alade (Nigeria)
Best Male: Wizkid (Nigeria)
Best Group: Sauti Sol (Kenya)
Best Breakthrough Act: Tekno (Nigeria)
Best Live Act: Cassper Nyovest (South Africa)
Best Hip Hop in association with MTN: Emtee (South Africa)
Song of the Year in partnership with Google: "My Woman, My Everything" Patoranking feat. Wande Coal (Nigeria)
Listener's Choice: Jah Prayzah (Zimbabwe)
Video of the Year: "Niquer Ma Vie" – Youssoupha (Congo) – Director: Antony Abdelli & Jose Eon
Best Pop & Alternative: Shekhinah & Kyle Deutsch (South Africa)
Best Francophone: Serge Beynaud (Ivory Coast)
Best Lusophone: C4 Pedro (Angola)
Personality of the Year in association with DSTV: Caster Semenya (South Africa)
Legend Award: Hugh Masekela
Best Collaboration in partnership with ABSOLUT: DJ Maphorisa feat. Wizkid & DJ Buckz – "Soweto Baby" (South Africa/Nigeria)
Africa Reimagined: Vivian Onano and Mary Taedzerwa
Best International: Drake (USA)
Walking the red carpet at the awards were nominees Yemi Alade, Diamond Platinumz, WizKid, Tiwa Savage, Nasty C, Navy Kenzo, Babes Wodumo, Riky Rick, Patoranking, R2Bees, Sauti Sol, Sheeba, Toofan and South African gold medalist Caster Semenya. Other famous faces enjoying the show included media darling Minnie Dlamini, actress Jessica Nkosi, controversial radio host, Gareth Cliff, Tbo Touch, AY, Boity Thulo, Sizwe Dhlomo, Juliet Ibrahim, Somizi Mhlongo, Thembi Seete, Khanyi Mbau, MTV Base VJ Ehiz, Anele Mdoda and hip hop sensation KO.
The MTV Africa Music Awards Johannesburg 2016 is brought to you by Joburg Tourism in partnership with Absolut Vodka and Google and in association with MTN and DStv.
DStv and e.tv are the official South African TV media partners of the MTV Africa Music Awards Johannesburg 2016.
For more information on the 2016 MTV Africa Music Awards, please go to http://mama.mtv.com, like us onFacebook, or follow us on Twitter and Instagram @MTVBaseAfrica. To join the conversation about the awards please use the hashtag #MTVMAMA2016.
The artist Patoranking during the MAMA 2016, in Johannesburg, South Africa on October 22nd, 2016
The artist Korede Bello during the MAMA 2016, in Johannesburg, South Africa on October 22nd, 2016
(L to R) The artist Yemi, Bonang and Momzamo during the MAMA 2016, in Johannesburg, South Africa on October 22nd, 2016
The artist Mtee (R) and his wife at the red carpet during the MAMA 2016, in Johannesburg, South Africa on October 22nd, 2016
TagsAnele MdodaAyBABES WODUMOBoity ThuloDiamond PlatinumzGARETH CLIFFHugh MasekelaJessica NkosiJULIET IBRAHIMKhanyi MbauMAMAMinnie DlaminiMTV Africa Music Awards Johannesburg 2016MTV Base VJ EhizNasty CNavy KenzopatorankingR2BeesRiky RickSauti SolSheebaSizwe DhlomoSomizi MhlongoTbo TouchThembi SeeteTiwa SavageToofanWizkidYemi Alade
PHOTOS: FUTURE, WIZKID, PATORANKING, YCEE, ALIKIBA, FALZ, ...
Video: Mc Galaxy ft Beniton X Double ...
Iceberg Slim & Juliet Ibrahim get matching tattoos
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Rapper AKA Opens Up – Tiwa Savage Is My Crush

redpajama_set_name: RedPajamaCommonCrawl


FAN AVOIDS JAIL FOR STUN GUN - The Gray Firm, LLC.
A South Carolina man who used a stun gun during a melee at a Jets game at MetLife Stadium last year pleaded guilty Friday to felony possession of a weapon and was sentenced to three years of probation. Police said Leroy McKelvey got into an argument with other fans after he remained seated during the singing of the national anthem at the Jets-Dallas Cowboys game on Sept. 11, 2011. McKelvey used the stun gun, which he wore on his hip, when the argument escalated into a scuffle, his lawyer said.
Ron McCormick, an assistant Bergen County prosecutor, at a hearing in January said one man fell down a flight of stairs after being knocked down by McKelvey's stun gun.


What is a Digital Living Smart Home?
There are many smart home products available on the market today, yet many won't work nicely together…it is only when these devices work in concert, that the charm of living in a smart home is realized.
All houses from large to small work harmoniously with the owner when a world class Smart Home platform is professionally installed. A Digital Living Smart Home delivers ease of use, flexibility and performance, on a single system that coordinates all aspects of your home, which ultimately makes your home more enjoyable to live in.
With a single touch or voice command*, your lights dim, the shades lower and your favorite movie appears, or your playlist streams throughout your home and into the backyard. Turn up the heat or air and lock the doors, and arm the security system with a single touch. See who's ringing the doorbell and check your cameras from anywhere in the world.
In a connected world, constant availability to the network is imperative. Most of today's home networks are not ready for the expanding requirements of a smart home, but with a Digital living professional wired and wireless network, your homes devices will have a seamless, scalable, reliable, and secure network. More importantly, your home will be Digital Living Smart Home ready.
An easy to use system allows for control from an array of devices, whether it's a universal remote, a touch screen to browse and play music, or a keypad to manage lights, shades, audio, and more. A Digital Living Smart Home allows you the flexibility to choose. And if you prefer no interface at all, simply use your voice to control anything in the house.
A mobile app with a subscription provides secure access to your home while you're away. Turn on or off all lights from anywhere in the world… Monitor cameras, adjust the temperature, close the garage door, lock all doors that have smart locks installed, and turn off the lights using your iOS or Android mobile device, or even your Apple Watch.
Every Digital Living Smart Home Home is unique. We will work closely with you to create a smart home solution that best matches your lifestyle and budget. It's more affordable than you would think. You can get started with a Digital Living Smart Home package for just $600 MSRP*.
Start in one room, perhaps an entertainment set-up for your family room, and then add on a lighting package when your needs change. Or install a package that will encompass your whole home.
Start planning your Digital Living Smart Home today!


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May 03 More on Accountable Care
Aetna is latest insurer to partner with Aledade on ACO-focused care
Aetna gains in-network access to independent practices, health centers and clinics that are part of Aledade's ACOs in three states.
Mark Klimek
The latest partnership between ACO-focused healthcare IT firm Aledade and an insurer is an agreement with Aetna to expand value-based primary care offerings in Delaware, West Virginia and Utah.
The agreement gives participating physicians new opportunities to share in healthcare savings if they deliver improved outcomes at lower costs.
The partnership will also expand Aetna members' access to independent practices, health centers and clinics that are part of Aledade's Accountable Care Organizations in those three states. Aledade ACOs' value-based offerings include primary care, preventive services, care coordination and population health management.
In Delaware and West Virginia, the agreement will cover Aetna's commercially insured patient centered medical home and Medicare Advantage members who see Aledade ACO physicians. In Utah, it will cover MA members.
The partnership comes as value-based care initiatives continue to ramp up. For example, late last month saw the announcement of a new set of value-based care payment models--the CMS Primary Cares Initiative--from the U.S. Department of Health and Human Services the and Centers for Medicare and Medicaid Services.
Value-based care is seen as highly beneficial and even necessary, especially in states with poor overall health outcomes such as West Virginia.
The Aledade-Aetna agreement is just the latest in a series of partnerships between ACOs and payers, as both groups seek to create new market opportunities. In the past five months, for example, Aledade has struck a similar three-state deal with Humana as well as a partnership with Blue Cross and Blue Shield of North Carolina.
"We are delighted to introduce this new partnership to both our commercial and Medicare members, and encourage them to seek their health care through this physician-led care model," said Martha Carlson, chief network and operations officer for Delaware and West Virginia. "Through accountable care relationships, we're working closer than ever with physicians and hospitals to make healthcare more affordable to both our members and providers, while also improving quality and efficiency."
"We are excited to partner with Aetna to bring this model of care to more patients, and we look forward to growing this multi-state partnership," said Dr. Farzad Mostashari, chief executive officer and co-founder of Aledade.
Mark Klimek is an independent writer and editor with 20 years' experience covering financial issues, healthcare and more.


Our new project - Audio playtime with tonies!
We're looking for lucky mums and dads to try out the brilliant new Toniebox with their little ones.
We'll have the chance to try out this unique, interactive listening system that plays stories, songs and allows us to create our own content. These colourful cubes have been designed especially for children and we'll be amongst the first in the UK to try them!
Please visit the info page to find out more about this exciting project and apply afterwards!


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The Family Clinic Group understands that unexpected medical emergencies & illnesses can happen unexpectedly, hence the "Walk-In" facility for your convenience!
In the event of Chest Pains or difficulty breathing, please inform the Receptionist on your arrival, as these conditions are treated as an emergency!
It is important that we know about any relevant medical condition or history you may have. Therefore, if you are on any regular medication, or have an on-going medical condition, please make an appointment to see one of our Doctors as soon as possible!
We are a private billing practice, providing medical services to both Private & All Medical Aid / Health Plan Patients are welcome. We are contracted at Medical Aid agreed tariff, terms and conditions do however apply. In the event of short payments not paid by your Scheme, you would be liable to settle the outstanding account.
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We regret accounts are not accepted.
In virtually all situations, review of your medical condition is necessary before a repeat prescription is written.
In special circumstances this may not apply (e.g. lost prescription). Here a prescription replacement fee will be charged.
Also note that for ongoing care & Chronic Medical Conditions, many prescriptions have repeats (e.g. 5 repeats = 6 months of a prescription).
It is important that you check when your last repeat occurs with your local Pharmacy, as you would then be required to visit your Doctor for a follow up appointment to re-assess your medical condition & to get your repeat prescription reviewed.
Please notify our Reception Staff of any changes of medical aid, name, address or telephone number in order to ensure that your medical records are correct.
Welcome to our Clinics, where we build our Family one patient at a time!


bought toggle switch so can have a kill switch for my subwoofers. i know to use the remote wire but the switch has 3 brass connectors. power, acc, and ground. which connectors do i use since the remote wire is just a single wire.
Need a little more info. Are you trying to use a lighted switch? If so, your gonna have to do a little creative wiring to get it to light up. All you really need is a SPST switch to do what your trying to do. Then all you do is cut the remote and splice in the switch (doesn't matter which wire goes on which side). You do realize that you'll be shutting off the amp as well, right? I guess if it's just a sub amp that won't be a problem. If you have a meter that can test for continuity you could find out which of the terminals open and close when you throw the switch.
yes it is an illuminated switch. my amp is used only for my subs. have bass reducers to all other speakers so my subs produce all the bass. i have the switch hooked up right now by just splitting remote wire and have stereo end on power and amp end on ground. but still want the switch to light up. will look better.
What voltage is the switch? If it's a 12v switch it's not going to work without using a relay. A remote turn on feed from the head unit wont supply enough voltage to light up the switch. A 12v lighted switch usually has one terminal connected to ground, one connected to 12v, and the third (usually the middle) terminal would be the output. Flipping the switch would close the circuit sending 12v to light up the switch, and also sending power to the output wire. Sending 12 volts through the remote on wire would roach your amp quickly. It's possible to do what you want, but more advanced wiring is necessary and difficult to explain here. Maybe someone else can chime in here and help.


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New Review of The Immigration Handbook
January 6, 2019 Caroline SmithBlog & Reviews, Uncategorized
Thank you 'K' so much for your thoughtful review of 'The Immigration Handbook' for Barham Library Book Group.The Immigration Handbook – K's review
K's Review – Jan 2019
I've never been big on reading for pleasure. Poems have been an exception, as they are usually short enough to read and be done with in short blocks of downtime. I mostly read from anthologies because an editorial team has done the hard work of uncovering the gems within their covers. I am currently most interested in contemporary world poetry(in English translation) for its alternative perspective on today's world and its usually accessible language.
So these were the mixed prejudices/preconceived ideas that I brought to my reading of Caroline Smith's "The Immigration Handbook". On the plus side, the poems were short, the book was small, and the poetry was contemporary. On the downside, the poems were all by one author who, I learnt from the back cover, appeared to be a sculptor earning a living by other means and writing poetry as a hobby. I was also doubtful about the subject of the book – a whole book of poems about immigration by a single author could surely be rather dull. Would not a more interesting prospect be a book of poems by the immigrants themselves? But hey, the poems were short. If I didn't get into them, I didn't feel obliged to read them all.
Wow! Wow! Wow! I was captivated from the first phrase of the first poem. And my captivity continued to the last phrase of the last poem. I read the whole collection in a few days, but it will certainly be a book that I keep and reread.
On Hold [p9]:
" He was just twenty-three,
Arjan Mehta, when first he began
calling the Home Office
from a red phone box
on the corner of Preston Road;
Stamps [p69]:
We wanted the ones
that had made the journey
that bore the marks of their struggle."
This is the essence of the book: journeys and struggles. Caroline's poems are the stories of the people in our neighbourhood; stories told from many perspectives (asylum seekers, judges, case workers, clerks ..)
I found the experience of reading the book akin to flicking through an album of snapshots; on nearly every page, my eye alighted on something to capture my imagination. And when I got to the end, I wanted to flick through it again. Each time I revisited it, I uncovered some new treasure I hadn't noticed before.
I enjoyed the way Caroline uses simile [if that's the correct technical term?] to move a story from a harsh present reality to evoke a distant memory and vice versa. I was surprised and delighted by the unusual and carefully chosen similes. For example, in Domestic Worker [p47], " rhubarb erupt[s] through the bare spring garden like a miniature rainforest" in the poem's opening phrase and the poem journeys back to the departure of the Domestic Worker from the "depleted rainforest" of her origins.
When I reached the poems Pro Bono 1 and Pro Bono 2 [pages 32 and 33], the insight struck me that Caroline's gift for words has likely been honed over her many years as an asylum case worker; and not only her gift for words, but a gift for understanding what is in other people's souls – their memories, the paths they have travelled, their dreamings and imaginings. How essential such gifts must be in this employ.
In conclusion, I found this a rewarding book that I would highly recommend anyone from Wembley to the world to read.
P.S I have since discovered that Caroline Smith's poems are included in contemporary anthologies, so she's on my reading list already!
From Baroness Sally Hamwee
October 28, 2018 Caroline SmithBlog & Reviews
It was lovely to receive this unexpected endorsement from Baroness Sally Hamwee who is spokesperson on Home Affairs in the Lords:
'Thank you for your poems. A friend gave me your Immigration Handbook, and the other night I read Dr Gopal at a local group. They laughed at the image of the aubergine turned old overnight, which gave the ending even more impact. The whole body of work is a wonderful reminder that each person caught up in the system is an individual, not just one of a group to be lumped together (though I guess each of the subjects stands proxy for many others).
'People Not Borders' Poetry Competition & Poetry Reading
February 4, 2018 Caroline SmithBlog & Reviews
It was a great evening of poetry, short stories, music and images; raising money for the charities 'People Not Borders' and 'Safe Passage'. Congratulations to the winning writers. A special thank you to Lord Alf Dubs for his inspiring speech and to Sue Hampton for her tireless energy and vision.
Review of The Immigration Handbook
Thank you Emma Lee for the Review
Review by Emma Lee
Caroline Smith has drawn on her experience as an asylum caseworker for an MP for her second collection of poems, exploring migration through the lens of bureaucracy. It's a timely reminder of the barriers and labyrinthine hurdles those seeking asylum have to bend through and also of the inhumane delays the system has built in. The opening poem "On Hold" has the epigram, 'There is no timescale for dealing with this application.' It concerns Arjan Mehta who was aged 23 at the start of his application,
He is now forty.
The sealed-up phone box
long out of service,
the black cradle
within its sepulchre,
silent as an obsidian urn.
The two lines just before the quoted section, "Seventeen years have passed/ with no answer" I didn't feel were necessary. The gap between the ages of 23 and 40 is more telling: it's the gap when careers are established and families started. It's the bureaucratic denial of humanity, leaving a man in limbo: without an answer, he can't work (legally), if he starts a family, he does so with the risk of separation. Picking up this theme again, "Delay" is a Home Office letter (any identifying details redacted) with the line "I apologise for the delay in processing your clients application." – the apostrophe is missing in the original. The letter is dated 2015 and refers to an application made in 2006. It goes on to inform the recipient that due to the delay, her client will have to resubmit the form which is now out of date. The correct form is not sent with the letter but the client is directed to the website (without a direct link to the required form) where she will have to find the form, download, i.e. print it, complete it (again) and send it in a provided envelope at her own expense even though she was not responsible for the delay. The provided envelope doesn't even have prepaid postage.
The inflexibility of forms and their inability to give space to describe lives is explored in "Fault Lines" which asks how two parents would know
That there would be nowhere on the form to explain
why they had to move to Swaziland
and register his birth at the Portuguese Consulate
in his father's name and when the work permit
ran out, no choice but to go back,
a mixed race couple to South Africa
where his mother would give him her name
and an Identity card where 'Father'
was left blank.
Forms are only part of the process. There's also the "Asylum Interview" where "she says only what will help her case." The interviewer notes she says she has a cold.
He fires questions at her in bursts.
His pen scores the paper
drawing back her cover
like a soft flap of mango skin
exposing her shame
beating yolk orange like a fontanel.
He has realised the truth
but doesn't correct his notes –
raped by soldiers of the Lord's Resistance Army:
her immune system has been shot through,
her CD4 count a mere six cells.
The need to establish the entitlement to asylum is done so without regard for the affect on the asylum seeker of describing their experiences and traumas or the stigma and shame felt. The interviewers can only record what the interviewee says, not what is implied or evident from observation. So the interviewer cannot record she has a badly compromised immune system or that she has been raped, unless she actually puts those things into words. When a language barrier is reinforced with the barriers of shame and stigma, a genuine asylum-seeker may be refused simply because of lack of humane support through the claim process.
Caroline Smith's strength is in presenting facts, not guiding the reader to think in a certain way. She reveals the processes and leaves readers to decide whether they are fair or not. She doesn't shy away from difficult cases either. It isn't widely known that child refugees whose applications are accepted have to re-apply as adults when they turn 18, and can find their applications declined even though they were accepted as children. In "Teenager" a boy was imprisoned after committing a burglary and is now facing release.
They told him he was now
nineteen and no longer a child
and would be deported with £46.
They asked him which airport
he wanted to go back to
but he didn't know
what ones there were.
He'd left when he was seven.
This arbitrary separation of adult and child identities and bureaucratic rules dictating that the adult is regarded as a separate being from the former child, creates injustice.
Caroline Smith doesn't just look at recently arrived refugees, "Dr Gopal" goes to empty a kitchen bin and discovers "a sudden frost – like the awe of/ seeing her first snowfall in England./ An aubergine had turned old overnight/ a shock of white hair standing straight up/ on a wizened purple-brown head." It reminds her of dolls she played with at her first English school which leads her into remembering her grandmother making a secret family of paper dolls,
But Mama had found the box and burnt them.
She didn't blame her mother.
Now a senior consultant
She lived the model immigrant life –
with a beautiful house in a quiet street:
but she couldn't stop
the tide of night terrors racing in,
prevent the silhouettes from
curling and peeling in the fires of Entebbe.
Entebbe is in Uganda and Gopal's Asian name reveals her as a Ugandan Asian who had to flee after Idi Amin's declaration in 1972. Even after working her way up to a senior position at work, she cannot leave her children terrors behind. In my review I have ordered the quoted poems into a narrative. In the collection, "Teenager" is much earlier, and the time lines don't fall into a natural, narrative order. This is a successful approach because it mirrors the difficulties for refugees in telling their stories, the sloughing back and forth as they are twisted and bend through the claims process and the way that, for some, being able to shut away a memory until they are strong enough to deal with it, is an important part of recovery.
The final poem, "Stamps", is about ignoring the pristine collectors' sets in favour of the ones postmarked and steamed off their envelopes,
that had made the journey,
The Immigration Handbook records the marks of refugees' struggle filtered through the lens of bureaucracy. It shows the stories behind the numbers and reminds us that behind the statistics are humans.
Taken from the Emma Lee blog
The Immigration Handbook Reprinted
Thank you to everyone who has bought a copy of my book. It has sold out and has now been reprinted!
Forward Arts Foundation
Freedom Poems
Honoured that the Forward Foundation selected 'The Immigration Handbook' as one of their books to promote on National Poetry Day 2017
City Books at the Labour Party Conference, Brighton
Proud to see my book here!
My Reading Tour of the USA in pictures
Thank you to all my friends and colleagues for inviting me to read at these amazing venues.
First Stop Porter Square, Cambridge Mass Second Stop Grolier, Cambridge Mass
Third Stop The Hudson Valley Writers' Centre, New York Fourth Stop Barnard College, New York
Fifth Stop Red Bank Regional College
Sixth Stop Ann Arbor, University of Michigan
Final Stop Book Party, Ann Arbor, Michigan
September 5, 2017 Caroline SmithBlog & Reviews
Thank You Chris Kinsey for your Review in Planet
Review by Chris Kinsey, Planet
Caroline Smith's poems about people seeking asylum are astonishing. They're as clear and precise as surgical scalpels. These poems, sterilised from despair and anger, do not seek to accuse or wound. They make incisions to implant empathy and compassion for refugees' enduring loss, uncertainty and trauma and for some of the people 'under siege from the urgency' of administering their fate amidst a terrible backlog of applications. Smith has a remarkable talent for distilling physical experiences into imagery which resolve into unforced epiphanies about the way things are:
just as an early morning frost brings out
a previously invisible conspiracy of
white cobwebs connecting the grasses.
The changing and unexpected properties of paper recur as a powerful motif. In 'Home Office Files', 'shreds of Mr Subramanian's life, / his ten years waiting for a decision'. (He fled Vanni in a container ship lying beside his dead wife and child.) The narrator thinks of him as she feeds 'a fist of papers to the shredder':
They buckle rigid and erect
calcified into a frill of coral,
a corrugated shanty town roof.
These poems have the grace of non-judgmentalism and show varieties of vulnerable courage, as in 'Asylum Interview' where a man is interviewing a woman who was raped by soldiers:
Refugee Tales Walk
July 9, 2017 Caroline SmithBlog & Reviews
Refugee Tales walk 2017 Day 1 from Runnymede.
'To no one will we sell, to no one deny or delay right of justice.'
Magna Carta 1215
Proud to have joined the walk.
A call to end indefinite immigration detention.


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Lee A. Niswander, Ph.D. Professor and Chair
Molecular, Cellular and Developmental Biology
M. Bishr Omary, M.D., Ph.D. Professor and Chair
Department of Molecular & Integrative Physiology
Gonçalo R. Abecasis, D.Phil. Professor and Chair
Department of Biostatistics
Peter J. Mohler, Ph.D. Professor and Chair
Department of Physiology and Cell Biology
Cell Physiology
Lorraine Pillus, Ph.D. Professor and Chair
Cell Biology; Genetics
David J. Julius, Ph.D. Professor and Chair
Bruce J. Nicholson, Ph.D. Professor and Chair
Steven L. Gonias, M.D., Ph.D. Professor and Chair
William A. Muller, M.D., Ph.D. Magerstadt Professor and Chairman of Pathology
Michael P. Snyder, Ph.D. Professor and Chair of Genetics
Department of Genetics
Genetics; Cell Biology


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Photo: VANDERVEEN
Home > School of Music > Strings > High School > Viola
High School Viola
As a student in the high school viola program at University of North Carolina School of the Arts, you will be immersed in an environment of hard-working, dedicated musicians who – like you – are committed to the joy of mastering their craft.
You will be able to focus on your passion for music while also studying traditional academic courses with weekly private lessons, group master classes, theory and sight reading lessons and can be assigned to chamber and large ensembles as appropriate. The School of Music requires a weekly Performance Hour where music students and faculty perform a wide range of musical styles and genres.
The music intensive curriculum is balanced by the academic classroom – 9th and 10th graders are required to take at least four academic courses, 11th graders at least three academic courses and 12th graders at least two. There are no academic classes held on Wednesdays to allow for group and large ensembles rehearsals, individual practice and lessons. High school musicians graduate with a diploma, with the option to work toward an additional "Concentration in Music" designation.
MEET THE VIOLA STUDIO
Graduates of the UNCSA string program perform in the New York Philharmonic, the National Symphony, the Pittsburgh Symphony, the Dresden Philharmonic and the Orchestra of St. Luke's. They serve as associate concertmaster of the Cincinnati Symphony, assistant principal cellist of the Baltimore Symphony and as concertmaster of regional orchestras in Tulsa, OK, Fayetteville, AR, and Chattanooga, TN. They perform in the Kalichstein-Laredo-Robinson Trio, the Miami String Quartet, the Sofia String Quartet from Bulgaria, the Grammy-nominated Radamés Gnattali Quartetfrom Brazil and have performed throughout the world as members of the Miró Quartet and the Melos Quartet.
Our alumni also also teach at major conservatories and universities, including the University of Michigan, University of Northern Colorado, University of Alaska-Fairbanks, University of Virginia, the Robert Schumann Hochschule in Düsseldorf and the University of Music and Performing Arts in Graz. Some of our graduates have also gone in different directions within the profession—one of our high school violin alumni, Caroline Shaw, is the youngest-ever winner of the Pulitzer Prize for Composition.
UNDERGRADUATE VIOLA GRADUATE VIOLA
Viola News
Learn more about the Viola program through these features and news stories.
Violist achieves her graduate school dream and becomes an international champion
Violist Rachyl Duffy ('14) is a UNCSA William R. Kenan Jr. Excellence Scholarship recipient, current Colburn School graduate student and international viola competition champion - just to name a few of her accomplishments.
See All Music News


Does the Hizmet Movement alienate some Islamic communities by denying their opportunities within the public domain?
Fethullah Gülen Hocaefendi has indeed touched upon the principles of positive action in many of his weekly sermons published on the web site, herkul.org. Fethullah Gülen repeatedly expressed that no matter how others act, the key responsibility is to treat people with tolerance, as he states, "No matter what anybody does to us, thinking positively of them and being tolerant is what falls upon us." If we do come across the flaws of others, we must say "Possibly God Almighty is putting me a test by showing me these things!" and be very careful to not have negative opinions or false assumptions of others.
He emphasises that when we are evaluating others (in the way of not expecting anybody to be perfect) we must not expect anybody to be a hundred percent perfect, as we cannot claim that we ourselves are a hundred percent perfect. In the words of Rumi, "Don't insist on one hundred, ninety will do / For what you call a human, deficiency will do / Don't you dare get haughty, what little do you have / Don't think you are all there is/ without you everything will do." Mentioning this, Fethullah Gülen emphasizes that we must hold such an understanding and, not only avoid talking negative of others, but refrain from even thinking badly of each other.
Fethullah Gülen also recounts an incident that recently took place: An elder who visited Mongolia met the principal of a Turkish school there. During the conversation between them he asked, "Are there other groups here doing similar educational and cultural activities?" He replied, "Yes, thanks to God, the students of the honorable Süleyman Effendi have some educational centers." The elderly individual was shocked and said, "Interesting, do you guys (people of the Hizmet Movement) say, 'the honorable Süleyman Effendi'"?He replied "I swear to God that I have never heard Hocaefendi mention Süleyman Effendi's name once without praising him with 'the honorable.'" Once this event was described to Fethullah Gülen, he replied as follows: "For 40 years, I always referred to him as such. Likewise, I never simply said 'Mahmud Effendi' (another spiritual leader in Turkey) and continued. While referring to them, I have never used the popular phrases, such as 'Çarşamba Community,' which carry some negative implications. I always said 'the honorable Mahmud Effendi' and always believed that all of them accomplished very important religious and community services.


Named in honour of Terence Dickinson (b. 1943), Canada's foremost popularizer of astronomy. Dickinson is the author of several books, notably NightWatch, The Universe and Beyond, Exploring the Sky by Day and Exploring the Night Sky, the last of which received the New York Academy of Sciences Children's Science Book Award in 1988. He reaches a wide Canadian audience every week with his astronomy column in The Toronto Star newspaper and on Canadian Broadcasting Corporation programs. From 1973 to 1975 he was editor of Astronomy magazine, and he has held scientific positions with the Ontario Science Centre in Toronto, the Strasenburgh Planetarium in Rochester and the McLaughlin Planetarium in Toronto. Dickinson teaches astronomy at St. Lawrence College in Kingston, Ontario. Name suggested and citation provided by C. J. Cunningham.


QuickTime MOV videos do not have the ability to work with subtitles, even though they can have many video and audio tracks. When you have a video in MOV video, but want to create a single file which has video, audio, images and subtitles, similar to what you would have in the VOB files for DVDs, then you should convert it to MKV. This format will allow you to add more functionality to the video. You can add images to run with the video, and do a lot more to create a video presentation that is of high standards and interactivity. iSkysoft Video Converter Ultimate is a great tool for converting MOV files to MKV.
iSkysoft Video Converter Ultimate is a powerful, feature-rich application for converting videos. It is the fastest converter on the market and has the ability to maintain the quality of the original video. This tool optimizes the use of your computing power to give you the best conversion services ever.
Powerful conversion capability – The tool can convert video from over 150 video formats. This is perhaps the highest number of video formats that can be converted by a single tool.
Download online video – You can get videos from Internet sites such as YouTube and Facebook and add them to your projects.
Powerful inbuilt video editor – Edit your projects before you output them using this editor.
Burn to DVD and other devices – You can burn your projects to DVD, iPhone, iPad and even send them to online sites.
Upload videos – It allows you to directly upload videos to YouTube, Facebook or Vimeo after importing your videos.
Go to the main menu and then select "Add Files" and bring the MOV files that you want to convert. You can also drag them into the converter.
If you want to convert several MOV files into one MKV file, you will have to enable "Merge All Videos" before you do the actual conversion. You can also use the "Trim" function to cut any parts of the MOV files that you do not need. You will be able to even select a part of the MOV file to be converted to MKV. This is one of the powerful features of this tool.
Select "Convert" and the MOV file will be converted into MKV format. This is a tool that is targeted at Mac users, although there is a windows version, which operates in much the same way. The MKV files that you get are in high quality.
iSkysoft Video Converter Ultimate for Windows is also powerful and has the same features as those of the Mac version. It is a versatile tool that can be used to convert videos into formats that are more suitable for the Windows 10/8/7/XP/Vista. This is a tool that will enable you to do your conversion and editing at very fast speeds and will not lose any quality.
Drag and drop the MOV files that you want to use in the MOV to MKV conversion tool. You can also go to the main interface and click "Add Files", then select the files that you want.
You can edit the MOV files just like you would in The Mc version of this tool. Select "Merge all videos into one file" if you want the files to be converted into a single file. You can also trim them or clip them into several smaller files. Once you have made you selection, ensure that you have selected the MKV format in the output tray.
Click on the "Convert" button to start the final conversion. Your MOV files will be automatically converted to the MKV format. This powerful tool is easy to use.
This software can be used to convert MOV to MKV on Mac or even windows personal computers are probably one of the best MOV to MKV converter available in the market. It converts MOV to MKV without any form of quality loss. It also features a bunch of other tools aside from those used for conversion such as adding effects, cropping, trimming and so on.
• Fast conversion speed on any video file no matter how long.
• Has fewer video formats compared to some converters.
• As per user reviews, sometimes file size is reduced after conversion.
Aimersoft has proven to be worthy of being mentioned on the list of the best MOV to MKV converters. It is very quick to convert MOV to MKV for free. It also comes with an array of free video editing tools for users including adjusting brightness, trimming unwanted footage, adding watermarks and so on. It can also be used to burn unto a DVD disc.
• It has a very fast conversion rate.
• Quite an impressive list of video formats.
• Quality remains intact after conversion.
• Cannot stream converted videos.
• Sometimes hang during downloading.
Here is another impressive software to easily convert MOV to MKV on Mac and Windows. Leawo is a powerful and popular tool for its ability to not only convert video files but audio as well. It can also serve as a video download and can be used to burn files onto a disc.
• It has a user-friendly interface.
• Can convert both audio and video files.
• Supports major video formats.
• Has a few video formats it supports.
• To access advanced features you need to purchase.


Chris is a partner in our London office, with experience in commercial, civil and property litigation.
Advising on landlord and tenant matters and mortgage possession claims.
Chris is a member of the Property Litigation Association.
Outside of work, Chris enjoys cricket and tennis.
I always put the clients' needs first and seek to achieve a fair outcome in an often unfair system.


Dippach is a very small place in the region of Luxembourg in Luxembourg with a population of approximately 808 people and is one of the largest places in Luxembourg. Find all facts and information about Dippach.
Dippach is located in the region of Luxembourg. Luxembourg's capital Luxembourg (Luxembourg) is approximately 10.9 km / 6.8 mi away from Dippach (as the crow flies). The distance from Dippach to Luxembourg's capital Luxembourg (Luxembourg) is approximately 10.9 km / 6.8 mi (as the crow flies).
Maybe also interesting: Distances from Dippach to the largest places in Luxembourg.
Find your hotel in Dippach now. Book a hotel for your stay in Dippach.


Catt, Carrie Chapman. Carrie Chapman Catt Papers: General Correspondence, Circa 1890 to 1947; National Committee on the Cause and Cure of War . - 1947, 1890. Manuscript/Mixed Material. https://www.loc.gov/item/mss154040237/.
Catt, C. C. (1890) Carrie Chapman Catt Papers: General Correspondence, Circa 1890 to 1947; National Committee on the Cause and Cure of War . - 1947. [Manuscript/Mixed Material] Retrieved from the Library of Congress, https://www.loc.gov/item/mss154040237/.
Catt, Carrie Chapman. Carrie Chapman Catt Papers: General Correspondence, Circa 1890 to 1947; National Committee on the Cause and Cure of War . - 1947, 1890. Manuscript/Mixed Material. Retrieved from the Library of Congress, <www.loc.gov/item/mss154040237/>.


Winter can be a time of great fun. Many families enjoy the weather by skiing, snowboarding, ice skating and sledding. However, these activities can lead to injuries.
Winter can be a time of great fun. Many families enjoy the weather by skiing, snowboarding, ice skating and sledding. However, these activities can lead to injuries. Following a few safety tips can help you and your family have a fun and safe winter.
Winter sports such as skiing, snowboarding, ice skating, and sledding can be fun, but dangerous. Falls or crashes can cause cuts and bruises, broken bones, and brain injuries.
Sleds can reach speeds of 25 miles per hour.
Frozen bodies of water can have thin patches that can break when someone stands on them. This can lead to falling through the ice.
Dress warmly. Wear a winter coat, hat and gloves, and slip-resistant snow boots.
If skiing, snowboarding, snowmobiling, ice skating, or sledding, make sure to wear a helmet to prevent a brain injury.
There are special helmets made for skiing, snowboarding, and snowmobiling. For ice skating or sledding, a multi-sport or bicycle helmet would be a good option if a ski helmet is not available.
Use knee and elbow pads when ice skating.
Goggles are important when skiing, snowboarding, or snowmobiling.
Snowboarders should wear gloves with wrist guards.
Sledding: Children younger than 5 years should only sled with an adult.
Snowboarding: The American Academy of Pediatrics (AAP) recommends that only children 7 years or older snowboard.
Snowmobiling: The AAP also says that only children 6 years or older should ride on snowmobiles. Children should be 16 years or older to operate a snowmobile.
Avoid sledding in areas with trees, fences, ponds, and light poles. Do not sled in or near the street.
Only one person should ride on a sled, unless an adult is riding with a young child.
Always sled sitting up and facing forward. Never sled head first.
Steerable sleds are safer than snow disks or inner tubes.
Ice skate in designated skating areas. Never skate on river ice or ice that has thawed and refrozen.