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E for Excellence
Alumni Honour Roll
The Edwards School of Business is proud to share the accomplishments of our outstanding alumni. These achievements below represent only a small sampling of the many accomplishments of Edwards alumni across the world.
How do YOU make the Edwards Community proud? If you have an update you would like to share about yourself or a fellow alumni who should be recognized, please contact us. We want to celebrate your successes!
Email an update
2020 - 2021 Alumni Achievements and Updates
Ms. Erika D. Kubik, CPA, CA, (MPAcc 2009) was named Partner at Affirm LLP in Calgary.
Mr. Travis J. Low (B.Comm. 2010) was a co-recipient of the SABEX Marketing Award for Blue Moose Media.
Mr. Ricky Forbes (B.Comm. 2010) was a co-recipient of the SABEX Marketing Award for Blue Moose Media.
Dr. Vince Bruni-Bossio (Ph.D.) (MBA 2010) completed his Doctor of Philosophy in Public Policy at the University of Saskatchewan in 2021.
Mr. Anto Pazhani (MBA 2011) started a new position as a Service Line Executive at Amplify Advisors.
Ms. Amber Johnson (B.Comm. 2011) was appointed Director of Marketing & Communications at Saskatchewan Pulse Growers.
Dr. Christopher M. Bertsch (B.Sc. 2011, B.Comm. 2014) received the AFP Saskatoon Chapter Youth in Philanthropy Award in 2019.
Ms. Karissa M. Kelln (B.Comm. 2011, JD 2016) started a new position as an Associate at Harper Grey LLP in 2019.
Mr. Derek Gross (B.Comm. 1996, MBA 2011) was appointed Acting President and CEO of Canpotex Limited in 2019 and is now back as SVP, Finance and Strategy.
Ms. Erin L. Holm (MBA 2012) started a new position as a Marketing Specialist with the Government of Yukon.
Mr. Adam E. Stewart (B.Comm. 2012) was named Vice President of Savills Canada in 2019.
Ms. Seema Grover, CPA (B.Comm. 2012, MPAcc 2013) started a new position as Manager at the Siegfried Group in 2020.
Ms. Monique Wismer (MBA 2013) was named Partner and Director of Sustainability and Social Responsibility at Trace Associates Inc.
Ms. Tara M. Tse (B.Sc. 2013, MBA 2019) founded Grow Personal Development Services Ltd. She also started a new position as the Recreation Coordinator at Stswecem'c Xgat'tem First Nation.
Mr. Shawn P. Rempel (MBA 2014) was elected to the Triathlon Canada Board of Directors in 2019.
Mr. Adam Slobodzian (B.Comm. 2014, M.Sc. Marketing 2017) was accepted into the Marketing Ph.D. program at the Stephen J.R. Smith School of Business at Queen's University, Kingston, Canada.
Ms. Kelly C. Bonneau, CPA (B.Comm. 2014, MPAcc 2016) started a new position as Director of Accounting at 7shifts.
Mr. Suryadeep Singh Bhangu (MBA 2015) joined Innovation Credit Union as a Consumer Advisor.
Ms. Meagan N. Barabash (B.Comm. 2016) received the YWCA Women of Distinction 29 and Under Award in 2020.
Mrs. Rawia Ahmed (MBA, 2016) completed her Ph.D. in Business Administration from the R1 University of Texas at El Paso and is currently working as an Assistant Professor of Management at Zayed University, Abu Dhabi, United Arab of Emirates.
Mr. David Pratt, CPA (MPAcc 2016) started a new position as the Corporate Development Manager at Radicle.
Mr. Brandon A. Spink (B.Comm. 2016, B.Sc. 2019) placed first in the 2019 Med.Hack(+) Competition and received the First Penguin Award and was awarded the 2020 Joule Innovation Grant in the Emerging Physician Innovator category.
Ms. Anna Tavares (B.Comm. 2017) started a new position as Vice President of Strategy at Vendasta.
Mrs. Brenley Kroeker (B.Comm. 2017) was elected to the Saskatchewan Professional Marketing Association Board of Directors for a one-year term.
Mr. Andrew C. Hodson, CPA (B.Comm. 2016, MPAcc 2017) started a new position at Vendasta as the Manager of Finance.
Mr. Trevor White, CPA (MPAcc 2017) joined the Board of Vancouver Street Soccer League and became the Controller at Native Shoes.
Ms. Jane Caulfield (M.Sc. 2018) was accepted into the Strategic Communication Ph.D. program at the University of Colorado, Boulder, College of Media, Communication, and Information.
Ms. Sophie Kokott (B.Comm. 2018) was recognized as a CBC Saskatchewan Future 40 recipient in 2020.
Ms. Sameena Kamdar, CPA (MPAcc 2018) started a new position as the Assistant Controller at Thinkific in 2020 and joined the Board of Directors for the BC Chapter of Young Women in Business.
Miss Sabrina Rai, CPA (MPAcc 2018) joined the accounting faculty at Kwantlen Polytechnic and started a new position as an Adjunct Professor at UBC Sauder School of Business.
Mr. Daniel M. Henderson (MBA 2019) started a new position as a Senior Human Resource Business Analyst at the Government of Northwest Territories.
Mr. Nicholas E. Summach (B.Comm. 2019) was drafted to CFL's Edmonton Eskimos in 2020.
Ms. Mikaila L. Ortynsky (B.Comm. 2020) was accepted into the Masters of Science Program in Management at the Memorial University of Newfoundland.
Miss Aliya Rota, CPA (MPAcc 2020) was appointed to the board of the Health Arts Society of Alberta (HASA).
Mr. Corey J. Tochor, MP (B.Comm. 2000) was elected to the Government of Canada as Member of Parliament for the Saskatoon University constituency in 2019.
Mr. Alex Cruder (B.Comm. 2002) received the SABEX New Business Venture Award for Curbie.
Mrs. Kathryn L. Bankowski, CPA, CA (B.Comm. 2002) was appointed to the Remai Modern Board of Directors in 2019.
Ms. Betty Nippi-Albright, MLA (CIBA 2002) was elected to the Government of Saskatchewan as Member of Legislative Assembly for the Saskatoon Centre constituency in 2020.
Ms. Tara A. Janzen (B.Comm. 2005) started a new position as Director of Development at Remai Modern in 2021.
Ms. Andrea D. Harris, CPA, CA, CBV (B.Comm. 2008) was named Partner at Buckberger Baerg & Partners LLP in 2020.
Mr. Kieran Kobitz (B.Comm. 2008) joined the Board of Directors for the International Association of Business Communicators, Saskatoon Chapter in 2020.
Mr. Chris A. Frank, CPA, CA (B.Comm. 2008) was named Partner at Buckberger Baerg & Partners LLP in 2020.
Mr. Mark Feader (B.Comm. 2008) became Managing Vice President for the Saskatchewan Region, BFL Canada in 2020.
Mr. Brad Vermeersch (B.Comm. 2009) was named Partner at Lax O'Sullivan Lisus Gottlieb LLP in 2021.
Chief Darcy M. Bear (BAC, 2009 and Honorary JD 2014) became a member of the Order of Canada in 2020.
Ms. Sheri L. Willick (BUSADM 2006) was named Chairperson-Elect, Saskatchewan Realtors Association 2020 Board of Directors and received the CMHC Saskatoon & Region Association of Realtors 2019 Realtor of the Year Award.
Chantel M. Houle (B.Comm. 2007, MBA 2010) started a new position as the Director, Shared Services at the University of Saskatchewan.
Mark R. Thompson (B.Comm. 2007) was recognized as one of the 2020 recipients of Canada's Top 40 Under 40 award.
Mr. Tony Bidulka (B.A., 1983, B.Comm. 1991, B.Ed. 1991) received the University of Saskatchewan Arts & Science Alumni of Influence award for 2020.
Mr. Doran N. Oancia (B.Comm. 1992) started a new position as Chief Executive Officer at Chemex Global in 2019.
Mr. Randy C. Hoback, MP (BUSADM 1992) was re-elected to the Government of Canada as Member of Parliament for the Prince Albert constituency in 2019.
Mr. Greg T. Rouault (B.Comm. 1994) joined the Faculty of Commercial Sciences at Hiroshima Shudo University, as an Associate Professor in 2019.
Mr. Murad F. Al-Katib, S.O.M., ICD.D (B.Comm. 1994, JD 2017) was announced the Globe and Mail 2020 CEO of the Year.
Mr. Ken A. Seitz (BSA 1991, B.E. 1996, MBA 1999) was appointed Executive Vice President and CEO of Potash at Nutrien.
Ms. Sherri L. Evers (B.Comm. 1998) was named Vice President of Commercial and Corporate Development at Imperial Oil Limited.
Mr. Troy Davies (HOSADM 1999) was elected as a City of Saskatoon Councillor for Ward 4 in 2020.
Mr. Mark J. Lang, CPA (B.Comm. 1981) received a Fellow of the Chartered Professional Accountants (FCPA) designation in 2019 and joined the University of Regina's, Board of Governors in 2020.
Ms. Bev Dubois (BUSADM 1981) was elected as a City of Saskatoon Councillor for Ward 9 in 2020.
Mr. Gary K. Anderson (B.Comm. 1982) was inducted into the Manitoba Chapter of the Canadian Manufacturers & Exporters Hall of Fame in 2019.
Mr. Roger Arnold (B.Comm. 1982, LL.B. 1985) received the AFP Saskatoon Chapter Honoured Supporter Award in 2019.
Mr. Cliff Wiegers (B.Comm. 1983) received the SABEX Community Involvement Award for Wiegers Financial & Benefits.
Ms. Margaret A. McKenzie, CPA (B.Comm. 1983) joined the Board of Directors for the Canadian National Railway in 2020.
Mr. Brent A. Hesje (B.Comm. 1985) received the Edmonton Chamber of Commerce Northern Lights Award of Distinction and was inducted into the Tire Industry Association Hall of Fame in 2019.
Mr. Marlin Stangeland (B.Comm. 1988) received the SABEX Business of the Year, Growth & Expansion Award for Shercom Industries.
Mr. Bradley D. Redekopp, CPA, CA, CMA, MP (B.Comm. 1988) was elected to the Government of Canada as Member of Parliament for the Saskatoon West Constituency in 2019.
Ms. Noralee M. Bradley (B.Comm. 1989, L.L.B. 1990) was appointed Executive Vice President and Chief Legal Officer at Nutrien.
Mr. Gregg Parchomchuk (B.Comm. 1992, B.A. 1989) was appointed as the Finance and Administration Manager for the Department of Psychiatry at the University of Saskatchewan.
Mr. Robert D. Gordon (B.Comm. 1970) received the University of Saskatchewan Alumni Achievement Award in 2019.
Mr. Arnie L. Shaw, CPA, CA, CMC (B.Comm. 1971) was the recipient of the 2019 Saskatoon B'nai Brith "We Are Proud of You Award."
The Honourable Brent Cotter (B.Comm. 1971, LL.B. 1974, LL.M. 1979) was elected Senator in the Government of Canada in 2020.
Mr. Gord Haddock (B.Comm. 1972) was a co-recipient of the Above and Beyond Award from the Raj Manek Foundation. He was also inducted into the SABEX Hall of Fame for the Gordon and Maureen Haddock, Trek 2000 Corporation.
Mr. Wally W. Mah (B.Comm. 1974) was the co-recipient of the 2019 ABEX Community Leaders of the Year Award.
Mr. Wayne Brownlee (B.Sc. 1975, MBA 1977) received the University of Saskatchewan Alumni Lifetime Achievement Award in 2021.
Mrs. Colleen M. Mah (B.Comm. 1976) was the co-recipient of the 2019 ABEX Community Leaders of the Year Award.
Ms. Shelley Brown, C.M., FCPA, FCA, ICD.D (B.Comm. 1978) was appointed to the Board of Directors at Stantec Ltd., Inter Pipeline Ltd., and NorZinc Ltd.
Mr. Evan Ortynsky (B.Comm. 1979) was recognized as the Business Leader of the Year by the Yorkton Chamber of Commerce.
Mr. Art T. Wakabayashi, C.M., S.O.M. (B.Comm., B.A. 1953) received an Honorary Doctor of Laws at the University of Regina 2019 Convocation.
Mr. Merlis M. Belsher, FCPA, FCA (B.Comm. 1957, L.LB. 1963, L.LD. 2018) was appointed to the Queen's Counsel in 2019.
Ms. Stephanie Hughes (MBA 2010) was named Vice President at DCG Philanthropic Services Inc.
Mr. Kaili Xu (MBA 2014) was named Director of the Trico Foundation Social Entrepreneurship Centre at Haskayne School of Business and Director of Student Success at Haskayne School of Business.
Mr. Nolan Proctor, CPA (MPAcc 2016) co-founded and was named partner at Grassland Group, Chartered Professional Accountants.
Ms. Jocelyn Rodgers, CPA (MPAcc 2016) co-founded and was named partner at Grassland Group, Chartered Professional Accountants.
Ms. Kendra Wack (MBA 2017) was named Managing Partner at Unity Dental.
Mr. Lincoln Lu (M.Sc. Marketing 2018) was accepted into the Advertising PhD program at the University of Florida, College of Journalism and Communications.
Ms. Nicole Matsalla (B.Comm. 2018) was named one of Future Good's 21 Canadian Youth Reshaping Governance for 2019. She also received the UCC National Youth Leadership Award of Excellence.
Mr. Cameron Choquette, PSGov (B.Comm. 2019) was appointed Executive Officer of the Saskatchewan Landlord Association. He was also named one of Future Good's 21 Youth Reshaping Governance in 2019.
Ms. Kelsey Murphy (B.Comm. 2019) was named Executive Director of the Princess Shop.
Mr. Shawn Rempel (MBA 2014) was elected to the Triathlon Canada Board of Directors in 2019.
Mr. Brandon Spink (B.Comm. 2016) placed first in the 2019 Med.Hack(+) Competition and received the First Penguin Award.
Ms. Brooke Klassen (B.Comm. 2003, MBA 2011) was appointed Assistant Professor in the Department of Management and Marketing at the Edwards School of Business.
Mrs. Erica Smith, CPA, CA (B.Comm. 2003) received the KBH Facilitator Award from CPA Western School of Business.
Ms.CeCe Baptiste, CPA, CMA (B.Comm. 2004, CIBA 2002) was appointed Acting Vice President, Finance at Saskatchewan Indian Institute of Technologies, and elected to the Greater Saskatoon Chamber of Commerce Board of Directors.
Mr. Nathan Glubish (B.Comm. 2004) was elected to the Government of Alberta as Member of the Legislative Assembly (MLA) - Strathcona-Sherwood Park constituency..
Ms. Ashala Jacobson (B.Comm. 2004, MBA 2011) was appointed Senior Director, College Development at the University of Saskatchewan.
Mr. Theo Gonari, CPA, CA (B.Comm. 2007) was named partner at Virtus Group LLP.
Mr. Nathan Risling (B.Comm. 2008, MBA 2018) was named Director, Strategy at Saskatchewan Polytechnic.
Mrs. Jacqueline Zabolotney (B.Comm. 2008, MBA 2014) was named Director of Undergraduate & Certificate Programs at the Edwards School of Business.
Mr. Shannon Briske (B.Comm. 2001) received the Award of Recognition at the 2019 Huskies Off the Leash luncheon.
Ms. Sherri Willick (BUSADM 2006) was named Chairperson-Elect, Saskatchewan REALTORS® Association 2020 Board of Directors and received the CMHC Saskatoon & Region Association of REALTORS® 2019 REALTOR® of the Year Award.
Chantel Houle (B.Comm. 2007, MBA 2010) was appointed Director, Shared Services at the University of Saskatchewan.
(B.Comm. 2007) Mark Thompson was named as one of the 2020 recipients of Canada's Top 40 Under 40® award.
Mr. Anthony Bidulka (B.Comm. 1991) was named a USask Arts & Science Alumni of Influence for 2020.
Mr. Gregg Parchomchuk (B.Comm. 1992, B.A.(Hons.) 1989) was appointed as the Finance & Administration Manager for the Department of Psychiatry at the University of Saskatchewan.
Ken Seitz (MBA 1999) was appointed Executive Vice President and CEO of Potash at Nutrien.
Mr. Brent Hesje (B.Comm. 1985) was inducted into the Tire Industry Association Hall of Fame in 2019 and received the Edmonton Chamber of Commerce Northern Lights Distinction Award in 2019.
The Honourable Brad Redekopp, CPA, CA, CMA (B.Comm. 1988) was elected as Member of Parliament for the Saskatoon West Constituency.
Ms. Noralee Bradley (B.Comm. 1989, LLB 1990) was appointed Executive Vice President and Chief Legal Officer at Nutrien.
Mr. Arnie L. Shaw, CPA, CA, CMC (B.Comm. 1971) was the recipient of the 2019 B'nai Brith "We're Proud of You Award"
Mr. Walter Mah (B.Comm. 1974) was the co-recipient of the 2019 ABEX Community Leaders of the Year Award.
Mrs. Colleen Mah (B.Comm. 1976) was the co-recipient of the 2019 ABEX Community Leaders of the Year Award.
Mr. Jack Neumann (B.Comm. 1969) was inducted into the Canada West Hall of Fame.
Mr. Art Wakabayashi C.M., S.O.M. (B.Comm. 1953) received an Honorary Doctor of Laws at the University of Regina 2019 Convocation.

redpajama_set_name: RedPajamaCommonCrawl


At Spirituality Liverpool we appreciate the power of music and its role in sacred practices including worship, chant, awakening and healing through sound. Jazz is just one of the genres of music that can hold and convey the sacred dimension is especially interesting because of its degrees of spontaneity and improvisation.
An aspect of spirituality is responsiveness to a moment-by-moment awakened awareness of the divine. Of course this can be described in various ways depending on culture and tradition. In the Christian tradition one of the key transitions that it seems Jesus both lived and taught is the transition from a fixed law and belief way of life to one that is more responsive and dynamic to the Spirit. Here "the Spirit" is that dynamic mysterious creative Presence of God described by Jesus as being like a wind. The way of the wind (and fire!) was experienced (according to Luke in Acts) by the disciples as they gathered to wait at what is now called 'Pentecost'. It brought about creative transformations as people experienced the divine for themselves and saw its repercussions in opening up communication and understanding between diverse peoples. And they sang – music was involved. One can imagine the spontaneous ecstatic singing in the flow of these experiences.
Jazz has this component to it, the sacred dimension, the way of the wind. Of course jazz can be many other things too but it holds this as a possibility.
One contemporary example of jazz that explores hits sacred dimension is the music of Norwegian pianist Tord Gustavsen. His latest album is What Was Said, played as a trio featuring Afghan-German singer Simin Tander and fellow countryman Jarle Vespestad on drums. Exploring an alchemic blend of Sufi and Christian sacred hymns, Norwegian folk songs and seminal American Beat poetry, interwoven with subtle electronics and jazz improvisation, it's Gustavsen's most bewitchingly beautiful work to date. His earlier works too have a strong spiritual quality and if you hear him live you can feel the palpable spiritual quality to the performance; the music is mystically divine.
Tord Gustavsen is on an extensive tour with his current trio in 2016 and is in the UK during March.


Hello, My car has dropped from the normal 22 mpg to anywhere from 16 or 18 mpg depending on the day. My check engine light is on, and my gascap light is on. However I have tightened the cap and it doesn't appear to be damaged or anything. I am over the 36k warranty (40k miles), so it will be $115 for the dealer to "diagnose". My main question is I need to go out of town tomorrow, just 3 hours away. My car seems to run fine. Is this something I can deal with when I get back? Thank you.


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8. Will khula? solve the divorce problems of Copts?
7. Will the Egyptian Church accept khula??
[Khul'' is wife?s request for divorce in return for the dowry and gifts she had received from him].
Adel Youssef, a lawyer, said that he expected that the court would agree to divorce actress Hala Sidqi from her husband because he follows a different denomination from hers, which means that their case can be examined according to the personal status law of the Muslims.
68. Does Christianity call for violence and is reason absent from it?
Father Nasīf writes in response to Dr. Ahmad al-Tayyīb, the former muftī of Egypt, who accused Christianity of being a religion that calls for violence and where reason is absent.
The secretary of the late Archbishop Gregorius says there were no differences in faith-related issues between the late clergyman and Pope Shenouda III of Alexandria, but there were different views between the two over issues that were not considered crucial.
43. Conference war breaks out between church… and laymen and Maximus enter the salon!
The author notes that the recent conference on orthodox doctrine has sparked a "conference war" between the mother Orthodox Church, laymen and Max Michel.
Pilgrimage and Coptic divorce were amongst the top issues discussed by Pope Shenouda in his last Wednesday meeting.
Michael 'Ādil looks back on the main events of the year for the Coptic Orthodox Church.


It is not bad enough yet?
8/29/14: "It is not bad enough yet." Really? This philosophy is prevalent in our culture. It is most obvious in the world view of the present President of the United State of America. However this perspective prevails in all walks of American life.
One aspect I am familiar with is the medical profession. There has been a constant eroding of their authority while increasing their responsibility. There has been a decreasing of their incomes by federal regulation while increasing demands upon their services by regulation; i.e. ICD-10 coding. Yet the prevailing view is that it is not bad enough yet to take any initiative. Not bad enough yet?
Let us look at Detroit, the Motor City. This erosion started more than 70 years ago, when my father who worked for a non union company came home and said "The unions won again! Another company moved out of Detroit". It was not bad enough yet at that time.
So let us examine our lives for the issues that are "not bad enough yet" so we take initiative before it is bad, intolerable, and too late to do something.
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Living in Florida, sunglasses are a must year round but especially in the summer when the sun is blazingly bright. A few months ago, I had purchased a pair of prescription sunglasses and paid over $300. Not long after that, the sunglasses fell out of my beach bag and were lost on a boating trip. I was so disappointed and vowed never to pay that much again for sunglasses.
Thankfully, 39DollarGlasses.com has discount sunglasses (and eyeglasses) that are very stylish and extremely affordable. Touted as the World's #1 Online Optical Store™, 39DollarGlasses.com has a huge selection of eyeglasses and sunglasses for men, women and children. With lots of styles starting at only $39 it is a very affordable option.
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I have had wonderful experiences purchasing prescription eyeglasses online, so I decided to get a pair of sunglasses from 39DollarGlasses.com. I like that it is very easy to browse the selection available on the website and the sunglasses can be viewed by preference such as metal, plastic, rimless, or bendable titanium. It was so hard to choose from all of the fabulous styles but I ultimately selected the Sofia Sunglasses.
I was thrilled that the Sofia prescription sunglasses are so affordable at only $53.95. This includes the frame with tinted Rx lenses, UV & scratch coatings and polished edges. I selected "black" for the frames out of the available colors including blue or brown. I particularly like that each pair of glasses notes the sizes because I was easily able to pick out a frame size similar to my previous pair which was very flattering for my face shape. You can even print out an actual size picture of the glasses to make sure it is exactly what you are looking for. You can also customize your lenses and I was able to upgrade to Tinted Polycarbonate High Index Sun Lenses for only $10 extra. It was simple to enter my prescription and customer service is always available to help if you have any questions.
I couldn't wait for my sunglasses to arrive from 39DollarGlasses.com. Even though I have ordered eyeglasses online successfully in the past, there is always a bit of apprehension wondering if the new sunglasses will be the right fit. When my new sunglasses arrived, I was thrilled! The Sofia style was even more flattering than I anticipated and I love the style details on the frame that make these sunglasses "pop." The fit was very comfortable and the prescription was perfect. My new sunglasses are durable and offer very nice protection from the sun's rays. No more squinting and fine wrinkles for me from the sun!
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Love the Fiji in Brown!
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team@timetrapescaperooms.com
About Us – Our History
OF REBELLION – 1136
You've experienced Rebellion, now take a look at why we chose this time period, how the design process works, and the build out.
Why did we choose to send you back to 1136?
Embarking on designing a new game is one of the most exciting stages of running TimeTrap. It starts with deciding the theme of the room and, therefore, the background story of the game, and as we're a time travelling facility, this means choosing our next time period!
As we started off doing pop-up games, we were guided into choosing our time periods by the spaces we were offered. Our first pop-up game was in the basement of the bar, The Purple Turtle, and if you're familiar with the decor of that particular establishment, you'll know that we had to choose a Medieval dungeon theme for that game. Having bought all the props and designed the puzzles around that theme, it seemed silly not to reestablish the game when we moved to our permanent home. However, in the nearly 11 months between the closure of that first pop-up game and the opening of the new game at our permanent home, we grew as a company, and felt that the first game was no longer of a good enough standard and needed adapting.
We wanted to make the storyline something more serious and meaningful while still being able to use our Medieval props. We had also introduced our character, Professor Potch, the creator of our time warps – so we couldn't keep the theme of the first game, which was mythical, revolving around a sorcerer, as that didn't fit in with the serious business of time travel! So we set about brainstorming a new storyline. Andrew was aware of the fact that King Henry I is believed to be buried in Reading Abbey and, at the time, the Reading Abbey restoration project was taking place, ready for a grand re-opening in 2017. We concluded that we'd like to do a game revolving around something that is a part of local history and so we set about researching the era.
Our research led us to 1136, the year after the death of Henry I, when his daughter, the Empress Matilda, whom he had named as his heir, was entering into conflict with her cousin, Stephen of Blois, who was trying to take the crown for his own. We felt this was a nice nod to Reading as well as lending itself to an interesting back story for an escape room. We introduced our future players into the scenario as rebels fighting on the side of Matilda on a mission to infiltrate Stephen's castle and steal the crown back for its rightful owner. Escape rooms are lacking in female characters as protagonists to their storylines and we wanted ours to include a strong female figure. The period we take you back to in Rebellion, known as the Anarchy, is incidentally also the basis for the series 'Game of Thrones', hence our little nods to Game of Thrones characters in our game.
The Design Process of Rebellion
After we'd established this storyline, we went back to the design of our pop-up game and looked at how much of it we could adapt into the new game. The result was just two puzzles. This is because we don't force puzzle into storylines, we let the story dictate the puzzles – its actually an easier way to find inspiration. Imagining the setting, the items and objects that would be found there, and the events that would happen to the scene and characters in it, allows you something to base your first thoughts on. Instead of working on a blank canvas that requires you to invent ideas for puzzles from the infinite depths of your mind, it gives you an initial stimulation that helps focus your designing and ensures the resulting puzzle fits the theme.
The castle scene was, admittedly, more difficult, as castles were actually rather bare due to the fact that even rich people didn't have much stuff in 1136. But researching through objects and situations that did crop up in those days led us to compile a cohort of puzzles, only two of which transferred from Medieval Game #1. These were: the code hidden in the mid-way-through game of Othello and the table featuring compass directions to solve the sums, as both Othello and the use of compasses were present in our year of 1136 and would have had a place within a castle at that time. The additional puzzles from that game were either not good enough or just didn't fit anywhere in the new storyline.
Other puzzles are based around a variety of inspirational directions. The prominence of battles at the time, particularly the amount fought between Stephen and Matilda, created a puzzle based around Stephen and his head commander compiling a battle plan to ensure they would beat Matilda's oncoming army. The weapons used are authentic weapons from the period. Another puzzle uses the popularity of the drink 'mead' to form a cross-referencing/sorting puzzle based around stereotypes from the period, such as 'distressed damsels' and 'black knights'. As well as maintaining historical accuracy where possible, we also felt it was important to create a Medieval setting that was true to what people think the Medieval period was like, rather than risk reducing the immersion and enjoyment by forcing a completely true version of history. Sometimes its necessary to take poetic license to maintain the fun and tongue-in-cheek nature that is at the heart of all escape rooms. Another example of this is the sign inside the hidden floorboard compartment telling players to 'Replace Ye Olde Floorboard'. This was necessary to avoid broken ankles, but by instructing in the stereotypical 'Olde English' we all recognise, we bring a chuckle to teams (we hope) rather than breaking immersion with a sign that is clearly written by us, reminding players that they aren't actually on a time travelling mission.
However there are many things about the game that are fully-researched truths – even the names of the allies on the map are based on real people found through meticulous research which was probably really not necessary! In fact this can cause more trouble than if they had been made-up, as historical aristocrats tended to have a title which gave them the name of a particular area, but then live in lands in a totally different part of the country. This leads to, for example, Guy, Earl of Devon actually living in lands in Norfolk. True to history but misleading players into trying to place Guy into a residence in Devon on the map. A modern example of this would be many members of the royal family – Charles, Prince of Wales, doesn't live in Wales, neither do William and Kate, Duke and Duchess of Cambridge, live in Cambridge…
Building a Medieval Castle
We also try to maintain immersion with the aesthetics of our environment and props, opting for chunky, real-feeling objects. Our crown is a solid, weighty metal creation, not a bendable tin replica. Our sword, while not metal for safety, is a wooden, artistically manipulated construct, which resembles an original more convincingly than a hollow, plastic toy. Even our mead bottles, as they could not be glass, are turned in wood – something that was very difficult to find and resulted in us commissioning them from a carpenter in America, along with the handmade daggers. For anything that needs to be written down, we use rice paper made the authentic way or (faux) suede cloth, and our signs are painted onto wood – no laminated notes or marker pens! We even take care to choose fonts that are in keeping with the Medieval aesthetic.
As mentioned, we reused a lot of the props from our pop-up game but also had to source a number of others to facilitate the new flow of puzzles that had been designed. This included things as large as constructing a built-in fireplace pulley system and hunting down a large throne that travelled from Newcastle by courier, to finding an affordable whole suit of armour and a period-looking game of Othello.
The white walls you saw in Rebellion were made using a material they would have actually had access to in Medieval times, lime powder. We used this to mask the not-so-lovely woodchip wallpaper. It took quite a few layers and a few solid days of work to achieve the look we wanted.
Our stone walls in Rebellion were individually hand crafted using that other popular Medieval building material, Polyfilla. We could have saved ourselves a lot of time by doing what most would have done and used stone effect wallpaper but this wouldn't have give the same texture or shadowing as this method.
A table we purchased for £26 came to be deconstructed and used as several different props around the two rooms.
We used the table top as the large map, the 'master puzzle', in the first room. For this we copied the map of England onto the piece of wood and carved out the outlines of all of the counties, taking many hours. Once we play tested it, we found that the outlines were too hard to see in the dim light and had to paint over our carving anyway!
2. We used the legs of the table as our candleholders in the first room
3. We took the metal fixings and the sides of the table and made them into three shelves.
Not one bit of that table was chucked away!
The scales in the first room are a genuine metal detecting find, found in France and believed to be Roman. They work a dream though, and way better than anything modern we found. They don't make them like they used to, ey?!
And that is how Rebellion was created, from conception, design stage, all the way through to how we build the set and props within it. We hope you enjoyed reading all about it!
ENJOYED YOUR EXPERIENCE? EVERY REVIEW WE RECEIVE MEANS SO MUCH TO US – PLEASE TAKE THE TIME TO LEAVE ONE.
11 Friar Street, Reading, Berkshire RG1 1DB
Upper Floors, entrance accessed via Wiston Terrace
Open Monday - Sunday
Company Name: Amber Eye Ltd T/A TimeTrap Escape Rooms


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David and Victoria Beckham 'secretly flew to Miami to celebrate the New Year with Brooklyn's fiancé'
David and Victoria Beckham reportedly jetted off to Miami in secret to celebrate New Year's Eve with their son Brooklyn's fiancé Nicola Peltz and her family.
David Beckham and his wife Victoria reportedly flew off to Miami to celebrate New Year's Eve with their son Brooklyn's fiancé Nicola Peltz.
The pair allegedly flew out to the US with their kids by a private plane on Christmas Day in a bid to bypass breaking Prime Minister Boris Johnson's UK travel restrictions amid the ongoing coronavirus pandemic.
The fashion mogul, 46, and 45 year old former professional footballer as well as their children Brooklyn, 21, Romeo, 18, Cruz, 15, and nine year old Harper are said to have taken Covid-19 tests, which came out negative, before making the trip across the pond.
Victoria and David Beckham reportedly flew out to Miamia to spend NYE with Brooklyn's fiancé (Image: Victor Boyko/Getty Images)
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Brooklyn Beckham's heartache as he's forced to spend Christmas apart from fiancee Nicola Peltz
The family, who recently shared their annual festive family snap as they celebrated Christmas together, are said to have decided to extend their stay in Miami and homeschool their kids after England was plunged into it's third lockdown.
A source close to the Beckhams have told The Sun Online that they've done nothing wrong as they said: "David and Victoria had been planning this trip for months.
"David needed to be in Miami in January on Inter Miami duty because it's the start of the MLS pre-season, and he is helping recruit new players.''
An insider said they spent New Years Eve with Nicola Peltz's family (Image: Instagram/Nicola Peltz)
"He also hadn't been able to get there since last March due to restrictions so it was an important trip.
"After spending Christmas morning at their Cotswolds home – which was Tier Two at the time – they all took Covid Tests before safely flying from a local airport via private jet to Florida.
"Once in the US, Brooklyn was reunited with Nicola, and the two families spent some lovely quality time together."
The whole family are thought to have been tested for Covid-19 (Image: Instagram/ David Beckham)
22 celebrity mother and daughter lookalikes who look so similar you'll do a double take
They continued: "Unfortunately, and in a scenario beyond their control, since being Stateside, lockdown came into effect.
"As schools are not reopening as planned this week, the family will now stay in Miami longer with David as the children can do their schooling online from Miami, just as they would from home in UK.
"Clearly, it's probably a lot nicer in Miami than it is in grizzly, frozen Oxfordshire."
It's believed they will stay in Miami and homeschool their kids (Image: Getty)
The Beckhams
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Brooklyn Beckham's fiancée Nicola Peltz shares peek inside luxurious Christmas getaway
The source added that the family, who enjoyed a trip to Lapland UK over the Christmas break, have enjoyed spending more time together while abroad.
The said: "They're loving spending more time together as a family, even if it wasn't in the circumstances planned."
OK! online has approached both Victoria and David's representatives for further comment.


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What to Expect from Season Three of The Flash
October 12, 2016 · by hhsdial	· in Archive.	·
By: Amelia Antonucci
Source: (x)
Season three of this superhero show is set to premiere October 4th at 8 pm on the CW, which in Connecticut is WCCT. In case you have never seen the show, it stars Grant Gustin (known for his role as Sebastian Smythe on Glee) as The Flash and goes through his journey being the "Scarlet Speedster."
Seasons one and two both show Barry Allen (The Flash) dealing with the loss of his mother. Due to some developments that took place in the season two finale, the show may be going back to focusing on the aspect of what makes a family. Barry Allen was adopted because his mom was murdered and his father was taken to jail. He goes on to live with his friend's father, Joe West, who is played by Jesse L. Martin. While living with Joe, Barry falls in love with his daughter, Iris West, portrayed by Candice Patton. Iris and Barry become the main relationship of the series and have been dubbed Westallen by their fans.
The third season will focus on the development of their romantic relationship, as they finally admitted their feelings for each other in the previous season. It has also been revealed that the first episode of the new season is titled "Flashpoint" and will focus on the comic book arc of the same name. The official trailer for the upcoming season shows Barry dealing with the consequences of messing with the time stream and for the rest of his actions in the season two finale.
Along the way, Kid Flash is also introduced as the son of Joe and brother of Iris. During the summer, photos were released of actor Keiynan Lonsdale in his Kid Flash outfit.
As the Flashpoint storyline throws everything into chaos, Harry Potter's Tom Felton (AKA Malfoy) also joins the cast as Julian Dorn, a CSI agent who works with Barry and has suspicions about who he is. Matt Letscher will also be returning as the Reverse Flash, who was the main villain in season one. The return of the Reverse Flash will cause tensions to rise, leaving the writers with many directions for the show to go in.
Over the years, The CW has aired numerous superhero series. They currently have Supergirl on Mondays, The Flash on Tuesdays, Arrow on Wednesdays, and Legends of Tomorrow on Thursdays. Greg Berlanti, the producer of these shows, has confirmed two crossover episodes already. During December, there will be a mega-crossover between all 4 shows and a musical-crossover between The Flash and Supergirl around the eleventh episode of both shows. This season looks action packed and filled to the brim with excitement, and I'm looking forward to October 4th. If you are new to the show altogether, or want to introduce it to your friends, season one is currently on Netflix and season two arrives on October 4th.
Tags: Amelia Antonucci, flash, october, season 3, the flash
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Psychiatria: Przemysł Śmierci (ang. Psychiatry: An Industry of Death) – instytucja obejmująca muzeum zlokalizowane w Hollywood w Kalifornii oraz kilka wystaw przenośnych. Stanowi ona własność założonej przez Kościół Scjentologiczny organizacji Citizens Commission on Human Rights (CCHR). W jej powstaniu brał udział znany działacz antypsychiatryczny Thomas Szasz – sam będący psychiatrą. Działalność Psychiatrii: Przemysłu Śmierci polega na propagowaniu opartych na twórczości pisarza science fiction L. Rona Hubbarda poglądów scjentologicznych, według których psychiatria jest narzędziem wyzysku finansowego ludzi, a jej ostatecznym celem jest przejęcie władzy nad światem. Zgodnie z owymi poglądami szeroko akceptowane metody leczenia zaburzeń psychicznych stosowane w psychiatrii powinny zostać zastąpione praktykami scjentologicznymi, takimi jak audytowanie (ang. auditing) lub introspektywne podsumowywanie (ang. introspective rundown). Scjentologiczna krytyka psychiatrii głównie koncentruje się na metodach stosowanych w leczeniu zaburzeń psychicznych XIX wieku oraz w pierwszej połowie XX wieku, m.in. takich jak lobotomia, zabiegi elektrowstrząsowe. Krytyką tą są jednak objęte również metody farmakologiczne stosowane od lat 60. XX wieku po czasy obecne, m.in. stosowanie leków przeciwdepresyjnych czy też leków przeciwpsychotycznych. W muzeum Psychiatrii: Przemysłu Śmierci można także zobaczyć wystawy i ekspozycje przedstawiające kontrowersyjne i niepotwierdzone poglądy, takie jak:
 Psychiatrzy przeprowadzają długotrwały "plan generalny", którego celem jest zdobycie dominacji nad światem.
 Pewną rolę w tym planie miał Adolf Hitler ("żaden człowiek w historii nie grał tak widocznej roli w psychiatrycznym marzeniu o dominacji nad światem").
 Psychiatria odpowiada za śmierć takich postaci jak Ernest Hemingway, Del Shannon, Billie Holiday, Kurt Cobain, Spalding Gray i wielu innych.
 Siedemnaście milionów dzieci na całym świecie zażywa lekarstwa psychiatryczne, które doprowadzają do samobójstw, wrogości, przemocy i uzależnienia.
 Psychiatrzy corocznie mordują nawet do 10 000 osób przy pomocy terapii elektrowstrząsowej.
 Od 10 do 25 procent psychiatrów molestuje seksualnie swoich pacjentów, w tym dzieci.
 Psychiatrzy są odpowiedzialni za działania pilotów samobójców, którzy stali za atakami z 11 września (Piloci samobójcy to... zamachowcy stworzeni za pomocą lekarstw i psycho-politycznych metod. Staranne wpajanie i leczenie przy pomocy psychiatrii może sprawić, że nawet najbardziej barbarzyński czyn będzie wydawał się racjonalny.)

Otwarcie
Otwarciu muzeum Psychiatria: Przemysł Śmierci miało miejsce 21 grudnia 2005. W wydarzeniu tym wzięło udział wielu celebrytów należących do Kościoła, takich jak Priscilla Presley, Lisa Marie Presley, Jenna Elfman, Danny Masterson, Giovanni Ribisi, Leah Remini, Catherine Bell i Anne Archer.

Krytyka
Muzeum jest krytykowane za bardzo tendencyjne podejście do spraw, jakie przedstawia. Reporter Andrew Gumbel, który relacjonował galę z otwarcia muzeum dla magazynu "Los Angeles CityBeat", opisał jak publicystka CCHR Marla Filidei próbowała wdać się z nim w debatę na temat zgubnych skutków stosowania psychiatrii:

DVD
W 2006 roku Kościół Scjentologów wydał w formie płyty DVD film dokumentalny pt. "Psychiatria: Przemysł Śmierci". Kościół opisuje go w następujący sposób: "Dzięki historycznym i współczesnym materiałom filmowym i wywiadom z ponad 160 lekarzami, prawnikami, wykładowcami, ekspertami i z ludźmi ocalałymi z przemysłu zdrowia psychicznego i jego nadużyć, ten przykuwający uwagę film dokumentalny rzuca jasne światło prawdy na brutalną pseudonaukę i wielomiliardowe oszustwo, jakim jest psychiatria."

Wystawa podczas Worldcon 2006

Podczas konwentu miłośników fantastyki Worldcon, który miał miejsce w Anaheim w Kalifornii w 2006, w muzeum można było zobaczyć wystawę, na której przedstawiono eksponaty popierające kontrowersyjne poglądy CCHR na temat psychiatrii.

Przypisy

Linki zewnętrzne

 Komunikat prasowy CCHR
 Relacja stacji CNN z otwarcia muzeum

Muzea w Kalifornii
Scjentologia
Los Angeles

redpajama_set_name: RedPajamaWikipedia


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Into a Silent Universe
November 18, 2019 · by michael james	· in Ballard, Colebrook, Deleuze, Fisher, Marks, Thacker.	·
"The world is increasingly unthinkable – a world of planetary disasters, emerging pandemics, tectonic shifts, strange weather, oil-drenched seascapes, and the furtive, always-looming threat of extinction." – Eugene Thacker (2011)
In order to continue in earnest the work of perpetually re-thinking worlds in all their unthinkable-ness I've been collecting and re-posting a lot of great writing from others, often without their permission. I hope they aren't offended.
My reasoning for this thievery is two fold: 1) to promote the kinds of questions and themes I feel are necessary in confronting this rapidly darkening age of planetary heating; and 2) to personally revisit these writing for dissection and salvaging.
Now that my activist life is a little more manageable, as organizing season is moving into a calm (yes, before several more storms), I'm hoping to have more opportunities for reading and theorizing – ultimately to inform said organizing. Maybe such activities will result in a few new fragments.
The essay below is another example of a powerful mind semiotically adapting to the sublime ontoshock that follows from encountering, both within and along side, the wild inhuman forces that animate the present. Such as it is living through "an apocalypse without revelation".
Gregory Marks, is a PhD student writing on Thomas Pynchon and the Posthuman Gothic. Read everything he writes – including his prodigious Twittering (@TheWastedWorld)
Into a Silent Universe: The Sublime and the Eerie in Byron and Ballard
By Gregory Marks
Extinction is no longer news: everywhere stories abound of a humanity on the brink of collapse. No longer relegated to the distant reaches of deep time or the arcane will of a deity, the end of humanity is now increasingly lived and felt as an ongoing process. The countdown to global tipping points are not measured in the millions or billions of years, but by the decade—and even as the timescale of catastrophe contracts to the span of a human life, the mass of processes, actors, and systems leading into this disaster become inconceivably more complex. In the words of the philosopher of horror Eugene Thacker:
"The world is increasingly unthinkable – a world of planetary disasters, emerging pandemics, tectonic shifts, strange weather, oil-drenched seascapes, and the furtive, always-looming threat of extinction. […] To confront this idea is to confront an absolute limit to our ability to comprehend the world in which we live and of which we are a part" (2011, 1).
The future, we are told, is not human, but posthuman: which is to say that we will no longer be able to recognise ourselves as ourselves as we drift further into a global order of ecological disaster. As N Katherine Hayles declares: "If human essence is freedom from the wills of others, the posthuman is 'post' not because it is necessarily unfree but because there is no a priori way to identify a self-will that can be clearly distinguished from an other-will" (1999, 4). In other words, we realise that the human subject was never truly separate from the material processes relegated to the exterior of humanity, and as the world outside ourselves becomes unthinkable, so too do we become indistinct within the background noise.
Despite its seeming archaicism in the face of a posthuman future, I contend that the genre conventions of the Gothic, and its formula of "negative aesthetics," are best suited to making sense of the catastrophe and decay which characterise that future (Botting 2014, 1). Just as the posthuman subject is structured around the human interior's loss of autonomy from what lies outside, Gothic fiction follows what Eve Kosofsky Sedgwick has identified as a "particular spatial model" structured around the tensions of fragile interiors under siege from dangerous and desirable outsides (1986, 12). This model of the Gothic as a conflict between "what's inside, what's outside, and what separates them" thus lends itself well to depicting the anxious position of the posthuman subject—whose unstable, human interior is infiltrated and overpowered by the vast outsides of nature and machinery (ibid.). To elaborate upon this intersection of the Gothic and the posthuman I will look closely at a pair of aesthetic categories typical of the Gothic, namely the sublime and the eerie, to locate within the Gothic style a nascent sense of posthumanity.
At its simplest, the sublime may be defined as the experience of that which "overwhelms the self with the idea of an overwhelming power" (Williams 1995, 76). In our confrontation with that thing which utterly surpasses us, our mental faculties are pushed into a mad scramble to comprehend what is before us. In this state of confusion, the sublime is constituted as "a contradiction experienced between the demands of reason and the power of imagination […] confronted with its limit by something which goes beyond it in all respects" (Deleuze 1984, 51). The goal of the sublime experience is then to surpass the limits of comprehension, as it forces us to reckon with that which lies outside ourselves and which floods the mind and senses with the "unrepresentable features of subjectivity and reality" (Peroikou 2017, 37).
How exactly this reckoning occurs, however, is not constant throughout the various historical manifestations of the sublime. For this reason, my discussion of the sublime will pass through three of its historical phases—the Romantic, the Gothic, and the Postmodern—assessing the state of the human subject and human reason within each. The persistence of the sublime over the past three hundred years, I argue, indicates a core of Gothic aesthetics within the heart of modernity, which in every incarnation also speaks to the imagination of extinction that haunts the modern world. The second aesthetic category of this paper, the eerie, is comparatively under-theorised but is nonetheless an essential component in the formulation of a properly posthuman aesthetics. Both the sublime and the eerie, I argue, are by their association with nonhuman and inhuman modes of cognition and perception explicit attempts to bring the power of what lies outside the human to the core of aesthetics. This transition from the Romantic sublime to the Gothic and from the Postmodern sublime to the eerie will be tracked through the analysis of two apocalyptic texts by Lord Byron and J G Ballard.
AESTHETIC APOTHEOSIS: The Romantic Sublime
In his seminal work on The Romantic Sublime, Thomas Weiskel proposes that "the essential claim of the sublime is that man can, in feeling and in speech, transcend the human, [although] what, if anything, lies beyond the human—God or the gods, the daemon or Nature—is matter for disagreement" (1976, 3). In short, the Romantic sublime functions as an aesthetic apotheosis, which draws the human mind upwards toward those things beyond itself. If in this language of transcendence we detect premonitions of current transhumanist claims about the supersession of humanity in a technological sublime, we should not mistake it for the basis of a truly posthuman aesthetics. The sublime in its Romantic form compels the human mind to rise above itself, but not necessarily to become something other than itself. In the Romantic sublime the observer experiences, in Kant's terms, "a momentary inhibition" which redoubles the powers of the mind upon their return to order (2000, 128).
This dynamic may be found in the most typically sublime of Romantic poetry, such as "Mont Blanc" by Percy Bysshe Shelley, in which the poet proclaims the majesty of "The everlasting universe of things" which "flows through the mind" and "governs thought" (1-2; 140). In the experience of Mont Blanc's sublimity, Shelley finds himself made subject to it, an epiphenomenon of an enormous and nonhuman power. In this moment, nature takes its place as sovereign of thought, but only for that moment. At the poem's end, when the sublime feeling crashes down from its crescendo, the perspective returns from the natural to the human, and a final question is posed to the mountain itself:
——what were thou, and earth, and stars, and sea,
If to the human mind's imaginings
Silence and solitude were vacancy? (142-4)
As much as the Romantic sublime decentres the human subject from its place of mastery, it depends upon it to ground the aesthetic experience. In Weiskel's terms, the "sublime response saves our humanity from 'humiliation,'" by incorporating a vast and threatening outside back into the bounds of the human subject in the form of a challenge to be overcome (1976, 95). The sublime in this sense contains a moment of contemplation of a world outside us and without us, which is then returned to a human perspective with the spoils. For all its language of transcending the human, the Romantic sublime ultimately reverts back to a sort of aesthetic tourism, which guides us in an awed state through the realms of the nonhuman and suprahuman only to return us safely to where we began: the human subject in all its mastery.
VOICE FROM THE CRYPT: The Gothic Sublime
If the Romantic sublime is essentially a limited sublime, which presents the enormity of nature as something to be imaginatively and intellectually conquered, what form might the sublime take in the failure of this conquest? Having admitted with Shelley that there exists a "secret strength of things / Which governs thought," we venture nearer to a Gothic sublime which eschews the primacy of human reason altogether (139-40). As Vijay Mishra has argued, while "the Romantic sublime, finally, has the triumphant [human] subject," the Gothic sublime is "the voice from the crypt that questions the power of reason [and] destabilizes the centrality of the ego" (1994, 38; 17). Although Weiskel is right to claim that "a humanist sublime is an oxymoron," only in the Romantic form is this true for reasons of transcendence (1976, 3). As we shall see, there is in the Gothic sublime a crucial turn from the anthropocentrism of the Romantic sublime toward the dark powers of the nonhuman world.
Perhaps the cruellest instance of this Gothic sublime and its vision of an unthinkable world is found in Lord Byron's "Darkness." The poem recounts a vision of an Earth submerged into the inky void of space by the sudden flickering out of the sun. Byron describes his vision like so:
I had a dream, which was not all a dream.
The bright sun was extinguish'd, and the stars
Did wander darkling in the eternal space,
Rayless, and pathless, and the icy earth
Swung blind and blackening in the moonless air (1-5).
Here the sublime works not by transcendence but by privation, and throughout the poem "negative epithets" abound to subtract from the "rayless" universe and "pathless" planet all qualities except the endless dark (Dingley 1981, 22). Without direction, the Earth spins off among the stars, but without sight this vertigo remains strangely still. We may return here to Sedgwick's spatial formulation of the Gothic, and the parallelism she identifies in Gothic fiction between dreams and imprisonment, or the "almost inextricable association of depth with sleep and dreaming" (1986, 38). The Gothic nightmare, located by Sedgwick in De Quincey's opium dreams, Maturin's nested narratives, and the trope of live burial, is one of "privation and immobilization," the experience of "submergence under a massive space" and the forced enclosure within an ever-shrinking interior space (1986, 37). In Byron, too, the darkness which surrounds the dreamer is not so much an empty or inert space, but a force unto itself, which squeezes down and layers darkness upon darkness to smother all light.
Giovanni Battista Piranesi, The Gothic Arch (1761).
Byron's apocalypse confronts us with a universe in which disaster is not recompensed with transcendence, but only leads the human subject "into the abyss as it faces the full consequences of the failure to transcend" (Mishra 1994, 17). Reversing the Romantic formula, in which the sublime outside is made an aesthetic object of the human subject, all of humanity is here assumed back into the earth:
"——The world was void,
The populous and the powerful—was a lump,
Seasonless, herbless, manless, lifeless—
A lump of death—a chaos of hard clay" (69-72).
In terms which anticipate the desolate flatness of the Postmodern sublime, the Gothic sublime is progressively emptied of meaning, as all life slowly returns back to the mute matter from which it first emerged. In Mishra's words, the Gothic sublime "gestures toward a world and its symbolic forms that are exhausted: reality becomes a dream, realist representations a nightmare" (Mishra 1994, 157). Even the narrative structure itself is transgressed upon by this creeping void, as the dream "which was not all a dream" blurs the boundaries between the reality of the poet and the supposedly ontologically inferior world of the vision (Byron 2000, 1). In a sense, this confusion of fictional hierarchies is the catastrophe of Byron's poem, which in its "qualified acceptance of the version of the world represented in that dream" enacts the disappearance of the human subject which it describes (Mishra 1995, 17).
But still something remains and sets a final watch over Byron's silent universe. Lacking the independent human subject of the Romantic sublime—and without recourse to the divine presence of yet early instances of the sublime—the Gothic sublime retains only a reverence for the void; an awe at the numinous absence where God or Man once resided. Martin Bidney has remarked that "Byron's epiphanies exhibit a covert identification with the seer's gender-opposite, a deep empathy with the dark, sealike feminine" (2011, 98). For all its empty quietude, something elusive lurks within the darkness, which seduces the poet and draws him deeper into its midst. In the final lines of the poem, when all the earth lies dead, a face emerges from the darkness to reveal the being that had willed this annihilation:
The waves were dead; the tides were in their grave,
The moon, their mistress, had expir'd before;
The winds were wither'd in the stagnant air,
And the clouds perish'd; Darkness had no need
Of aid from them—She was the Universe (78-82).
This personification of darkness need not be mistaken for a latent anthropomorphism. Instead, by granting to a formless nature the cruel visage of a goddess, Byron raises further questions about this dark agency: Who or what is this thing? What does she want, if she wants? Perhaps more pressingly, by leaving this question of agency until the final lines of the poem, Byron does nothing to explain the preceding events. Beyond the sublime's ultimately pleasurable play with the imperceptible, the darkness of Byron's poem takes on the subtle and uncertain qualities of the eerie, which indicates the workings of some hidden agency while explaining nothing of its nature.
DROWNING IN SURFACES: The Postmodern Sublime
To elaborate upon the aesthetics of the eerie, we shall pass through another intermediate phase of the sublime and move from Byron's darkened apocalypse to another, no less cryptic, depiction of the world's end. In J G Ballard's The Crystal World a colonial doctor ventures into the forests of the Congo in search of a lost lover, only to discover a leak in time slowly transforming the jungle, and its inhabitants, into prismatic stone. Ballard describes the doctor's first sight of the crystal forest like so:
"The long arc of trees hanging over the water seemed to drip and glitter with myriads of prisms, […] as if the whole scene were being reproduced by some over-active Technicolor process. […] The sky was clear and motionless, the sunlight shining uninterruptedly upon this magnetic shore, and now and then a stir of wind crossed the water and the scene erupted into cascades of colour that rippled away into the air around them. Then the coruscation subsided, and the images of the individual trees reappeared, each sheathed in its armour of light, foliage glowing as if loaded with deliquescing jewels" (2014, 68).
A deathly quiet descends on the jungle, as the bustle of life is emptied of substance, locked in a frozen moment—a world trapped in amber! In this description there is still much of the sublime, but no longer in its Romantic or Gothic forms. This "Technicolor process," which reduces the jungle to images dancing across refractive surfaces, recalls Fredric Jameson's description of the Postmodern sublime, whereby the world "loses its depth and threatens to become a glossy skin, a stereoscopic illusion, a rush of filmic images without density" (1991, 34).
Max Ernst, L'oeil du silence (1943-4).
For Jameson the Postmodern sublime speaks to the "eclipse of Nature" as the primary and determining outside of human experience upon which all prior forms of the sublime depended (1991, 34). In the place of nature, the sublime object becomes the massive and unimaginably complex machinery of global capitalism "which turns back on and against us in unrecognizable forms and seems to constitute the massive dystopian horizon of our collective as well as our individual praxis" (35). Like Ballard's Congo, the world of the Postmodern sublime is flattened out, inexplicably transforming tangible things and accountable injustices into images without discernible origin or reality. The Postmodern sublime is thus the aesthetic of the political thriller and cyberpunk tale, in which something colossal but intangible shapes us—our desires, the scope of our imaginations—all the while remaining impossible to represent outside of fragments and conspiracy theory.
Where this experience of the Postmodern sublime lapses into the eerie, however, is in the question of agency. What power is at work beneath the shallow surfaces of this new world? Like the Postmodern sublime, the eerie hinges on the occlusion of agency, and the speculation that follows the failure to discern a single guiding hand behind events. The aesthetics of the eerie, in the words of Mark Fisher, are:
"constituted by a failure of absence or by a failure of presence. The sensation of the eerie occurs either when there is something present where there should be nothing, [or] there is nothing present when there should be something" (2016, 61).
One of the more conducive environments to this eerie failure of apprehension is the empty landscape and the abandoned ruin. From out of the Congolese jungle an enormous patch of ice begins to spread, but without any conformity with the known laws of physics. Such an anomaly, like the Zone of the Strugatsky's Roadside Picnic or the planet of Tarkovsky's Solaris, constitutes a failure of absence in its inexplicable intrusion upon our world, and a failure of presence in its refusal to give away any determining agency behind it—if there is any agency at all.
APOCALYPSE WITHOUT REVELATION: The Eerie
The eeriness of Ballard's novel hinges on this paucity of information concerning the causes of the crystal growth. Watching the contaminated zone spread daily, the characters attribute to it all manner of explanations from the scientific to the theological. A physicist posits that it is a growing rift in the laws of the universe, "as if a sequence of displaced but identical images of the same object were being produced by refraction through a prism, but with the element of time replacing the role of light" (Ballard 2014, 66). Later the possibility of anti-time is introduced, against which our own time is slowly depleted. "As more and more time 'leaks' away, the process of super-saturation continues, the original atoms and molecules producing spatial replicas of themselves, substance without mass, in an attempt to increase their foothold upon existence" (85). As in Byron's "Darkness" this spectre of extinction attains cosmic proportions, with crystalline zones scattered across the earth, and even spotted spreading across the sun.
Without that single sublime moment in which the terror of unknowing is paid back in full, the emptiness of the eerie lets the mind spiral away from itself, toward explanations both sacred and profane. In his introduction to the novel, Robert Macfarlane suggests that the crystals may be read as "a manifestation of capital: a fiscal rather than a physical precipitation, whereby all things are rendered fungible" (2014, 6). Suggestively, Mark Fisher has argued that capital is itself a kind of eerie agency which, "conjured out of nothing, […] nevertheless exerts more influence than any allegedly substantial entity" (2016, 11). As the crystal forest spreads, in the diamond mines of the Congo, through the beachfront properties of Miami, and—prophetically—the Pripyat marshes, it precipitates value, turning dead time into objects. Such a reading recalls Jameson's formulation of the Postmodern sublime as the incomplete attempt to grasp capital's increasingly diffuse and invasive structures, but remains well within the domain of the eerie in the fact that Ballard's crystal zones accumulate possible agents without ever arriving at a sensible end to the speculation.
In the crystal jungle, a priest watches over the remains of his parish, to preach the manifestation of eternity on earth and the final transubstantiation of all flesh into everlasting light. He declares: "Here everything is transfigured and illuminated, joined together in the last marriage of space and time" (Ballard 2014, 162). Although communicated in the register of religious zeal, the priest's sermons speak to an utterly alien and inhuman salvation. This "Apostle of the Prismatic Sun" proclaims that in the forest "the transfiguration of all living and inanimate forms occurs before our eyes, the gift of immortality a direct consequence of the surrender by each of us of our own physical and temporal identities" (169). In this surrender of the self to an impossibly vast outside, the eerie is revealed as a species of sublime experience, but one in which the centrality of the human, in either its triumphant, empty, or fragmented forms, has been eschewed altogether.
Lorenzo Delleani, Imminente luna (1882).
The eerie object constantly eludes our perception, let alone our cognition, because it is something utterly outside the human and is detected only in its strange effects upon the world. If we drown in the sublime, we suffocate in the eerie. Where previous forms of the sublime retain a place for the human subject, the eerie as a kind of Posthuman sublime is capable of communicating an aesthetics of a world without us. Further still, when placed in the middle of a mute nature which "lacks even the capacity for indifference," we ourselves become harbingers of the eerie (Fisher 2016, 119). If the world outside is governed by nothing but a dead rumbling "of cause and effect [lacking] any designing or purposive intelligence," then what are we? Are we the agents of our own actions, and for how long? In this way the eerie places us outside ourselves, in a moment of speculation that both devastates and re-composes that which we thought we were.
TOWARD A POSTHUMAN SUBLIME
The history of the sublime is a history of imagining extinction. In the Romantic sublime we find a momentary experience of destruction in an encounter with something that exceeds our cognitive and perceptive abilities. But from this moment of disorder re-emerges the triumphant human subject newly empowered by its voyage into the unknown. For all its use of natural imagery, the Romantic sublime ultimately privileges the human figure, who is an observer of nature's fury, but not a victim to it. In contrast stands the Gothic sublime, in which the human subject is decentred or erased from the scene as the landscape re-asserts its cruel power. If the human subject remains, it is sunk into the depths of an abyss, made alien to itself as an enfolding of this vast outside. All stable interiority is submerged in this darkling mass: the mind is shaped by exterior forces, the body is reduced to dust, and we awake to find our nightmares true.
In his theorisation of the Gothic sublime, Vijay Mishra sees in it a prefiguration of the Postmodern sublime as a sublimity without recourse to humanity, although while the Gothic sublime is constructed around unknowable depths, the Postmodern sublime is far more concerned with the perfidy of surfaces. If the Romantic and Gothic sublimes mark encounters with an immense natural outside in either a conquering or submissive form, then the Postmodern sublime is the experience of obstruction when we fail to grasp the totality of capital's global system. The shining surfaces of the Postmodern sublime, like the fractal shapes of Ballard's novel, both obscure the machinery which brings them into being and reduces all else into images which flitter across the screen.
In continuation from the Gothic and Postmodern sublimes, the eerie as defined by Mark Fisher may be identified as a species of Posthuman sublime. By adopting the inhuman perspective of the Gothic sublime, the eerie decentres our experience from the human interior and redirects it toward the hidden, agential depths of the nonhuman world. Additionally, by taking the aesthetic reduction of the Postmodern sublime one step further, the eerie transforms the human subject into an image trapped in glass, composed by something other than itself.
Moving from the Romantic sublime through its Gothic and Postmodern successors, and arriving finally at an eerie Posthuman sublime, we move closer an aesthetics which can "see the [human] inside from the perspective of the [inhuman] outside" (Fisher 2016, 10). The successive forms of the sublime function increasingly by what Heather Davis calls the "defamiliarization and derangement of sense perception" typical of the posthuman condition (2018, 63). Within the realm of posthuman aesthetics, Davis writes, we experience "the complete transformation of the sensations and qualities of the world. In other words, the world that we are born into is receding in front of our eyes, causing a re-arrangement of the sensory apparatus of our organism" (63-4). Within this re-arrangement of the senses, and by extension of ourselves, we discover nothing other than the mixed horrors and joys of the Gothic aesthetic.
The main tasks of posthuman theory, namely the "folding of the exterior back into the interior," the placing of the inhuman ontologically before the human, and the conception of an aesthetics after human finitude are for all their perceived novelty also the age-old pursuits of Gothic fiction (Brits 2016, 17-8). In this light, the archaisms and horrors of the Gothic are more than cheap scares or senseless nightmares: the Gothic imagination is also an escape from the parochialism of the merely human—the assumed right of Man over his universe—and a way to think a world which will not wait for us, which does not care for what we think or need. If the world is becoming increasingly unthinkable, and the barriers between ourselves and this world increasingly blurred, we must confront "the question of human extinction—the fact that humans will become extinct, the fact that we cause other extinctions, and also that we are extinguishing what renders us human" (Colebrook 2014, 11). From its beginnings the Gothic form has repeatedly returned to tales of humanity's dissolution and decay into an unthinkable universe. As we enter an era of globally unfolding catastrophe it is the horror of the Gothic which once again describes the limits of our existence, and its terror which may guide us to other ways of being.
Ballard, J G. The Crystal World. London: Fourth Estate, 2014.
Bidney, Martin. "Flaime-Engulfing Storms and Sea of Darkness: Byron's Love-Death Epiphanies in Kristevan Context." Interdisciplinary Literary Studies 12, no. 2 (Spring 2011): 97-125.
Botting, Fred. Gothic, 2nd ed. New York: Routledge, 2014.
Brits, Baylee, Prudence Gibson and Amy Ireland. Aesthetics After Finitude. Melbourne: re.press, 2016.
Byron, George Gordon. "Darkness" in The Major Works, edited by Jerome J McGann, 272-273. Oxford: Oxford University Press, 2000.
Colebrook, Claire. Death of the Posthuman. Ann Arbor: Open Humanities Press, 2014.
Davis, Heather. "Art in the Anthropocene" in Posthuman Glossary, edited by Rosi Braidotti and Maria Hlavajova, 63-65. London: Bloomsbury, 2018.
Deleuze, Gilles. Kant's Critical Philosophy. Translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1984.
Dingley, R J. "'I Had a Dream': Byron's 'Darkness.'" The Byron Journal 9 (1981): 20-33.
Fisher, Mark. The Weird And The Eerie. London: Repeater, 2016.
Hayles, N Katherine. How We Became Posthuman. Chicago: University of Chicago Press, 1999.
Jameson, Fredric. Postmodernism: or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
Kant, Immanuel. The Critique of the Power of Judgment. Translated by Paul Guyer and Eric Matthews. Cambridge: Cambridge University Press, 2000.
Macfarlane, Robert. "Introduction" in The Crystal World, J G Ballard. London: Fourth Estate, 2014.
Mishra, Vijay. The Gothic Sublime. Albany: State University of New York Press, 1994.
Peroikou, Antonia. "Of Crakers and Men: Imagining the Future and Rethinking the Past in Margaret Atwood's MaddAddam Trilogy" in Posthuman Gothic, edited by Anya Heise-von der Lippe, 36-53. Cardiff: University of Wales Press, 2017.
Sedgwick, Eve Kosofsky. The Coherence of Gothic Conventions. New York: Methuen, 1986.
Shelley, Percy Bysshe. "Mont Blanc" in The Major Works, edited by Zachary Leader and Michael O'Neill, 120-124. Oxford: Oxford University Press, 2003.
Thacker, Eugene. In The Dust of This Planet. Alresford: Zero Books, 2011.
Weiskel, Thomas. The Romantic Sublime. Baltimore: The John Hopkins University Press, 1976.
Williams, Anne. Art of Darkness: A Poetics of Gothic. Chicago: University of Chicago Press, 1995.
Tags: episteme, existenz, extinction, postnihil, sapience, sentience, theoria
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filed: May 2, 2014 • Nebraska
Citizens group formed over proposed NPPD transmission line
Credit: Special to the Daily News | Norfolk Daily News | May 2, 2014 | norfolkdailynews.com ~~
A group of Nebraska citizens – calling themselves Save The Sandhills – has formed over concerns members have about a proposed Nebraska Public Power District transmission line.
Interested individuals met recently in Burwell to form the organization. Their decision comes just in advance of a series of public meetings planned by NPPD to share information about the transmission line.
Know as the R-Project, it would run from NPPD's Gerald Gentleman Station near Sutherland to Thedford, and then on to a new substation near Clearwater.
A spokesman for the Center for Rural Affairs said the line will run through an area of the state that is rich in wind energy potential. "Providing transmission to these areas is one step in helping Nebraskans develop its wind energy resources, but it must be done the right way, avoiding sensitive wildlife areas," said Lu Nelson of the center.
Nelson said the meetings represent an excellent opportunity to learn more about the project and the future of energy in Nebraska.
The schedule of meetings is:
— Monday May 5, at 2 p.m. and 8 p.m. at Wheeler-Central High School in Bartlett.
— Tuesday May 6, at 2 p.m. and 8 p.m. at Sandhills Public School in Dunning.
— Wednesday, May 7, at 2 p.m. and 8 p.m. at the American Legion in Burwell.
Representatives of Save The Sandhills said their primary objective is to inform other Nebraskans regarding the potential ecological and environmental consequences of the project.
Tonya Wilson, a member of the group, said the organization's members aren't pleased with the proposed route through the Sandhills.
"I would hope that NPPD would listen to the voice of Nebraskans who treasure the fragile nature and unique beauty of these Sandhills and use their existing routes," said Amy Ballagh, member of a six-generation Sandhills ranching family.
Source: Special to the Daily News | Norfolk Daily News | May 2, 2014 | norfolkdailynews.com


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By Jimmy Huynh	November 7, 2019 Employer
Our insight into Gen Zs is as broad as how we've defined them. Born between the early 1990s to the late 2000s, they comprise approximately one quarter of the population. Most would agree they've entered a world much different from ours, but these "post-millennials" aren't the future – they're its creators. Gen Zs are redesigning their – and our future.
Some believe Gen Zs are more optimistic about their future than their predecessors. Others think they're anxious about economic instability and resigned to their fate of low-paying, precarious work, and delayed personal milestones.
A study conducted by Robert Half and Enactus surveyed more than 770 postsecondary students from Canada and the United States to gain insight on Gen Zs' career objectives and expectations, along with obstacles and opportunities. By the next decade, they'll comprise more than 20 per cent of the population.
The research reported that Gen Zs customize rules and consider training as an ongoing and essential process. They learn primarily through technology but prefer face-to-face communication. Gen Zs tackle problem-solving with an entrepreneurial approach, require consistent and frequent feedback, and expect change. Five years after graduation, approximately one third predict they'll manage or supervise employees in a corporate setting, about one quarter foresee receiving promotions just short of the management level, and one fifth expect to work for themselves.
Gen Zs lack many soft skills like self-evaluation and presentation, personal responsibility, and maintaining positivity – but 77 per cent surveyed expect to work harder than previous generations, and although most wish to retire earlier, they project to work up to age 70. They demand to know how the job fits into their life, not how their role fits into the company. Almost four in five surveyed considered midsize companies or large, international or nonprofit organizations as their ideal work environment.
Most would also agree that Gen Zs have been born into an era that's more globalized and socially connected. A wider platform and louder voice has supplied these post-millennials with more power than their predecessors to inspire, orchestrate, and force more change, even if it's through memes and gifs, and Instagram and Snapchat.
But how will Gen Zs transform the workplace and recruiting process?
Your company must demand collaboration between its human resources and marketing teams. You'll need to convince them why working for you eclipses working for themselves. They're self-taught, entrepreneurial, and value flexibility. You'll also need to accelerate and digitally enhance your candidate experience. They're weak in-person communicators, more open-minded, and very impatient.
Your company must show opportunities for advancement as those pursuing full-time jobs considered 'opportunities for career growth' as their highest priority and 'mentoring ability' as the second-highest characteristic they value in a leader/boss.
Your company must exhibit a commitment to personal and corporate integrity by discussing examples of genuine connections to the community and social responsibility. The time they spend glued to their electronic devices includes learning and caring about the world around them. Among those pursuing full-time jobs, respondents valued 'making a difference or having a positive impact on society' as their third-highest priority.
And finally, your company must consider retention during the recruiting process by improving the employee experience, because Gen Zs only look ahead.


My love of cheesecake goes way back. If there's a cheesecake on the menu, I'll find it hard not to try a slice, especially if it's a New York Baked Cheesecake!
But today's recipe is for a lighter, half ricotta, half cream cheese chocolate version that will have you shaking off the winter blues and feeling all summery, albeit the fact that spring has just started. It did reach 32 degrees yesterday in Sydney though, only 10 days into spring!
Once baked and cooled, your ready to top your cheesecake with your favourite fresh berries and decorate with strawberry flowers from your garden veggie patch if you have them.
Cheers to warmer days ahead!