Podcast appearances and mentions of William Hunter

RMR 0291: Special Guests, from HunterWick Productions it is your special guests William Hunter and Chad Love, join your host, Chad Robinson for the Retro Movie Roundtable as they revisit The Changeling (1980) [R] Genre: Horror, Mystery   Starring: George C. Scott, Trish Van Devere, Melvyn Douglas, Jean Marsh, John Colicos, Barry Morse, Madeleine Sherwood, Helen Burns, Frances Hyland, Ruth Springford, Eric Christmas, Roberta Maxwell, Bernard Behrens, James B. Douglas, J. Kenneth Campbell, Chris Gampel, Voldi Way, Michelle Martin, Janne Mortil, Terence Kelly, Robert Monroe, Hagan Beggs, Anna Hagan, Antonia Rey, Sammy Smith, Paul Rothery   Director: Peter Medak Recorded on 2024-10-20

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7947LA SINDONE TRA RAGGI X E INTELLIGENZA ARTIFICIALE di Emanuela MarinelliAll'improvviso, in modo del tutto inaspettato, subito dopo Ferragosto è esplosa in Gran Bretagna una notizia sulla Sindone, subito ripresa dai mass media di altri Paesi, persino da Al Jazeera: il venerato lino è stato datato al I secolo d.C. con un nuovo metodo di analisi che utilizza i raggi X.Tutto è partito da un articolo apparso su Mail Online Science del Daily Mail Online il 19 agosto a firma di Stacy Liberatore, che annunciava una ricerca resa nota... due anni fa. La giornalista non ha spiegato come mai solo ora è venuta a conoscenza di questo testo pubblicato nel 2022 su Heritage. Ma non importa: meglio tardi che mai!Gli autori della ricerca, il fisico Liberato De Caro insieme ad altri, avevano già pubblicato su Heritage nel 2019 un precedente articolo riguardante questo nuovo metodo WAXS (Wide Angle X-ray Scattering) che utilizza i raggi X a grande angolo per valutare la degradazione strutturale che un antico tessuto di lino subisce nel tempo, in modo da attribuirgli un'età. Il metodo non è distruttivo e si può applicare anche a un piccolo campione di filo di mezzo millimetro.La notizia contenuta nell'articolo di Heritage del 2022, rilanciata dal Daily Mail Online, è la datazione di un filo di Sindone con il metodo WAXS: il confronto con fili di epoche diverse ha permesso di collocare l'origine della Sindone all'epoca di Cristo, perché le misure ottenute sono paragonabili a quelle di un campione di lino, risalente al 55-74 d.C., che proviene dal sito archeolgico di Masada, in Israele.Nei mass media che hanno ripreso la notizia c'è stato anche il parere del fisico Paolo Di Lazzaro, che ha avanzato qualche perplessità su questo nuovo metodo di indagine, come sempre accade nel dibattito scientifico. Ma il successo del primo articolo, che ha fatto balzare la Sindone fra i primi dieci argomenti più cercati su Google in inglese, ha incoraggiato il Daily Mail Online a pubblicarne altri nei giorni successivi: così il 20 agosto Stacy Liberatore ha parlato di David Rolfe, il regista ateo che si è convertito studiando la Sindone per un documentario che stava realizzando, il Silent Witness, mentre, sempre il 20 agosto, William Hunter ha trattato vari temi sindonologici interessanti, tra i quali la ricerca fatta dall'archeologo William Meacham su alcuni fili della Sindone presso lo Stable Isotopes Laboratory di Hong Kong. Secondo questo esame degli isotopi, il lino usato per confezionare la Sindone è cresciuto nel Medio Oriente. Fra gli argomenti presi in esame, Hunter però ripropone anche l'esperimento dell'antropologo forense Matteo Borrini e del chimico Luigi Garlaschelli, che volevano dimostrare come falsi i rivoli di sangue presenti sulla Sindone. Esperimento ampiamente smentito.SMENTITA DEFINITIVAMENTE LA BUFALA DEL RADIOCARBONIODi nuovo Stacy Liberatore il 22 agosto ha scritto un articolo sulla Sindone, questa volta per parlare delle nuove ricerche dell'ingegnere Giulio Fanti, che fra l'altro afferma di aver riscontrato in alcune particelle di sangue la presenza di creatinina, prova dei traumi subiti dall'Uomo della Sindone.Visto l'interesse via via crescente, Stacy Liberatore il 23 agosto ha fatto uscire un ulteriore articolo nel quale sono stata intervistata con il ricercatore francese Tristan Casabianca in merito alla ricerca che abbiamo pubblicato su Archaeometry insieme agli statistici Benedetto Torrisi e Giuseppe Pernagallo. Si tratta dell'analisi dei dati grezzi ottenuti dai laboratori che datarono la Sindone al Medioevo nel 1988. Questa analisi statistica ha permesso di smentire definitivamente la validità del test del 1988, perché fu condotto su un campione non rappresentativo dell'intero lenzuolo (clicca qui!). https://www.bastabugie.it/it/articoli.php?id=5643&testo_ricerca=TucsonIl 28 agosto il Daily Mail Online ritorna ancora sull'argomento con un articolo di Ellyn Lapointe, che presenta altre ricerche di Liberato De Caro e di nuovo torna a parlare dell'analisi statistica presentata su Archaeometry.Anche il 30 agosto appare sul Daily Mail Online un nuovo articolo, questa volta di Rob Waugh, per presentare un libro di tre anni fa che ricostruisce l'ipotetica storia della Sindone nei primi secoli.Le altre testate rincorrono le notizie man mano pubblicate dal Daily Mail. Il sito francese del CIELT (Centre International d'Études su le Linceul de Turin) nella sua rassegna stampa di agosto elenca 170 articoli - di cui fornisce il link - che in quel mese hanno parlato della Sindone in vari giornali del mondo. Ma ancora una volta è il Daily Mail ad essere trainante il 2 settembre con un nuovo pezzo a firma di Rob Waugh, che mette in campo altre reliquie relative alla Passione di Cristo: il Sudario di Oviedo, la Tunica di Argenteuil, la Veronica del Vaticano.INTELLIGENZA ARTIFICIALEQuesto susseguirsi di notizie, anche datate, fa riflettere sull'interesse che la Sindone suscita nella gente e sul conseguente coinvolgimento dei mass media che ne parlano anche per avere visualizzazioni sui propri siti internet. Gli articoli sono seguiti sotto da centinaia di commenti contrastanti, nel turbine dei like o not like, pollici su o pollici giù.Tra le varie curiosità suscitate dalla Sindone, c'è pure quella sull'aspetto di Gesù, soprattutto sul suo volto. Ecco allora che il Daily Mail Online ha interrogato l'intelligenza artificiale Merlin chiedendo: “Puoi generare un'immagine realistica di Gesù Cristo basata sul volto che si trova sulla Sindone di Torino”? Il 22 agosto Jonathan Chadwick ha pubblicato il risultato (nell'immagine, a sinistra).Il giorno prima, 21 agosto, anche il Daily Express si era rivolto all'intelligenza artificiale, ma usando un diverso programma: Midjourney. Il risultato (nell'immagine, a destra) è stato pubblicato da Michael Moran come “il vero volto di Gesù”. Ma se questo è il vero volto di Gesù, come mai è diverso dall'altro? Eppure sono entrambi generati dall'intelligenza artificiale! La risposta è semplice: sono due programmi diversi, che evidentemente usano informazioni diverse.In definitiva l'intelligenza artificiale non fa altro che elaborare i dati che sono stati inseriti.Una terza elaborazione del volto di Cristo ottenuta con l'intelligenza artificiale partendo dalla Sindone è quella che si trova nell'articolo di Stacy Liberatore del 23 agosto sul Daily Mail Online. È un lavoro del disegnatore grafico Otangelo Grasso.Dunque, risultati diversi che possono piacere di più o di meno a seconda del proprio gusto estetico, ma nessuno paragonabile davvero all'inimitabile originale: il volto sindonico!

In this insightful interview, Sandy Dann speaks with Vincent Carter (VC) and William Hunter from the Kimberley Aboriginal Men's Health Subcommittee about the recent men's health gathering in Djarindjin, held on September 12. The event brought together 40 men from across the Kimberley to discuss critical issues surrounding Aboriginal men's health and well-being. With a focus on the theme "Strong Men, Strong Culture, Strong Communities," the event explores cultural safety, the role of strong male role models, and the importance of regular health checks. Vincent and William also share stories from the event, including cultural knowledge exchanges, a seafood cook-up, and the goal of developing a comprehensive men's health strategy for the region. Tune in to learn how this gathering is empowering men to speak up about their mental and physical health, building stronger communities in the process. #MensHealth #Kimberley #CulturalSafety #StrongCommunities #KAMS

In this enlightening episode, we are joined by author Eugene Procknow to discuss his compelling book, "William Hunter: Finding Free Speech." This fascinating biography traces the extraordinary life of William Hunter, the son of a British soldier from the Revolutionary War, who uniquely documented his experiences as a child during the war. Book: https://geneprocknow.com/Our Links: https://linktr.ee/Kyhistorypod

A new MP3 sermon from Meadowlands Baptist Church is now available on SermonAudio with the following details: Title: Funeral of Glen William Hunter Speaker: Nate Utley Broadcaster: Meadowlands Baptist Church Event: Funeral Service Date: 7/31/2024 Bible: 2 Corinthians 4:13-18 Length: 88 min.

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!   In s2e31 of Platemark's History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter's The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus' Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d'Agoty's Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot's Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.   At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile. A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving. Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l'année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago. Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London. Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie's Popular Monthly. Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier. Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l'escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London. Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774. Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome. William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London. Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.  Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Anatomy pages from the Encyclopedia Britannia, 1963. Flags pages from the Encyclopedia Britannia, 1963. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.

RMR 0265: Special Guest, William Hunter from HunterWick Productions, joins your hosts, Chad Robinson, and Lizzy Haynes for the Retro Movie Roundtable as they revisit Real Genius (1985) [PG]   Genre: Comedy, Romance, Science Fiction Starring: Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan, Barnard Hughes, Dan Shor, Peter Jurasik, Stuart Thomas   Director: Martha Coolidge Recorded on 2024-04-25

RMR 0264: Special Guest, William Hunter from HunterWick Productions, joins your hosts, Dustin Melbardis, and Russell Guest for the Retro Movie Roundtable as they revisit Tron (1982) [PG]   Genre: Science Fiction, Adventure, Action Starring: Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan, Barnard Hughes, Dan Shor, Peter Jurasik, Stuart Thomas   Director: Steven Lisberger Recorded on 2024-04-22

Speaker or Performer: Rev. Steve Cypert Scripture Passage(s): Ecclesiastes 3 Date of Delivery: January 19, 2024 May 6, 2020Wednesday Evening ServiceEdited FaceBook Live Service (during COVID Lockdown)Includes the following Public Domain Songs:1. We'll Understand It Better by Charles Albert Tindley2. I Feel Like Traveling On by William Hunter

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Why wasn't preservation with the goal of potential future revival started earlier in history?, published by Andy McKenzie on January 17, 2024 on LessWrong. Cross-posted from my blog, Neurobiology Notes. John Hunter (1728-1793) did not have an especially promising start to his academic life. He was born the youngest of 10 children to a family living in the countryside near Glasgow. They lived in a two bedroom cottage and the children slept in box beds that were pulled out of the walls every night. He was stubborn, hated school, did not like to be taught reading or writing, would skip classes whenever he could, and quit formal education altogether at 13, the same year his father died. He said that he "totally rejected books," instead preferring to gain practical knowledge first hand. He spent his time helping with the family farm. When he was 20, he made the fateful decision to join his brother William Hunter's anatomy school in London as an assistant. maternal and fetal circulations are separate, invent the technique of proximal ligation to treat aneurysms, either inoculate himself or someone else with venereal disease purely in the name of science, coordinate the first documented artificial insemination, propose the gradual formation of new species due to random variations 70 years before Darwin, create a school providing lectures in physiology, make enemies with all of the other surgeons at his hospital, almost die when he was attacked by one of his many exotic animals, amass a huge collection of specimens that he spent nearly all his money on and that remains in London today, and become the person widely considered the founder of modern scientific surgery. a photo from the Hunterian museum in London I learned this all from Wendy Moore's excellent biography of John Hunter, The Knife Man: The Knife Man by Wendy Moore Although I'm a closet Anglophile, the main reason I picked this book up is because Hunter also seems to have been one of the first people, if not the first person, to seriously research suspended animation. Suspended animation is a hypothetical procedure in which a person or other animal could be preserved for a long period of time in a way that the procedure is known to be reversible, allowing for reanimation at the time of one's choosing. Suspended animation is not the same as cryonics, because in cryonics, it is not known whether the preservation will ever be reversible, so a cryonics procedure relies on the possibility of bootstrapped advances in future technology that might allow reversibility. Hunter was interested in suspended animation for a number of reasons, including because he was interested in the dividing line between life and death, and because he thought it might make him rich. He also thought that it might be practically useful: Till this time I had imagined that it might be possible to prolong life to any period by freezing a person in the frigid zone, as I thought all action and waste would cease until the body was thawed. I thought that if a man would give up the last ten years of his life to this kind of alternate oblivion and action, it might be prolonged to a thousand years; and by getting himself thawed every hundred years, he might learn what had happened during his frozen condition. In 1766, Hunter performed an experiment to test this. He placed two carp in a glass vessel with water. He then kept adding cold snow to the vessel. At first the snow repeatedly melted, but eventually the water around the fish froze. He thawed them slowly, but found they did "not recover action, so that they were really dead." Benjamin Franklin had similar ideas. In the cryonics community, Franklin's remarkable letter to a friend in 1773 is kind of famous: I have seen an instance of common flies preserved in a manner somewhat similar. They had been ...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Why wasn't preservation with the goal of potential future revival started earlier in history?, published by Andy McKenzie on January 17, 2024 on LessWrong. Cross-posted from my blog, Neurobiology Notes. John Hunter (1728-1793) did not have an especially promising start to his academic life. He was born the youngest of 10 children to a family living in the countryside near Glasgow. They lived in a two bedroom cottage and the children slept in box beds that were pulled out of the walls every night. He was stubborn, hated school, did not like to be taught reading or writing, would skip classes whenever he could, and quit formal education altogether at 13, the same year his father died. He said that he "totally rejected books," instead preferring to gain practical knowledge first hand. He spent his time helping with the family farm. When he was 20, he made the fateful decision to join his brother William Hunter's anatomy school in London as an assistant. maternal and fetal circulations are separate, invent the technique of proximal ligation to treat aneurysms, either inoculate himself or someone else with venereal disease purely in the name of science, coordinate the first documented artificial insemination, propose the gradual formation of new species due to random variations 70 years before Darwin, create a school providing lectures in physiology, make enemies with all of the other surgeons at his hospital, almost die when he was attacked by one of his many exotic animals, amass a huge collection of specimens that he spent nearly all his money on and that remains in London today, and become the person widely considered the founder of modern scientific surgery. a photo from the Hunterian museum in London I learned this all from Wendy Moore's excellent biography of John Hunter, The Knife Man: The Knife Man by Wendy Moore Although I'm a closet Anglophile, the main reason I picked this book up is because Hunter also seems to have been one of the first people, if not the first person, to seriously research suspended animation. Suspended animation is a hypothetical procedure in which a person or other animal could be preserved for a long period of time in a way that the procedure is known to be reversible, allowing for reanimation at the time of one's choosing. Suspended animation is not the same as cryonics, because in cryonics, it is not known whether the preservation will ever be reversible, so a cryonics procedure relies on the possibility of bootstrapped advances in future technology that might allow reversibility. Hunter was interested in suspended animation for a number of reasons, including because he was interested in the dividing line between life and death, and because he thought it might make him rich. He also thought that it might be practically useful: Till this time I had imagined that it might be possible to prolong life to any period by freezing a person in the frigid zone, as I thought all action and waste would cease until the body was thawed. I thought that if a man would give up the last ten years of his life to this kind of alternate oblivion and action, it might be prolonged to a thousand years; and by getting himself thawed every hundred years, he might learn what had happened during his frozen condition. In 1766, Hunter performed an experiment to test this. He placed two carp in a glass vessel with water. He then kept adding cold snow to the vessel. At first the snow repeatedly melted, but eventually the water around the fish froze. He thawed them slowly, but found they did "not recover action, so that they were really dead." Benjamin Franklin had similar ideas. In the cryonics community, Franklin's remarkable letter to a friend in 1773 is kind of famous: I have seen an instance of common flies preserved in a manner somewhat similar. They had been ...

Exactly 50 years since the bombing stopped in Laos HALO is still clearing up unexploded bombs in the landlocked South East Asian country. JJ Chalmers talks to Sera Koulabdara, CEO of the charity Legacies of War and to William Hunter, who runs HALO's Laos programme.

Today's sermon offers a warning against the external and internal voices that we listen to and act upon. We need to be cautious of what voices we listen to and recognize the dangers of ‘following the crowd.' We also need to pay attention to the internal voices acting against God's will, such as greed and self-fulfillment.

In June 1798, President John Adams signed the now infamous Alien & Sedition Acts to suppress political dissent. Facing imminent personal risks, a gutsy Kentucky newspaper editor ran the first editorial denouncing the law's attempt to stifle the freedom of the press. Almost immediately, government lawyers recommended his arrest and prosecution. That editor was William Hunter, amazingly, the son of a British soldier. Witnessing first-hand the terrors of combat and twice experiencing capture, Hunter wrote the only surviving account written by a child of a British soldier during the American Revolution. Previously unknown, the journal is one of the most important document discoveries in recent years. William Hunter represents a previously underappreciated community leader who made essential contributions to developing democratic and civic institutions in Early America. To discuss Hunter is today's guest, Gene Procknow, author of William Hunter: Finding Free Speech.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3101278/advertisement

William Hunter was a radical advocate for American democracy. Born in New Brunswick, New Jersey, he was the founder of the second newspaper west of the Alleghenies, and the first newspaper editor to protest the Alien and Sedition Acts. Arguably a Jacksonian Democrat before Andrew Jackson first ran for president, Hunter served the Jackson Administration, and as a civil servant seven successive administrations. Yet that brief biography obscures his very interesting origins. For William Hunter had been born in New Brunswick, yes, but as the son of John Hunter of the 26th Regiment of the Line. For the first ten years of his life William followed his father as his peacetime service in British America became combat service in the rebellious territory of the new United States. Departing for Britain at age ten in 1778 when his sick father was detached for recruiting duties, William returned to the United States fifteen years later, his father dead, his mother and sister left behind. He was now a committed republican, arriving in Philadelphia in the midst of the yellow fever epidemic of 1793. He would never again travel back across the ocean, or see his mother and again. Gene Procknow describes the ups and downs, and twist and turns of William Hunter's eventful life in his new book William Hunter Finding Free Speech: A British Soldier's Son Who Became an Early American. Formerly a management consultant with a global consulting firm, Gene Procknow has become a careful historian of early American history; William Hunter is his first book. For Further Investigation Gene's website has some wonderful "behind the book" material Here's an article Gene wrote for the Journal of the American Revolution on different perspectives on the quartering of British soldiers in New Brunswick, NJ In the course of the episode, Gene referenced Don Hagist. Here's a conversation with Don about punishment in the British Army during the American Revolution; and here's a conversation with Don that ranges much more widely into the society and culture of the British Army that fought in America Since Dan Gullotta, friend of the show, used to do a podcast called Age of Jackson, we've tended to avoid American history from roughly 1815 to 1850. But here's an exception to the rule, a conversation about a no less radical Democrat than William Hunter, none other than Senator John C. Calhoun of South Carolina. John Zaborney, Slaves For Hire: Renting Enslaved Laborers in Antebellum Virginia  

Eugene Procknow has written a biography of William Hunter--son of a British sergeant who spent his childhood and teen years accompanying the British army, was taken as a prisoner of war, became a printer and returned to America in the 1790s to edit a series of newspapers in Pennsylvania and Kentucky defending freedom of the press before becoming a Jacksonian political figure.  At some point Hunter sat down to write a memoir, which contains one of the few observations by a child of the war, as well as other episodes  of his memorable life, and Procknow has now published a biography, William Hunter:  Finding Free Speech:  A British Soldier's Son who Became an Early American.    To help with his own research, Procknow has compiled a terrific bibliography of sources on the Revolution, available on his Researching the American Revolution website.

Join us as we welcome author Gene Procknow to discuss his new book: "William Hunter - Finding Free Speech: A British Soldier's Son Who Became an Early American." During the American Revolution, Hunter accompanied his father on a campaign to fight the American Rebels. Witnessing first-hand the terrors of combat and twice experiencing capture, Hunter wrote the only surviving account written by a child of a British soldier during the American Revolution. Previously unknown, the journal is one of the most important document discoveries in recent years. He later became a prominent newspaper editor and representative. Join us as we learn more about this fascinating story from early American history.

This song expresses the assurance of the Christian for a home in the Father's house where there are many mansions or dwelling places is "I Feel Like Traveling On" The text was written by William Hunter who lived from 1811 to 1877.

Retro Single Player Games Recommendations Feat. William Hunter From DotEaters.comIf games like Zork, Elevator Action and Space Invaders could entertain you for hours, then this episode about retro games is a can't-miss!William Hunter of The Dot Eaters, a website started circa 1998 that chronicles the history of video games, is joining Sebastion to talk about their love for single player games. With so much experience playing and enjoying games through technology's progression, Bill has a wealth of knowledge to share.They discuss modern-day games too, but you'll hear a ton of retro game recommendations to try online, through consoles or the Nintendo Entertainment System. Tune in for a nostalgic discussion on retro games and the current emerging indie market!Learn more and find ways to start playing on The Dot Eaters: https://thedoteaters.com/Follow The Dot Eats on Twitter, and see more from Bill on YouTube!Head to Discord to join the FREE Single Player Experience Discord Server!For more episodes, head to Apple Podcasts.Connect with Sebastion:FacebookLinkedInTwitterInstagramTikTokYouTube

Karen Sawyer is a descendant of early 19th century Scottish photographer William Hunter. Here she talks about collecting and restoring his postcards,  arranging exhibitions of his work in Newton Stewart, meeting distant cousins and what she has inherited from him. 

This week our guest is author and JAR contributor Eugene Procknow. In his new book "William Hunter: Finding Free Speech: A British Soldier's Son Who Became an Early American" Procknow highlights the dramatic and dynamic world of early America, and a man who benefitted from it. For more information and a full review visit www.allthingsliberty.com. 

Eugene Procknow brings to life the tale of one man's remarkable journey through the Revolutionary War and the early years of our nation. William Hunter: Finding Free Speech, A British Soldier's Son Who Became an Early American is the story of a child who accompanied his father during the fight against American rebels. Captured twice, and an eyewitness to war and its carnage, Hunter is the only known author of a survivor's account from the British perspective. Later a newspaper founder and editor, Hunter drew the ire of government lawyers for his denouncing of efforts to stifle freedom of the press, and became an early supporter of Andrew Jackson's political aspirations. Procknow examines Hunter's document, his life, how he overcame personal setbacks which damaged his character and left him bankrupt, and his contributions to American civic institutions. A former management consultant with the firm Brillient, Procknow is also an historian and author of the American Revolution and the early US Republic. He has written several scholarly articles for the pretigious, peer-reviewed Journal of the American Revolution. He lives in Washington, DC.  

In June 1798, President John Adams signed the now infamous Alien & Sedition Acts to suppress political dissent. Facing imminent personal risks, a gutsy Kentucky newspaper editor ran the first editorial denouncing the law's attempt to stifle the freedom of the press. Almost immediately, government lawyers recommended his arrest and prosecution.That editor was William Hunter, amazingly, the son of a British soldier. During the American Revolution, he accompanied his father on a campaign to fight the American Rebels. Witnessing first-hand the terrors of combat and twice experiencing capture, Hunter wrote the only surviving account written by a child of a British soldier during the American Revolution. Previously unknown, the journal is one of the most important document discoveries in recent years.Remarkably immigrating to an enemy country, Hunter started the second newspaper west of the Alleghenies in Pennsylvania. Moving to Kentucky's capital, Hunter spoke his mind as a newspaper editor, took entrepreneurial risks, and helped start educational and civic institutions. Particularly compelling, Hunter overcame two major personal setbacks that tarnished his character and left him bankrupt. Each time, he tenaciously persevered and regained prominent stature.Later, Hunter became an elected Kentucky representative, a staunch Andrew Jackson supporter, and moved to Washington, DC, to root out fraud and waste in his administration. Beyond the well-known founders, William Hunter represents a previously underappreciated community leader who made essential contributions to developing democratic and civic institutions in Early America.

Harold Shipman - Doktor śmierć. Zamordował 250-u pacjentów. Wzbudzający zaufanie lekarz, stał się seryjnym mordercą z rekordową liczbą ofiar. William Hunter i William Smelie. Ojcowie położnictwa i ich przerażająca rywalizacja o tytuł najsłynniejszego lekarza. Dla zdobycia lepszego "okazu" do swoich prac naukowych zabijali ciężarne kobiety.

In 1998, Willliam Hunter discovered a classic video games emulator, MAME. He had a great time playing games like Pac-Man, Donkey Kong, and Defender. After a while, curiosity kicked in, and he asked himself where all these games came from, how they came about, and who made them. Although the internet was a different place back then, William couldn't find a website that told the story he wanted to read, so he decided to make one himself. William Hunter is the creator of The Dot Eaters, one of the most trusted sources of information about the history of video games. His website has been referenced in many books about video games, and many Colleges and Universities check on it for relevant content. William developed the website for over 15 years to tell the stories of the games, systems, and individuals that set the cornerstones of the gaming industry as we know it today. In this episode, we talk about the origins of The Dot Eater, the particular backstory of the website's name, and William's relationship with video games. William kindly shared details of how he runs the website as a one-man-show and lots of curious facts about video games and the origin of companies like Activision and Electronic Arts. We also talk about the evolution of video games companies like Attari and what happens when companies created by people passionate about technology and games fall into business people's hands. Some Questions I Ask:For the audience, could you talk about your relationship with gaming? (1:26)Can you tell us how you got started in gaming? (2:58)What made you decide to begin compiling gaming history? (5:22)What made you decide to distribute this knowledge? (13:52)In This Episode, You Will Learn:How William manages to run The Dot Eaters by himself (5:34)William shares a bit of PONG's story and describes the realm of gaming back then in the '80s (11:12)A bit of background and the beginnings of Activision and Electronic Arts (17:24)Elevator Action. The perfect combination between game skills and luck (27:55)What William sees as a problem with VR and where he thinks the augmented reality technology will head in the following years (47:43)Resources:The Dot Eaters websiteThe Dot Eaters FacebookThe Dot Eaters TwitterThe Dot Eaters YouTube ChannelLet's Connect!InstagramTwitterYouTube Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Marianne Hunter’s journey to become an enamel jewelry artist unfolded organically; it’s no wonder why her jewelry making process has an organic quality as well. As a self-taught artist, Marianne follows her intuition to choose the colors and composition of her grisaille enamel pieces. She joined the Jewelry Journey Podcast to talk about the childhood inspirations that influence her work, her jewelry making process, and how she has sustained a career for 50 years. Read the episode transcript here.  What you’ll learn in this episode: The process of grisaille enameling, and how Marianne has adapted it for her work How Marianne and her husband Bill, a sculptor known for his wood pieces, inspire and support each other as artists Why becoming a jewelry artist allowed Marianne to come out of her shell and connect with people Why jewelry and craft shows have been vital for Marianne’s career About Marianne Hunter Enamel art jewelry creator and designer Marianne Hunter and husband, sculptor William Hunter, are together Hunter Studios, a pairing of two ground-breaking and inspired artists. Each piece of Hunter’s jewelry is a unique artwork assemblage of her enamels, gems, artifacts and precious metals, an object of surpassing beauty and emotion. Her pieces reflect the breadth of her interests in the arts, nature, humanity and philosophy. Hunter creates only 20 pieces a year, including a small number of private commissions, limited by the time required to create each piece. A Marianne Hunter is truly a rare object d’art, an investment in beauty and a future heirloom. Each piece is titled with a poem Marianne writes for that piece. Hunter’s work can be seen in numerous museum collections in the US and abroad as well as in editorial images worldwide.  Transcript Special YouTube Video Additional Resources:  Website Facebook Instagram Photos:      

En el siglo XVIII nació la obstetricia como rama de la medicina a manos de maestro y alumno William Smellie y William Hunter, ambos catalogados como... ¿Asesinos? ¡Coméntanos qué temas te gustaría ver en el podcast! Twitter: @Science_Bitch_P Instagram: @science_bitch.p Twitter de Diego: @DrDiegoMardi Página oficial en Facebook: https://www.facebook.com/scienceb.tchpodcast Únete al grupo de los 100Tíficos en Facebook: https://www.facebook.com/groups/344430296820011/ Escúchanos por YouTube, Spotify, Ivoox, Apple podcast Intro por parte del gran PPRKT, síguelo en: https://www.facebook.com/Pprktfilms/y en Instagram como: @pprkt_

Start off the show reminding people to write me in for best podcast in Orlando Weekly's Best Of Orlando Listeners voicemail about the next time I’ll be on The Bubba The Love Sponge Show My new news reporter the queen of the south reports on a story about a movie theatre manager selling popcorn that had cocaine in it My interview with William Hunter about Star Trek and vintage and historical video gaming Plus my one on one interview with the queen of the south All voicemails are welcomed even the ones that say I suck because they’ll go right to the front of the line 407-270-3044 and I promise all calls are anonymous Donate to help upgrade equipment for my podcast PayPal.me/tuddleOnTheRadio EMAIL tuddle@Gmail.com WEBSITES tuddle.net YOUTUBE YouTube.com/tuddle PODCAST PLATFORMS Podomatic tuddle.Podomatic.com TuneIn Radio http://tun.in/pjOR7 iTunes Podcast https://podcasts.apple.com/us/podcast/the-tuddle-podcast/id1501964749 iHeartRadio https://www.iheart.com/podcast/269-the-tuddle-podcast-59498985?cmp=ios_share&sc=ios_social_share&pr=false&autoplay=true Spotify https://open.spotify.com/show/1ZHRedrnxvAX4CnAFybSJe?si=D1Juw7NuSIqIXVWbMsj99Q 315 Live https://315live.com/category/tuddle/ SOCIAL MEDIA Twitter.com/tuddle YouTube.com/tuddle Facebook.com/tuddle Instagram.com/tuddle LinkedIn.com/in/tuddle TikTok.com/@tuddleOnTheRadio https://www.reddit.com/r/Tuddle/

      “You got ninety percent of the American public out there with little or no net worth. I create nothing. I own. We make the rules, pal. The news, war, peace, famine, upheaval, the price per paper clip. We pick that rabbit out of the hat while everybody sits out there wondering how the hell we did it. Now you're not naive enough to think we're living in a democracy, are you buddy? It's the free market. And you're a part of it. You've got that killer instinct. Stick around pal, I've still got a lot to teach you”   -- Gordon Gekko; Wall Street, Oliver Stone, 1987     We’re stepping outside the normal conventions of cybersecurity for this one. Matt Stephenson welcomes in Advent Technologies President and CFO Bill Hunter to discuss the recent madness in the stock market. When Redditors started flexing their ability to move markets with tools like rocket emojis and a lexicon that brought “tendies” and “diamond hands” to the common language… was that a Hack? Take a listen and decide for your self.     About William Hunter         William Hunter is Chief Financial Officer & Director at Advent Technologies Holdings, Inc. He is on the Board of Directors at American Battery Metals Corp. (Nevada), AMCI Euro-Holdings BV, Ridley Terminals, Inc. and Advent Technologies Holdings, Inc. Mr. Hunter was previously employed as a President, CEO, CFO & Director by AMCI Acquisition Corp., a Managing Director by Dahlman Rose & Co. LLC, a Vice President by BMO Nesbitt Burns, Inc. (US), an Associate by NatWest Markets Equity Corp., a Financial Analyst by KPMG LLP, a Principal by Jefferies LLC, and a Principal by TD Securities (USA) LLC. He also served on the board at Nomura Securities International, Inc. and Teneo Capital LLC. He received his undergraduate degree from DePaul University, an MBA from Kellstadt Graduate School of Business and an MBA from DePaul University     About Matt Stephenson           Insecurity Podcast host Matt Stephenson (@packmatt73) leads the Broadcast Media team at BlackBerry, which puts me in front of crowds, cameras, and microphones all over the world. I am the regular host of the InSecurity podcast and video series at events around the globe.   I have spent the last 10 years in the world of Data Protection and Cybersecurity. Since 2016, I have been with Cylance (now BlackBerry) extolling the virtues of Artificial Intelligence and Machine Learning and how, when applied to network security, can wrong-foot the bad guys. Prior to the COVID shutdown, I was on the road over 100 days a year doing live malware demonstrations for audiences from San Diego to DC to London to Abu Dhabi to Singapore to Sydney. One of the funniest things I've ever been a part of was blowing up a live instance of NotPetya 6 hours after the news broke... in Washington DC... directly across the street from FBI HQ... as soon as we activated it a parade of police cars with sirens blaring roared past the building we were in. I'm pretty they weren't there for us, but you never know...   Every week on the InSecurity Podcast, I get to interview interesting people doing interesting things all over the world of cybersecurity and the extended world of hacking. Sometimes, that means hacking elections or the coffee supply chain... other times that means social manipulation or the sovereign wealth fund of a national economy.   InSecurity is about talking with the people who build, manage or wreck the systems that we have put in place to make the world go round...     Can’t get enough of Insecurity? You can find us at Spotify, Apple,  Amazon Music & Audible as well as ThreatVector, GooglePlay, Gaana, Himalaya, I Heart Radio and wherever you get your podcasts!   Make sure you Subscribe, Rate and Review!

If you've been around the education world for a while, you've probably heard these acronyms thrown around: RTI, MTSS, and PBIS. But Dr. William Hunter takes us on a deep dive into what each of these terms mean, how they function to help our students, and most importantly how they work together to create a system that prevents students from falling through the cracks. Whether it's behavior or academic, these systems help us serve our students the best we can...And then we "rap" up with a fun conversation about #HipHopEd and how using poetry, rap, and spoken word can help engage students in a creative learning environment that honors their youth while meeting the demands of the curriculum.

Dans cette vidéo, vous découvrirez l'histoire d'un jeune homme nommé William Hunter. William n'avait que 19 ans lorsqu'il a été enchaîné à un pieu en bois et brûlé vif. Son crime ? Lire la Bible.

Devon Brown gets to know William Hunter Thomas! Will opens up about his early life in Vegas, his mission to Canada, making "Killer Missionaries" and much more! https://vimeo.com/339598353
 Password: killer

A very close one to Emma's heart! This is the first episode where she welcomes a family member onto the podcast! William Hunter, aka Bill "Magic 500" Hunter is Emma's first cousin twice removed, more fondly known as "Cuzzy Bill". Cuz at the time of the recording was 97 years old! But his memory is as fresh as a daisy and he shares many wonderful stories from his time in the Navy during World War II, living through the Great Depression, and performing magic at the Indy 500 for more than 50 years. Yes that's right, magic! He's got a magical personality but he is also a professional magician! He's still performing and being paid for his talents even up to today! Most recently doing a show for a local community group. He's performed at Indy 500, for the drivers and in the suites, and also at NASCAR events and Air Shows all over the USA. He also loves travel! Visiting many countries in his navy days and then going on to explore more of the world. He's now visited 41 countries, and loves comparing notes with Emma about all the places they've visited. Australia is his #1 - for more reasons than the obvious family connections. He's one of Emma's favourite people in the world, and he soon may be yours too. Enjoy this lovely episode.

Bodily suffering is central to the experience of being human, yet we still know remarkably little about how people actually experienced pain in the past. How can historians know what pain ‘really felt like' in previous centuries? What models did people use to understand pain, and how have these changed? Pain is inter-subjective, thus opening a space to explore questions of clinical empathy, or what 18th-century surgeon William Hunter called the physician's ‘necessary Inhumanity'. Speaker: Professor Joanna Bourke (Birkbeck College University of London)

Bodily suffering is central to the experience of being human, yet we still know remarkably little about how people actually experienced pain in the past. How can historians know what pain ‘really felt like’ in previous centuries? What models did people use to understand pain, and how have these changed? Pain is inter-subjective, thus opening a space to explore questions of clinical empathy, or what 18th-century surgeon William Hunter called the physician’s ‘necessary Inhumanity’. Speaker: Professor Joanna Bourke (Birkbeck College University of London)

On this day in Tudor history, 27th March 1489, the Treaty of Medina del Campo was signed between England and Spain. One part of it was the arrangement of the marriage between Arthur, Prince of Wales, and Catherine (or Catalina) of Aragon. It was signed by Spain on this day and ratified in 1490 by Henry VII. Find out more about this treaty and the betrothal and marriages (yes, plural!) of Arthur Tudor, Prince of Wales, and Catherine of Aragon in today's talk from Claire Ridgway, founder of the Tudor Society. You can see this podcast as a video at the following link:https://youtu.be/ivJa_K_8dh0 Also on this day in Tudor history, 27th March 1555, nineteen-year-old apprentice William Hunter was burned at the stake for heresy after being caught reading a Bible in church. Yep! Find out more in last year’s video - https://youtu.be/nItFisCuqFU  You can find Claire at:https://www.theanneboleynfiles.com https://www.tudorsociety.comhttps://www.facebook.com/theanneboleynfiles/https://www.facebook.com/tudorsociety/https://twitter.com/AnneBoleynFiles https://twitter.com/thetudorsociety https://www.instagram.com/tudor.society/ https://www.instagram.com/anneboleynfiles/

Speaker: Professor Joanna Bourke (Birkbeck College University of London) Bodily suffering is central to the experience of being human, yet we still know remarkably little about how people actually experienced pain in the past. How can historians know what pain ‘really felt like’ in previous centuries? What models did people use to understand pain, and how have these changed? Pain is inter-subjective, thus opening a space to explore questions of clinical empathy, or what 18th-century surgeon William Hunter called the physician’s ‘necessary Inhumanity’.

This episode is dedicated to a thorough discussion about mass incarceration, it's affects on Black People and life in prison. ShotGun Willie, Jason West, Roc (Robert), Suave', Big Reese (@dfwbigreese) and William Hunter join Shello 4 Sho & Byron LOVE Luv for this candid talk.Pay attention while you're enjoying the thematic music.Music contained herein includes:Byron LOVE Luv ft. Mowett Ryder - Love Your BodyBig K.R.I.T - Pick Yourself UpPlies - 100 YearsMarvin Gaye ft. Tammi Terrelle - Ain’t Nothing Like the Real Thing (ColliPark ReMix)Mr. Bigg - Take It To TrialJim Jones - I KnowSam Cooke - Chain GangTwisted Black - New BootMr. Pookie & Mr. Lucci - Crook 4 LifeI do not own the rights to these songs (excluding Love Your Body & Jungle [Concrete]). Use of these songs are strictly for promotional/entertainment purposes.*FAIR USE DISCLAIMER: I do not own copyright for this copyrighted material, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.I state here in a good faith that I have made and uploaded here this copy of this copyrighted material completely for the purposes of comment and criticism - i.e. my production of the copy of this copyrighted material and sharing of it here in this particular case - is totally non-profit, and that I believe that my production of this copy of this copyrighted material and sharing of it here in this particular case can only increase value of this copyrighted material and produce only positive effects for this copyrighted material in its potential market.Support the show (https://www.patreon.com/Byronloveluv/creators)

This episode is dedicated to a thorough discussion about mass incarceration, it's affects on Black People and life in prison. ShotGun Willie, Jason West, Roc (Robert), Suave', Big Reese (@dfwbigreese) and William Hunter join Shello 4 Sho & Byron LOVE Luv for this candid talk.Pay attention while you're enjoying the thematic music.Music contained herein includes:Byron LOVE Luv ft. Mowett Ryder - Love Your BodyBig K.R.I.T - Pick Yourself UpPlies - 100 YearsMarvin Gaye ft. Tammi Terrelle - Ain’t Nothing Like the Real Thing (ColliPark ReMix)Mr. Bigg - Trial TimeJim Jones - I KnowSam Cooke - Chain GangTwisted Black - New BootMr. Pookie & Mr. Lucci - Crook 4 LifeI do not own the rights to these songs (excluding Love Your Body & Jungle [Concrete]). Use of these songs are strictly for promotional/entertainment purposes.*FAIR USE DISCLAIMER: I do not own copyright for this copyrighted material, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.I state here in a good faith that I have made and uploaded here this copy of this copyrighted material completely for the purposes of comment and criticism - i.e. my production of the copy of this copyrighted material and sharing of it here in this particular case - is totally non-profit, and that I believe that my production of this copy of this copyrighted material and sharing of it here in this particular case can only increase value of this copyrighted material and produce only positive effects for this copyrighted material in its potential market.Support the show (https://www.patreon.com/Byronloveluv/creators)

In December 2015, a very close friend Graham brought a man to our GFCD Bible Study. The man’s name is William Hunter. We all know him as Bill. Bill was born in America and raised in a Southern Baptist family. He’s a former US Marine and a Vietnam War Veteran. Today’s podcast is Bill’s Story.  When you tune into our GFCD Podcast each week the first thing you hear is a lists of four benefits …four reasons that anyone would want to subscribe to the GFCD Podcast. Do you know that Bill has ticked all four boxes? 1.  Bill is NOW walking in divine health 24/7. 2.  Bill’s not in the prayer line to receive healing at his local Church – NOW he’s ministering healing (in the name of Jesus) to others in the prayer line. 3.  Rather than praying to God for a miracle, Bill is NOW praising God that he doesn’t need a miracle because he’s receiving the blessings from God each and every day of his life. 4.  Bill is leading people to the Lord without the need to take them to his Pastor.

May 14, 2013. Omaha, Nebraska. For five years the brutal murders of Thomas Hunter, 11, and Shirlee Sherman, 57, were a mystery. Then, in 2013, Roger and Mary Brumback, both 65, were murdered and the similarities between the two led the police to Anthony Garcia, a former employee of Roger Brumback and Thomas’ father, William Hunter, who appeared to have a grudge against those who fired him from Creighton University Medical Center. But with very little evidence found at the crime scenes, how could it be proven that Garcia committed the crimes?

Matthew Sweet takes to the woods with thoroughly modern witch, William Hunter, and writer and folklorist, Zoe Gilbert, to look for green men and suitable spots for a ritual. If modern magic is all about re-enchanting the world then old magic was more about fear and keeping witches out but as a new exhibition opens in Oxford, Dafydd Daniel and Lisa Mullen discuss whether magical thinking is an inevitable part of being human while in Marie Darrieussecq's new novel set in a not very far away and dystopian future, the forest is the last haven for fugitives. Our Life in the Forest by Marie Darrieussecq also looks at clones and trafficking. Her first novel, Pig Tales, was translated into thirty-five languages. As Radio 3 explores the idea of forests of the imagination she joins presenter Matthew Sweet along with New Generation Thinkers Dr Dafydd Daniel, who teaches at Jesus College, University of Oxford and Dr Lisa Mullen, who is the Steven Isenberg Junior Research Fellow, Worcester College. Zoe Gilbert's novel Folk is out now. Spellbound: Magic, Ritual & Witchcraft runs at the Ashmolean Museum, Oxford until 6 January 2019. A playlist of Radio 3's Into the Forest programmes is here https://bbc.in/2RUE1La Producer: Jacqueline Smith.

This week, William Hunter returns to talk to Michael about his idea for a breast feeding center. I Stand is produced in produced in partnership with OCT14 Publishing and is available on Apple Podcasts, Stitcher Radio, Google Play, TuneIn, Podomatic, and media.aois21.com.

This week, Michael talks to William Hunter about the music business. I Stand is produced in produced in partnership with OCT14 Publishing and is available on Apple Podcasts, Stitcher Radio, Google Play, TuneIn, Podomatic, and media.aois21.com.

Yesterday at Redeemer Presbyterian Church in Charleston, SC, our special guest speaker Mr. William Hunter delivered an urgent message of reminders from I Corinthians 15:1-8. We're a forgetful people, so we need reminders. Though we know the content of the gospel, we forget its power and reality in our lives. Mr. Hunter reminded us of three important aspects of the gospel: the present saving power, the past historical reality, and the future glorious hope we have. He encouraged us to examine how we should best remind ourselves of the important doctrines especially justification, sanctification, and glorification.

Yesterday at Redeemer Presbyterian Church in Charleston, SC, our special guest speaker Mr. William Hunter delivered an urgent message of reminders from I Corinthians 15:1-8. We're a forgetful people, so we need reminders. Though we know the content of the gospel, we forget its power and reality in our lives. Mr. Hunter reminded us of three important aspects of the gospel: the present saving power, the past historical reality, and the future glorious hope we have. He encouraged us to examine how we should best remind ourselves of the important doctrines especially justification, sanctification, and glorification.

When the curtain of time lifted on young 19 year old William Hunter’s path in the spring of 1555, his parents were watching as their son was walked to the center of Brentwood England, they were watching as he was chained to a wooden post, and they were watching as he was set ablaze. They... The post Episode 02 – William Hunter appeared first on Forgotten.

Williamsburg was a town of revolutionaries, but not everyone thought rebellion was a good idea. Men like William Hunter Jr., printer of the Virginia Gazette, stayed loyal to king and country. Actor-Interpreter Sam Miller explains how patriotic fervor made life difficult for those men and women who opposed it.

Dr Stuart McDonald "William Hunter"

My guest for podcast #174 is John Hunter, a long-time friend and fellow blogger - at his Curious Cat Management Improvement Blog and, more recently, as a blogger for the W. Edwards Deming Institute. John has recently published a book through LeanPub.com titled "Management Matters." In this episode, John joins us from Malaysia, where he has been living, and we talk about his quality background (growing up in Madison, Wisconsin, influenced by his dad, William Hunter, Brian Joiner, George Box, Dr. Deming, and others). John also talks about his book and work, why long-term thinking is such a rare commodity, and some of the lessons from Dr. Deming that mean the most to him. To point others to this, use the simple URL: www.leanblog.org/174. You can find links to posts related to this podcast there, as well. Please leave a comment and join the discussion about the podcast episode. For earlier episodes of the Lean Blog Podcast, visit the main Podcast page at www.leanpodcast.org, which includes information on how to subscribe via RSS or via Apple iTunes. You can also listen to streaming episodes of the podcast via Stitcher: http://landing.stitcher.com/?vurl=leanblog If you have feedback on the podcast, or any questions for me or my guests, you can email me at leanpodcast@gmail.com or you can call and leave a voicemail by calling the "Lean Line" at (817) 776-LEAN (817-776-5326) or contact me via Skype id "mgraban". Please give your location and your first name. Any comments (email or voicemail) might be used in follow ups to the podcast.