Archive for WLC Groups

Organization Histories – How To Links

The links on this page are here to help learn and understand the importance of and the process of preserving memories in digital form. They were researched over many hours and are gleaned from top-ranked Google search results. They do not represent a complete list of resources, nor can they be promised to be the absolute best.

If anyone has comments or further suggestions, please leave a reply at the end of this article.



When We Are No More

How Digital Memory is Shaping our Future
By Abby Smith Rumsey

Google Books Preview

How Digital Memory is Shaping our Future

There is a quote appropriate to our cause which follows the Table of Contents :

I imagine the earth when I am no more:
Nothing happens, no loss, it’s still a strange pageant,
Women’s dresses, dewy lilacs, a song in the valley.
Yet books will be there on the shelves, well born,
Delivered from people, but also from radiance, heights.
~ Czeslaw Milosz, “And Yet the Books” 1986

Taken from “And Yet Books,” presented here in full:

And yet the books will be there on the shelves, separate beings,
That appeared once, still wet
As shining chestnuts under a tree in autumn,
And, touched, coddled, began to live
In spite of fires on the horizon, castles blown up,
Tribes on the march, planets in motion.
“We are, ” they said, even as their pages
Were being torn out, or a buzzing flame
Licked away their letters. So much more durable
Than we are, whose frail warmth
Cools down with memory, disperses, perishes.
I imagine the earth when I am no more:
Nothing happens, no loss, it’s still a strange pageant,
Women’s dresses, dewy lilacs, a song in the valley.
Yet the books will be there on the shelves, well born,
Derived from people, but also from radiance, heights.



From Wikipedia

A curator (from Latin: curare, meaning “to take care”) is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution (e.g., gallery, museum, library, or archive) is a content specialist charged with an institution’s collections and involved with the interpretation of heritage material.

A traditional curator’s concern necessarily involves tangible objects of some sort—artwork, collectibles, historic items, or scientific collections. More recently, new kinds of curators have started to emerge: curators of digital data objects and biocurators.


How to Use a Simple Pocket Notebook to Change Your Life

by Trent Hamm
Updated on 06.23.16

How to Use a Simple Pocket Notebook to Change Your Life

A few days ago, in Monday’s Reader Mailbag, I made an off-hand reference to my own use of pocket notebooks, where I wrote a paragraph or two about how I used them and suggested that if readers wanted to know more, they should send me a note and I’d write a longer article. I received a hefty stack of requests for this – Facebook wall posts, Facebook messages, and emails – so here’s the article that so many of you requested.


Better Pictures Through Words: The Lost Art of Photo Field Notes

by Jose Antunes
27 Nov 2014–cms-22570

Modern cameras keep a lot of information about your pictures. Digital cameras record EXIF (Exchangeable Image File Format ) data about the characteristics of images, time and date, and even GPS location information. With the data and tools available today it is possible to file and search your images in many different ways, from camera or lens type to geographic location.

Although all that data is important, photographers can, and should, go further. To be truly engaged in taking your pictures, it pays to record the who and the why of photographs as well as the what and when. All the things that happen outside the frame have a big impact on why an image matters, and who it matters to.


Planning Overview

American Society of Media Photographers
Richard Anderson and Patti Russotti

Understanding the life cycle of an image has become a critical element of planning your digital imaging workflow. Part of this understanding includes understanding the relationship between each decision in the workflow process.

If we do not make informed decisions early on, this may result in an enormous amount of time spent “cleaning-


How to Preserve Family Papers and Photographs

National Archives

Maybe a relative sent you old letters, certificates, and family photographs and you are not sure what to do. Maybe you’re wondering how to save your child’s pictures and other mementos.

These simple tips will help you preserve your family papers and photographs for the next generation.

Preventing damage is the key to preserving your items.

  • Handling Family Papers and Photographs
  • Storing Family Papers and Photographs
  • Displaying Family Papers and Photographs
  • Digitizing Family Papers and Photographs
  • Repairing Damage to Family Papers and Photographs
  • What to Do About Moldy or Insect-infested Family Papers and Photographs
  • More About Caring for Family Papers and Photographs



A Thousand Words: Writing from Photographs

By Casey N. Cep
February 26, 2014

I can’t remember exactly when I stopped carrying a notebook. Sometime in the past year, I gave up writing hurried descriptions of people on the subway, copying the names of artists from museum walls and the titles of books in stores, and scribbling down bits of phrases overheard at restaurants and cafés.

It’s not that my memory improved but, instead, that I started archiving these events and ideas with my phone, as photographs


What is Metadata in Photography?


What is Metadata in Photography?

Among many photographic terms, metadata comes up very often when talking about image management. But what is metadata in photography? How does it actually help you organize and sort images? In this short article I will explain the term itself. I will also discuss reasons why it may be a good idea for you to input additional metadata information with your photography management software, such as Adobe Photoshop Lightroom.


Support of IPTC Photo Metadata by Software

International Press Telecommuncations Council

Photo Metadata Software Support

Find below how photo software vendors claim to support IPTC Photo Metadata. The data have been provided by the vendor of the software and have not been tested by IPTC.


Digitizing Family Papers and Photographs

National Archives

Digitizing your originals can allow you to view and share your items without handling, which can cause damage. Keep your originals after you digitize them, because digital files have their own preservation risks and can easily be lost. Whether digitizing your family papers yourself or having a company do it, it is important that the originals be handled carefully so they are not damaged in the process.

A few considerations in digitizing:

  • For flat paper and photographs, make sure the original fits complete on the surface of the scanner. The lid of the scanner can crush and crease the original if the paper doesn’t fit on the scanner.
  • For books, use a copy stand instead of a flatbed scanner. Use book supports, wedges or a cradle so the binding is opened comfortably without force.
  • Automatic feed scanners are not suitable for fragile, weak, bent, or valuable papers; papers can jam and become torn in automatic feed scanners.
  • Determining how far a book can open safely without placing stress on the binding
  • A book cradle that is used with a copy stand for taking digital images

File Naming: Use only the letters of the Latin alphabet (A-Z, a-z) when creating alpha-numeric identifications. Don’t use spaces, punctuation or symbols. Use hyphens and underscores instead of spaces.

Add basic Metadata to files: Who, What, Where, and When. Metadata helps find and identify files later in time; there are a number of metadata options.

Back Up your Files- Follow the 3-2-1 Rule. Three copies, stored on two different media, and one copy located off-site.
For more information on digitizing records:

  • Federal Agencies Digitization Guidelines Initiative website
  • American Society for Media Photographers Best Practices
  • Universal Photographers Digital Imaging Guidelines
  • Wilhelm Imaging Research
  • Image Permanence Institute



American Society of Media Photographers
Peter Erogh

Keywords are one of the most flexible ways to describe your images. This page presents some keywording strategies.
Describing images with keywords

Keywords are words or phrases that you associate with a picture to describe the subject matter, style, uses, or connotations of the image. These descriptions can be of great use when organizing and searching your picture collection.

Keywords can be abstract terms (like “victory”) or subject-oriented terms (like “cat” or “Maddy”). Subject-oriented terms are generally easier to apply because they require less careful consideration. Abstract terms are generally economical to apply only to the very best images, such as your highest rated ones or those that will be made available in a searchable stock photography database.


The Conservation Lab: Preserving and Conserving Church History

The Church of Jesus Christ Latter-Day Saints

The Church History Library is much more than a place where priceless records are kept; it also houses a high-tech, state-of-the art conservation lab that protects and preserves historical records such as journals, books, and photographs.

Both preservation — stopping decay before it happens — and conservation (repairing decay) are carefully regulated by a handful of trained conservationists. These individuals use simple procedures as well as high-tech machines to help restore even the most obscure photographs.

“The philosophy here is that we want things to be accessible to the public, while at the same time we are properly caring for them,” said senior conservator Chris McAfee.


Preserving History

The Church of Jesus Christ Latter-Day Saints

Many people have documents, photographs, and artifacts that tell stories of themselves and their families. Such items are important because they help define who we are, remind us of family ties and interactions, and provide us with ways to share our stories. While these things sometimes have monetary value, perhaps most importantly they always have strong sentimental value.

The value we see in these items instills in us a desire to save them.


Preserving Collections in the Church History Department

The Church of Jesus Christ Latter-Day Saints

The Church History Library and the Church History Museum house a substantial collection of irreplaceable artifacts. Each item has been professionally cared for and stored, but their value isn’t just in their existence, it’s in their use. Learn the techniques Church History specialists use to preserve the collection so that, when it’s your turn to view these treasures, you’ll be prepared to do so wisely.

Housing refers to the containers in which artifacts should be stored to ensure long-term preservation. Learn appropriate methods for storing books, documents, photographs, paintings, and other artifacts.

Note: This article has many links to videos which describe various aspects and techniques for housing documents.


  • Preservation Housing for Electronic Media
  • Proper Housing of Photographs
  • Proper Housing for Textiles
  • Proper Housing for Paintings
  • Proper Housing for Objects
  • Proper Housing for Books and Paper Documents


  • Proper Handling of Electronic Media
  • Proper Handling of Books, Documents, and Photographs
  • Proper Handling of Objects and Textiles
  • Proper Handling of Paintings


Preserving the History of the Latter-day Saints

The Church of Jesus Christ Latter-Day Saints
Edited by Steven C. Harper and Richard E. Turley

The pattern of keeping records dates back to the earliest days of the church, when Joseph Smith, the church’s founding prophet, announced the divine decree, “Behold, there shall be a record kept among you” (D&C 21:1).


Modern Efforts to Preserve Church History

The Church of Jesus Christ Latter-Day Saints
Ronald K. Esplin



(Guide for Local Church Historians)
Church of the Bretheren

The Need
Every local church should be keeping a record of its history! In the past, Brethren in general have been little concerned with records. In the early years of our history this is understandable, for there was as little formal organization as possible.


Develop Compelling Content For Your Exhibits

History Associates

Develop Compelling Content For Your Exhibits

The creative use of pictures, videos, and text can capture a visitor’s imagination and create a lasting impression.

If you are developing an exhibit for a museum installation, interpretive center, or corporate display, our professional historians will find the information you need and then help you pull all the elements together to tell an interesting and authoritative story.

  • Content Development for Exhibits, Interactives, and AV
  • Exhibit Research for Images and Artifacts
  • Label Text and Script Writing
  • High-Resolution Image Acquisition
  • Artifact Acquisition
  • Media Asset Licensing


A Guide for Preserving and Writing Club History

General Federation of Women’s Clubs: Women’s History and Resource Center

With Step-by-Step Instructions for:
⦁ Establishing a Club Archives
⦁ Donating Club Records to a Historical Repositoery
⦁ Researching and Writing Club History

(16 pages)


Tips For Preserving Your Club’s History

By Rose-Anne Lawrence, KB1DMW
ARRL Affiliated Club Assistant

As the ARRL Affiliated Club Assistant, I get several requests from club officials who are researching the history of their Amateur Radio club. Some of these requests may be as simple as when a club first became an ARRL affiliate and others, like a club’s first callsign, may require a bit of research.


Managing Church Records

Congregational Library & Archives

Organizing church records is often a daunting task — but it can be done.

This section provides basic information on:

  • Writing a policy for managing records
  • Weeding and organizing paper documents
  • Creating safe long-term storage
  • Maintaining digital records



Oral History


1.) Why do Oral History?

Published on Oct 15, 2010




2.) Getting started on your oral history project

Published on Oct 15, 2010




3.) Preparing for the interview and doing individual research

Published on Oct 15, 2010




4.) Writing interview questions and a script for interview

Published on Oct 15, 2010




5.) Conducting the Interview

Published on Oct 15, 2010



Becoming a Citizen Journalist and Using a Smartphone

How to shoot video reports on a smartphone

Published on May 7, 2015



Smartphone journalism: Videos

BBC Academy
Published on May 17, 2016

Mostly useful – you can skip the part about keeping safe while filming. We don’t expect you to record out on the streets during a riot.


How to become a citizen journalist

Published on May 14, 2015

Now that you have recorded your interview, what’s next ?




9 things to check before pressing the record button
Published on Oct 5, 2017




Top 15 Mistakes Beginner Filmmakers Make

Published on Jan 20, 2015




Smartphone journalism: Audio

BBC Academy
Published on Jun 8, 2016

Tips to Improve Audio




Frameforest Filmschool: 3 point lighting

Published on Jun 7, 2011

A quick look at lighting :




Video Lighting Tutorial

Video Influencers
Published on Oct 28, 2015

Looking at simple and inexpensive ways to control lighting




Frank Gardner: What’s the story?

BBC Academy
Published on Jun 23, 2016




Frank Gardner: How to build a story

BBC Academy
Published on Jun 23, 2016

What are we supposed to be looking at ?
What’s going on ?




Frank Gardner: Do not overload your audience
BBC Academy
Published on Jun 23, 2016

Stay on point and keep it simple.




Video Editing for Absolute Beginners

Published on Jul 16, 2017




Three point lighting, Video softbox lighting tutorial.

Published on Jan 3, 2010

Now, when we get real good, we can try interviewing with these lighting techniques.




How to Interview

Writing an interview report

Kathy Veren
Published on May 20, 2015




Journalism: How to Lead an Interview

Ms. Stetson
Published on Mar 29, 2015




How to Interview People for Their Life Stories

Published on Jun 16, 2011

Whether writing an article to tell the story of The Warren Light Center, or recording an interview with someone about what it was like to be there, or preserve knowledge of some related esoteric subject – this is the type of interview that will be the most common.




How to Record an Oral History Interview

University of Leicester
Published on Aug 9, 2009




How to Interview “Almost” Anyone | Mike Dronkers | TEDxHumboldtBay

TEDx Talks
Published on Jun 11, 2015




Video and Text Chat Room

Welcome to the Warren Light Center Chat Room

Please feel free to contact friends and reminisce about times at the Warren Light Center, talk about current topics of interest, or simply visit.

If you would like to have your memories entered into the the website as a separate article, please leave a reply at the end of this bottom of the page and one of the Archive members will get in touch with you by e-mail.

Either click on this link now, or follow the steps below.


In a conversation


To use this software follow these simple steps:

Go to The Warren Light Center Chat Room

Allow use of your camera and microphone


Click on the red bar to give
the chat room permission to
use your camera and microphone.




Giver permission to use your camera and microphone


Click on the prompt to confirm
that you are giving permission.

Note: This prompt will be different
if you use a browser other than the
one shown here.



Alone in the chat room


This is what it looks like if no one else
is present in the chat room.

If you wish, you can copy the link on
the right and send it to other people
so they may join you.




If you’ve already agreed to meet people in the chat room they will appear on screen as soon as they finish the joining process.

In a conversation



Enjoy !


Archive Discussion Area

As the Archive Group is a self-organizing entity, its ability to document the history of the Warren Light Center and its members is limited by how many people become involved, what talents they have, and what each wishes to do.

In that spirit, and after reading the slide presentation from June 25th, 2017, please leave your thoughts on how we are to proceed here.

The slide show also has comment areas for more general questions and opinions about the topics under each page.

WLC Archive Group – Initial Presentation


This document may contain copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in an effort to advance understanding of environmental, political, human rights, economic, democracy, scientific, and social justice issues, etc. we believe this constitutes a ‘fair use’ of any such copyrighted material as provided for in section 107 of the US Copyright Law.
In accordance with Title 17 U.S.C. Section 107, the material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.


Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

My Encounter with a U.F.O.

A co-worker of mine, Marie Baker, called me out of the blue on my birthday. She remembered my interest in Spiritual Metaphysics and U.F.O.s. She began telling me about her sightings of U.F.O.s from her home in Utica, Pennsylvania, not far from the grounds of Warren Light Center. I told her that I thought she should visit Ina Gallagher and share these sightings with her.

Marie had been involved with the Warren Light Center several years before, when her son Michael was a Boy Scout who camped on the grounds. So, she and I started attending class meetings with Ina.

One evening after such a meeting, we headed home turning right onto the French Creek Rd, toward Utica.

Not far from the Warren Light Center, on the left side of the road, is a campground called Coopers, with a pond in the front. The campground sits at the base of a valley canyon, between two small mountains.

I spotted two bright lights high above, further back the canyon.

Jokingly I said to Marie, “Look Marie, there’s two of your buddies over there.”

As soon as she spotted the lights she replied. “Move over, pull over right here”

Automatically, I pulled my car over to the right side of the road. No sooner than I had turned off the engine, I looked out my windshield and saw that right above us was a ship. I believe now, it was a scout ship.

The Mother ship was the brighter of the two lights and stayed in the canyon. I looked into the side of the scout ship. It was like looking into the door of a microwave oven when the light is on. I saw nothing in the ship, at least no moving Beings.

And then the ship was gone. Believe me.

It didn’t disappear behind a tree, or enter the water of French Creek. It was not headlights from another car. It simply disappeared. I “knew” that I had just seen a U.F.O.

Marie said, “Did you see that?”

Not much was said as we traveled on our way to leave her off at her home in Utica.

When I arrived home my (ex-) husband was getting ready to go to work. I tried to tell him what happened and asked him if U.F.O.s could camouflage themselves as military helicopters. His reply, “How the Hell would I know?” (Now whenever a situation comes up in mine or my sister Mary’s life that we don’t have an answer for, we answer, “How the Hell would I know ?”)

Marie told me later that she went back to the location on French Creek Road and asked a neighbor if he had seen anything that night. His answer, “No, but that’s nothing. We see stranger things like that all the time here.”

Marie later asked Bill Dye about what we had seen. He confirmed with her, that we had indeed saw the ship, and he was not surprised.

Sometime later, I asked a group of Warren Light Center members who were attending a meeting about our encounter. Sierra answered, “Once you see one, you know what you saw. You don’t need to see another one.”

But what bothered me for years after the sighting was: How was I able to look into the side of the ship, if the ships were made of metal?

Since that time I have been given confirmation from other sources.

  1. The book The Day after Roswell.
    Written by a member of a group of military officers who were to investigate the crash and reverse engineer any technology they found on the ship. The author was surprised that when he entered the ship he could see outside a full 360 degrees.
  2. Than again while attending a MUFON meeting in Sedona, Arizona.
    People there shared a story of a couple who were witnesses to the ship flying over before it crashed. The gentleman stated in an interview with the local newspaper, it was lit up from the inside of the ship.
  3. Ron Headley has confirmed I was right.
    The material the ships are made of could let me look into the side of the ship.

Hidden Beauty Dec. 2016

About my Channeling

by Melodie Peterson

How do you do it?

I always go by guidance in every channeling session. I wait for a time when I feel exceptionally well, that I’m in high spirit, that I’m well rested, and in a positive peaceful space.

I state my intention and ask, “Who wants to work with me?”

Sometimes it’s a tree wand, sometimes my selerite wand, other stones and at times my familiar Kanika (cat.)

I light a candle, burn sage (at times, ) and sing The Lord’s Prayer. I state the name of the person or animal and ask permission to speak to their Higher Self. I visualize that I am connecting my roots to Mother Earth and my crown chakra to the heavens.

I stop the traffic in my brain. I make total peace in my head – no sound – no thought. Analogy: I’m a plane sitting and waiting for that moment to be given the go-ahead. Sometimes I take off fast, and write quickly.

Other times Guidance comes slow. I mark out the things that I recognize to be negative. I know that I am off track at that point and am getting interference. If that happens I call on an angel or master to help me reconnect or Kanika shows up.

I pay attention to my body language, feelings, visions, song, dreams as follow-ups or extra thoughts that I get later.

I pay attention to what the words mean at the moment that I receive them.

Sometimes I go to the dictionary afterwards to pick the best possible word that capture sa given time and that thought. Afterwards, I also remember something or Guidance changes a few words as I proofread and copy.

I just know when to close out each session because of my body language.

Suddenly I come back to an alert state. This is my cue as confirmation. Often before this moment in channeling my cat Kanika jumps off my lap.

Why do I channel?

It’s something I did before I knew that was what I was doing. I’ts something that I always wanted to do. I have the awareness that it is tangible; that it’s within the reach of perceptibility.

What do you get from it?

I the synchronicities that are confirmation. There is always something that I get in messages that intrigues me; that raises interest at times prompts research because it raises my curiosity. This teaches me!

I receive words to use and when I learn their meaning realize that they are perfect for a specific place in my reading. This brings me understanding, growth, and satisfaction.

I acknowledge that channeling is a sacred gift that is meant to share. I am eager to share my message with my client. I often receive confirmation by others’ reaction. They want to know how I know certain things. I also receive confirmation that it’s truth by my body’s reaction in feeling energy or crying.

Channeling is a way that I can serve mankind.

By answering questions I am guiding them, spreading Light and healing to them. I am also helping them perceive certain things to help them make decisions.

How has it changed your life?

It’s encouraging me to loosen up, relax more, meditate more. When I channel I share my experiences (messages) that are then shared and this sparks conversation and both parties grow.

I reach new heights (figuratively.) My energy level is getting stronger. Channeling is contributing to my confidence. The most rewarding thing is that channeling is helping me become a happier person since I partook in it. I’m more fun to be around because I’m totally myself. I am now embracing my I AM and acknowledging myself more.

The following is an example of the confirmation that I receive: If Bettie Mavity had to pass through some physically challenging time, a group of us would do long distance healing for her.

When I told her some of the things that I said and did during the healing (shared that with her,) she gave me feedback. She experienced the same things. Bettie is very intuitive and she has incredible visions. This is long distance healing, but in Spirit — close. The outcome of the healing was that she relaxed so the pain could subside and she went to sleep for the night.




Shirley Baum commissioned a recreation of the original APORCEE structure located at Heaven in the Woods and completed in 2016. (Editor)

The original APORCEE structure was built on the grounds of the Warren Light Center located near Polk-Franklin. It is designed from a spiritually inspired vision of Don Anderson, resident and member of the early WLC group. If you look further on this website under the WLC Residents you will find the account written by Ron Headley describing Don Anderson and his manifestation of APORCEE.

My interest in APORCEE began after I was shown the photo prints of spirit paintings taken by Dolores Holmes who, with her husband Ron, were close friends of Don Anderson and visited WLC grounds often.

In the early 1980s, Al Law who was also a member of WLC painted a group of Spirit paintings. At the time he painted these paintings he did not know who the people in the paintings were . He would place the paint on his pallet, allow spirit to paint the paintings, and when the paint was gone from the pallet board the paintings were finished.

As soon as I saw the prints of those paintings I “knew” they were of the commanders of the first spaceship which landed on earth. They were a special group connected with the Galactic Federation under Ashtar, Hatton, and St. Germain. I have since been told that I was on the fifth ship that landed.
You can find these paintings under the menu WLC Groups/APORCEE on this website.

APORCEE is made up of the names of the following commanders:

A = Alene
P = Persuk
O = Orlen
R = Roylan
C = Corvau
E = Enai
E = Ephra
These commanders traveled from a starbase in the Pleiades.
There is no WLC activity on the original grounds at this time. But several members of the group wished to continue gathering, so WARREN LIGHT CENTER II was created.

During a meditation (when we still met on the WLC grounds at the original APORCEE site), I received a message that I was to build an APORCEE structure at my own HEAVEN IN THE WOODS and that the structure would complete the circuit of energy which I had been working on while creating HEAVEN IN THE WOODS.





After three years of manifestation, APORCEE has been fulfilled. This structure has been modified somewhat from the original Don built.

But my intention is “True Blue” as they say and I believe Spirit will make what happens “happen” for each person who wishes to experience APORCEE energy.


  A follow up: After our last gathering, MaryAnn McClellan received a message regarding the letters in APORCEE and their meaning:

A = A
P = Portal
O = Oscillator
R = Resonance
C = Chamber
E = Energy Activator
E = Extender
Expanded Explanation
  • Portal (a doorway, gate or entrance)
  • Oscillator (a person that creates a sound that oscillate on a apparatus such as an electron tube, or establishing and maintaining oscillation of a frequency determined by it’s physical constants –
    always the same. For example: musical notes are always the same value.
  • Resonance (prolongation of the sound or musical note by reflection or by sympathetic vibration of other airways)
  • Chamber (any enclosed space or compartment designed for  a specific purpose)
  • Energy Activator (action at work or expression, inherent power, the strength of power efficiently exerted in balance)
  • Extender (to lengthen, to reach farther)

Shirley Baum


Marjorie Gera shares the meaning of the original APORCEE:

Any Person Opon Realizing Consciousness Enters Enlightenment”. Yes it is opon not upon.

Before the actual structure Don [Anderson] created a physical symbol [of] each that hung in our homes and that he made and freely gave to all who asked.


To learn more , please click The House of APORCEE