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Our Clients
Client Testimonials
Current & Past Education Clients
Our extensive education and library client list represents nearly 20 years of providing custom connectivity solutions.
Indiana K-12 Clients
Anderson Schools
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Other K-12 and Higher Education Clients
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"I've used MapleNet for many years now. For wireless projects, I am not aware of another company in the area that I would trust to implement the job. They have helped implement a wireless WAN project between our 4 buildings that are about a mile apart. The quality of the work was excellent-both on time and exactly as budgeted. Over the past several years the only WAN outages we have had were due to our own issues with power. The system is extremely reliable. MapleNet continues to monitor our WAN on a 24/7 basis and immediately notifies us of any issues in monitoring."
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Director of IT Services, Brandywine Community Schools
Staffed by a team of seasoned telecom professionals with a combined 80+ years of experience deploying private networks, MNW Telecom is a nationally recognized leader in managed communications services.


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Sunday, August 13, 2017
Milk Weed
7 comments:
Thanks for your answer in your posting of yesterday and again a new one. Has this plant a use?ReplyDeleteReplies
Yes, this is an important plant. The white sap gives the plant its name. That sap is mildly poisonous and will remove warts. The leaves are important to the Monarch butterfly larva which makes the butterfly toxic to predators giving them protection. The fluff attached to the seeds was used during WW II to stuff life preservers as it is six times more buoyant than cork. The stem has strong fiber that makes rope.Delete
Thanks for your answer again.Delete
I believe milkweed has quite a few medicinal uses TFG according to Google ☺ReplyDelete
I've never seen such a plant.ReplyDelete
More than I ever knew about milkweed! Thanks.ReplyDelete
There is a big move on here to plant milkweed for the Monarch Butterflies. I'm starting to see the wee guys floating around getting ready to head south on their long journey!ReplyDelete

subset: commoncrawl


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The Lord of the Rings: The Card Game Fellowship 2016 Event on 11/12!
The Lord of the Rings: The Card Game Fellowship 2016 Event is coming to The Wandering Dragon on Saturday, November 12th!
RSVP on our Meetup Now!
Taking place on November 12th The Lord of the Rings: The Card Game Fellowship Event is a chance for players to come together and share their appreciation of The Lord of the Rings: The Card Game! Not only will players get to play the special, The Siege of Annuminas LCG Scenario, with other The Lord of the Rings: The Card Game Fans, but also take home some great prizes to commemorate this awesome event!
Each Participant will receive:
The Siege of Annuminas LCG Scenario!
Faramir Alternate Art Card!
Playmat of Eowyn facing down the Witch-king of Angmar!
In The Siege of Annuminas, the ravaging hordes of Angmar are marching on Annuminas, and it's up to the players to defend the city in an adventure designed for 1-12 players. This unique scenario can be played in two different game modes: Standard Game Mode or Epic Multiplayer Mode. Standard Game Mode requires only 1 copy of The Siege of Annuminas and supports 1-4 players like every other The Lord of the Rings LCG scenario. But Epic Multiplayer Mode requires three copies of The Siege of Annuminas and supports 3-12 players!
To help players set up The Siege of Annuminas for either game mode, the scenario includes five sequential rules card inserts and two double-sided setup cards: one labeled "Standard Game Mode" and one labeled "Epic Multiplayer Mode." To play The Siege of Annuminas in the desired mode, simply follow the Setup directions on the corresponding setup card.
In Epic Multiplayer Mode, a group of 3-12 players are divided into three teams, and each team is assigned to a different stage. Each stage represents a different part of the battle and only the team at that stage can defeat it. In this way, each team is dependent on the others to do their part in order to win the battle and defeat the scenario.
Even though all three stages are interconnected, each one counts as its own game. So a card ability at one stage cannot affect the game state at another stage, unless it specifically says it does. Because each stage is its own game, two players at different stages can use the same unique card. That means players only need to coordinate their heroes with the other players on their team, not the entire group.
It also means that once the game gets underway, the game plays just like a standard scenario, with one important exception: when the players reach the end of a game round, they do not advance to the beginning of the next round until each other team in their group has finished the current game round. This is because there are several important effects that trigger at the end of each round that will affect each team in the group. Most notably, the Annuminas objective has the text: "Forced: At the end of the round, deal 1 damage to Annuminas for each enemy at each stage." If the players allow Annuminas to take too much damage, they will lose the game, so each team must be prepared to deal with the enemies at their stage.
Fortunately, each quest stage also provides some ways for the players to fight back against the enemy. For example, each different stage 1 gives the players at their stage the means to prepare for the approaching Orcs. At stage 1B, Rebuild the Defenses, the players can increase the amount of damage that Annuminas can take by removing 10 progress from that stage at the end of the round. If the players at stage 1D, Raise the Levee, can remove 10 progress from their stage at the end of the round, the first player at each stage takes control of a set-aside Dunedain of Annuminas objective-ally. Finally, the team at stage 1F, Delay the Enemy, can offer each other team a significant reprieve. If the team at stage 1F removes 10 progress from their quest stage at the end of the round, each other team reveals 1 fewer encounter card during their next quest phase.
When the players advance to stage 2, the battle is fully underway with a fresh Host of Angmar appearing at stage 2F, Man the Walls, each round. If the Host of Angmar is in the staging area at the end of the round, the Forced effect on the Epic Multiplayer Mode card advances it to the next stage in descending alphabetical order, from stage 2F to stage 2D, or from stage 2D to 2B. If a Host of Angmar is in the staging area of stage 2B, Defend the City, at the end of the round, it assaults the city directly by discarding itself to deal 9 damage to Annuminas.
The Epic Multiplayer Mode card also prevents each stage 2 from being defeated except for at the beginning of the round. That way the different teams all advance as a group. If they make it to the final stage, the players at stage 3B will come face-to-face with the Lieutenant of Angmar, but the Forced effect on the enemy may cause him to move to a different stage, making him dangerous and unpredictable. If any team manages to defeat the Lieutenant of Angmar, each team wins the game.
To play The Siege of Annuminas in Epic Multiplayer Mode requires three copies of the scenario and a minimum of three players (one for each stage). Because each stage presents its own challenges and rewards, we recommend that each group distribute its players evenly among the teams. However, the players are free to distribute themselves in the manner they see fit, so long as there is at least one player at each stage and no more than four players on each team. If there is an uneven number of players, we recommend placing the extra players at stage 1A at the beginning of the game.


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1. We are committed to protecting your privacy.
2. The Personal Information Protection and Electronic Documents Act defines personal information as information that would allow a specific individual to be identified or information that can be directly associated with an individual. This includes your name, postal or e-mail address, telephone number, social insurance number, demographic information and purchasing history.
3. We collect only the personal information that is strictly necessary for the purposes outlined in Section 4, below. We collect personal information when
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To learn more about the Federal Privacy Act: Privacy Commission of Canada Toll Free: 1-800-282-1376 Website


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How To Find Safe Gambling Sites – Safe judi slot
You constantly require to bear in mind that if you do not shed cash, it suggests that you have conserved cash. One can wager with genuine cash to acquire substantial advantages within much less time. To start with, you'll discover that an excellent casino system can aid you in locating the finest benefits available. Here, we've collected up some favored web pages to locate the most effective well-rounded sporting activities wagering websites. Find other means to fill the peaceful moments during your day if you're betting on your mobile phone. Some websites are had by huge public firms that are very easy to discover. At WalletHub, we attempt to provide a vast selection of deals. However, our deals do not stand for all monetary solutions firms or items. Advertising might affect exactly how and also where items on this website (consisting of, for instance, which they show up). Opinions revealed right here are the writer's alone as well as have actually are WalletHub promoting companions. The states of Nevada and also New Jersey desire, as well as have dealt with tough to incorporate Us on the internet casino video gaming within their boundaries and also desire even more than simply Facebook video games. So these casinos deserve going to for those that such as state-of-art graphics and also abundant video gaming attributes. "Commercial casinos" are specified as land-based, riverboat as well as racetrack casinos. A few of the tasks you can do while in Goa consist of yet are not restricted to coastline sporting activities, going to various other casinos in the district offering video gaming enjoyment, dancing as well as go crazy events, sensational river cruise ships, as well as water sporting activities such as jet-skiing, watercraft trips, as well as extra.
Our existence as a Southern local transport center makes Atlanta a very easy pc gaming location for both thirds of the populace that lives east of the Mississippi River. Note: These metrics gauge the visibility of one-armed bandit in retail or ease areas judi slot online. Note This binary statistics procedure the visibility or lack of a self-exclusion plan in a state. Note: "NCPG" is a phrase for National Council on Problem Gambling. Not all too many casino players are pathological, uncontrollable, or trouble casino players. Census Bureau, American Gaming Association, National Council on Problem Gambling, North Association of State as well as Provincial Lotteries, Federal Bureau of Investigation, Legal Sports Report, Gamboool, Google Ads, Gamblers Anonymous and also Virginia Commonwealth University's Dr. Jay S. Albanese. Does this certain web site assistance gamers from the United States while likewise using a leader in on the internet casino video gaming software application, like RTG? The firm supplies Indian gamers with a smooth wagering experience on both mobile gadgets as well as desktop computer computers. One essential facet that has to be thought of whenever you discover casino poker along with that's educated at casino poker universities is that the gamers actually ought to match the wager of the initial gamer. The expert gamer would certainly, after that, examine the hand as well as offer out the choice. When this takes place, the gamer obtains reckless as well as sheds emphasis of what is occurring.
It deserves stating that like various other dependencies, wagering dependency seldom takes place overnight. As an example, the LeoVegas casino in India is rather preferred as it uses a multitude of video games like ports, blackjack, live roulette, and so on, along with appealing rewards. The majority of the casino scene in the state of Nebraska occurs in the Native American run locations. Does the net matter as an area? The application of the web right into our everyday lives has added to these substantial adjustments, with the amusement market being modified dramatically as individuals began to captivate themselves via the web. We've expanded our advancement group from modest starts and also are currently ten individuals – moneyed by angel innovation capitalists. Their perk deals are all remarkable worth as well as the social experiences leave absolutely nothing to be preferred. Ad Disclosure: Certain deals that show up on this website stem from paying marketers, as well as this will certainly be kept in mind on a deal's web page making use of the classification "Sponsored," where appropriate. If you have a pointer, allow us to recognize as well as we will certainly include the video game. Both smart devices and also tablet computers will certainly deal with these mobile casinos, and also the gameplay experience with either of the gadgets must be extremely comparable to what you obtain with a complete sized computer system. The state provides a significant possibility for sportsbook drivers to do well using free sporting activities wagering applications.


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Mill Lane footbridge wins engineering award
Steel arch span in Bracknell, designed by Jacobs
So does Aylesbury footbridge
Bourg Walk bridge, also designed by Jacobs
Tabikappa blog
I've recently added a new link to this Japanese blog which posts regular photos of bridges. If you read The Happy Pontist through an RSS newsreader rather than visiting directly, please visit the home page occasionally, as it links (in the right hand margin) to the latest updates of several other blogs which may be of interest. What especially attracted me to Tabikappa was this terrifying bridge.
Safety concerns raised about Brisbane's Kurilpa Bridge
Vulnerable to impact from freakishly tall vehicles, apparently (isn't this true of any bridge over a highway?) Mayor gets in a tizzy, consultants seem to have a dislike of steelwork, politicians see passing bandwagon and chase after it.
New fibre reinforced composite footbridge installed in six hours
Ultra-low maintenance bridge is no beauty.
Soaring or boring?
Decision on controversial Portland light rail bridge moves closer. Journalist opposes elegant, efficient design (pictured below). Blogger offers insight into the decision-making process.
19 June 2009
1 comment:
Was FRP bridge really £5k/m2 for a bridge with no new footings or piers, just spans and steps? Seems like a lot for an ugly steel lookalike.
- June 19, 2009 at 10:01 PM
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A fluid writing conference is complex to explain but easy to manage. If you stay with me to the core, you will have a visual of how fluid conferences work. Better yet, when you finish, you will have already worked out a hybrid in your own mind.
If you're like me, you're exhausted by the very idea of conferencing with every student in your classroom. We know that we have to talk to young writers if they are to improve, but how do we find the time?
That's why I invented a new way of conferring I call the fluid writing conference.
It's complex to explain but easy to manage. The teacher is in the conference circle with the writer and 3-4 other students. But there's a difference: students come and go as needed. The circles are never the same. The teacher confers with one child while modeling how to talk effectively about writing for the others. Everyone gets involved in finding the good and the lapses in the writing and eventually – and this is the great part - the budding authors write with that audience in mind. Before you know it, everyone is talking about writing and how to make pieces better.
Intrigued? Like an onion, it has many layers so it will take me quite a few pages to peel off each one to examine it closely for you. If you stay with me to the core, you will have a visual of just how fluid conferences work. Better yet, when you finish reading, you will have already worked out a hybrid in your own mind.
Funny. That's how the conferences work for students. Read on.
Outside Layer: The History
Writing conferences simply overwhelmed me. I tried to talk with every student once a week, but that left no time for any other writing instruction. My students had similar writing problems so I found myself saying the same thing over and over. If I pulled one child to a corner of the room to conference, others stopped writing and watched. Plus, I tried to teach too much in each conference. Some students needed 40-minute conferences, not the one-minute power conferences I was taught to use. As hard as I tried not to, I'd reach the end of the week and find I'd missed quite a few children. I knew conferences were the boost my children needed, but I could not manage them.
I tried grouping children to talk with one another, but that posed problems as well. Children didn't necessarily know how to help one another. They often suggested adding ideas that made the writing worse.
I witnessed students advising others to take out what I thought was the best part of the paper. Sometimes, my more able writers lost patience with their classmates who struggled with writing. Some children couldn't even read their own writing aloud. Students lost their papers.
Some were absent on writing group day. I had discovered firsthand what Donald Murray wrote: "One myth that persists is that revision will improve your writing. Not always so. You can't change words around and get the ideas right… So revision is far more than surface changes…Revision involves some very conscious strategies; it involves a process just like coming up with an idea and writing about it does." (2003)
I knew my students could eventually manage some very-conscious revision in writing groups, but they needed an intermediary step. I had to teach them how to talk to one another, and how to talk about writing in a way that would improve it.
Each writing group needed a teacher. I realized they needed ME.
NEXT: The design - Teacher starts at the center
A resource for people passionate about helping students write well, compiled by Karen Haag
Copyright 2018 by Karen Haag


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I cannot thank you enough for your class and high quality service and I will recommend you to all my friends.
I am really pleased with their service and without a doubt I would recommend them.
I like Apex for their quick response, fair price and for the wide selection of amazing cars!
A visit to the wonderful island of Ibiza on the Mediterranean Sea can be greatly enhanced by traveling in an Aston Martin from Apex Luxury Car Hire. Cruising in a powerful super-car is the best possible way to get the most out of experiencing this wonderful island. Feel the exhilaration of driving a true masterpiece of engineering that boasts immense power coupled with high performance, beauty, style and incredible sound.
Ibiza is the third largest Balearic Island which historically served as a major trading post in the Mediterranean. It was controlled by the Greeks, Phoenicians and Carthaginians until Rome removed it from important routes when it became a quiet little trading town. Nowadays this region is synonymous with pleasure, music and dance, ironically fulfilling the Phoenician name iboshim (which means dedicated to the gods of dance and music) given to it by the settlers in 645 BC. The nightlife in the city is key to the islands fame for serious fun in numerous nightclubs and bars and highly popular with young tourists who have named it the Gomorrah of the Med.
Rent an Aston Martin in Ibiza for your vacation and discover for yourself what this amazing island of pleasure has to offer. This luxury vehicle combines exceptional performance with sleek design to offer you a fantastic driving experience. Nothing says I have arrived like driving up to one of the legendary nightclubs like Eden, Space, Pacha, Es Paradis or DC10 in an eye catching sports car. It immediately establishes you as part of the elite young adults who flock to the island every summer as it is the place to find the latest songs and experience trance anthems and electronic music from international musicians and artists.
The nightclub scenes end when the sun rises and you can head off in your super charged Aston Martin to the nearest café to enjoy a hearty breakfast. The best time to visit this area is from June to October, and the new 5 star hotels ensure that other tourists besides clubbers are attracted to this beautiful island. The Café del Mar is world famous with a legendary bar where visitors listen to ambient music while viewing the magnificent sunset. They are known to host the best world-renowned DJs for their pre-party raves to get the mood going.
At Apex Luxury Car Hire, we are passionate about offering our clients the best selection of luxury cars for their ultimate enjoyment and comfort. Our professional team understands the need for fast, efficient and reliable service backed up by quality rental cars with high performance and luxury appeal. Whether you are an avid clubber or would like to enjoy the more tranquil beauty of the island, there is no better way to travel than when you hire a Aston Martin in Ibiza. With an Aston Martin rental in Ibiza you can have the model of your choice to ensure that you get the best from your perfect summer vacation. Contact us today for a quote and to cover both sides of the island in a car that makes all your dreams come true.
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Roasted Vegetable Enchiladas
Chuy's is one of my favorite Tex-Mex restaurants, and I've been missing their Roasted Vegetable Enchiladas ever since we moved! My solution? Create my own recipe, and I can proudly say they're as good as Chuy's!
Prep Time 20 minutes
Cook Time 35 minutes
Total Time 55 minutes
Servings 4
- 2 zucchini diced
- 2 yellow squash diced
- 1 onion diced (easy & cheap shortcut - use frozen!)
- 1 red bell pepper diced (easy & cheap shortcut - use frozen green bell pepper!)
- 1 tablespoon olive oil
- 2 oz. cream cheese softened
- 15 oz. can red enchilada sauce
- 12 white corn tortillas 6-inch
- 8 oz. colby-jack cheese or mexican blend cheese shredded
Put diced vegetables in a large zip top bag, add the olive oil and toss until coated.
Spread on a large, rimmed baking sheet and season with salt and pepper.
Roast at 450 for 15 minutes until slightly tender.
Remove from oven, put vegetables in a large bowl and stir in cream cheese until blended.
Change oven temperature to 350.
Pour 1/2 of the can of enchilada sauce on the bottom of a 9 x 13 pan.
If your tortillas are not super fresh and will break when you roll them, microwave a few at a time for about 10 seconds to make them pliable.
Spread 2 tablespoons of the vegetable filling in the center of the tortilla, roll and place seam side down in the pan.
Repeat with the remaining tortillas and filling.
Pour the remaining 1/2 can of sauce over the top and spread to cover.
Sprinkle with cheese.
Cover with aluminum foil and bake at 350 for 25 minutes, and then uncover and bake 10 minutes more.
Let sit 10 minutes before serving.


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Indian markets are expected to open negative tracking SGX Nifty.
Dow index closed in negative for the seven straight sessions market recover some loss in later part of the trading session but ended negative. The weakness in market was seen due to the release of the highly anticipated monthly jobs data which was widely seen as strong enough to support an increase in interest rates in September.
European markets ended in negative territory it got off to a weak start following the release of some disappointing German economic data. The situation did not improve after the release of the U.S. jobs report which was largely in line with expectations and in support of increase in interest rates in September.
Indian markets fell on Friday on weak global cues and disappointing earnings from BHEL. Market were on wait and watch mode ahead of the release of U.S. jobs data that could provide fresh clues to determine whether the Federal Reserve will raise interest rates in September or wait u
Indian markets are expected to open negative tracking SGX Nifty.


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Just finished adding my "Seasonal Selections #1 - Winter" pattern to my pattern store on Craftsy. Avoid the shipping charges and download patterns directly to your printer in minutes!!! Check out my pattern store at Fairfield Road Designs on Craftsy to see all of my downloadable patterns.
Christine is a long arm machine quilter, quilt pattern designer, punchneedle pattern designer & author. She publishes her designers under her company Fairfield Road Designs and is also a Thrive Life Independent Consultant. Her blog will feature news about her different companies, insights into her family life and previews of new patterns and designs and yummy Thrive recipes.
Tuesday, November 20, 2012
Seasonal Selections #1 - Winter
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Sometimes the best thing you can do in a cartoon is point out a simple truth. These cartoons are incredibly rewarding to write, and they almost never fail to resonate with readers.
I was pondering that sort of writing one day when I decided it might be fun to have a character in a cartoon point out something seemingly mundane as if it were some new and profound insight.
It takes the presenter a bit to explain that people buying their stuff is good, but thank goodness he and his coworkers are figuring it out.


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Personal Package Insurance Policy
Personal Package Insurance is a single insurance policy that includes your home and vehicle, as well as additional coverages you may request. Selecting a combined policy can have several benefits including:
- Premium Discounts – combining your policies can lead to combined deductibles, discounts, and potentially additional credits.
- Single Company – One company to manage all your personal insurance needs.
- Simplified Policy – A single company means all of your policy information and documents can be found on the same policy.
Contact an insurance specialist at Dickinson Insurance to learn more about our Personal Package Insurance options, and receive a free insurance needs review and insurance quote.


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Ken Weingart interviews Farrah Karapetian
Today, I am sharing an interview that photographer and blogger, Ken Weingart conducted with photographic artist Farrah Karapetian. Ken has been producing interviews for his Art and Photography blog, and he has kindly offered to share his interviews with the Lenscratch audience.
Farrah Karapetian is a renowned Los Angeles-based conceptual artist who creates stunning imagery through photograms or "cameraless" photography. She studied as an undergraduate at Yale University and received her MFA at UCLA. She recently had exhibitions at Danziger Gallery in New York City and the Von Lintel Gallery in Los Angeles.
When did you first think of becoming an artist?
As a child, I was a good draftsman. I drew often and well, but I never felt as if I were learning, per se, in this or other subjects: one thing did not lead to another. I also read and wrote a lot, and entered college considering creative writing, religious studies, and Russian literature majors as much as the art major. Through my first year in taking a diversity of such classes, that feeling persisted of not really having found a practice that would gather its own steam. My father gave me a 35 mm camera for Christmas my sophomore year and I took my first photography course, and in this course, I first identified that feeling of learning from my own practice. I could see my thoughts unfold in the prints on the wall week after week: how I saw, how I moved, how that changed over time. One picture led to another; life led to the pictures; I had only to observe that unfolding and be responsible to it. I am still responsible to it.
You are known for creating "cameraless" art. Does any of the work originate from a camera?
It's true. The majority of my practice involves cameraless photographs – or "photograms" – and the making of sculptural negatives en route to their exposure. My sculptural negatives are three-dimensional objects the bodies of which operate according to the logic of light. I am not at all interested in the cameraless photograph as such, however; my practice is not driven by anachronism. I am interested in how images exist in the world, and a lot of my cameraless work examines existing photographs and reimagines the way that they circulate. Cameralessness makes that process of reimagining more physical and present and drawn out for me than do other photographic processes. In a sense, however, you could say that if I am influenced to make a cameraless photograph from a photograph I've seen circulating online, that cameraless photograph originates from a photograph taken with someone's camera.
Because I am interested in received imagery, I do very very occasionally decide that a certain type of conventional photography will be more useful in articulating an idea than would be a cameraless photograph. For example, I appropriated the cultural function of the typical engagement photograph for my piece, Ringtan, 2007. At the time, I had broken off an engagement, and I had a tan around my absent engagement ring – a kind of photogram, I suppose. I had myself photographed by an engagement photographer in the pose typical of a woman having her ring finger photographed, and the print that resulted was scaled to 7 x 5 inches – also typical of that kind of photography. In that case, then, what I was trying to communicate about memory and its inscription on the body was more specifically addressed by borrowing from norms of how photographs are taken than it would have been addressed by the physical process of making a photogram.
How did the idea of photograms come about, and what is the process? How laborious is it?
My experience of photographs in college and immediately afterwards was that any one print I made was a unique object, and that as such it had as much plasticity as did any painting, sculpture, or artifact of process. Making a photograph could entail decisive choices regarding palette, scale, additive and subtractive processes, and more – both within the picture plane and with respect to the print as object. The process of printing the thing could and should have an effect on the result as much as the process of creating the negative. I was sure of all of these things but not satisfied with the difference between the event of exposing a negative with a camera and exposing a piece of photosensitive paper in the darkroom.
I made my first photogram by mistake after my one and only editorial assignment: a trip to Kosovo to photograph the politics of architecture. I returned to New York from that trip and, printing the images of burned villages, grew frustrated with the difference between the two sites of exposure and slammed a fan down on the enlarging table, mistakenly tripping the enlarger's light. When something comes between the photosensitive paper and a light, its silhouette is burned into the paper: this happened, then, by mistake, at that time, and recorded of course my current state of mind as much as it recorded the silhouette of the fan on the paper. I liked that conflation of the time and space of exposure, and decided that that's how I would work from then on, so I stopped using cameras.
A photogram can then be the least laborious of processes, in terms of its necessitating only an intervention between the paper and the light at the time of exposure. The way I work, though, it can be very laborious, because I began to construct negatives and direct scenarios that would be staged in the darkroom. This was helpful for me in general as well, because I wanted to have parts of my process that would entail structured thinking and planning and parts of my process that would entail an openness to chance. The exposure of the photograms became the latter, and the construction of the negatives became the former.
Your print sizes are fairly large. How do you decide how big to go? What is the usual edition?
They are not large as a rule, per se. A photogram generally records the shadow of a thing at one-to-one scale or larger, so if I set up a scenario involving a life-size person or people, or an object that is, at life-size, fairly large, then the print of that thing in its totality will be at least as large as the thing itself. I do occasionally photogram small things or parts of larger things, and in these cases, the prints are more modestly scaled. I do, however, have as a goal that a picture relate to my own body or the body of a viewer at a scale that is recognizable and credible as far as how we experience the thing pictured when it is real. Photography as it is conventionally practiced has no relationship to scale as an abstract concept: prints are usually small if the photographer believes the image should be intimately related to its viewers or large if the photographer believes that monumentality is an issue for the work. I wanted my work to have scale built more logically into the prints' physical existence, and photograms, with their one-to-one baseline, solved that problem, initially. By now they have become more complicated for me, because I have begun to use shadows of objects at scales larger than life, but I rarely force the scale of a shadow into smaller relief than is conventional to the object pictured. There are no editions of any photograms, because photograms are unique and irreplicable objects. There are no editions of any sculptural negatives, either, although for example I made three resin casts of the sets of weapons used by the veterans in my Muscle Memory series, because there were three veterans available to hold the weapons. Each of those casts is slightly different from the other, though, because difference is implicit in the nature of any object. No two things are ever the same, existentially. The edition is a fallacy created by market forces, and I don't find it interesting at this time.
You work mostly without people in your concepts. How did this preference come about?
I do not, actually, work without people. Almost all of my projects begin because of an interaction with a person and involve the deployment of people in the darkroom at some point. While I am working towards or away from a figurative piece, however, I spend a lot of time with the objects associated with any given scenario, and I free myself of the boundaries of the origin story of the project by over-familiarizing myself with the objects until they become rife with as much abstract potential as narrative.
How do you come up with your ideas and themes? Is there a dominant idea or favorite concept you like to explore?
I am always following the thread of my life and practice. Although the bodies of work may appear distinct to other people, they are truly all linked for me in terms of the development of an abstract language over time. You can follow that particular thread – how I use light, three-dimensionality, performance, and the space of a room or page. You can follow the thread of my psychological relationship to issues of memory, authority, and surrender. You can follow the thread of questions I ask with respect to ontologies of sculpture and photography. You can follow my engagement with mass media and how I reconfigure its missives inside of the language of my practice. You can follow these as a series of questions and answers, calls and responses that evolves over time.
Or… you can do what most people do and say that each body of work is distinct and has only to do with the portrayal of a distinct subject: war, protest, surveillance, music, etc. This may seem to be the easier default strategy of a viewer, but it is actually the most difficult way to try to make sense of my work over time. As a 21st century citizen, I – as do you – engage with any number of politics on a daily basis: those local to my feelings and body, those local to my family, my tastes, my city, my nation-state, those local to my travels, those local to my experience of global news. Global politics enter my life – as they enter yours – via the internet and radio, but also via personal experience and associations. I encountered "war" as a subject because I was teaching a course in photography and one of my students was a veteran of the US Special Forces and came to me with a memory he wanted to reenact for me. I was also at that time offered the opportunity to work in a space that had a very particular entryway, and so we designed our project around the idea of him and his teammates reenacting the muscle memory of stacking the door of the gallery as they might have stacked and breached the door of a target overseas. I encountered "protest" as a subject because I was likewise personally and abstractly motivated: I was thinking about Greco-Roman relief sculpture and the way it occupies architectural pediments and at the same time the mother of my boyfriend's daughter was handling one of the architects of the Egyptian revolution and passed onto me a pamphlet instructing Egypt's citizens in the art of unrest. A body of work, then, is something of a fallacy insofar as it exists in a train of thought and process and life experience, and is not distinct from the bodies of work that come before it except insofar as each new subject instigates new strategies for representation and abstract terms.
For your series, Absence and Ruin, what were you trying to say?
This is not a series, per se; it is a running theme throughout my work. I have noticed over time that a lot of what I focus on is the negative space around an event: its aftermath, its inversion, its artifacts. Photography and sculptural casting lend themselves naturally to these ideas, both metaphorically and literally.
When organizing a website or any kind of portfolio or book, one is forced to sort. The sort is in itself infinitely rearrangeable. Some bodies of work seem to begin and end during distinct time periods and be nameable, such as the work around surveillance or war. Others result in distinct pieces, but recur over time. This is actually more the way a sculptor might work than a photographer; photography conventionally emerges for the public in bodies, and sculpture does so with less frequency. I do now turn an idea around and around more frequently than I used to, and this results in identifiable bodies of work more frequently than my practice used to, but I am also totally comfortable recognizing that sometimes I make a piece and it just is what it is, unlinked to the work I am making in immediate concert with it otherwise in the studio. Usually, it is linked to work I have made before and will make later, because I am the one making all of it, and I have particular psychological threads as a person and as an artist.
The work I put into the category of "Absence & Ruin" on the website has relationships to all the other series, in other words. The piece, Ruin I, and the installation, Rock, Paper, Scissors, both bore the work you see elsewhere on the website called "Slips." The piece you see in "Absence & Ruin" called "The Kitchen and Its Negative" bore pretty much all of the work I've ever made since then, because it was the first time I had made a sculptural negative, the first time I had actualized the difference between pictorial and architectural space, and the first time I had conflated a personal narrative and a political one quite so concisely. (I made that piece after breaking off an engagement with a fiancé and also after a trip to Hiroshima to look at shadows burnt into buildings after the bomb.) The piece, Souvenir, is a trace of a fragment of the Berlin Wall and of the graffiti on that fragment, and shows the marks of frustration citizens make on public spaces. This of course is related to the work in the category of "Social Control."
In, Stagecraft – Soundscape, you explore musical instruments. Is music a great passion, and was this series created with the photogram process?
No, I don't generally listen to music. I began to look at music first because I was considering going to Afghanistan to work on a music video with a group of young people who were rapping and playing heavy metal despite the disapproval of the Taliban. I was impressed by their need to express themselves despite their circumstances, as I am usually impressed by individual will and its dominance over authority, but I didn't end up going to visit them. At that time, my father was practicing his drums in my studio because noise doesn't matter in my house as it does in his. My father gave up his professional career in drumming before I was born, and so the drums represent to him a kind of loss; they also, at the same time, represent a real source of relief, and they always have for him, even when I was growing up. My father had also recently been diagnosed with cancer, and I wanted not only to begin to understand music as a field, but also my father as a person with a passion. His drum kit is very specific to his body, as are most drum kits specific to the body of their musician; in this, it is already a kind of sculpture, but what art does is observe that and exaggerate it. So I remade his drum kit as a sculptural negative: the drums and stands existing only as skeletal armature and the cymbals cast in glass. This has a literal function insofar as it translates photographically into volumes and lines, but it hopefully also has a metaphorical function insofar as it removes the musical functionality of the drum kit and turns the object into something of a surrogate for the body of a person I will at some point lose. I then, yes, used this negative and the bodies of my father and others and the objects of some other related musical instruments to make photograms.
In Social Control, you explore guns, war, and violence. What inspired you for this series? Did you hire models to pose with the rifles and shields?
Again, this is not a series, per se. "Social Control" is a category that my website employs to suggest that the work I made with veterans' memories (Muscle Memory), with the document distributed at the time of Egypt's revolution (Accessory to Protest), and the problem of the Z-Backscatter scan deployed at international borders (Surveillance) might fruitfully be compared. In the case of Muscle Memory, the piece was inspired by and reenacted by veterans of the US Armed Forces. I had asked them which objects they would need in order to best remember how to hold their position, and they said these particular weapons, so I remade their weapons in clear resin. In the case of the Stowaway piece in the Surveillance series, I asked the man who worked on my building, Juan, to be in the photogram of the illegal immigrant inside of the U-Haul truck. In the case of Accessory to Protest, most of the work is object oriented, but the large black and white piece, "Flyer Photograph", involved the body of one of the architects of the Egyptian Revolution, Ahmed Maher. To make this piece, I remade as sculptural negatives in cast resin all of the objects the pamphlet said would be necessary for civilians to stage a revolt. To make "Riot Police", also part of Accessory to Protest, I asked my friends to study a photograph I had seen in the news of riot police being stoned by protesters in Kyrgyzstan. I gave them riot shields and helmets I had ordered off of the internet and told them to play-fight for a minute or two to rough up the Plexiglas. Once they were done, they reenacted the scene from the photograph. I suppose that would be the closest to a hired model situation of any of these three bodies of work, because my friends are very much not riot police themselves. The orientation of each of these figurative works, though, in any of these series, is such that I am not claiming a direct relationship to the event itself – war, immigration, or protest – but that I am claiming a direct relationship to viewership of the document – the picture of the protest circulated on the internet, the pamphlet circulated before the revolution – and that I want to engage more deeply than the internet affords in what that viewership can be.
You received your BA from Yale and MFA in fine art at UCLA. Who did you study with and what was the lasting affect on your work?
I studied photography at Yale, and my BA is in Fine Art. My teachers there in photography were Lois Conner, Tod Papageorge, and Gregory Crewdson. My thesis committee at UCLA consisted of James Welling, Charles Ray, Mary Kelly, and Lari Pittman. Yale gave me a firm foundation in photography's conventions and history and a sense of its poetic potential and the boundaries one might test with further fluency. UCLA gave me a studio and therefore the space to test those boundaries against three-dimensionality. Charles Ray was a wonderful influence with respect to issues of scale. Mary and Lari were wonderful influences with respect to the social implications of any one of my gestures. James and Catherine Opie were wonderful readers of photography and James in particular has remained someone I engage with outside of the context of the institution.
How did the relationship with the prestigious Danziger and Von Lintel galleries come about?
Well, these things are difficult to put one's finger on. I do remember that the first review I ever published was about a Marco Breuer show at Von Lintel when the gallery was based in New York. (I write sometimes, when I want to sort something I'm thinking about out otherwise than in the studio.) Thomas (Von Lintel) doesn't remember that, though, and I don't think I talked to him then. He contacted me on Facebook years later after my Accessory to Protest show, I think, and had heard of the work in part because of the Artforum review, in part because a curator at the Getty had mentioned him to me, and also I think because of other mentions. We began working together informally when he was moving to Los Angeles and I helped put together his first exhibition here. He took some of my work to a fair; it did well; he offered me a show; and everything has worked out between us quite nicely. Similarly, James Danziger had heard of my work through a variety of channels and talked to Thomas about it at a fair. He then came to my studio and proposed a show. Really most relationships in life and in art come about similarly: people come into one's life and one tests out dynamics and sticks with those that feel good and work out well.
Elton John has bought some of your art. Did you meet him and how did that transpire?
No, I haven't met him. That sale occurred at LEADAPRON, the gallery to which Diane Rosenstein had brought my Accessory to Protest work, and was the result of Jonathan Brown's communication with Elton John's curator.
You have won many awards and fellowships. How important are they, and which ones stood out the most for you?
Each award is of course very important for many reasons. Some are simply recognitions of engagement, which is of course an honor and a pleasure to receive in return for services rendered; others involved small sums of money that really were helpful at the time, as encouragement and as literal funding towards getting something done. Others enabled deeper engagement over longer periods of time because of the amount of funding provided, such as the Artswriters grant from the Warhol | Creative Capital Foundation, the Artistic Innovation grant from the Center for Cultural Innovation, or the Mid-career Artist Fellowship from the California Community Foundation. As one proves that one follows through with one's funded projects, one is more likely to be awarded greater sums of money, because one demonstrates repeatedly that one can handle and derive consequence from the funding. I mean, I hope that's the case and that my work continues to receive support in terms of faith and funds from grant-making institutions. I suppose over time these are a record of the growing consequence of what one continues to contribute to culture, and that they should be taken seriously in that regard as bars to which one sets one's sights. What do I owe to culture when culture places its faith in what I do? I take these gestures as seriously as do I take moments of institutional acquisition: if the work is in larger and larger conversation with others' accomplishments, how much more can I articulate its contribution?
When you do residencies, what does that involve, do you enjoy it?
Residencies can be very disruptive, and so I do them selectively – at times in my life when I need to get away from my resources and take in new information from new communities and places. One sets up one's studio so that one has everything one needs – from a pickup truck to scaffolding – and so to leave that comfort zone can be very awkward and sometimes expensive. I usually plan to fall apart while traveling at least once, and then to rebuild before I return. I remember being at MacDowell and having lunch delivered to me and feeling very taken care of, which was lovely; at universities I have visited, I have come in contact with wonderful new conversations and perspectives on the place of art in the academy rather than in the market. These experiences can and should be refreshing. I also travel for influence outside of the residency structure. What I usually have to remember is that new work may not be generated while away to the extent that it is generated upon return.
What are your long term goals and ambitions? Do you plan on teaching one day, and if so what and where?
I want to be happy. That's not what you mean, though. I would like to see my work understood well without the confines of the photographic field and outside the confines of the cameraless photographic field. I want to understand the ways in which what I do is in conversation with what others do, in many fields, even outside of art, let alone photography. I want a fiction writer or a creative non-fiction writer to analyze my work at some point, rather than an art critic. I want a choreographer to speak to me about the performative aspects of what I do. I want a political scientist to talk to me about the ways in which what I do aligns with or departs from what he or she does. Shows in new geographic regions are one way to address that conversation to new audiences. Shows that bring together multiple bodies of work are another way to re-sort one's work according to fuller significances.
Teaching is another way to understand that conversation as being consequential, and I do enjoy teaching for that reason. Artmaking can be a very solitary experience, and it is nice to have the community of a university setting in which to relay ideas. It is also refreshing to speak with younger artists; such conversations usually create new neural pathways through old arguments one has constructed for oneself around art practice and art history and art markets. It's useful and its fun. I haven't yet found the university setting into which I think my presence would best be used, but I love visiting universities in the meantime. I know that I'm most useful when teaching in an interdisciplinary context, because although I love and come from photography it is not all that I think about. I prefer universities to art schools because I think it useful to have multiple subjects at the disposal of students and faculty rather than isolating either part of the community within the conversation of art practice. I like the feeling of mentorship that comes from the studio visit dynamic with graduate students, and I appreciate the feeling of novelty that comes from introducing basic practices and core questions of representation to undergraduates. I prefer the potential to cultivate pedagogues that would come from being full time faculty to the peripheral situation of the adjunct.
I think in the end that art has always been my way of engaging with the world; visual analysis comes instinctively to me and I spent a lot of my childhood drawing in museums and from books of reproductions. To be a part of how another child grows up configuring the world and organizing their thinking around how that world can be seen and stretched… that's I suppose one way to understand a long term goal, and one way to be happy in one corner of one's life.
Farrah Karapetian (1978 US) is an artist currently based in California. Her methods incorporate sculptural and performative means of achieving imagery that refigures the medium of photography around bodily experience. She has had multiple solo exhibitions and is represented by Von Lintel Gallery (Los Angeles, CA) and Danziger Gallery (New York, NY.) Upcoming exhibitions include A Matter of Memory, George Eastman Museum, Rochester, NY (2016); The Surface of Things, Houston Center for Photography; and About Time: Photography in a Moment of Change, SFMOMA, San Francisco, CA (2016.) She will be in residence in May 2016 in St. Petersburg, Russia, with a grant from CEC ArtsLink.
In 2014, she was recognized with a California Community Foundation Mid-Career Artist Fellowship. She received a grant for Artistic Innovation from the Center for Cultural Innovation in 2012 and was a resident at the MacDowell Colony in 2010. She has received support from the following sources as well: the Foundation for Contemporary Art (Emergency Grant 2009); Hoyt Scholarship (2008); Lillian Levinson Scholarship (2007); UCLA Fine Arts Travel Grant (2007); Corine Tyler Walker Prize (2007); Sudler Fellowship (2000, 1999); Richter Fellowship (1999.)
Karapetian's writing about photography and visual experience has been recognized not only by multiple publications but by the Creative Capital | Warhol Foundation Arts Writers Grant Program, with a grant in 2013 for her writing about the house in and as contemporary art. Her voice has been a part of panel discussions and critiques at institutions including the Los Angeles County Museum of Art, Princeton University, UCLA, LAXART, and the Orange County Museum of Art.
Karapetian's public art projects have been recognized by arts and civic organizations including the California Legislature Assembly (Certificate of Recognition 2015) and the City of Los Angeles (Certificate of Appreciation 2009.) She received support from the Wende Museum and Archive of the Cold War in Los Angeles in 2009 for her work with their collection and civic engagement program, and she received an allotment of an Artplace grant as funding for her participation in the Flint Public Art Project in Michigan in 2012.
Significant group exhibitions in which existing work has figured include The Wall in Our Heads: American Artists and the Berlin Wall, at the Goethe Institut, Washington DC, curated by Paul Farber in 2014; The Fifth Wall, at the Armory Center for the Arts, Pasadena, CA, curated by Irene Tsatsos, 2014; Prep School: Prepper & Survivalist Ideologies and Utopian/Dystopian Visions, at the Torrance Art Museum, Torrance, CA, curated by Max Presneill in 2014; Trouble With the Index, at the California Museum of Photography at UCR ARTSblock, Riverside, CA, curated by Joanna Szupinska-Myers in 2014; the Border Art Biennial 2010 at the El Paso Museum of Art and Centro Cultural Paso del Norte, El Paso, TX, and Juárez, MX, an exhibition juried by Rita Gonzalez and Itala Schmelz; and LA Confidential, at the Centre d'Art Contemporain, Parc Saint-Léger, France, curated by Sandra Patron and Allyson Spellacy in 2008. Karapetian realized a major new installation at the 2013 California-Pacific Triennial, at the Orange County Museum of Art in Newport Beach, CA, an exhibition curated by Dan Cameron.
Karapetian's work is included in Charlotte Cotton's survey of contemporary trends in fine art photography, Photography is Magic, published by Aperture in 2015, and has been reviewed in the LA Times, Artforum, Artcritical.com, and the artblog.org among many other publications. Profiles of the artist's work have been published in, among other publications, Artforum.com, The Georgia Review, TATE Etc., FABRIK, Art LTD, and The San Francisco Chronicle, and her work has been discussed in the New York Times and Interview Magazine.
Posts on Lenscratch may not be reproduced without the permission of the Lenscratch staff and the photographer.
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White Tears by Hari Kunzru
My rating: 5 of 5 stars
This was one of the books for which I had reading envy at the end of 2017, because I kept hearing good things and it ended up on so many year-end best books lists. So I cleared space for it in January after it was also shortlisted for the Tournament of Books.
This is an excellent read. It contains that rare element that I do look for, where the author takes you somewhere far from where they started. Although I had heard mentions of this being about music, and about race, I had no idea where it was headed, and it took me a few days to even wrap my brain around it.
The novel starts out focused on Seth and Carter. Carter is a rich white kid who befriends Seth over a shared love and attention to music. Seth is from a poor background but has true technological skills, and a good ear. He records what he hears walking around the city, then fragments and samples it in different ways. Carter pays for old recordings, going through phases of what he likes, and they build a library of rare sounds. They are working towards running a studio, something that Seth is more interested in. Carter has become obsessed with an old blues song that somehow ended up on one of the recordings.
Then the novel shifts. A series of tragedies twists everything around into a discussion of appropriation and ownership, creativity and race, privilege and power. The way I read it, probably because I'm a white person, I struggled to let go of feeling a connection to Seth, because of the way he is originally introduced as the underdog. I still feel a bit of a loss over the creative work he had done that he was cut off from by Carter's family.
(view spoiler)[There is another shift that I'm putting behind a spoiler tag because I didn't see it coming in anything I'd read, and it took a long time to understand. There is another shift, well, it comes much earlier than I saw it, but there is an introduction of a supernatural element. The original singer of the obsession point song becomes a presence, seeking revenge for the ways his music was not allowed to happen. Somehow he is able to create a force that takes the lives of Carter's family, through, I think (?) the hands of Seth. But Seth is not necessarily aware that he has played a role until the end. You know he does by the end because he is getting tattoos in prison for the four lives. (hide spoiler)]
So then there is the tangent of all the things I thought about after finishing the book. As an academic librarian, and as someone who has worked in a traditional music archive, full of recordings made by (mainly) white scholars of (mainly) non-white people groups, I started wondering about the role of archives and libraries in misappropriation of music. Especially in the 21st century where we spend so much time and energy putting obscure sound recordings online. But in the novel, much of what Seth and Carter collect and use comes from the dark corners of the internet, not just physical recordings. Are we doing the right thing?
And what would proper use of musical inspiration look like?
These are the big questions I still have.
View all my reviews


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The Devil Made Me Do It: An Evening with the Antichrist
A dying man, said to be, among others, Voltaire, Machiavelli, or an anonymous Irishman, is exhorted by a priest to renounce Satan. "Now, now, my good man," he replies. "[T]his is no time to be making enemies."
In 2006, the late President of Venezuela, Hugo Chavez, referred to the smell of sulphur which lingered after the appearance of President George W. Bush at the U.N. A Ukrainian Orthodox leader recently suggested that Vladimir Putin is being influenced by the Devil.The religious group Satanic Temple recently announced that its first chapter house will be located in Detroit. The Devil is perpetually, as they say, relevant.
Marcus Kyd, Artistic Director of Taffety Punk, became intrigued by the character of Satan in Milton's Paradise Lost, while reading it in a bar in Baltimore. Taffety Punk is marking its 10-year anniversary with a new production of its very first show, The Devil in His Own Words, which emerged from that moment of inspiration.
There is no end of fun to be had in writing about the Devil, and Marcus Kyd finds it all. From the hair-raising "Mysterious Stranger" of Mark Twain, to the versatile Woland in Bulgakov's The Master and Margarita, to the melancholy and furious Lucifer of Elizabeth Barrett Browning's "A Drama of Exile,, Marcus Kyd displays with tremendous flair the many moods of the Arch-Fiend as he struggles with his hapless victims.
And what a variety of victims there are! There are struggling artists ("Enoch Soames" by Max Beerbohm, and "The Painter's Bargain" by William Makepeace Thackeray); the editor of an important literary journal (The Master and Margarita by Mikhail Bulgakov); a young shipwright ("Captain Murderer and the Devil's Bargain" by Charles Dickens) and of course those perennial favorites Adam and Eve (Milton's "Paradise Lost" and "Paradise Regained"); ("A Drama of Exile") by Elizabeth Barrett Browning; and the Book of Genesis.
Extraordinary stage images and innovative use of music and sound establish the world of the play. Kyd travels through time in a millisecond, portraying a cynical Satan bullying a bumbling inferior devil, Pug (The Devil is an Ass, by Ben Jonson) one moment, and the terrifyingly cold Philipp Traum (The Mysterious Stranger, by Mark Twain) the next.
The Devil in His Own Words is not without exhilarating modern sequences. Sometimes Kyd harangues the audience like a stand-up comic in a small, smoky club. At other times, he barks into a red phone like a sports agent.
A special note on "Paradise Lost"–it was viewed as the greatest long poem of its day, and its richness and complexity are legendary. Its reputation has fluctuated over the years, and its effect was sometimes polarizing. Harold Bloom referred to Milton as "the great Inhibitor, the Sphinx who strangles even strong imaginations in their cradles." ("Milton and the Critics: The Reception of 'Paradise Lost'" by Sophie Read. Kyd is particularly to be commended for the depth of his interpretation of this notoriously difficult work. The Devil in His Own Words is not only an entertaining tour-de-force, but a serious investigation into the nature and causes of evil.
"There is an illusion of control that the Devil grasps at" Kyd explains, "but ultimately, he is cursed. He's stuck. We try to deal with what it means to be cursed for all eternity. I can't resolve this play with a nice ending…you can't take the Devil out of Hell." And honestly, why would you want to?
Lise Bruneau does remarkable work as director. Kyd's acting is spectacular, and he is particularly effective when delivering complicated verse in an entertaining, visceral way. Paper Bag, as God, gives a stunning performance, making the ultimate sacrifice so the show can go on.
Original Music by Kathy Cashel and Michelle Rush is lovely and haunting. Cashel (Music and Sound Design) and Rush (Music) weave an intricate tapestry of sound–surprising, original, and sometimes deeply moving. Other voices are Lise Bruneau, Michael John Casey, Maia DeSanti, and Melora Kordos.
Kathleen Chadwick (Set), Daniel Flint (Scenic Manifestation) and Jenn Sheetz (Set co-designer, Properties master) are to be congratulated for their adaptable and imaginative creations. The curtain at the back of the stage is used to create a silhouette, and the ladder (reminiscent of the Star-Keeper's ladder in Carousel) adds levels which enhance the action. Mannequins are used very successfully as characters, and there are, among other stage elements, a grave, a grocery cart, and two dolls representing Adam and Eve.
Lighting Designer Chris Curtis' work is evocative and powerful. Scott Hammar's costumes are perfection; Lucifer is sometimes elegant, sometimes playful, but always, as one would imagine, a la mode.
These authors, among others, are also featured in the text: Lord Byron, Edward P. Jones, Nathaniel Hawthorne, and Maxim Gorky.
"Demons do not exist any more than gods do, being only the products of the psychic activity of man," said Sigmund Freud. Really? How can you be so sure? Come to The Devil in His Own Words, and find out. After all, Someone may be watching.
"The greatest trick the devil ever pulled was convincing the world he doesn't exist". –Charles Baudelaire.
Running Time: 90 minutes, with no intermission.
The Devil in His Own Words plays through October 4, 2014 at Capitol Hill Arts Workshop – 545 7th Street SE, in Washington, DC. For tickets, call (800) 838-3006, or purchase them online.


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Sometimes we focus too much on the negative because it overshadows the positive. That's why I think it's important to actually spend time and look at all of the beautiful things around us and fun things we got to do. Big or small. It doesn't matter. I love to look back and write about what I've been loving, but this time I wanted to make it a little more personal. So, in this blog post I am sharing five things that made me happy this month. ♡ From a concert to a celebration, a movie and more!
⓵ John Mayer concert
In October my mom and I finally got to see John Mayer. In Amsterdam. Live. And let me tell you, I was so excited! I had been looking forward to this moment for years. A couple of years ago, John Mayer also did a concert in The Netherlands but I didn't get tickets… So, you can imagine how happy I was when I did get tickets for this concert. Let me start by saying that I went to the concert with no exceptions at all because I didn't want to be disappointed. I wasn't disappointed AT ALL. He is so good live. All of the songs were amazing. His guitar work omg. He played freakin' NEON (my fave song) and Slow Dancing In A Burning Room. WOW. Just wow. I still don't have any words to describe this concert. It was amazing and that's why I have been loving to look back at all of the photos and videos I took and experience it all over again.
⓶ Wedding anniversary
On November 3rd it was a special day. It was my parent's 30th wedding anniversary. It sounds so crazy. 30 years. Omg! So the week before, I started working on a scrapbook filled with photos from when they were younger, the time they met, when they got married, when my little brother and I were born and now. It took me a full day to make the scrapbook, but I was very pleased with the end result and my parent's loved it as well. With that, I ordered petit fours with my parent's wedding picture on there. They looked cute and tasted even better, so those were a big hit as well. And of course we went out for dinner with the family to celebrate this milestone!
⓷ Taking a fall stroll
One of the activities I really wanted to do this fall was take a stroll through a forrest somewhere. Super random, but just taking a walk is a great workout and you get to enjoy the scenery at the same time. On a Friday Elba and I decided to go to Katwijk and take a walk in the Panbos. Ever since I was little we used to go here, just play on the playgrounds and look at the animals. Right now we are a little too big for the playground, but the weather was pretty nice (not as cold as it is right now) and we had a lovely lunch in the middle of the forrest. As you can imagine, we talked a lot. It was a very lovely fall afternoon.
⓸ Seeing 'Last Christmas'
There's not better way to get into the Christmas spirit by watching a Christmas movie. For Elba's birthday we went out for dinner and then went to the theatre and saw 'Last Christmas'. I had only seen the trailer once and hadn't read anything about it. That was kind of fun because most the time when I know I am going to the theatre, I've seen the trailer multiple times and seen things about it on television. But that was not the case with this movie. So, in the end I was really surprised by this movie! The story wasn't predictable (which is always a plus) and I loved all the George Michael music. Afterwards I felt very Christmassy, so I might have decorated a little in my room for Christmas and blasted a Christmas playlist. Definitely a recommendation!
⓹ Etsy Made Local Market in Leiden
Last Sunday my mom and I cycled to Leiden to go to the Etsy Made Local Market. You might be familiar with Etsy and with the Etsy Made Local Market they give creators the chance to sell their products offline instead of online. I love this concept because sometimes it's nice to see the product in real life and not only online. At the Etsy Made Local Market I saw this camera lamp and I really really really liked it. So, I might actually buy this through Etsy because it's such a unique and beautiful lamp.
After reading this, I hope you have a couple of things in mind that made you happy this past month. Maybe it's a place you visited, an activity you finally did or someone you caught up with. It doesn't really matter. But looking back, it makes you grateful and appreciative. Some things you might have already kind of forgot, so it's always nice to look back and think of all the things you did, see or accomplish the past month. So, I would love to know: What's something that made you happy this month? Or of this year?


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Little Current Public School is taking part again in a micro hatchery. Rolly Frappier attended the school this week with the eggs ready to be put in the tank. Grades one & two were excited to participate and learn about mirco-hatchery functions. Once hatched, these fish will be moved on to a local stream to complete growing.
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October 2022


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Work on the project that is here, download it and work on it. It will be due sometime in January, but get a head start on it. Print it out, and this will remain here in case you need to print another one for whatever reason.
Class Archive > Archive_2010-2011 >


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PornsBox Makenna Blue – How To Train A Housewife Part 260
Makenna has been having affair with her personal trainer, Jason, while her husband is at work, and she is still craving more. She has a fantasy of being with two men at the same time, and when she tells Jason, he says he can make this happen for her. He brings along a good friend of his and she is so excited about the prospect of what is to come. She gets to his house and meets up with the two guys, obviously equally as eager to enjoy this experience. At last, she is on the cusp of making her ultimate fantasy a reality.


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Friday, March 25, 2011
Fun Filled Days Part 2
DD2 and I went shopping and out for a lovely lunch on Friday. Then after picking the children up from school we went to surprise my LS for her birthday.
We were a little late as we got side tracked but finally found the venue where we needed to be.
It was so nice to see BOTH my sister's and give my LS her quilt on her special day.
Now I can show you the secret quilt I have been working on for ages!!!! The house I stitched on the quilt resembles the home we all grow up in.
Saturday we went to the beach. It was just a beautiful sunny day, perfect for a swim.
Afterwards it was off to buy some shoes. We could hear giggling from the kids and discovered them trying on shoes.
It keep them amused while we browsed. LOL
Sunday evening DD2 and I went out for dinner and then to see Billy Connelly. We laughed so much our cheeks were sore.
In the evenings we stitched and I finished my Easter Swaps.
DD2 made the cute Hat and Basket.
and also my pincushion for that swap.
So you can see I DID have a fun filled few days away.
16 comments:
Gorgeous bunny, He looks like a rabbit with attitude!ReplyDelete
Lucky swapper.
Wow Maria - you truly did have a fantastic few days going by your gorgeous photos!!ReplyDelete
I really love the pics of the kids modelling those heels! That really gave me a giggle!!!
The quilt you made for your LS is stunning, I love how it is based on the house you grew up in.
Last but not least - I love your blog! So cheerful!!!! :-)
Have a great weekend!!!
Vikki xx
ps. Where did you see Billy Connolly? It is one of my life's ambitions to see his live stand-up!!!
Great Work Mum,ReplyDelete
We sure do pack alot into a visit!!!
Love you Lots
Oh... what a lovely visit you've all had together. Times like these you cherish always! Nice visit today... so ThAnKs ! :)ReplyDelete
what a fun weekend! The quilt is fabulous Maria! I'll bet she just loved it. I love your little pin cushion too.ReplyDelete
Sounds like a wonderful time. Your quilt is absolutely amazing!!ReplyDelete
You really did have a wonderful time. I loved enlarging the photo of the quilt to see all of the detail. Wow....I know she loved it.ReplyDelete
Your Easter projects look terrific.
Beautiful Quilt Maria for your Sister...ReplyDelete
and a Lovely time with your Family..
That quilt is absolutely beautiful! She must love you to pieces. And I think th ebunny should come live with me - too cute! What a lovely time with family.ReplyDelete
The quilt is gorgeous! The hours of love that went into making it is awesome. The pictures show everyone is having a wonderful time.ReplyDelete
I love the bunny--I know it would be loved at my house also.
Your sister is so lucky. The quilt is awesome. So glad you had a nice time away. Love the bunny too.ReplyDelete
O Maria!ReplyDelete
Your entire post is just Heavenly! I fell hard in love with the picture of your flowering coral gum! How lovely and I totally ADORED the little blue towel with the chickens on it. You are so very talented and our world is better off because we have you in it.
What a great post, lovedvreading about your fulfilled daysReplyDelete
I love the quilt you made for a very lucky LS Bet she was one happy girlReplyDelete
Lovely to hear you had such a gret time
Talk about living the dream! THe quilt you made for your LS is gorgeous. I bet she loved it and will treasure it, especially with the 'home' pic.ReplyDelete
Once again a huge amount of productivity from you too. Inspiring!
Ab x
- AnonymousMarch 27, 2011 at 8:12 AM
Hello Maria, gorgeous quilt you made for your LS.....the weather here has been the pits...would have loved a swim at the beach..Warm Regards, LynReplyDelete