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What Happens When You Chew Your Food
I'm not sure what animal eats the way I do. Maybe a dog. I love the idea of eating from a trough, feeding myself with a shovel, or, better yet, with my bare hands. Since dogs don't have hands and generally eat from a bowl instead of a trough, maybe I am my own kind of animal. A combination of a gorilla and a hyena when it comes to feeding time.
Why would a person want to eat like an animal? Well, first of all, let's look at why I would want to eat at all. Hunger is the first reason that comes to mind. The only trick is there are different kinds of hunger. I might be hungry for nutrients because my stomach is empty, or I might be hungry in a more systemic way. Hungry for more. Hungry to feel filled. Hungry not to feel alone. Hungry to feel safe. Hungry to feel seen or heard. Hungry to find a sense of belonging. Hungry to feel needed, purposeful.
I have this idea that when young children (and probably adults, but I'm focusing on the kids right now) have some sort of decisive break with a parent before a solid sense of self is in place (does that even happen for most of us?) it's like the mirror the child has been looking at to see who he or she is shatters, and suddenly their world, their brain, is all busted. This could happen because a mother gives her baby to another family. This could happen because a parent has addiction issues and is not mentally or physically present enough to properly mirror their child. The parent could be mentally or physically abusive and break the parent/child bond of trust. The parent could be a narcissist and unable to reflect anyone's presence aside from their own. The child could be in the NICU and not have adequate touch and eye contact.
(Boy, is having a child a lot of work! I mean, wow, you have to be so PRESENT to give that kid of yours the best chance possible so they don't want to jump in front of a train after fifth period junior year.)
I need to get back to my main point which is hunger and food and how I eat. This is not to say I was completely off topic with the above comments. One reason I am so hungry has nothing to do with food, is what I was saying. One reason I am so hungry is because I'm trying to eat myself whole or safe or present, and this complicates both hunger and how I ingest the food I eat.
Last week I was reading Robyn Youkilis's book Go With Your Gut. There's a chapter on the importance of chewing. Now, I have been told to chew my food before. By COUNTLESS people. You can't live a life of eating like a Hoover and not have friends or spouses (or horrified family members) suggest you use your teeth. I didn't care. I wasn't interested in chewing or impressing people with my table manners. I was interested in getting the most food possible in the shortest amount of time into my stomach. I can polish off a piece of pizza the way Edwin Moses cleared lines of hurdles. I learned to fold slices in half so I could get the pizza down twice as fast. That's just one of my tricks. The other is to chewjust enough to make the pizza ball go down my throat without choking me in the process.
I read Youkilis's chapter on chewing because I was over having stomach and gut issues. I was open to almost any suggestion that would help me live a life where my body wasn't dictating what I did based on how sick or weird I was feeling. In this chapter, she talked about a man who survived his time in a concentration camp perhaps because, when he had no food, he learned to chew water. The act of the chewing itself somehow helped to keep him alive. Youkilis talked about the digestive enzymes the mouth releases when a person chews, and she said that if you chew until your food is liquid, your guts won't have to attack the chunks of food it sees as foreign invaders.
Imagine! Just because I'm in a rush to ingest as much food as possible, my guts are having to act as soldiers, beating back hunks of broccoli and gluten-free English muffins I was too rushed to 1. Enjoy 2. Taste 3. Do my work as a person with a mouthful of teeth and break down into a substance that would feed my body instead of putting it on high alert. If I swallow loads of barely masticated potato, I am causing myself so much work. Instead of letting my guts do their normal job of pulling essential nutrients from the food I have carefully chosen (organic, low-sugar, gluten-free, dariy-free, etc. etc. etc.) I am asking my guts to go into attack and save the castle mode.
No wonder I'm often so tired after I eat.
The first meal I committed to chewing was lunch. I cooked my standard meal where I put some Bragg's Coconut Aminos and coconut oil in a pan with a handful of almonds, a chopped up cooked sweet potato, some greens (often chard, dandelion, collard), and sometimes some nut cheese (I know). I sauté this panful of food until it's heated through, and then I shovel it in. I mean I sit down, take a deep breath, say thank you for this meal, and chew.
So, the first meal I had committed to chewing was halfway gone until I remembered about the chewing thing. The first bite that I actually chewed more than thirty times (I think Youkilis recommends 50 chews per bite. I have conveniently forgotten.) something incredible happened: my mouth filled with spit after about fifteen bites in a cool, we've got this kind of way. All those other times I had been eating food it was like I'd been racing through a carwash before the water ever got a chance to turn on. This waterwash felt so good. It felt like my body was taking this food seriously, working with it, welcoming it to the party. The other thing I noticed was that the food started tasting even better after about chew 20. Tastes opened up. The almonds were more almond-y. The chard was flipping sweet and delicious.
The third thing I noticed was panic. How was I ever going to eat this huge bowl of food I still had left in front of me if it took me this long to eat every bite? How could I ever get enough if I didn't shovel it in? What if I got bored? What if I died from lack of…lack of…lack of…?
This, dear reader, is when my life blew apart in the most amazing ways. It felt like almost everything I knew about myself and life shifted in that moment. I will write more about this later, after I have chewed on it a while.
I am still working on chewing each bite 30 to 50 times for an entire meal. Chewing is like meditating. I keep forgetting my intention and I have to remind myself to re-focus on the chew. Sometimes I feel despair. I love the shovel and I miss it.
But every day, every meal, every snack, I miss the shovel a little less. Oh, the beauty of a bite of orange. Look what Proust did with the madeleine. If one bite brings the world to me, maybe this is an invitation to slow down, an invitation to take less, to enjoy more.
My stomach is so much calmer. Mostly it feels like it's at the beach, stretched out, having vacation thoughts.
This is all such a process. I forgot to chew half my breakfast.
But I remembered to chew the other half, and soon it will be lunchtime.
Here's a link to Youkilis's blog and book: http://www.robynyoukilis.com/gowithyourgut/


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Přihlášení / Registrace
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Ani DiFranco
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The Atom
Formát PDF
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The glory of the atom begs a reverent word
The primary design of the whole universe
Yeah, let us sing its praises, let us bow our heads in prayer
At the magnificent consciousness incarnate there
The smallest unit of matter with its orbiting electrons
Echoing off the solar system like a hawk in the hills at dawn
The smallest unit of matter
Uniting bird and rock and tree and you and me
Oh, holy is the atom, the truly intelligent design
To which all of evolution is graciously aligned
The one single structure to which everything distills
The air, the wood smoke there and the hills
Oh, leave me here surrounded by everything that's real
Far outside the boundaries of the digitized ordeal, yeah
Leave me here awake, leave me here to heal
Human beings are a cross between monkeys and ants
You can see us from your spaceship
Melting the polar ice caps with our arrogance
Summon a congress of angels dressed in riot gear
We've got ourselves a serious situation down here
I have this great, great uncle who worked on the atomic bomb
He got a Nobel Prize in physics and a place in this song
And I bet there were no windows and no women in the room
When they applied themselves to the pure science of boom
Yeah, messin' with the atom is the highest form of blasphemy
Whether you are making weapons or simple electricity
Someone fashion me a pulpit, I have been called to engage
With the maniacal heretics of the nuclear age
Let the religious get religion, let consumers get a clue
Let scientists get perspective, let activists get their due
Let industry get a conscience, let the earth inherit the meek
Let the divinity of nature speak
Oh, the glory of the atom begs a reverent word
The primary design of the whole universe
Yes, let us sing its praises, let us bow our heads in prayer
At the magnificent consciousness incarnate there
Ani DiFranco
The Atom
Na začátek

subset: commoncrawl


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Family Tree
About this Famous Person
Thierry LHERMITTE
French actor, director and writer
Source : Jan Manuel NORAIS
He was a founder of the comedy troupe Le Splendid in the 1970s, along with, among others, Christian Clavier, Gérard Jugnot, and Michel Blanc. That group adapted a number of its stage hits for the cinema, and scored major successes with films such as Les bronzés (1978), Les bronzés font du ski (1979), Le Père Noël est une ordure (1982) and Un indien dans la ville (1994).
Source : © Copyright Wikipédia authors - This article is under licence CC BY-SA 3.0 .
- Category Actor


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Bisque will be out on Monday.
Please finish all slab projects.
Advanced another blog is due.
Friday, Sept. 30th.
Advanced Students may empty the glaze kiln, however please make sure the glaze wear gets put into the right bins... i.e. watch over it if you are going to unload the kiln.
Bisque will be out on Monday.
Please finish all slab projects.
Advanced another blog is due.
Kilns out Monday...
Okay, so I admit it, I forgot to turn on the kilns last night.
We need to do some major cleaning up today. So, at the beginning of class, please find your job and start to work on it. All advanced students need to address the batts and buckets and rings, this is your mess!
Newbies need to make sure their job is done, their area is cvlean, including their chair and locker. Sweepers need to sweep in the back pd. four especially and make sure they are tossing the dust in the trash, not in the clay or outdoors! (Sheesh!!!!)
Period six needs to put the clay in the mixer and make sure all the batts are clean put away and that the counters are clean.
By Friday you should be finished with all slabs and they should be very well finished.
Monday we will do the wheel demo - I am going to be out Friday - I'm sorry - for a meeting all day.
Newbies please do not work on the wheels in my absence. You should watch the video over the week end.
You should make sure your notes are complete and go over how to write a ceramics paragraph.
finish them slab projects
want to get kilns running...
I am out but will be in tonight
Sorry to miss another day - I miss all of you! Remember to invite your Parentato Open House!
Steady the course. Keep on with the slab projects. I hope to do the wheel demo next Monday if not before.
Advanced students make sure there is clay in the mixer.
Sixth period advanced students make sure the mixer is closed for the day.
all students clean up!!!!!!
Looking forward to the wheel...
I am out... :(
Please be finished with your soft slab and starting on your firm slab. Please find the instructions on the demos tab and have advanced kids help the new students if possible.
I hope to run the glaze kiln on Tuesday.
Fourth period advanced please put more clay in the mixer - this might need to be repeated by pd. five and six.
At the end of sixth period please close the clay mixer.
starting firm slabs on Tomorrow...
Make sure you are finishing your soft slab today.
Remember it needs to have the edge cut to go with the pattern,
the pattern needs to be enhanced by carving
as well as negative spaces
I will be running, I hope, the bisque tonight.
We have a few more glaze colors.
finish coil pots, do soft slabs!
Make sure you make the transition to soft slab today.
I will run another bisque on Wednesday.
Tuesday we will do the glaze demo - we will have only a few colors. (sorry) We will never have a huge range of colors.
Advanced - check the calendar - make sure you are getting up to speed with your projects and website.
Bisque is out!
first bisque is out - please find your project and wash it. Then put it in your locker. We will be talking about glazing on Tuesday.
Advanced students your first blog is due today!
Don't throw paper towels in the clay buckets, SHEESH!!!!
soft slab and grading notes
The soft slab demo is on the lessons page....
After we look at that and do one in class, please show me your notes so I can give you a progress grade today.
Slab projects on Thurs.
Advanced update blog


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ECHO Technical Notes TN #66 Vermiculture Basics & Vermicompost
Published: 2010-08-01
Worm or vermiculture is a useful technique for recycling kitchen and livestock wastes into a rich organic fertilizer, for producing high-protein feed for poultry and initiating a lucrative business selling worms and worm castings for the small farm. Worms are invaluable partners in building the soil in your garden, be it a kitchen or dooryard garden or a large market garden.
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An Afghan Local Police (ALP) Summit was held at Herat Police Headquarters to discuss the ALP's role in providing security across the province and suggest improvements. The summit brought together government officials and security officials, including the Herat Provincial Governor, ANSF Generals, and ALP commanders.
General Abdul Hamid Hamidi, the Deputy General of the ALP, opened the summit aimed further professionalization of the ALP. "Our main goal today is to exchange ideas about ALP challenges and opportunities. We are committed to bringing security to even the farthest districts of our country."
General Mohammad Salem Ehsas, Afghanistan's top police commander, told attendees the ALP were a critical component in the security apparatus. General Ehsas said, "Increasing ALP throughout the rural areas is really needed because they are an integral part of the overall ANSF security effort. They are working shoulder to shoulder with other security forces."
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At 20 years old, Tajodin is the youngest member in Obeh district's ALP. His motivation to serve is founded in providing a safe environment for his peers. "I am working very hard because I want my country to be a safe place for youth to study, so they can bring development and build a strong economy that helps all our people."
The ALP are at the forefront of protecting the nation and with over 30,000 members nationwide. District by district, village by village, and shoulder to shoulder with their ANSF brothers, the ability of insurgents to commit violence against innocent people continues to suffer a crushing defeat.


text:
How To Use The Word
Part 7
In this series, Jeff and Caleb talk about the battle between two kingdoms and how we are to align ourselves with the Kingdom of Light.
GROUP READING: Matthew 4:1-11
1. Why does this scripture give us hope? What does it tell us about the humanity of Jesus?
2. The enemy knew what the scripture said. If the enemy knows the Bible, how much more should you?
3. If Jesus showed us how to use the Word against the enemy - why is it often our last resort?
In the name of Jesus, wherever you're at may the power of the Holy Spirit shine light on you. In the name of Jesus, may the power of the Holy Spirit led you. In the name of Jesus, may the Word come alive in, on and through you in a way that it hasn't to this point in your life. Amen and a thousand more amens!


text:
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A Quick Overlook of – Your Cheatsheet
Essential Checkpoints When Booking A Professional Home Cleaning Company.


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text:
How Much Does It Cost To Deworm A Cat
Related articles: Cat Vaccination, Cat Spay or Neuter, Cat Declawing, Owning a Cat: Additional costs: You'll want to throw out the litter in your cat's litter box and bleach the box so your cat doesn't reinfect itself. Litter costs about $10 and a bottle of bleach costs less than $5. The cost of deworming a cat will depend greatly on the area you live in and how bad the infestation is in your feline. When you take in your new kitten for an initial vet check, take a fresh stool sample with you. Costs to deworm your cat can vary from clinic to clinic, and will also vary from case to case. Kittens are generally checked when they join the household, and the initial vet checkup can generally range between $31 to $131. In this case, a vet will administer fluids intravenously. The projected cost is anywhere between $15 and $48. Decontamination: Killing Worms For Good! When it comes to the overall cost to deworm a cat, one must look beyond spending on medication alone. I would estimate the kitten is around 2 months old, and my friend says she has worms. How much does it cost just to get a kitten dewormed? First Reply: Answer by Only How much does it typically cost for a vet to treat a cat for worms? in Cats Discussions How much does it typically cost for a also could use a liquid dewormer. .
How Much Does It Cost To Deworm A Cat
cost of shots and deworming adult cats (kitten this on such and such a schedual and how much would those things cost, cost of cats at How to Deworm Cats. Several types of worms can infect cats. The four most common are roundworms, hookworms, tapeworms, and heartworms. Not only do these worms pose a How Much Does Deworming a Dog Cost? Deworming a dog is a procedure that involves the removal of parasitic worms that live inside your dog. This is one of the most .
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It's no secret that I loved Bosnia. From the charming towns to the stunning mountains; the villages with backdrops to the sprawling countryside. Bosnia and Herzegovina had way more to offer than I could ever have expected. Of course, most of my photos were taken from the window of a bus, and that's not the… Continue reading Photo Friday: The Beauty Of Bosnia
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Post Engagement is an entry-point for people to your chatbot. Once setup, you can have your chatbot privately reply to any person commenting on your Facebook fan page post. It's a great way to follow up with your most engaged fans as well to generate more Messenger subscribers.
Post Engagement Overview
With the Post Engagement feature you can acquire Messenger subscribers from your Facebook fan page posts. It enables you to capture new subscribers based on your desired set or requirements you set up, send them a message once they commented, and directly send a Flow once people become a subscriber.
Post Engagement Library
You're adventure starts with the Post Engagement Library. All your Post Engagement records are stored in the table at Capture > Post Engagement.
The table will be empty if it's your first time setting up Post Engagement for fan page post. In the next section you'll get an overview of how the Post Engagement Library works.
Library Explained
In this section of the article you find what you can expect on the Post Engagement Library page. Respectively, Name, Actions, Drop-down, Search, Pagination, Bulk Actions and more.
- This is the Name you give to your Post Engagement. It's recommended to use a Name that helps you to find your Post Engagement back easily.
- These are the Actions you can perform on an individual Post Engagement, currently: Edit, Rename and Delete.
Drop Down menu
- You can change the number of records you want to appear per page by clicking the drop down in the right-upper corner. You can choose to show either 10, 25, 50 or 100 records per page.
- In the right-upper corner you can also use the search field. Search terms are applied to all data in the table.
Next/Previous Page
- In the bottom right corner you can view the next page or previous page by clicking "next" or "previous". This allows you to navigate through all your records.
How to perform Bulk Actions?
You can perform Bulk Actions by clicking the checkboxes – of the records you want to perform Bulk Actions on – in the first column. From there you perform Bulk Actions like "Delete", by clicking the Bulk Actions button in the right-upper corner.
Create New Post Engagement
Creating a new Post Engagement is easy:
- Simply click on "Create New".
- Please see the image below for your reference:
- You'll be asked to give your new Post Engagement a name
- Enter a name for your Post Engagement and click "OK".
- Please see the image below for your reference:
- After clicking "OK" you'll be redirected to the Post Engagement builder.
Setting Up Your Post Engagement(s)
In this section you discover what you can do with the Post Engagement Feature
In this section you'll discover more about the Setting section
Enable to Privately Reply to first-level comments only
- When enabled, your chatbot will only Privately Reply to the first-level comments only. This means any replies to comments (nested comments) will be skipped.
Send message to the same user only once per post
- When enabled, your chatbot will only Privately Reply to the same user one per post. This means that any additional comments by the same user will not trigger your chatbot to Privately Reply.
Require a post reaction
- When you provide a reaction (or reactions), Clever Messenger first checks if the user has met the reaction you specified before sending out the Private Reply to the user's comment.
Exclude comments with these keyword(s)
- When you provide keyword(s), any user who comments on your Facebook fan page post including these keywords will not receive a Private Reply.
Only trigger for comments with these keyword(s)
- When you provide keyword(s), any user who comments on your Facebook fan page post only receives a Private Reply if their comment(s) match the keyword(s) you've specified.
In this section you'll discover more about the Submitted section
Private reply after post engagement
- The text you specify here will be sent as a private message to everyone who successfully engaged with your post.
Send private reply right after
- Specify the delay after which users will receive the text message you've specified under "Private reply after post engagement".
- Choose between; Immediately, Seconds, Minutes, Hours.
Flow to send after submission
- The selected flow/message will be sent to users who successfully replied to the message you've specified under "Private reply after post engagement".
- Click on "Open Preview" to preview the message the subscriber receives.
Selecting your Fan Page Post
Applying all the settings you've specified to a fan page post, or multiple fan page posts, is easy!
- You simply click on the posts you would like to apply your desired settings to.
- Once clicked, the fan page post gets highlighted with a Green Border which indicates this post is now selected.
Enabling your Post Engagement
To make your Post Engagement live, make sure you enable it.
- To enable, make sure the toggle in the right upper corner is blue and switched to the right.
Saving your Post Engagement
Once satisfied with your setup, click "Save" in order to save your Post Engagement.
How to Access Post Engagement
You access Post Engagement overlays/embed on Page Level. You click on the Capture Icon (magnet) and a drop-down appears. Click on Post Engagement to navigate to the Post Engagement Library.
This concludes the article "Post Engagement", a brief summary of what you can find on the Post Engagement Button Page. As new Post Engagement features come available, we'll update this article accordingly.


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Hyderabad: The controversy over the Intermediate results has brought Globerena Technologies Private Limited back in the spotlight. It was involved in an alleged goof-up of results at the JNTU-Kakinada in 2015.
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Company CEO V.S.N. Raju said false rumours were being spread about the company. "We have 18 years of experience, our software does not have any technical errors and we have not committed any mistakes" he said...


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It's here! That magical time of the year, kiddos—where the holidays are upon us and most people have a little more pep in their step and cheer in their voice.
It's also that time of year when everyone is doing up lists. Santa has a list of nice and naughty children. Entertainment critics have lists of the year's best films, shows and songs. Everyone has their list of all the personal changes they hope to make stick in 2019, me included. May the odds be ever in our favor.


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SHOCKER! Man jumps into Lagos lagoon
A yet to be identified man parked his car suddenly on the popular Third Mainland Bridge in Lagos and jumped into the lagoon. Picture of the car, a black Ford Jeep is currently trending on the social media for possible clue into the owner of the car who allegedly jumped … Read More »


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Viewing post #259774 by Dutchlady1
You are viewing a single post made by Dutchlady1 in the thread called Stables, free manure!.
|I like horse manure, but one year I got so much hay in it that I now have grasses growing rampant where I spread it. So make sure your manure is well rotted.
« Return to the thread "Stables, free manure!"
« Return to Article: MULCH: Beneficial and Free
« Return to the Frugality aka Money Saving Tips cubit homepage


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Food; Eating
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text:
Three months after the Uber rape, the lives of a North Delhi family have turned upside down. The father has given up his foreign job, the mother keeps checking on the victim all night, the 25-yr-old wonders if she should go somewhere far away. The family has also bought a car, to ensure Dec 5 is not repeated.
In a busy lane deep inside a congested neighbourhood in North Delhi, amidst the din of rickshaws and tempos carrying factory goods, stands an old, multi-storey house. It's on one of the floors of this house that the 25-year-old woman who was raped by an Uber cab driver last December lives.
A flight of narrow, high steps opens into a courtyard surrounded by three rooms, one of which is the woman's. It is modestly furnished, bare but for a bed, a wooden cabinet with her books neatly stacked, an almirah in the corner, and a study table with pens and pencils strewn around.
Two walls of the room are painted bright red. Her mother says she likes "lively" colours. But what stand out more are the handwritten notes on plain paper pasted all over — the walls, the almirah and the cabinet.
'Mom & Dad — the best gift. Blessed Daughter #Me', says one note. 'I am high on life from now on :)', says another. One poster lists 'Priorities Intact' in bullet points: 'Loving Yourself'; 'Exercise'; 'Eat Healthy'; 'Work hard and success will follow'. In one of the notes, she writes, 'I am strong/stable — inspiration for Delhi'. In another, she repeats, 'I am strong and brave'.
Adjacent to the woman's room is a kitchen and a bathroom. The other two rooms around the courtyard are her parents' bedroom and a living-cum-guest room.
The house, her mother tells The Sunday Express, was built by the father — now 53 — over several years. "My husband is from Delhi and got the land from his family. I am from a small town in Uttar Pradesh."
The parents had an arranged marriage in 1988. The mother, who is an M.A. and B.Ed, says they had their daughter just a year later. The delighted family had distributed sweets to the entire neighbourhood and thrown a party.
Her father was clear from the beginning —they would have just one child, irrespective of whether it was a boy or girl. "I am from a middle-class family," he says. "I was a good student but we lacked exposure. I wanted to give more than an average life to my child. I did not want to distribute my limited assets among two-three children. So, despite initial pressure from my family to have a second child, I refused."
Nobody ever willed for a son later. The "beautiful baby with a lovely smile" became the laadli of everyone in the family.
According to her mother, the doctors involved in her delivery too still remember her. "During birth, when her head was taken out while the body was still inside my womb, her eyes were wide open. Even the doctors were surprised. For years, they would only identify us as the parents of the baby born with open eyes."
Fond of photography, her father would keep taking pictures of her, now preserved safely in family albums. On her first birthday, she has a shaved head and is wearing a frilly dress as she cuts the cake. At her third birthday celebrations, she and her parents are all dressed in pink — her "favourite" colour till date, the mother says, pointing towards a grey-and-pink pullover hanging behind the wooden door.
"She was a 'daddy's girl'," the mother adds. "If she ever got dirty in the mud while playing as an infant, he would scold my mother-in-law and me for not taking care of her properly. We always ensured she was well-dressed — even if it meant changing her clothes several times a day."
She was three when her father went abroad to work. It wasn't an "easy decision", the parents say, but they felt it would help them provide their daughter the best they could.
With her father away, boarding was seen as the best option for her. And so, in Class II, she was sent to a hostel in Chandigarh. That was the first time they realised how determined their daughter was, says the mother. "She desperately wanted to be home. In jest, we challenged her to score 99 per cent marks. She got that and we had no choice but to bring her back the same year."
In Delhi, she was enrolled into one of the city's topmost schools, where she studied till high school. Later, she left for a boarding school again, in the hills. This time, she stayed.
In a conversation with this reporter shortly after the rape, the victim had said how she came to love her school and teachers. "Hostel gave me a broader outlook towards life and changed me completely. It instilled self-confidence that shaped my attitude towards life's problems."
In school, her favourite subjects were chemistry and biology. She was actively involved in social issues and often visited blind schools to interact with the children. She was also good at volleyball and took classes in sitar and violin.
"Even though I used to be sad and lonely that our only child was away, my husband stood firm. He wanted our daughter to get the best education. So we made all the sacrifices. And she never disappointed us. Throughout school and college, she remained an exceptional student," recalls the mother.
She eventually went on to do her graduation from Delhi University's prestigious Jesus & Mary College, where she was a college topper and a university rank-holder.
She landed a job with a top multinational soon after graduation. One of her colleagues, who declined to be named, said the woman was "so good" at work that she got "rare, out-of-turn promotions" and was "the only one among the team to get a 5/5 rating".
* * *
It is 9 pm on March 9. He had left home at 11 in the morning to meet human rights lawyer Colin Gonsalves at his office in South Delhi's Jangpura, an hour away.
Sinking into the chair besides the study table in his daughter's room, he slowly takes off his glasses. Fatigue is written large across his face. It has been over 10 hours since he has eaten anything.
"Where's the time? I have to be there again by 8 tomorrow morning," he says as he asks his wife to make him a cup of tea. She returns with a plate of hot idlis.
Less than three months ago, he had been working abroad, comfortable in the knowledge that his wife and daughter were safe back home. All that has changed.
"The kind of things a father can never discuss with his daughter have to be discussed… personal questions. And we have to face allegations — in the court, neighbourhood, everywhere," he says.
On December 5 last year, she had left home at 9 am for work, like on any other day, in an office cab. Her office, in Gurgaon, is 40 km away.
It was a Friday, and it was understood that after work, she would go out with friends. "Corporates work five days a week. It is part of their work culture to go out on weekends. That evening, she went out for dinner with her friends to Cyber Hub. One of them, who lives in Vasant Vihar, dropped her till there and arranged for an Uber cab to take her home," the father says.
It was a tiring day at work, she would later tell her parents, and sometime during the 20-km drive home, she dozed off. When she woke up, she found the cab parked in a secluded spot and the accused, Shiv Kumar Yadav, in the back seat with her, assaulting her. He threatened to insert a rod inside her — a crude reminder of the December 16 Delhi gangrape — if she did not comply. Realising her life was in danger, the victim gave in and later begged Yadav to drop her home, promising not to reveal the incident to anyone.
"It was her presence of mind that even in such a difficult situation, she clicked a picture of the numberplate of the cab with her mobile phone," her father says.
On reaching home, she first called the police and then informed her mother, who was up waiting for her. She immediately informed her husband, who was coincidentally in India at the time. He rushed home.
"I could always afford a car, but I didn't buy it as I was living abroad and it was just the two of them here. But now I think it was a mistake. If she had been in her own car, this wouldn't have happened," the father says, his eyes welling up.
Recently, the family did buy a car for her, and she has started taking driving lessons. "Ab court-kachehri ke chakkar bhi lagne lage, isiliye gaadi ki zaroorat lagi humein (Now we have to make the rounds of courts, we felt the need for a car)," says the father. He has also left his foreign posting.
Each morning at 7, as they prepare to leave for court, the woman slips into a burqa.
The change is more than cosmetic though, fears the mother. "My daughter says she can no longer identify the person in the mirror. She had always been very strong, very courageous. She used to come home alone from her hostel, but today, she cannot even step out on her own. She is scared of all men."
Two years ago, after the December 16 Delhi gangrape, the woman and her father had actively participated in the protests. They had attended candle-light vigils at India Gate and distributed pamphlets.
A change has also come in the family's relationship with relatives and friends. "With people who know, the close ones, an unsaid tension hangs in the air. We feel the topic may come up during conversation. They do not want to hurt us either," her father says.
But there are other ways memories of the incident keep coming back. "A newspaper reported she had consumed alcohol and lost consciousness, which is why the incident happened. People wrote in comments that she 'deserved' what happened to her and that it was 'good' she had learnt her lesson. Such baseless allegations can affect the morale of any rape survivor," he adds.
The Delhi High Court order allowing the defence counsel to re-examine witnesses has been another blow. Her parents say she had begun picking up the threads of her life, begun working again and meeting friends. "After the order, she was depressed for days. She kept crying, saying she did not wish to relive the incident," her mother recalls.
After the documentary India's Daughter was banned, her father posted on a social media group: "India's Other Daughter — revictimised by law(pla)yers".
The defence lawyers of accused Shiv Kumar Yadav have been extremely "insensitive", says the father. "Once, when my daughter retaliated to an objectionable question in court and told the lawyer she was just like his daughter, he replied, 'Don't insult my daughter'. I feel sad. The accused is present in the courtroom and it's difficult for my child to face him every day. I feel disappointed that educated lawyers can resort to cheap tactics. We are a simple family. Maybe we don't understand their ways."
One of her close friends, a 27-year old woman who sat at the desk behind hers in office and has known her for four years now, says the victim is "daring, but very emotional". Saying that she loved food, travelling and watching movies, the friend adds, "She is just like any other young person. But she is ambitious and not scared to speak up."
The friend also remembers that December 5 evening vividly. "Before she left, she was excited and happy. I cannot forget that face. For a few days after the incident, she was low. But then, she put up a brave front. The way she reported the matter and has been coping, hats off to her."
While praising the police and her office for being "extremely supportive", the family adds that all this is taking a toll on the victim's health. Often, her mother says, when she gets up in the middle of the night to check up on her daughter, she finds her wide awake. "She rarely sleeps before 4-5 am now. She just keeps staring at the ceiling. I ask her what she's thinking. She says she does not want to stay here, that she wants to run away somewhere, far away, where these memories won't haunt her anymore."
Sometimes, she also asks, "Why me?".
But those who know her believe she will get over it. There will be a day "5, 10, 20 years" from now, they say, when she will "move on".
There are times when her father breaks down too, like during any discussion on women's security, or when he is driving and it suddenly strikes him that none of the people around him knows his pain, his anguish. He can't wait to rush home then to be with his daughter.
"I cannot say what will happen in the future, but like all fathers, I wish the best for my child," he says. "Years later, I may not remember the incident, but I will always remember how bravely my daughter fought this battle."


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摘要:[1]阿尔布雷特·丢勒,《忧郁》,1514。版画,尺寸24x18.5cm [1]伦勃朗,《基督出现在众人前》。铜版画,八版第八件,尺寸35.6x45.5cm。纽约大都会艺术博物馆藏 [1]弗朗西斯科·戈雅,《追溯到祖父》,《狂想曲》系列第39件,1799年第一版。蚀刻与飞…
[1] 阿尔布雷特·丢勒,《忧郁》,1514。版画,尺寸 24x18.5 cm
[1] 伦勃朗,《基督出现在众人前》。铜版画,八版第八件,尺寸 35.6x45.5 cm。纽约大都会艺术博物馆藏
[1] 弗朗西斯科·戈雅,《追溯到祖父》,《狂想曲》系列第39件,1799年第一版。蚀刻与飞尘腐蚀版画。尺寸 36x21 cm
[1] 巴勃罗·毕加索,《裸体模特和雕塑》,速写系列版画之一,1933。蚀刻版画,尺寸 44.5x34.3 cm
[1] 巴勃罗·毕加索,《猫》,由乔治‧路易‧勒克莱尔,布封伯爵写的《自然历史》的配图,1942年巴黎Martin Fabiani出版。铜板蚀刻版画。尺寸 36.2x28 cm
The Etchings of Yan Shanchun
In his enthusiasm for every aspect of printmaking Yan Shanchun has established a unique position for himself among Chinese artists. In contrast with the West in which the achievements of the greatest painter - printmakers are recognized as being on the same level as their primary means of expression, in China printmaking was never regarded as a medium capable of independent expression on the same level as painting or calligraphy. Even today this is the case although there are generally departments of printmaking in the academies. Far too often prints are published under the name of established artists that are reproductions of paintings rather than fine art prints as generally understood.
In the West the earliest woodcuts were produced in Southern Germany around 1400, about 700 years after printing on paper as a vehicle for disseminating the Buddhist faith was invented in China. The principal intaglio (incised) techniques appeared in Europe about the same time, engraving evolving from the craft of goldsmithing and etching from its use on armor, and were soon taken up by major artists in Germany and Italy. Both Antonio del Pollaiuolo (1431-1498), and Albrecht Altdorfer (ca. 1480- 1538) produced magnificent prints but it was Albrecht Dürer (1471-1528) who undoubtedly had the greatest impact on the medium and the prestige of printmaking. [1] In the complexity of its iconographic content and its technical mastery engravings such as Melancholia (1514) (Fig. 1) are on a par with his greatest paintings, a fact recognized by his contemporaries, both collectors and artists. While few of his paintings could be seen outside Germany, prints were the primary means by which Dürer's reputation as one of the greatest living artists was established and by the first decade of the 15th century young Italian printmakers were using his works as models. In the 17th century Rembrandt owned prints by Dürer.
Over the next 500 years the range of techniques available to printmakers expanded to a remarkable degree. While many prints were utilitarian, primarily reproductive or illustrative, great painters such as Rembrandt (1606-1969), Francisco Goya (1746-1828), and Pablo Picasso (1881-1973) were particularly innovative, their prints reaching the same level of attainment as their paintings and drawings. Between 1626 and 1655 Rembrandt made over 300 etchings and drypoints, ranging from small, informal figure studies to landscape and multi-figure compositions based on the OId and New Testament. Fascinated with every aspect of the complex procedures involved in printmaking, he experimented with different papers and frequently reworked his late prints, inking the plates in such a way that frequently the image is completely transformed. The drypoint Christ Presented to the People (1655) (Fig. 2), for example, exists in eight separate states.
Yan is a great admirer of Rembrandt and has commented that "the etching technique that Rembrandt employed is more spontaneous than Dürer's engraving technique, his lines are wilder. He is less interested in registering details than in the texture of the lines and the quality of paper, and in establishing atmosphere. Through these means the viewer is able to concentrate on the image, as happens in his paintings through the infinite variety of his brushstrokes."[1] Etching is frequently used in association with other techniques such as drypoint[1] and aquatint,[1] resulting in more atmospheric effects as is the case with Goya's etchings,[1] (Fig. 3) and it is this versatility that appeals to Yan.
The greatest painter-printmakers including Edgar Degas (1834-1917), Edvard Munch (1863-1944 ), Pablo Picasso and more recently, Jasper Johns (1930-) have all been major innovators, none more so than Picasso who over a period of more than 70 years made over 2,400 prints, etchings, engravings, drypoints, aquatints, lithographs and linoleum cuts. He made etchings throughout his life, from the Saltimbanques Suite in 1905 to the Suite Vollard (1930 - 1937) (Fig. 4) to the 347 Series in 1968, finding the technique the most direct way to convey the purity of his drawn lines, but Yan is less drawn to these than to Picasso's more atmospheric prints. He has a particular affection for the 32 illustrations Picasso made for the Histoire Naturelle by the 18th century French naturalist and polymath Georges-Louis Leclerc, Comte de Buffon (Fig. 5). Picasso loved animals and created a series of humorous images in which the etched line is far overshadowed by the use of aquatatint. Yan has commented how in "works such as these the gap between the indirectness of prints and the directness of painting is closed. Perhaps we can invent a new compound term, printing –painting. This is the direction in which I am trying to move." [1]
Earlier this year I went to visit Yan Shanchun at his office in the Shenzhen Fine Art Institute with which he has been associated since 1993 .[1] While I was there we had a wide-ranging discussion about print-making and I was also able to watch him make several prints, a rare opportunity. Yan is a well-respected painter and academic who has written extensively on many aspects of classical and contemporary Chinese art but whose all-consuming interest for the last few years has been print-making. In fact he feels that in his prints he has been able to achieve levels of expressiveness that he has only glimpsed in his earlier work.
Certainly he has reached a level of refinement in his prodigious output of etchings that is impossible to achieve in the more robust ink and acrylic medium he uses for his paintings but begging to differ with the artist, it is all a matter of degree! His large paintings which verge on abstraction retain in the multiple layers partially visible beneath the surface references not only to the appearance of West Lake in Hangzhou with which he has been familiar all his life but to the long history of its representation in ink painting and poetry. This accounts for the powerful effect these apparently bland canvases have on the perceptive viewer. In contrast the prints are small enough to be held in the hand, traditionally the preferred way for viewing these intimate works of art, and are characterized by an infinite variety of marks and surface effects, all coalescing to give just a glimpse of the atmosphere of the lake. It is an entirely different approach.
Yan Shanchun's office in the Institute is small and simply furnished, lined with bookshelves and numerous earlier works stacked against the walls. A small table top press, stacks of copper plates and gampi (Japanese tissue paper) indicate that we are visiting the premises of a print-maker but with the exception of a container of sulfur, the bottles of olive oil, soy sauce and Brasso on the shelves would be equally at home in a well-stocked kitchen or supply closet. Yet it is with these simple materials that Yan creates his poetic etchings, as intense and multi-referential as the briefest of Chinese poems. How did he arrive at the point in which print-making resembles alchemy?
Yan graduated from the Print department of the Zhejiang Academy of Fine Arts, Hangzhou in 1982, the same year as Huang Yong Ping who was about to adopt a radical approach to art making through his association with Xiamen Dada. Yan followed a more conservative path and chose to investigate new approaches to ink painting but about 1987 began to concentrate on scholarly and theoretical studies, ranging from The Literati and Painting: Painters in Official History and Fiction to commentaries on the work of Huang Yong Ping and Wang Guangyi. He remarked that while his preference is for art that is related to traditional Chinese values however much modified they might be, he still feels the need to understand types of art that he does not really appreciate. During this twenty year period he traveled widely in France, Germany and Italy, studying the works of European Old Masters, Western contemporary art and the great print makers from Durer, Rembrandt and Goya to Picasso. By 2007 when he returned to painting he was 50 years old, an artist with a well-stocked mind but only a small body of actual works, who was closer in kind to Chinese literati of the Ming and Qing dynasties than the successful professionals whose work was already achieving record prices at auction.
After tentative beginnings, Yan's paintings soon increased in scale as the lessons he had learned from Mark Rothko and Cy Twombly were fully absorbed. Seen from afar Yan's largely monochromatic canvases appear to be virtually abstract but closer inspection reveals multiple layers of pigment, concealing evidence of facts he has observed and memories of countless works of art from the past that have lodged in his mind. In this respect, among twentieth century artists he admires he is closest to Cy Twombly to whom the art and literature of ancient Greece and Rome were primary sources of inspiration. To many observers Yan had fully succeeded in achieving his goal of capturing the Chinese spirit in acrylic and ink painting yet still he was not satisfied. It was at this point that he returned to print making.
Yan remarked that when he graduated the material used in print making were very poor, the sulfuric acid used in poorly ventilated studios being very bad for the health. In 2010 he found a solution to this problem. Wang Gongyi, a printmaker who had graduated from Zhejiang Academy of Fine Arts two years before Yan, returned to China after spending two decades in Europe and the United States and recommended that he should try a technique she had first used when she was working at the ALMA Printmaking Studio, Lyon, France in 1992. This explains the presence of the containers of sulfur and olive oil in Yan's studio. Instead of corrosive acid he uses a mixture of the two substances to etch the copper plates.
I watched while dabs of the olive oil/sulfur mixture slowly corroded the surface, turning black as the process began. In a text written in 2014, Yan [1] has noted that this technique "gives more freedom than the traditional sulfuric acid, and it is also more direct than the mezzotint or sugar-lift methods. It mainly uses the reaction between sulfur and the copper plate to produce recesses for the ink. It can convey the effect of brush strokes, and the layers are also more subtle. The drawback is that the reactions are unpredictable and not stable, the residue is weak after corrosion, and not suitable for making multiple prints."
In his paintings inspired by West Lake, he is able to suggest the expansiveness of the lake receding into the distance through veils of mist even although he is as concerned to preserve the integrity of the painted surface as the most committed Modernist. In the prints it is another matter altogether. Although the spatial treatment of landscape in some of his earlier prints owes more to the Western landscape tradition than it does to Chinese painting, he now focuses on details – leaves, a tree-trunk, a reed – and ambiguous forms to suggest the poetic atmosphere that has always been associated with West Lake, even today when it is located at the center of a thriving city and is always crowded with tourists. Much depends on chance effects as he waits to see how the copper plate reacts to the olive oil/ sulfur combination. As already noted, this can never be predicted. Inspired by these abstract forms, he then reaches back into his memory-bank of images derived equally from nature and art and continues the process, etching each plate five or six times if necessary, until he senses that no more needs to be done.
Intuition is paramount in his creative process, as it is in the preparation of the copper plates for printing. For cleaning them he prefers soy sauce to all the other traditional materials used for this process. Disliking strong contrasts, he uses only a small amount of ink, just enough to sink into the crevices, then polishes the plate with his hand until a very thin layer is left over the entire plate. This is a very sensitive process, requiring all the technical skills and versatility that he has gained through ceaseless exploration of the print medium. The final step is to run the sheets of the damp gampi paper through the hand press in order to mount them. His involvement with this final aspect is crucial as the application of too much or too little Japanese glue to the reverse of the gampi paper can have disastrous consequences.
Oddly enough, the effects that Yan aims for in his etchings owe more to collotype, the photographic process that is notable for its ability to print fine detail and for the fidelity with which it reproduces gradations in tonal qualities, than to etchings by any of the artists he admires. While he was still a student (1980) he discovered a book Be An Sheng Mo, a collection of reproductions of works by Zhao Zhiqian published between 1918 and 1928, that left an indelible impression on him. He greatly admired the quality of the printing and still has it in the back of his mind when he prints his own etchings. Yan has given an eloquent summary of the effect he is trying to achieve: "The effect is very similar to collotype printing which I adore, and the effect is similar to the West Lake that I remember. Especially by using Japanese gampi paper for printing, the image has a luminous quality like that achieved by silver print photography, endowing the image with a heavy metallic feel comparable to my feelings about the West Lake: clear, remote, tempered, and classic."[1]
Paradoxically these classical qualities that he admires are achieved through a technique that is anything but orderly and predictable. There has been a tremendous outpouring of prints since he made his definitive return to the medium in 2010, 500 hundred at least, but since he cannot control the etching rate only 100 or so are considered worthy of preservation. What he can control, however, is the printing process itself and here he is unrelenting in his perfectionism. Thoroughly disenchanted with the industrialization and commercialism of most print- making today – of course, there are exceptions as he is first to admit – he attends to every step in the production, from the inception of an image somewhere in the back of his mind, to its hesitant materialization on the copper plate as the olive-oil/sulfur mixture spreads and penetrates the surface, the lightest possible inking and the most precise mounting imaginable.
In today's competitive art world Yan Shanchun is an anomaly. Modest in demeanor, he has never clamored for attention, preferring instead the quiet cultivation of personal interests that for centuries characterized the behavior of Chinese literati. He has maintained a certain distance from the developments in contemporary Chinese art that have occurred in the last 30 years, equally detached from the cultivation of ink painting as an end in itself and the multitude of different approaches ranging from oil painting to performance that characterizes the work of younger generations of Chinese artists. As a result there is nothing forced about the hybrid quality of his oeuvre which results not from theoretical posturing but from the slow assimilation of influences both from classical Chinese culture and advanced art of the twentieth century.
Believing that "artists should participate from the beginning to the end as a creator",[1] Yan Shanchun creates prints that speak to the connoisseur, an endangered species perhaps, who appreciates the finesse of his technique and the subtlety of his imagery. Involved in every stage of the mysterious procedures that have preoccupied some of the greatest artists since the Renaissance, he has adopted a quietly revolutionary approach that is no less powerful for its reticence.
Although Yan Shanchun has produced fewer paintings during the last six years, he did not stop entirely. In fact there has been an ongoing dialog between his prints and his painting, the unpredictability of his printmaking procedures leading to an even greater fluidity in his paintings. Although the thematic content did not change, the manner in which he approaches it has undergone a remarkable transformation.
In the paintings of 2005 the landscape format of the canvases and the use of acrylic on canvas resulted in a group of works that were primarily inspired by the tradition of Western landscape although the subdued palette revealed only qualified acceptance. The following year he tried a much more calligraphic approach, virtually abstract as in West Lake 03 (2006), but the most important development occurred when he began using paper mounted on canvas as support, which he covered with multiple layers of acrylic, ink and color. Although there are often references to specific landmarks in Hangzhou such as Ruan Gong Islet and Su Causeway, their material presence is only hinted at through the use of thinly diluted washes of pigment. Delicate and atmospheric, the paintings of 2008 are remarkable accomplishments, worthy additions to the long tradition of visual representations of West Lake in classical Chinese art without making any stylistic references to it.
Working with evident delight and on a much larger scale in 2009, Yan Shanchun emphasized the physicality of the surface of his paintings, producing a series of works that he titled West Lake in my Dream. His greatest achievement until then, these paintings were the last to have been completed before printmaking became his primary focus. The challenge of representing the multiple associations of West Lake on the diminutive scale of a copper plate, however, was bound to affect his painting once he returned to it with renewed enthusiasm as has happened in the last year. In the medium size canvases that he has mostly favored, the scenery is evoked through details such as a single willow tree or even, as in the late Nymphéas of Claude Monet, through reflections on the surface of the lake even although they verge on abstraction. The influence could also go the other way as in a group of canvases, experiments in layering and the use of color that Yan Shanchun regards as studies for prints.
After five years of printmaking and a sparing production of oil paintings, Yan Shanchun had gained enough self-confidence to resume working on a monumental scale as in Lake Shore # 1 (2016), the culmination of six years of musing and experimentation. Executed in a palette reduced to shades of white, black and grey with only hints of color, there are glimpses of West Lake, particularly in the right hand panel, but the primary means of conveying the poetic atmosphere is through the wide variety of means through which the pigments relate to the surface of the canvas, whether applied in thick, viscous layers that are scraped until underlying strata dimly emerge, or thinly diluted on the paint integument and allowed to drip. More than ever, the elusive quality of Yan Shanchun's paintings derives from the perfect match between his deep absorption in the cultural associations of West Lake and the spontaneity of his technique. To varying degrees, each painting is an exploration of the surface of the canvas, of opacity and translucence, of glimpses through the surface and strokes applied to it, of marks that appear to refer to specific objects or locations and others that are accidental.
From now on it seems probable that Yan Shanchun's fascination with printmaking in all its aspects, the ability to create atmospheric and poetic effects on a small copper plate, will continue to have a profound impact on his paintings.
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