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Phenomenal Animisms: Parasols, Phones, and Pokémon
Spyros Papapetros is Associate Professor of architectural history and theory at the School of Architecture, and a member of the executive committees of the Programme in European Cultural Studies as well as the Programme in Media and Modernity at Princeton University. He is the author of On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (2012) and the coeditor of Retracing the Expanded Field: Encounters Between Art and Architecture (2014).
Interviewed by Tamara Jamil (B.Arch.'16) and Siobhan Lee (M.Arch. '16).
Interviewed by Tamara Jamil (B.Arch.'16) and Siobhan Lee (M.Arch. '16).
You have attributed to inanimate objects the capability to have intelligence, language, and even souls. In your essay, "Darwin's Dog and the Parasol: Cultural Reactions to Animism," you come to the conclusion that the dog is barking not at the wind-blown parasol, but at itself, out of frustration. You write: "Invented as an apparatus of climatic temperance, the parasol serves now as an ideogram of cultural intemperance. It oscillates not only by the breeze, but also by the psychological ambivalence of its users." What cultivates this psychological ambivalence? Taken from another perspective, what are the characteristics of the inanimate that cause this psychological ambivalence?
First, let me say I appreciate the fact that even if my book On the Animation of the Inorganic addresses the culture of animation, your questions address more closely the issue of the "inanimate," which, as I state in the book's preface, was my original departure point. I consider the "inanimate" as analogically parallel to the animate, and not its polar opposite. I was interested in something that resists an easy surrender to the familiar codes of life, as in, say, the "liveliness" of animated cartoons. That is one of the reasons the book starts with a contemporary example from cartoon animation, whose fatal outcomes include in/animation and paralysis. I refer to the mass (chromo) epileptic fits and seizures caused by an episode of the Pokémon cartoon series in Japan in December 1997.
This was a rare moment when animation provoked a simulation of death — a temporary paralysis that lead the living viewer to experience the inanimate condition. Following a contrast with a "beatific" instance of petri cation that occurred 600 years earlier, during the ecstatic encounter of Saint Catherine of Siena with Giotto's mosaic of the Navicella in the old basilica of Saint Peter's in Rome, and its pathological reading in the psychiatric literature of the 19th century, I arrive to the example of Darwin's dog growling and barking at a parasol moving to the breeze.
This is a strikingly different reaction: whereas in the two earlier episodes, humans collapse at the sight of lively images, here an animal appears energized by the swaying of an object. According to Darwin, the dog views the parasol as an "intruder." My own hypothesis — and I underline the fact that this is a projection (because I am not a neuroscientist and do not profess to know what goes on in a dog's or any other animal's brain) — is that the dog moves back a step before any form of (re)cognition occurs, including the personification of the object either as an enemy or a friend. I refer to the moment of unknowability — the state in which an object remains fundamentally enigmatic, and the living being, animal or human, that stands in front of it, yet cannot "figure it out." I find this moment infinitely productive and I would hate to close it with another interpretation, much less a "final" one. Since my discussion is filtered through Darwin's account of his dog, my reference to "frustration" aims predominantly at the dog's owner, Darwin, who, like a host of 19th-century European thinkers, appears bewildered by the revival of animism in contemporary comparative anthropological descriptions, and tries to offer a "reason" supported by this little animal example, which, ultimately provokes more questions than it answers. Underlining the "frustration," signaling the inconclusiveness of an encounter with an unfathomable object is a way of reopening and stirring things up; this seems to me a better way to "introduce" animation and its origin in the inanimate, part of which at least lies in the startling effect produced by the object's enigmatic content.
In the same article, you expand on the notion of animism through differing views: Darwin's interpretation of it as a "momentary suspension of rational faculties," or Vignoli's as an "ongoing 'mythmaking' impetus which is embedded in the organic memory of the living being." Both consider it as a sort of disruption of logic. Given that Darwin's dog is more than a century old and our relationship with technology has changed dramatically since then, do you think our sensitivity toward the inanimate animating itself has lessened or is becoming increasingly muted? Will we become numb to this fear of the irrationally animate, maybe because it is no longer irrational?
When I read the story of the dog and the parasol in Darwin's The Descent of Man (1871), I felt as if I had read or heard it before, but was not sure where. I then rediscovered it in the writings of Herbert Spencer (1876), whose texts were read by architects such as Louis Sullivan and later Frank Lloyd Wright; the animal psychologist Tito Vignoli (1880); and, finally, in a private memoir by the German cultural historian Aby Warburg (written in 1923, yet recollecting his trip to the American Pueblos in 1895–96, and his reading of Vignoli in his student days around 1890). In each and every of these retellings that span a fifty-year period, Darwin's episode is reanimated differently. Even if in the end it becomes a distant recollection whose origin is hard to trace, the dog's growling still creates an echo. My work on or beyond animation is replete with these reverberations in which one textual or iconographic thread leads to another, and where "reanimation" becomes not only the subject, but also the methodological trope of writing. Recalling Freud's well-known line, "The finding of an object is in fact a refinding of it," we can say that every animation is essentially a reanimation of something considered dead.
With respect to your question, if we have indeed become increasingly numb to the growing amounts of animated effects we are exposed to in everyday life, there might still be something that can bring these all too vibrant, yet ineffective animations back to life. To give you one example, before commenting on the episode of Darwin's dog and the parasol, Herbert Spencer describes that birds and cattle browsing in a eld were at first alarmed by the introduction of the railway, but after a while they no longer appeared bothered; after that point, every time the locomotive appeared, they would keep "grazing unruffled." Spencer argues that living beings, including animals, can quickly figure out the difference between the living and the merely moving object, such as a machine. I am trying to resist this attitude of letting something pass by (while continuing to "graze") because we stay assured that we have figured it out. I am interested in incidents when the subject loses control and either instinctively "regresses" into an animist logic attributing agency (and not just blame) to objects, or remains fundamentally bewildered about what has just happened. That was the case with the Pokémon "accident," when the animated explosions that were supposed to remain securely con ned in the virtual space of the television screen spilled over into the physical space of the home interior where the Japanese youngsters were watching their favorite cartoon show while munching on their dinner. Given the undiminished popularity of animated video games, films, and a myriad of other products of the animation industry, the presence of animation is ever growing in spite of the "numbing" effect you describe, and this requires that animators raise the levels of excitation produced by their designs in order for the latter to survive. I can think of an analogy here from the history of architecture in Henry van de Velde's Essays published in 1910, particularly the one on the "Animation of Materials," where the architect celebrates the lively environment of the electrified metropolis and argues that the new objects of modern design and their stimulating material treatment can serve as an antidote to the widespread "boredom [Langeweile]" and other psychological ailments of modernity, from which van de Velde himself was suffering. It is obviously a vicious circle (similar to the Greek bailout funds by the European Union, which are very much in my mind while responding to your questions), as evidently the same overstimulation invested in objects eventually causes the gradual loss of excitation in the subjects that interact with them. All that is to say that the powerful prestige of animated objects remains undiminished even if we can now explain how they work. I believe there are still small pockets or niches of irrationality in this exchange that can be vital.
One last question on the same article — it's just full of great points. You mention that we are sympathetic toward things that are alive, but dread those that are lifeless or inorganic. Western art infuses life into objects, whereas modern art and architecture unleash "the auratic power of death that the artifact carries with it." Where do you think our inanimate objects stand now, with or without life, as the popular culture currently covers a wide spectrum of interests, ranging from extreme AI advancements to off-the-grid, organic living?
That is a comment I made in relation to Aby Warburg's psychological exhortation, "You live and do me nothing?," referring to artworks that, even if they appear to be alive, cannot harm us like real living beings often do. The empathetic enjoyment of art consists in this strangely apotropaic function of objects. But, here I am asking, what happens in the opposite scenario, when artworks or other artifacts, including buildings, do not appear "living," but inert or dead? Do they still do nothing?
Given that a good part of 20th-century modernisms in art and design, particularly the modern "art industry," that is, the world of design artifacts, capitalizes on the aesthetics of the inorganic — things that appear inert yet radiate "excitation" and "liveliness" (to return to the language of van de Velde I mentioned previously) — I am convinced that such an inorganic aesthetic can do a lot; in fact, it remains omnipotent in current art and architecture making. It is true that recent technological developments like AI strive to make the distinction between animate/inanimate, organic/inorganic even more unstable, but that was also the motivation of turn-of- the-century monist science more than a century earlier, with the discovery of "liquid crystals" (crystal substances that had animate qualities, could breathe, form skins, and even procreate). I think this shows that the limits between the animate and the inanimate can be constantly renegotiated, not only in science but also in art and architecture. What matters is precisely hybridization — the ability to change, and create new combinations even between the two extremes you just mentioned, that is, "extreme advancements" in AI technology and "off-the-grid organic living." In the latest iteration of ArchiLab at the FRAC Centre in Orléans, with the title Naturaliser l'architecture (2013), a number of the projects exhibited by groups like ecoLogicStudio and many others, show how advanced technologies can become "reorganicized" and how limits between nature and technology be renegotiated.
The central task throughout my own work is precisely the discovery of hybridities and analogical correspondences in subjects, disciplines, and ideologies considered as polar opposites. From On the Animation of the Inorganic to my new project on Prearchitecture (dealing with the idea of prehistory in modern architecture), I remain deeply committed to this methodological principle.
Smartphones are ubiquitous these days and run our lives. How do you perceive our attachment to these objects? What are your thoughts on the way we've made these phones into our life-partners, our better halves? Our tender touch brings them to "life," and if we do not plug them into their energy source they "die." But the bigger question is: Who is more dependent, the phone or the user?
I am glad you are asking me about smartphones or gadgets in general. My more recent work examines in close detail the radical change that occurred more than a century and a half ago, apropos of the reclassification of objects into a series of interrelated yet divergent categories from, "equipment," "tool," and "device" to "accessory" and "ornament." All of these object types have a tendency to "slide in the shoes" or assume the form of one another, yet they are separated by different degrees or qualities of function. I think the power of the smartphone lies in its capacity to straddle all of the above categories and become "overdetermined": it is a mechanical device, yet poses as an accessory that requires its own accessories, such as ornamental "jewel case" covers and other accoutrements. The fact that this now vital piece of equipment has to remain "handheld" is also significant because it takes us back to the very first tools, such as hand axes and other implements, all of which functioned as "extensions" of the body, allowing it to project further. Think of slingshot projectiles, for example — an object I have been working on recently in relation to Gottfried Semper's treatise on the form of such projectiles and their relation to architecture. The smartphone appears as the ultimate fulfillment of the subject's primal wish for extension beyond its corporeal periphery. It connects the body with the world (via telephony and the internet), while bringing that world in through "one's fingertips" or "the palm of one's hand." More than the metaphors of life or death and the question of "dependence" that you bring up in your question, what concerns me the most is the issue of control by forces that exceed both the subject and the object by being encrypted inside the device, for example, "location services," or anything that tracks information about the physical or digital imprint of the subject beyond his or her knowledge. In a way, this is a spatial problem, since the smartphone exposes the very body (and mind) of the subject into domains she or he has no control over, and which debunks the idea of "omnipotence" granted by the "intelligent" device. Further, I think the increasing demand for portability of computer devices, as in laptops and tablets, but also the proximity and attachment to the body as in smartphones and smartwatches, might be something that will radically change how we think about space (including architectural space) and its relation to the body, as they can no longer be thought as two separate "entities," but as overlap- ping membranes.
Anthony Vidler's "third typology" is described as a system that is in and of itself — one that is derived from "the nature of the city itself, emptied of specific social content from any particular time and allowed to speak simply of its own formal condition." The third typology builds on "the continuity of form and history" through the recomposition of "fragments." Rather than concern itself with a lineage of historical forms or program types, the architecture of the third typology builds on the accumulated space-form experience of the city. Do you think these fragments can now be built upon space-form experience of the virtual, as components of the city becomes more dependent on smart technology? The idea that we are constantly fragmenting our identities, attention, and intelligence through forms of social media and algorithms gives us the impression that we are animating more than just the inanimate, but potentially the entire virtual spectrum. Is this possible?
Tony would have a much better answer to this question, which links, quite brilliantly, animation to architectural theory, but I'll give it a try. In addition to categories of material objects, I am also deeply interested in different "theoretical" objects, including "type" and "typology," precisely because they allow us to reconsider objects, and buildings in particular, not as individual entities but as parts or generators of a series. Similar to theories of totemism in turn-of-the-century ethnographic theory, typology allows us to resituate objects within a larger scheme of things, where objects stand for something greater than themselves: either a genealogy of objects, or the social collectivity of generations to which these objects temporarily belong. I am particularly interested in your description of the "third typology," because it departs from the notion of a linear genealogical sequence; instead, the third typology proposes a "recomposition of fragments," which is essentially a recombination of the remnants of two or more different building types in an admixture that was previously unknown. In his Style, Semper proposes a series of "composite" objects that are produced by the combination of two different yet interrelated types, for example, lamps and vessels. But also psychoanalysis and particularly Freud in The Interpretation of Dreams suggest that the unconscious constantly performs these "recompositions" in dreams: every figure we see is never an individual one but a "composite" of several figures in the manner of Francis Galton's composite criminological photographic portraits. I recently gave a lecture at the Freud Museum in Vienna based on a close reading of Dora's two dreams, in which I tried to probe this form of "recomposition" in the objects that appear in the dream narrative — from drop-form earrings and reticules, to images of cities, such as Vienna, Dresden, and Moreno — and demonstrate that, in dreams, all urban spaces are plastically recomposed based on the psychological processes of condensation and displacement to produce new assemblages that are both virtual and real. The smart technology you describe allows us to represent or implement (consciously or unconsciously) compositional processes that the unconscious had always been using. And yes, you are absolutely right when you say that we are not just animating inanimate things but reanimating the "entire visual realm," including people, objects, and spaces based on a fragmentation and recomposition of former individual "identities." I see endless creative possibilities in such recomposition of ruins, remnants, or fragments — either architectural or epistemological ones — which means that, while born in a particular era in the 1970s, the "third typology" can have a long afterlife, including but not limited to the virtual realm.
How did Vidler and his The Architectural Uncanny affect your trajectory in exploring the inanimate and the uncanny? What do you think are the current ghosts of architecture today?
In fact before the books on The Architectural Uncanny and Warped Space (for which I worked as Tony's research assistant while a doctoral student in an exchange program from UC, Berkeley to UCLA), I was very interested in one of his earlier articles titled "The Building in Pain" (first published in the AA Files and then revised as a chapter in The Architectural Uncanny). I remember writing one of my first graduate papers on this article while a student in the Histories and Theories program of the Architectural Association's Graduate School. There, Vidler distinguishes between three modes of correspondence between the body and the building. The first is centered on the anthropomorphic model and is based on external morphological similarities, including proportional analogies, the theory and application of which reach their peak in the Renaissance. The second is the empathetic model promoted by 19th-century aesthetic theorists, art historians, and architectural critics, following which, correspondences between the body and the building become internalized as psychological projections. While these first two models are subject-centered, the third model or stage, namely, animism, describes a series of analogies and correspondences that are initiated by the object itself. It was precisely this turn toward the object―along with some passages on the vitality of abstract ornamentation in Wilhelm Worringer's Abstraction and Empathy, which I read as a first-year doctoral student at Berkeley―that led me to formulate the first ideas about the role of animistic theories in the art and architecture of modernism, fleshed out later in my dissertation on the "Animation of the Inorganic," coadvised by Vidler and T. J. Clark, which became the basis for the book with of same title. While writing the dissertation, I felt I had to distinguish my work from that of Tony's in The Architectural Uncanny, even if the research kept bringing me uncannily closer to it. In my study of animism, I wanted to argue that there is another possibility in granting agency to the object, beyond the often calamitous effects of the uncanny, which always presuppose a markedly hostile relationship between subjects and objects (and which Freud considers as a subjective psychological projection based on a negative form of identification). For that reason I distinguished between two forms of animation: a "phobic" one, predicated on anxiety and fear, which is indeed closer to the uncanny; and then another form of animation that I called "extensional," in which the subject is ecstatically extended and not obliterated by the powers of the object. Examples of the first would be the Pokémon episode and the various animate effects of buildings in my study of "Malicious Houses" [described later in this interview] The instances of "extensional animation" are much rarer, not only in my own work, but also in the world at large: Sergei Eisenstein's theories of "formal ecstasy" (in his study of Disney) or Leo Bersani's more recent theories of "the communication of forms" would be two of these rare theoretical examples, which I have also mentioned in my own writings. However, we still live in a "hostile external world," which we've inherited from Darwin and Freud, since the adverse social and economic conditions of the past century have not radically changed. Therefore, instances of the uncanny and phobic animation proliferate, while the reciprocal correspondences of extensional animation remain life-affirming hypotheses. I believe that it is precisely the continuous disavowal of the extensional possibilities of animation that triggers the uncanny to return again and again, each time more destructive.
As we mentioned in the introduction to this issue of the Cornell Journal of Architecture, Colin Rowe wrote (and we paraphrase) that besides the building, there is the spirit of the building. In what ways can we see the spirit of architecture, and interpret it? Are there instances where architecture has become animated and achieved a life of its own?
I assume this is the Cornell question ... I was hoping there would also be one on Colin Rowe's student at Cornell, Gordon Matta-Clark, whose work I know much better than Rowe's, since I've written on the effects of animation in his films. I am not sure what Colin Rowe might have meant by the term spirit, and in spite of my own given name being Spyridon (often etymologically associated with the Latin spiritus), I tend to shy away from "spirits" and particularly spiritualism, which, along with occultism, were the two issues I consciously tried to dissociate my study of animism from. Nevertheless, I would still defend the relevance of "spirits" in architecture, which I take to be the theme of your journal issue, precisely because of their plurality, their indiscriminate nature, encompassing a host of relative terms, such as ghosts, pneumas, souls, or intoxicating substances, all of these "leftover" agents that become gradually hidden or repressed, finding expression in literature and lm, while being systematically erased from the official histories of architecture. This is the story I tried to tell in my "Malicious Houses" article (and later chapter in On the Animation of the Inorganic), in which I bring "face to face" F. W. Murnau's lmic reconstruction of the medieval myth of the vampire, updated for the modern age in his Nosferatu and Mies's Glass Tower model (both unveiled to the public in the spring of 1922). The latest staging of that lecture at the Barcelona Pavilion this past July (2015), when projected images of Nosferatu gesticulating in front of a cinematic glass window were echoed by reflections of Kolbe's Dawn statue on the "real" glass pane of the pavilion, taught me (and I hope the audience too) so much about the vibrant life that these ethereal spirits enjoy when they unexpectedly meet and start communicating with one another.
This was not only a communication based on stylized human gestures, but also a communication between materials, inorganic and living; social and political events, past and current; as well as a veritable choreography of unfulfilled architectonic possibilities encoded and allegorized by each of these parallel figures and their gestures. You are asking me what the animating "spirits" or (in a previous question) "ghosts" might be in contemporary architecture. Well, the nature of these elusive "spirits" does not fundamentally change with time; what enlivens them and triggers their often spectacular resurgence in the architectural scene is precisely their reservoir of what I earlier described as "unfulfilled architectonic possibilities," in terms of the alternative social, cultural, and formal potential of architecture. A good part of the history of 20th-century modernism, including Mies's 1922 Glass Tower model, is about an architecture of "as if," a hypothetical proposition of what architecture could become versus what it would end up being. Most of my own work, including my study of modern and contemporary artists interested in architecture, from Matta-Clark to the glass artist Josiah McElheny, is precisely about this hypothetical yet animated and ultimately nonvindictively spirited form of architecture.
You taught a class in the fall of 2013 called Animation: Art, Architecture, and History. It dealt with psychological issues such as affect, empathy, agency, and projection occasioned by inanimate objects as they are explored through creative, historical, and social means. How do you teach a concept so ephemeral, emotional, and intangible? Could you elaborate on the successful assignments or projects that have achieved an understanding of such psychological issues?
Before this class offered in the fall of 2013 as an upper-undergraduate seminar sponsored by the Program in European Cultural Studies (one of the oldest and most celebrated interdisciplinary humanities programs at Princeton, founded by Carl Schorske and Tony Vidler in the mid-1970s), I taught a similar class on animation as a graduate seminar three times since I first came to the School of Architecture in the fall of 2003. The animation seminar proved to be a unique test-bed of ideas that bene ted, I hope, not only my personal research but also the research projects of the students who participated. While most of them opted to write papers on an extremely wide variety of topics (some of them compiled into a reader in article form published in the school's journal), some of them did projects related to the problematics discussed in the class. I particularly remember a project by then-master's student Leo Henke that involved robotics and aimed to test the idea of "responsive structure" by designing a machine that reacted to human presence, yet with considerable delay and in a somewhat aleatory fashion: the machine never repeated the same movement when a human subject passed by, challenging the anticipation of a regular response, or the "it moves because I move" recognition, which is a somewhat narcissistic expression of subjective control. The machine's action is still scripted, yet it is programmed to generate effects that frustrate human expectations, coming closer to the idea of animation as an "accident," which I described earlier. This example may demonstrate that what I try to convey in this or any other seminar I teach is not a particular body of knowledge or a set of practical or intellectual skills, but an alternative mode of thinking about the intersection between tectonic and aesthetic issues. I am glad to have been given the opportunity to teach courses on my own research, however seemingly intangible its topics may be, but also to have a dedicated audience of students, who never questioned the relevance of disciplines, such as plant physiology, crystallography, psychoanalysis, the history of religion, or psychological aesthetics to the study of architecture. This, I believe, is the "spirit" of architecture's omnivorous interdisciplinarity, which I hope will not abate apropos of the call for disciplinary specialization in the future. The main task of my work is the discovery of analogies between architecture and a wide variety of epistemological disciplines.
You recently convened a symposium on magic. What, to you, is the connection between architecture and magic, and how is it relevant in today's practice?
This was a one day conference and seminar workshop on Frederick Kiesler's unpublished book manuscript entitled, Magic Architecture, organized in conjunction with an exhibition on the same subject that was on display at Princeton's School of Architecture in the spring of 2015. Written immediately after the end of the Second World War, Kiesler's project is a "story of human housing" from prehistory to the present, and from the caves used by our ancestors and the habitations of insects and animals to the shelters of the postatomic era, including Bucky Fuller's Dymaxion House and Kiesler's own Endless House. For Kiesler, there is (or ought to be) no difference between dream and reality, as well as magic and science. Magic architecture is no utopia, but the realization of a visionary form of architecture in the present. The project is significant for the early period of the postwar era when architects, historians, and critics turned to the first manifestations of human and animal creativity to discover alternative solutions to the urgent problems of housing following a period of global devastation. Another prominent example is Sigfried Giedion's on-site research in the caves of Southern Europe from 1949 to 1957 that led to the first volume of his Eternal Present titled, The Beginnings of Art (1962), followed a couple of years later by The Beginning of Architecture (1964). Both in Giedion's and Kiesler's texts there are concrete references to animism based on the works of late-19th- and early-20th-century anthropologists and sociologists from Edward Tylor and James Frazer to Émile Durkheim and Lucien Lévy-Bruhl. I think it becomes clear to both Kiesler and Giedion that there cannot be an alternative form of architecture in prehistory, history, or posthistoire without a corresponding change in epistemological, sociological, as well as larger organizational and tectonic systems. This is where animism and magic come into play, as for example, in Lévy-Bruhl's pioneering idea of "the law of participation," in which all members of a social group participate in collective forms of being including those of inanimate objects. There are also specific ties between theories of magic and animism as in James Frazer's idea of "sympathetic magic," where "like produces like," based on the laws of similarity, or in Freud's discussion of "Animism, Magic, and the Omnipotence of Thought" in the third chapter of his Totem and Taboo, cited by both Kiesler and Giedion. As shown in Kiesler's study of primeval tools made of human and animal bones, his discussion of magic architecture is informed by controversies surrounding the role of technology in modern architecture and the invention of new technological gadgets designed as prosthetic extensions of the human body. In this sense, more than sixty years after Kiesler's incomplete manuscript was composed, the discus- sion of magic architecture is certainly current, and I am very happy to help edit and publish this project with the support of the Kiesler Foundation in Vienna. As with the first English edition of Siegfried Ebeling's 1926 pamphlet Space as Membrane, I consider it a vital part of my work to help give new life to unjustifiably forgotten or little-known texts from architectural literature that deserve a place in its history as well as current practice.
According to Olafur Eliasson, feelings "open up to the other people and our surroundings; the surroundings are thus to a certain extent produced when we feel them, creating an exchange between individual and surroundings that make the two co-relative." Do you think this correlation still exists between people and surroundings? Or, is the vital essence of the surroundings superseded by our tendency to objectify?
I am glad your final question addresses the issue of "surroundings" and the environment. What I find interesting in Eliasson's statement is that "people" and "surroundings" appear to be equivalent and coextensive as well as "co-relative." In the last chapter of On the Animation of the Inorganic, regarding the modern retelling of the ancient myth of Daphne, in which the female figure transforms into not only an individual tree but an entire forest (a natural and in extension urban setting), I describe a state that I characterize as "the landscape effect" — a condition in which people and things appear homogenized within a horizontal eld with no essential difference between causes and effects, figure and background. I think this allows us to entirely rethink the notion of "surroundings" as something not distinct from the self. I think such coextensive relation is projected in Ebeling's Space as Membrane, where the surroundings become part of the body's infinitely protracting envelope. Yet we have to realize that between the body and the environment, which can no longer be perceived as an unadulterated nature, there is the world of things — things that we have created and which mediate between the body and its surroundings. Therefore, I take the "objectification" of both the body and its surroundings as a given and not necessarily a bad thing. In my forthcoming book project on adornment titled World Ornament, I describe a series of handmade articles of adornment in tribal cultures made of parts of the subject's environment, such as tufts of grass, human hair-balls, plant roots, animal teeth, bird claws, seashells, as well as broken fragments of man-made artifacts, such as European tobacco pipes, brought over by the colonizers and then washed ashore in a faraway land. All of these things are hung in equal distances or "eurhythmically," as Semper would say, around the neck of a human being, as objects equal in value, no matter whether they are human, animal, vegetal, mineral, or artificial specimens. This collection of fragments condenses the subject's surroundings into a composite object that now fulfills the role of a portable ecology. The object here is the environment, yet it also is a layer of the body. I wonder what form of architecture could achieve a similar effect that would be equally cosmetic and environmental.
1 Available online by the electronic journal e- ux: http://www.e- ux.com/journal/darwin%E2% 80%99s-dog-and-the-parasol-cultural-reactions-to-animism/
2 Spyros Papapetros, On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (Chicago: The University of Chicago Press, 2012),
3 For the original episode between Darwin and his dogsee,CharlesDarwin,TheDescentofMan and Selection in Relation to Sex (1871; repr., New York: Appleton & Co. 1873), 1:64 – 65; and "Introduction" in Papapetros, On the Animation of the Inorganic, 9 –15.
4 Herbert Spencer, The Principles of Sociology (1876; repr., New York: D. Appleton & Co., 1897), 1:127.
5 Henry Van de Velde, "Animating the Material as a Principle of Beauty," English translation of the essay "Die Belebung des Stoffes als Prinzip der Schoenheit" (originally published in van de Velde's Essays, Leipzig, 1910), translated by Kathryn Schoefert and Spyros Papapetros, Pidgin 2 (Princeton School of Architecture, Spring 2007), pp. 232 – 255.
6 For the exhibition catalog, see: Naturaliser l'architecture / Naturalizing Architecture: Archilab 2013 edited by Marie-Ange Brayer and Frederick Migayrou (Orléans, France: HYX, 2013).
7 "Interiors" symposium at the Sigmund Freud Museum, Vienna, 22 November 2013; for the published version, "Dropform: Freud, Dora, and Dream Space" in Private Utopia: Cultural Setting of the Interior in the 19th and 20th Century edited by August Sarnitz and Inge-Scholz- Strasser (Berlin/Boston: Walter de Gruyter, 2015), pp. 58 – 87.
8 Anthony Vidler, 'The building in pain' parts I & II in AA Files 1990, no. 19, Spring 1990, pp. 3 –11 (revised as "Architecture Dismembered" in The Architectural Uncanny (Cambridge, Mass.: The MIT Press, 1992) 69 – 82. I discuss the origins of this article with the author in "At Home with Phobia: An Interview with Anthony Vidler," Pidgin 3 (Princeton School of Architecture, Spring 2007), pp. 188 – 207.
9 See Sergei Eisenstein, Eisenstein on Disney, ed. Jay Leda and trans. A. Upchurch (London: Methuen, 1988; Leo Bersani and Ulysse Dutoit, Caravaggio's Secrets (Cambridge, Mass.: The MIT Press 1998), as well as Bersani's conversation with Tim Dean, Hal Foster, and Kaja Silverman in October 82 (Fall 1997), pp.3 – 16.
10 Colin Rowe and Robert Slutzky, in "Transparency: Literal and Phenomenal," Perspecta 8 (1963), 51
11 "Animation and Projection in the Films of Gordon Matta-Clark," Journal of the Society of Architectural Historians 67, no. 4 (December 2008), pp. 429 – 433.
12 "Malicious Houses: Animation, Animism and Animosity in German Architecture and Film — From Mies to Murnau," Grey Room 20 (Fall 2005), pp. 6 – 37 and On the Animation of the Inorganic, 211– 261.
13 "The Architecture of As If: Josiah McElheny's Sculptural Proposals" in Contemporary Art about Architecture: A Strange Utility Strategies in Contemporary Art, edited by Isabelle Wallace and Nora Wendl (Farnham and Burlington, VT: Ashgate, 2013), pp. 191– 205.
14 "The Animation Seminar: A Book of Quotations," Pidgin 7 (Princeton School of Architecture, September 2009), pp. 114 –129.
15 Lucien, Lévy-Bruhl, How Natives Think (transl. Lilian A. Clare, 3rd edn.), (Princeton: Princeton University Press, 1985), 76 – 7. See also my entry on "Animism" in Encyclopedia of Aesthetics, ed. Michael Kelly (New York: Oxford University Press, 2014), 91– 6.
16 Space as Membrane by Siegfried Ebeling (1926), edited and with an afterword by Spyros Papapetros, introduction by Walter Scheiffele, translation by Pamela Johnston and Anne-Kathryn Schoefert (London: Architectural Association Publications, 2010).
17 See my "World Ornament: The Legacy of Gottfried Semper's Essay on Adornment," RES: Anthropology and Aesthetics 57/58 (Harvard University Press, 2011), pp. 309 – 329.
1 Available online by the electronic journal e- ux: http://www.e- ux.com/journal/darwin%E2% 80%99s-dog-and-the-parasol-cultural-reactions-to-animism/
2 Spyros Papapetros, On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (Chicago: The University of Chicago Press, 2012),
3 For the original episode between Darwin and his dogsee,CharlesDarwin,TheDescentofMan and Selection in Relation to Sex (1871; repr., New York: Appleton & Co. 1873), 1:64 – 65; and "Introduction" in Papapetros, On the Animation of the Inorganic, 9 –15.
4 Herbert Spencer, The Principles of Sociology (1876; repr., New York: D. Appleton & Co., 1897), 1:127.
5 Henry Van de Velde, "Animating the Material as a Principle of Beauty," English translation of the essay "Die Belebung des Stoffes als Prinzip der Schoenheit" (originally published in van de Velde's Essays, Leipzig, 1910), translated by Kathryn Schoefert and Spyros Papapetros, Pidgin 2 (Princeton School of Architecture, Spring 2007), pp. 232 – 255.
6 For the exhibition catalog, see: Naturaliser l'architecture / Naturalizing Architecture: Archilab 2013 edited by Marie-Ange Brayer and Frederick Migayrou (Orléans, France: HYX, 2013).
7 "Interiors" symposium at the Sigmund Freud Museum, Vienna, 22 November 2013; for the published version, "Dropform: Freud, Dora, and Dream Space" in Private Utopia: Cultural Setting of the Interior in the 19th and 20th Century edited by August Sarnitz and Inge-Scholz- Strasser (Berlin/Boston: Walter de Gruyter, 2015), pp. 58 – 87.
8 Anthony Vidler, 'The building in pain' parts I & II in AA Files 1990, no. 19, Spring 1990, pp. 3 –11 (revised as "Architecture Dismembered" in The Architectural Uncanny (Cambridge, Mass.: The MIT Press, 1992) 69 – 82. I discuss the origins of this article with the author in "At Home with Phobia: An Interview with Anthony Vidler," Pidgin 3 (Princeton School of Architecture, Spring 2007), pp. 188 – 207.
9 See Sergei Eisenstein, Eisenstein on Disney, ed. Jay Leda and trans. A. Upchurch (London: Methuen, 1988; Leo Bersani and Ulysse Dutoit, Caravaggio's Secrets (Cambridge, Mass.: The MIT Press 1998), as well as Bersani's conversation with Tim Dean, Hal Foster, and Kaja Silverman in October 82 (Fall 1997), pp.3 – 16.
10 Colin Rowe and Robert Slutzky, in "Transparency: Literal and Phenomenal," Perspecta 8 (1963), 51
11 "Animation and Projection in the Films of Gordon Matta-Clark," Journal of the Society of Architectural Historians 67, no. 4 (December 2008), pp. 429 – 433.
12 "Malicious Houses: Animation, Animism and Animosity in German Architecture and Film — From Mies to Murnau," Grey Room 20 (Fall 2005), pp. 6 – 37 and On the Animation of the Inorganic, 211– 261.
13 "The Architecture of As If: Josiah McElheny's Sculptural Proposals" in Contemporary Art about Architecture: A Strange Utility Strategies in Contemporary Art, edited by Isabelle Wallace and Nora Wendl (Farnham and Burlington, VT: Ashgate, 2013), pp. 191– 205.
14 "The Animation Seminar: A Book of Quotations," Pidgin 7 (Princeton School of Architecture, September 2009), pp. 114 –129.
15 Lucien, Lévy-Bruhl, How Natives Think (transl. Lilian A. Clare, 3rd edn.), (Princeton: Princeton University Press, 1985), 76 – 7. See also my entry on "Animism" in Encyclopedia of Aesthetics, ed. Michael Kelly (New York: Oxford University Press, 2014), 91– 6.
16 Space as Membrane by Siegfried Ebeling (1926), edited and with an afterword by Spyros Papapetros, introduction by Walter Scheiffele, translation by Pamela Johnston and Anne-Kathryn Schoefert (London: Architectural Association Publications, 2010).
17 See my "World Ornament: The Legacy of Gottfried Semper's Essay on Adornment," RES: Anthropology and Aesthetics 57/58 (Harvard University Press, 2011), pp. 309 – 329.
Go back to 10: Spirits


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What better way to celebrate Ang's birthday with a card featuring an itty bitty stamp, live love laugh GIRL, (one I am convinced is based on Ang... all that hip grroovy fun girl going). Happy birthday to you beautiful lady!
Thank you so much for stopping by.
Be sure to check out all the other blogs on the hop today!
Thanks for stopping by. Now hop on over to Pamela's blog:
Enjoy your thursday!
(i design for unity stamp co)

subset: commoncrawl


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"I found this recipe in an old cookbook and was immediately drawn to it because it used dry cottage cheese. It reminded me of 'real' ricotta cheesecake."
New York Style No Bake Cheesecake
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READY IN:33mins
YIELD:1 13x9 dish
Ingredients Nutrition
- 6 ounces lemon Jell-O gelatin
- 2 cups boiling water
- 1 teaspoon vanilla
- 12 ounces dry curd cottage cheese
- 16 ounces cream cheese, room temperature
- 13 ounces evaporated milk, very cold
- 1⁄2 cup butter, melted
- 1 1⁄2 cups graham cracker crumbs
- Combine jell-o and boiling water and stir to dissolve. Add the vanilla and set aside to cool.
- Melt butter and add to crumbs, pat into the bottom of a 13x9 glass dish and bake at 350* for eight minutes. Cool well. Mix dry cottage cheese and cream cheese in a food processor or mixer until well combined. Add the cool jell-o mixture and mix to blend. Whip the evaporated milk with an electric mixer until thick and fold into the cheese mixture. Pour into the crust and refrigerate.
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Conflict Resolution Program
For over ten years, VYJ and Caddo Parish School Board have partnered to address the dynamics that lead to conflicts on school campuses. After extensive research, the partnership implemented the School Fight Diversion Program (now Conflict Resolution Program) that helps to prevent school fight violations.
The Conflict Resolution Program is structured to bring awareness not only to children but to their entire families. In the effort to achieve this, the students attend classes from 9:00am – 12:00pm and parents attend the last 30 minutes of the program. Students who meet the criteria of bullying, continued verbal altercations between two or more parties, and instigating are referred to Conflict Resolution Program. If the conflict leads to an arrest, after successful completion of the program, students may have their charges dismissed. This helps them to avoid a court appearance and a criminal record for that particular offense.
The Conflict Resolution Program requires a $50 fee for students referred for fighting. Students referred to the program under the criteria of prevention, attend the program at no charge. Whether students meet the criteria for prevention or for physical fighting, they learn alternative ways of handling disputes. The Conflict Resolution Program helps to significantly lower the school system's out-of-school suspension rates. Our main goal is to give students the tools they need to resolve conflicts peacefully.
Conflict Resolution Class location: Caddo Student Center- 1638 Murphy Street, Shreveport, LA 71103


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Private Lessons, Workshops & More!
Rachel offers private lessons out of her home studio.
Beginner basic belly dance / Technique & drills:
$15 per hour
Props, combos, intermediate to advance technique & drills:
$20 per hour
Rachel's original premade choreography for solo:
$20 per hour (typically takes 2-3 hours to teach a 4 minute solo)
Rachel's original choreography created just for you to song of your choice:
$30 per 30 seconds of music
Need help or inspiration with your own solo or group choreography?:
Solo $20 per hour
2 - 3 dancers $35 per hour
4+ starts at $45 per hour (please contact for quote)
Rachel offers workshops for groups or troupes!
2 hour workshops in:
•Beginner Belly Dance
•Beginner Tribal Fusion
•Intermediate/Advanced tribal fusion
Starts at $25 per person with a minimum of 3 participants
Choreography created for your troupe or dance group:
2 hour workshop
Starts at $30 per person with a minimum of 5 participants
3 hour workshop
Starts at $40 per person with a minimum of 5 participants
Rachel can also put together 1 hour classes out of her home studio in:
• beginner/intermediate/advance basic belly dance
• beginner/intermediate/advance tribal fusion
• drills & technique
Please contact her if you are interested in those or any other type of classes.


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When it comes to my preferred literature to read for pleasure, I tend to find myself scouring the teen or young adult section. I tend to enjoy the characters more, they always seem more realistic to me, while proper adult fiction tends to try to make them clever metaphors for something I don't quite understand. A character that doesn't speak representing the unspoken words between lovers or the blind and kind man who can see no colour but sees people clearer than most. Well I always talk, far to much, and all the words that come to my mind get spoken and I am blinder than most and see nothing of a person til it is too late. No, I much prefer teenage girls and boys trying to find a voice that I can relate to in a world I can't relate to.
A character that doesn't speak representing the unspoken words between lovers or the blind and kind man who can see no colour but sees people clearer than most. Well, I always talk, far too much, and all the words that come to my mind get spoken and I am blinder than most and see nothing of a person til it is too late. No, I much prefer teenage girls and boys trying to find a voice that I can relate to in a world I can't relate to. The fantasy of a world far from mine but the struggles are the same – love, relationships, work, motivation, emotions and desires. Same dramas but a life far more interesting than mine. Also while the older generation would criticise the younger for not reading enough, you still find writers who can make great series of books in the young adult section – so they must be reading a little at least!
The House of Night series, starting with the Marked, seems to be a given in all libraries young adult sections. So you would think that it had to be good, you know, if everybody is reading it, it has to be worth something? Turns out, the reason it's in every library…maybe because it is never checked out…
House of Night Series
Overall – 3/5
Plot/Premise – 5/5
Structure -2/5
Dialogue -2/5
Description/Scene Building – 4/5
Character Creation -2/5
Character Development – 1/5
Set up for Further Sequel – 5/5
I found myself reading this with two very different feelings. Hating and loving it all at the same time, here's why.
The idea and the starting plot are brilliant. So it should be a brilliant book, all good selling and well-loved books need a decent plot in the same way it needs letters and a title and my god this has a plot. I love the idea of the vampires in this book, not the traditional Bram Stokers vampire but with enough of the traditional ideas that we aren't looking at sparkly emos…Also giving some extra credit to the authors (before I then go and criticise them) the descriptions of scenes, buildings and use of the five senses were particularly good. A mistake writers often make is the underuse of the sense of smell but in this series, the descriptions often include the smell of the trees, lavender, the blood in some cases, therefore, many brownie points there. Now please allow me to rip those hard earned points away.
Bloody hell, I hate these character.
Too often through the book, I found myself hoping some horrible tragedy would fall upon the female protagonist. Another group of plucky teenagers would come along and pick up the plot and I could go back to enjoying the book. I researched the series once I was onto the second book, ever hopeful that my desire for an untimely death would come true, alas, Zoey Redbird is always the main character supported by her band of horribly written, stereotypical sidekicks. Miss Redbird must be without a question the worst choice for a main character ever. She is horribly egotistical, she holds everybody to a very strict set of rules yet the rules for her are more like guidelines than rules. The book is written in such a way that the story is set in modern times so you would think Miss Redbird is a 21st century girl with 21st century ideas, morals and beliefs, yet, for a reason I cannot fathom, Miss Redbirds opinion is damn near medieval (For everybody else you understand, for her it's more like feel free to be sexually suggestive with every other male in the book, or at least all the ones you know aren't gay).
Seriously, her need for male attention at points verges on being a psychological problem, yet she treats the males openly interested in her like they are second thoughts. If these problems were just in the first book and Miss Redbirds development showed signs she was becoming better, it wouldn't have been so bad. Yet as the story line progressed her self-adoration increased and she began showing signs of major sexism, though I will admit I was torn about that last part of her. At least it wasn't traditional sexism, males restricting females, but in fact, Miss Redbird encouraged by the dodgy lore (More on that later) takes her sex to mean superiority over men. Any good feminist will tell you, and I like to think of myself as one of those, that for true success and peace on this planet neither sex can be superior. It really isn't appropriate to be teaching teenagers than a superior gender is okay, regardless of if its male, female or any other gender.
Last annoyance of mine was the mythology and the lore used to prop up this series. The main religion in the book followed by the Vampires is based around the Goddess Nyx. Now I have no issue with novels including religion. Religion has been a huge part of our real history and our future. I do though have a problem with writers taking a real religion and distorting it to fit their books, so the use of the Goddess Nyx makes me highly uncomfortable. Nyx is the Goddess of the night, as in the book, but the original Nyx as depicted in Ancient Greek Mythology, she was born of Chaos at the beginning of time, older than all other Gods and Goddesses and was the mother to Sleep, Death, Doom and Dreams (And quite a number of others). While she was rarely worshipped to directly, her statues would still hold prominent places in others temples to be prayed to, for example, her statue in the Temple of Artemis, the Goddess of the Hunt and Moon. She lived in the Underworld, in the depths of Tartarus and was feared by all, including Zeus, God of Heaven. So yes, I take offence at P.C. Cast and Kristin Cast adopting Nyx into their novel and then belittling her.
In conclusion, the idea of Vampires and the plot outline are good, very entertaining. Also, there were some highly artistic descriptions that would put you right in the middle of the action, brilliant. Characters, character development and appropriation of religion – less good. RANT OVER!
**This review and its opinions belong to Ella-May Wallace under the pen name of T.Blades or Tinyblades. The book and/or series this piece is reviewing belongs entirely to St. Martin's Press, Atom/Little Brown, P.C Cast and Kristin Cast. Ella-May Wallace receives no monetary value for this review.**


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We're ALWAYS being told to 'fake it until we make it,' right?
Is this REALLY good thing?
Pretending we're more successful than we really are..
Eating in restaurants we can't afford..
Having our photo taken next to a vintage Jaguar [that isn't our own]…
So what DO you do when you haven't got the big success results, the fancy overseas vacations or the big cars?
You can try going down the fancy restaurant route if you like but these days people are pretty savvy and they'll soon work out that it's fake.
They won't buy it.
And what's more they won't buy from you either!
Do you want to know what I think?
There's NEVER been a BETTER time to be authentic in front of so many people and get these people to like you – no matter what kind of person you are.
• The book-writing bike guy who lives on a little island like me..
• Or the cosmopolitan city slicker..
• Or the home-schooling mom of four..
• Or the hi-tech brainiac geek..
The REAL you!
So, you don't have to manufacture the person you are.
OWN who you are – so you can have what you want.
Choose to become the person;
• who shows up every day
• who doesn't take no for an answer
• who is dedicated to their business
• who takes in new information and then teaches it to others
• who doesn't listen to self-limiting beliefs
And anyway – when you think about it – fake it until you make WHAT exactly..?
Every successful person that I have met will always say that they are working hard to take it to the next level.
For them, there's ALWAYS another mountain to climb.
So you CAN'T fake it until you make it, because you'll end up doing that for the rest of your life!
My advice is to find someone you are looking to become like and strive to be more like them in your actions – do what they do.
Remember – you are on a voyage of self-discovery.
So STOP being the person you were when you started all of this, a year ago, five years ago, whatever.
You are already better than that!
One good way to utilise the 'fake it until you make it' idea but in a much better way, as in a 'become and own who you are, so you can get to where you want to get to,' kind of way, is this;
Find 1, 2 or 3 people who are doing what you're doing and get CURIOUS about what they do! How they present themselves, how they speak on camera, where and what they post etc and then make that your own.
Then share even your smallest results and become that successful person.
Show up as a person who is getting bigger and better all the time.
So you might not have the BIG results just yet, but so what!
BE that person!
Click here to see how quickly you can become that person.
Your future success is real and it's out there waiting for you!
Robin Morton
Your Black Belt Success Coach
Find me on Facebook
PS: If you are still struggling to find success with your network or affiliate marketing opportunity then THIS is working for ALL KINDS of people! You can use it to win affiliate contests, drive traffic to ANY type of business or just use it to recruit massive amounts of people into your team.
Have you checked out my latest Podcast Show episode yet? Let me know what you think and if you like them please leave a positive review over on iTunes.


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Love it or hate it, the Obama Administration's $275-billion effort to ameliorate the foreclosure crisis offers a sizeable amount of gritty detail, doesn't attempt to rescue everybody, and has a realistic tone. The banking sector seems content enough, with American Bankers Association svp and COO Diane Casey-Landry describing the Homeowner Affordability and Stability Plan as a "constructive, flexible and multifaceted initiative likely to have a positive effect on preventing mortgage foreclosures."
The Mortgage Bankers Association expressed similar enthusiasm: "We are encouraged by this effort that will provide a variety of alternatives to help a wide array of borrowers," noted John A Courson MBA president and CEO, and MBA chairman David G. Kittle in a joint statement. But the group has reservations about the scope of the help. "Among the concerns we have is that it seems to offer little help to borrowers whose loan exceeds their property value by more than five percent," the statement continued. "This will limit the plan's success in some of the hardest hit areas in California, Florida, Nevada and Arizona, as well as some of areas on the East Coast," Kittle and Courson cautioned.
And individual banks chimed in with words of encouragement. "The administration's focus is consistent with the approach we have successfully been using with our customers," according to Barbara Desoer, president of Bank of America Mortgage, Home Equity and Insurance. JPMorgan Chase CEO Jamie Dimon told CNBC viewers, "To me the whole package is elegantly done," adding that one million plus JPM Chase mortgages will be modified under the Obama plan. That's a big chunk of the 7-9 million homeowners the White House hopes to help.
Some observers aren't exactly thrilled by the central role to be played by those two exhausted warhorses, Fannie Mae and Freddie Mac. Treasury will double its preferred stock purchase agreements with the ailing GSEs to $200 billion each, and increase their allowable debt outstanding.
Yet the prevailing opinion is that something is better than the alternative, and the foreclosure plan is given a good chance of stabilizing this nasty downward spiral, a key to setting a floor to the housing market contraction. "A lot of this stuff is preparing the legal authority to do things," says Randy Johnson, mortgage expert at credit.com. "I don't care—it's a start. We've been fooling around with this crisis since October 2007, starting with the Hope for Homeowners. This is a serious plan. The incentives are good, the gradual ramp up to market rates is a good thing."
As for those homeowners who are not covered by the plan, "that's a gray area," Johnson says. "There are those who were never able to afford the payments, who shouldn't have bought. Others were just stretched into a mortgage." Johnson describes an egregious example of a housekeeper/gardener couple with a combined income of $40,000 "who were sold a $300,000 house and then a $600,000 house at 100 percent financing." Meanwhile, he supports the plan's call for changes in bankruptcy law: "It is not unreasonable to give bankruptcy judges a whack at keeping people in their homes."


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Exploring yoga beyond your studio, hometown, or home country can be a great way to expand your knowledge and practice. Whether you are a frequent traveler or are planning your vacation of a lifetime, there are many incredible destinations near and far to hone your yoga practice. From the best yoga retreats to global places to practice yoga, here are four of the best yoga cities to put on your bucket list.
Ubud, Bali, Indonesia
If you are willing to take a few flights to get to your yoga retreat, Ubud, Bali in central Indonesia, may be the destination for you. Far from the crowded streets of Jakarta and the tourist-ridden shores of Kuta Beach, Ubud is a charming Indonesian town in the heart of Bali. Between the lush, Balinese forests, laid back culture, and deep roots in Hinduism and yoga, partaking in a retreat in Ubud is a once in a lifetime experience. Some popular yoga retreats in Ubud, Bali include:
- Naya Retreats, where you will practice yoga surrounding by Bali's signature rice fields
- Blooming Lotus Retreats, offering yoga and meditation classes and retreats in Ubud's jungle
- OneWorld Retreats, for a high end yoga retreat with additional opportunities to explore Bali available.
Hanalei, Kauai, Hawaii
Hawaii has no shortage of yoga retreats, and it is hard to beat the winding roads, one-lane bridges, and small town charm of Hanalei on the north shore of Kauai. This small, coastal town is known for its charming aesthetic, calm waters, and picturesque mountains. Retreats in Hanalei are located both on sunny beaches and in lush forests:
- Hanalei Organic's Yoga and Wellness Retreat, where you will not only get to practice yoga on a beautiful Kauai farm and also learn about farm to table sourcing and cooking
- Clear Light Yoga's New Years Kauai Retreat, which offers yoga classes at some of Kauai's most scenic outdoor locations
- Rejuvenating Hawaii Yoga Retreat, a family-centric yoga retreat where your family can explore both surfing and yoga together
Various Locations, India
No list of yoga destinations is complete without a few listings from the birthplace of yoga, India. India is home to some of the world's best yoga cities, so choosing just one is difficult! Whether you seek a beach-side experience along India's southern shores or a peaceful getaway in the mountains, India has some of the best yoga retreats to choose from:
- Ashiaya Retreats in Goa, India, for a wide variety of yoga classes along India's beautiful Western shore
- Shreya's Retreats, about an hour out of Bangalore. These retreats includes yoga classes for various levels and offers a wide variety of breathing and meditation classes
- Somatheeram Retreats, in Kerala, India, which incorporate ancient yoga theories into their modern retreats
Coastal Islands, Croatia
If clear seas and mediterranean sunshine are your calling, Croatia may be the European yoga escape you are looking for. There are over 1000 islands off the coast of Croatia, and some of the larger islands are home to beautiful beaches, picturesque towns, and of course, some of the best yoga retreats available. If you are looking for a seaside escape in Croatia to fuel your yoga inspiration, check out these yoga retreats on Croatia's coastal islands:
- Suncokret Retreat, on Hvar Island that offers six days of yoga, meditation, and outdoor activities
- Yoga Sailing Retreat's Cruising and Yoga Retreat Croatia, where you will explore various Croatian Islands and practice yoga throughout your trip
- Five Elements Yoga Retreat Croatia, which offers yoga, kayaking, biking, hiking, and other activities for those seeking a yoga retreat with a side of adventure.
Whether you are hoping to become a traveling yoga instructor, organizing a yoga retreat, or planning your dream vacation, there is no shortage of great places to practice yoga around the world. To get started on your journey, learn more about what to expect at a yoga retreat!


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I am a licensed clinical psychologist in private practice in Palo Alto, California. (CA license # PSY 19759.) I have been in private practice since 2004.
I provide psychological services to adults who are experiencing difficulties in their personal and/or professional lives.
Wellesley College
Harvard Graduate School of Education
Pacifica Graduate Institute
Psychotherapy is a process that offers a person an opportunity for self discovery and a means through which important internal and external changes can be made. Some people seek psychotherapy because they are experiencing emotional pain and need relief. Others engage in the process because they are seeking greater meaning in their lives or they want to reach new levels in their development.
I use a variety of approaches to help people make positive changes in their lives. Because everyone is different, I tailor the treatment to suit individual needs.
I offer career-related testing and counseling services to individuals who are seeking new occupations or are wanting to make changes in their existing work situations.
I offer psychological services to corporations to assist in such areas as product development, strategy and employee relationship management.
I do not charge a fee for initial phone consultations.
441 S. California Street, Palo Alto, CA 94306


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Gnotec is a leading manufacturer of metal components to demanding Automotive and Industrial customers. Our six operations in Sweden, Slovakia and China has more than 600 employees and offers state of the art technology in Automatic pressing, Laser cutting, Press bending, Welding and many other metal processes.
Find out more about Gnotec
Gnotec AB
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Phone: +46 (0)10 498 1100
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CUSTOM Black Spigen ThinFit Case for Apple iPhone 6 PLUS (5.5" Model) - Eagle Nebula Orange Blue
We don't know when or if this item will be back in stock.
- Custom Made-To-Order Spigen Thin Fit Series Case with Your Choice of Designs
- Thin, minimal design - protects your iPhone 6 PLUS (5.5") from bumps, bruises and scratches.
- Easy access to all phone ports and buttons.
- Lightweight, durable and protective
- Custom Design on a Black Spigen Thin Fit Series Case
Have a question?
Find answers in product info, Q&As, reviews
Product description
The Spigen Thin Fit™ Series for the Apple iPhone 6 PLUS (5.5" model) is a hard case made of polycarbonate plastic. The lightweight and durable qualities of the polycarbonate make the Thin Fit a reliable solution for protecting the iPhone 6 PLUS (5.5") from external impacts. The Thin Fit case is carefully designed to fit tightly on the device and highlight the original design of the iPhone 6 PLUS while providing protection from bumps, scrapes and scratches. The bottom opening of the case features easy access to third party cables and large headphone plugs.
100% Guaranteed Authentic Spigen Thin Fit Series - We purchase these cases directly from an authorized Spigen reseller, so we know they're the real deal! We customize them just for you and ship them out to you in the original Spigen packaging. The design is only printed on the back of the case, so the front and sides remain plain black. Please note that because we modify the case by printing the design on it, the Spigen warranty does not apply.
Custom Made To Order!
These Spigen cases are custom made-to-order. We purchase the cases from an authorized Spigen reseller and customize them with any design you choose using our special process that makes it almost impossible to scratch, peel or fade!
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Cookies on the DFA website
We use cookies to give the best experience on our site while also complying with Data Protection requirements. Continue without changing your settings, and you'll receive cookies, or change your cookie settings at any time.
How is the Government preparing for Brexit?
What are the implications of Brexit for Ireland and Northern Ireland?
How will Brexit impact the future of the EU?
What is the Common Travel Area?
What about the EU's future relationship with the UK?


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Conveyors are the mechanical equipment which are used by companies to reduce labour, and increase productivity. Hefty and large loads can effectively be moved from one place to another with the use of conveyor.
Technical Experts
First and foremost important thing is that the personnel using conveyors should be technically expert, and should have in-depth knowledge about the use of machine. Machine operators should be well aware of the basics such as, how and from where to stop the conveyor in emergency.
Instead of allowing anyone to start the machine, only certified personnel should be allowed to do that. Should you find broken parts or fragile parts in the machinery, either get them repaired or replace them with new parts. But don't let them remain unrepaired for long.
Maintain Distance
When it comes to the use of machine, the ease of the automation equipment usually make people get very careless about its use. You are recommended not to go under the machine, while it's in motion.
Besides that, don't ride on the machine, taking it as fun. There are chances of you getting injured. Always keep the tool box handy and place it safely at some nearby place. Never fill tools in the pockets of your trousers or jackets.
Adequate Clothing
For using the mechanical equipment, it's very important that your attire should be fit. Loose clothing is not appropriate when you are around the machine. Apart from that, you should avoid wearing jewelleries like chain or ring while using conveyor technology. All these things might get trapped into the belt, and can get you into real difficulty.


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Masahiro Tanaka, the pitching ace who went 24-0 in 2013 as he led the Tohoku Rakuten Golden Eagles to a Japan Series title, will be allowed to sign with a major league team for the 2014 season, becoming the latest Japanese star to be allowed to leave for the United States before he became a free agent.
The decision to let him go was announced by the team on Christmas Day in Japan, ending weeks of speculation about Tanaka's immediate future and whether Rakuten would back away from its initial stance that he should continue pitching in Japan until after the 2015 season, when he would become free to go anywhere he wanted.
Instead, Rakuten relented and agreed to accept a $20 million posting fee from the major league team that prevails in what is expected to a high-priced, free-agent bidding war among a number of clubs.
In the coming days, Tanaka is expected to choose an American agent to represent him in negotiations with major league teams. The Yankees, the Los Angeles Dodgers and the Boston Red Sox are among the big-market, big-payroll teams thought to be interested in signing him, with the Yankees having the biggest need of those three teams to bolster their starting rotation. Of those three teams, they are the only one that failed to make the postseason in 2013.
But any major league team that wants to bid for Tanaka has only to agree to pay Rakuten $20 million if they ultimately win out, so there is little to discourage even mid- and small-market teams from jumping in and hoping for the best.Continue reading the main story
Nevertheless, the winning bidder is likely to be a team like the Yankees that can afford a huge multiyear contract, one that could approach $100 million.
As a result, the 25-year-old Tanaka, who had a 1.27 earned run average to go with his 24-0 record in 2013, is expected to receive a good deal more money than what the Japanese pitchers Daisuke Matsuzaka and Yu Darvish received when they joined the Red Sox and the Texas Rangers.
Matsuzaka got a six-year, $52 million contract from the Red Sox in December 2006. Darvish received a six-year, $60 million contract from the Rangers that began in 2012. However, both of those pitchers were signed under the old, unrestricted posting system in which only the team with the highest posting bid won the right to negotiate with the player. In each instance, the winning posts exceeded $50 million. That, in turn, limited how much the teams then wanted to pay Matsuzaka and Darvish.
Like Matsuzaka and Darvish, Tanaka has a good fastball and an assortment of other pitches. He has been durable, starting 20 or more games in each of his first seven seasons, and has a .739 winning percentage.
The Eagles made clear they wanted Tanaka to stay with the team, not just because they would lose their top pitcher so soon after winning their first title but because they would receive far less for him than hoped under the new posting system. The Eagles were hoping to generate at least $50 million in compensation, roughly what Matsuzaka's and Darvish's teams received.
Any team willing to pay the release fee can negotiate with Tanaka during a 30-day window. The team that signs Tanaka will pay the Eagles the fee in installments. There is no penalty for making a bid and then failing to sign the player.
In letting him leave, Rakuten may have weighed the odds that Tanaka will continue his mastery over batters in 2014 and beyond. It is unlikely he will ever have as dominant a season as he did in 2013; for one thing, he has thrown many innings the past few years. For instance, in the sixth game of the Japan Series this year, he threw 160 pitches and refused to come out of the game. In the clinching seventh game, he appeared in relief. That sequence alone may give some major league teams pause as they ponder how much they might be willing to offer Tanaka in a free-agent contract.
According to Sponichi, a Japanese sports publication, Rakuten may try to form a partnership with whatever team signs Tanaka. The Yomiuri Giants did that after their slugger Hideki Matsui signed with the Yankees before the 2003 season.
As dominant as Tanaka has been during his time with the Eagles, whom he joined after finishing high school, there is no guarantee he will fare as well in the United States. His fastball is unlikely to overpower major league batters, who routinely grapple with pitches nearing 100 miles per hour. Matsuzaka, who is 53-40 in the majors, and Darvish, who is 29-18 after two seasons in the United States, have had to adjust their pitching styles.
Matsuzaka, in particular, encountered adversity after his first two seasons in Boston.
Japanese pitchers also have to learn how to throw off mounds with balls that are different from those in Japan, and deal with umpires with different strike zones. Most Japanese pitchers also speak limited English, making it difficult to communicate with catchers and coaches.
Japanese baseball fans are likely to continue rooting for Tanaka in the United States because they take pride in seeing their stars play overseas. But his departure is likely to stoke fears that Japanese professional baseball, a source of national pride, is turning into a second-class league.
"They are becoming a feeder system for the M.L.B.," said Robert Whiting, who has written several books on Japanese baseball. "Japanese pro baseball has all but disappeared from prime time network television."Continue reading the main story


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Found Love Strong
We found each other, We fell in love with each other, And together we can be strong through everything and anything.
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About Me
House Tour
Wednesday, February 22, 2012
Putting in Laminate floors yourself!
My husband and father in law decided to tackle this project! First we had to take out ALL the old floor! Here is a few pictures of the original flooring!
This would be our living room and dining room!
Here is our living room and part of the kitchen.
This is our dining room, and our little peanut when we first moved into our house.
And this is looking into our tiny kitchen. They spent a couple weeks on finishing the floor and I wish we would have thought about doing step by step instructions for everyone that would have liked to learn how it was done but here is the finished project!
The dining room. We cut to fit that piece of flooring too for in front of the door.
this is part of the dining room as well!
Our little table and our freshly painted wall with the sign my daddy made for us.
And our kitchen.
And our living room, with the little peanut again :) I would say they did a pretty good job!!
Posted by
Nicole Kappes
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Click here to download the PDF file.
City Council Videos - ICTV
Scenic Range News Forum
Summer Youth Program has been Cancelled as of July 2, 2018 due to lack of attendance.
The annual City of LaPrairie Drinking Water Report is available here. This report pertains to residents on city water and contains important information about the source and quality of your drinking water. The city of LaPrairie's drinking water comes from a groundwater source of purchased water from Grand Rapids. Residents with private wells are encouraged to have their water tested for heavy metals and arsenic by a licensed water testing facility.
GreenSteps Actions Completed in 2015 GreenStep Committee 2015 Native Tree, Shrub and Plant Sale Rain Barrels: A way of Collecting & Using Rainwater A energy guide sponsored by the MN Department of Commerce
National Sherrif's Association
It's in Minnesota's Nature
Monday thru Friday
8:30am to 12:30pm
To the legal voters of the City of LaPrairie, Itasca County, Minnesota:
The city of LaPrairie will accept Filings for Candidacy for the November 6 city General Election from Tuesday, July 31, through Tuesday, August 14, Monday-Friday from 8:30 a.m. to 12:30 p.m. unless otherwise posted at city hall. On Tuesday, August 14, office hours will be 8:30 a.m. – 5:00 p.m., with filings closing at 5:00 p.m. on August 14.
Filings will be taken for the following offices:
One (1) Mayor for a two- (2) year term
Two (2) Council Members for a four- (4) year term
Special Election for One (1) Council Member for a two- (2) year term
The filing fee is $2.00.
Polls open 7:00 AM – 8:00 PM
Absentee voting for the Primary Election may be done at the Itasca County Offices.


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What attracted me is that Free Range is a four-strengths creative studio: Strategic sophistication, a deep creative culture, killer client services, and driven, original thinkers.
(PRWEB) August 19, 2015
Free Range, a brand and innovation studio based in Oakland, CA and Washington, DC, has appointed Dante Lombardi as Chief Creative Officer.
In his role, effective immediately, Lombardi will lead creative on all accounts and will partner with founder and Chief Storyteller, Jonah Sachs, and CEO, Randall Ussery to strategically grow the studio.
Lombardi joins from Wells Fargo, where he led their internal creative teams. Prior, he held Executive Creative Director roles at Yahoo and TiVo.
Before his client-side tenures, Lombardi held positions as Copywriter and Creative Director at agencies including BBDO, Goodby, Silverstein and Partners, and McCann-Erickson, where as Executive Creative Director he led the Microsoft global account. His experience includes work for Nike, hp, Budweiser, Pepsi, Hotwire and others.
Ussery commented, "Dante's experience at agencies, as well as at brands, on such a variety of clients, projects and media, will make him a great partner and influencer at Free Range. We're building a uniquely effective team, and he's key to that. His energy, directness and creative spark will help us meet our vision of impact at scale."
Lombardi commented, "What attracted me is that Free Range is a four-strengths creative studio: strategic sophistication, a deep creative culture, killer client services, and driven, original thinkers. Best of all, they have values that build and serve important movements. They believe in something bigger and that's an incredible foundation to build on. I knew immediately I wanted to be a part of their team and their future."
Lombardi has won numerous global industry awards including One Show Gold, Cannes Lion Gold, Clio Gold, and Effie Gold.
About Free Range:
Free Range is a brand and Innovation studio based in Oakland, CA and Washington, DC. We are Designers, Strategists, Writers and Technologists who believe in the power of group genius. Together we empower organizations to create positive change through storytelling and design. Since 1999, we've been partnering with change-makers like Amnesty International, Greenpeace, Autodesk, LinkedIn and Levi's to turn traditional ways of doing things on their head. We pioneered the concept of empowerment marketing and made the first social change viral video hits when state-of-the-art was still direct mail. We are brand builders, movement builders, problem solvers, partners.


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Ent's flexible auto loan options help you find the car – and the loan – you can afford.
Whether you ask for Ent financing at the dealer or get pre-approved for an auto loan before you shop, Ent's flexible auto loan options help you find the car and the loan you can afford.
Motorcycle and recreational vehicles
Buy or refinance the auto, motorcycle, RV, camper, boat, ATV or travel trailer of your dreams – with an affordable Ent loan.
Financing with Ent is easy. Ask for Ent at the dealer or get pre-approved online, at a local service center or by phone at (719) 574-1100 or 800-525-9623.
Ent also offers:
- Alerts to remind you when your loan payment is due.
- An annual Skip-A-Pay* option on auto, recreational vehicle and motorcycle loans
- And Ent Extras, a hassle-free annual reward, only at Ent.
*Skip-A-Pay is an optional program that allows you to defer a qualifying consumer loan payment for a $20 fee per skipped loan payment. Skip-A-Pay is available on consumer auto, recreational vehicle, motorcycle, and personal loans. Your loan must be open for a year to be potentially eligible for this benefit. Other qualifications apply. Finance charges will continue to accrue at the rate provided in your original loan agreement during and after the payment deferral. Deferring your payment(s) will result in higher finance charges and will extend the term of your loan(s). You will be required to resume your regular monthly payment(s) the following month. Offer subject to change at Ent's sole discretion.


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Twice a week I subject myself to interrogation…err…Visayan lessons. Ate Bebe was my language teacher the first time I was here and she graciously took me on as a student again. It isn't any easier than it was the first time. I managed to retain quite a bit of vocabulary, however my grammar is still terrible. Luckily, this time around I don't have to share her with anyone else. Each time we meet, Ate spends 1 hour correcting, listening, and asking me a lot of questions which I give my best effort at answering in the language they were asked. Although language learning does not come very naturally to me, I keep trying, hoping that one day my conversations with patients here will become much more meaningful and fruitful.
Reader Interactions
Keep working at it…I have been down that road. Takes time and patience!


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ANC members to form part of SADC observer mission
18 June 2008
The African National Congress has noted a report on Reuters suggesting that the organisation will send a contingent of 1,000 people to observe the Zimbabwean run-off elections.
The ANC wishes to correct this report.
The ANC will be sending observers as part of the 400-strong SADC observer mission. The ANC`s contribution to this mission includes 14 Members of Parliament and 15 others.
The ANC remains committed to contributing in whatever way it can, within the ambit of multilateral institutions like SADC, towards a successful and credible run-off election.
Issued by:
Jessie Duarte
African National Congress
For more information, interview requests and general enquiries:
Steyn Speed 082 572 7304
Vuyisa Manyandela 011 376 1052


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June 20, 2014 09:07 ET
SEATTLE, WASHINGTON--(Marketwired - June 20, 2014) - Ventripoint Diagnostics Ltd. ("Ventripoint") (TSX VENTURE:VPT) announces that it will be exhibiting at the 25th Annual Scientific Sessions hosted by the American Society of Echocardiography (ASE) in Portland, Oregon, held June 20th through June 24th.
"At the ASE this year, the Company will be emphasizing to the echocardiology healthcare professionals the recent FDA clearance of VMS™ as substantially equivalent to MRI in patients with Pulmonary Arterial Hypertension (PAH). The VMS™ can uniquely demonstrate the ability of echocardiography to be as accurate as MRI. This puts us in an excellent position at this congress to showcase the benefits of the VMS™", stated the CEO of Ventripoint, Dr. George Adams.
Ventripoint will occupy booth #608 in the main exhibition hall and will be distributing demonstration cases to highlight the features of the VMS™ to individual cardiologists and research scientists. Those who are unable to attend the ASE 2014, may contact Ventripoint directly at email@example.com to order the VMS™ case studies.
"Each year at the ASE we see more time dedicated to presentations concerning RV imaging and analysis. This year the trend continues as the RV is focused on throughout the sessions, from the very first presentation on Saturday titled "Echo in Pulmonary Hypertension", to the very last on Tuesday with "Echo in Heart Failure and Congenital Heart Disease: Imaging that Impacts Management," commented Jim Bodtke, VP Clinical Affairs and Development for Ventripoint. "Being part of the annual ASE Scientific Sessions is the greatest single event we can attend as it gives us direct access to thousands of potential customers, allowing us to demonstrate our product's capabilities to practitioners as well as to the ultrasound manufacturers. We look forward to engaging potential end users of the VMS™ and to further developing potential partnerships with world-leading companies to expand our product offerings."
About the American Society of Echocardiography
The American Society of Echocardiography maintains over 16,000 active members annually, with approximately 4,000 of those members participating in the ASE Scientific Sessions. The Scientific Sessions are an educational platform, allowing global leaders in cardiac ultrasound research to present current findings. The Scientific Sessions also provides vendors and manufacturers the opportunity to directly engage the participants and to provide hands-on product demonstrations, as well as networking opportunities to further develop collaboration.
About Ventripoint Diagnostics Ltd.
Ventripoint has created tools to monitor patients with heart disease, a leading cause of death in developed countries. VMS™ is the first cost-effective and accurate tool for measuring right ventricle heart function. The Company has a suite of applications for all major heart diseases and imaging modalities including congenital heart disease, left or right heart failure and normal hearts - a multi-billion dollar market potential.
Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release
FORWARD-LOOKING STATEMENTS: The statements made in this news release that are not historical facts may contain forward-looking information that involves risk and uncertainties. All statements, other than statements of historical facts, which address Ventripoint's expectations, should be considered forward-looking statements. Such statements are based on management's exercise of business judgment as well as assumptions made by and information currently available to management. When used in this document, the words "may", "will", "anticipate", "believe", "estimate", "expect", "intend" and words of similar import, are intended to identify any forward-looking statements. You should not place undue reliance on these forward-looking statements. These statements reflect a current view of future events and are subject to certain risks and uncertainties as contained in the Corporation's filings with Canadian securities regulatory authorities. Should one or more of these risks or uncertainties materialize, or should underlying assumptions prove incorrect, actual results could differ materially from those anticipated in these forward-looking statements. A description of assumptions used to develop such forward-looking information and a description of risk factors that may cause actual results to differ materially from forward-looking information can be found in Ventripoint's disclosure documents on the SEDAR website at www.sedar.com. The Corporation undertakes no obligation, and does not intend, to update, revise or otherwise publicly release any revisions to these forward-looking statements to reflect events or circumstances after the date hereof, or to reflect the occurrence of any unanticipated events. Although management believes that expectations are based on reasonable assumptions, no assurance can be given that these expectations will materialize.
Dr. George AdamsCEO(206) firstname.lastname@example.com
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Category Archives: seo
SEO December 2015 Update
A summary of Josh Bachynski's video To paraphrase/summarise the video: Do you need canonicals for product variations? Canonicals 'fold' the product variations into one page. If the user searches for product variations, then the product variation needs its own … Continue reading
Building your blog's audience
So I've done guest posting – written some really in depth articles for Business2Community; CareerFuel.net; and several other high quality websites. That didn't do too much. I tried blogging everyday for a while, that increased my traffic a little bit. … Continue reading
Excel for SEO
So I made this video, you're welcome SEO community; you, are, welcome
Cool SlideShare on Video Content Marketing
Video Content & SEO Great bit of content (via slides, kind of ironically) from distilled:
Allow GoogleBot access to your CSS and Javascript files
The official Google forum/website has announced that if you do not allow the Googlebot to crawl your CSS and JS files, your rankings could be impacted. This basically means that if you are disallowing the Googlebot in your robots.txt file, … Continue reading
SEO 2014 Link Building Video
Some Link building ideas. White hat link building 2014


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|150 m²
|Property type
|Minimum Stay
|3 - 7 nights
In rural surroundings by the lake Åsten , you have this spacious holiday home. Restored with wood floors and the old fascination is keeped. There is floor heating in the bathroom. Satelit. By the beach there is a newly furnished woodheated sauna. Own rowing boat by the jetty, with fishing possibilities in the lake. Good berry- and mushrooms area in a wilderness nature. Canoe for you access. At NOVASOL we offer over 40,000 hand-picked holiday homes, across 29 European countries. Our huge selection of self-catering accommodation includes beautiful holiday homes near the sea, cottages in stunning country surroundings, villas with private pools and apartments in some of Europe's most interesting and beautiful cities. We aim to simply provide: Quality self-catering holiday properties all handpicked and inspected by our employees, with complete reliability meaning you can trust that we will provide you with the best accommodation for you holiday.


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Bank of America Corp. Chief Executive Brian Moynihan sent a letter to the firm's employees on Monday night in an effort to calm them following the firm's 20% stock plummet that day.
"Our course is set, and we know our destination," Moynihan said in the letter. A Bank of America spokesperson confirmed the letter's contents on Tuesday, which was first reported by the Associated Press. The letter was originally posted on Bank of America's internal website.
"The management team and I understand that this is an unsettling time not just for our shareholders, but also for all our teammates across our company," Moynihan said in the letter.
Bank of America's stock dipped on Monday following reports that one of its hedge fund investors sold half its ownership in the firm and American International Group Inc. sued the firm for $10 billion in damages related to mortgage-backed securities losses.
The firm's stock recovered somewhat on Tuesday, closing at $7.60 per share.
Moynihan said in the letter he did not know how long the market uncertainty would last, while expressing confidence in the firm's ability to weather the storm. He also expressed dissatisfaction with political leaders, particularly in the U.S., who were involved in the debt ceiling deal that ultimately contributed to Standard & Poor's downgrade of U.S. Treasury debt.
"Many economic issues are contributing to uncertainty in the markets, but one important factor is the effort of policy leaders around the world, and especially here in the U.S., to reduce sovereign budget deficits and overall debt," Moynihan said.
The letter is part of an aggressive reaction Bank of America has taken to this week's events, moving to restore confidence both with its employees and its investor clients. A video aiming to explain the consequences of the market volatility for investors was also posted on its Merrill Lynch brokerage's site this week.
"Worries are growing that the U.S. economy is heading back into recession," Bank of America Merrill Lynch President of Global Wealth and Investment Management Sallie Krawcheck said in the video. "Without a doubt, these are challenging, perhaps unprecedented, times."
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