text:
Port Arthur runoff concludes Saturday
With a shade over 1500 early ballots cast in the 2011 Port Arthur City Council runoff election for the District 4 and Position 7 seats, there's only one day left for the residents of those respective areas to decide who they want to represent them for the next three years.
Election Day is Saturday, June 25.
In what has been a dichotomy of races, the Position 7 race between longtime Port Arthur political veteran Willie "Bae" Lewis and newcomer Derrick Freeman has been contentious to say the least, with phony fliers and misconstrued TV sound bites shaping a race that appears headed for a photo finish.
"When it gets personal, you lose sight of the issues," said Lewis, "the voter is looking for improvement on the city council, they've got economic problems, and we need industry to bring more jobs to put our people to work."
Lewis, 67, and a 21-year veteran of the city council, said he's happy with the way his campaign has functioned during the runoff campaign. "We've done great, and the voters have clearly displayed and talked to me that they want some experience along with those newly elected."
Freeman, 35, who denied having anything to do with the flier that claimed Position 7 incumbent D. Kay Wise was supporting him instead of Lewis, said he's learned quite a bit during his first venture into local politics.
"I've really seen the personal agendas that some people have harbored in their hearts," Freeman said.
But he hasn't allowed the personal attacks to get him down. "I see how it can get personal, but I've released myself of it, I've had to pray hard to forgive and forget, because I can see how you can get drug into it very easily. But we're still pushing hard, we're keeping things above board and I think Port Arthur's tired of the negativity, the politics, the stagnation, and a lot of it is people can't get past personal agendas."
In the relatively calm District 4 race, Harold Doucet, 61, said he's not surprised by the low early voter turnout because he feels it's a reflection of the voters expressing their discontent from not receiving any satisfaction from their previous council representation. Doucet, a retired 30-year Army veteran, looks to change that apathy.
"We need to ensure that the things we do start being reflected," Doucet said. "Actions speak louder than words. We need to start showing results. Cleaning up the city, fixing the roads, start dropping the unemployment rate, and people are going to automatically start changing their mindset. It's up to us, right now, we need to show the people. Don't say it, don't promise it, just get out there and do it. Everybody knows what needs to be done. There's nothing to try and figure out."
Doucet feels like he's in a pretty good position, considering he garnered the most votes in the general election, 441, while his opponent, Field, captured 305. As of Wednesday, Jun. 22, there were roughly 400 early votes that had been cast in District 4.
"I feel the race will be over at 7 p.m. (Tuesday)," Doucet said, echoing a popular sentiment shared by the candidates.
"The key is to win early voting," Lewis said.
"That's the conventional thinking," said Ronnie Linden, a self-proclaimed political junkie and former Port Arthur City Councilman who agreed that more often than not, a candidate isn't going to make up a huge difference if trailing on Election Day.
Field said he "feels good about Saturday, we've done everything we can do. We've worked hard, as have all the candidates."
The 70-year-old Field, who is proud of the positive campaign he's run, said he would like to see this recent campaign set an example in politics for how a clean, friendly campaign can be demonstrated. "When we get in these offices, it's important we set the tone, and I think that needs to be redefined, people need to rethink their positions on these things and start being a positive role model for our community and our city in general.
"People are hurting out there and they need people that are credible and are going to represent them. I'm not saying that's not being done, I'm just saying that hasn't been done enough."
All four men plan to keep working the phones and the streets the next three days, and they all have different plans for Election Night. Lewis is taking his team out to eat, Freeman and his supporters have a gathering planned while Doucet said he's going to stay at home and Field will be at the Civic Center waiting on the results.
Stephen Mosely, executive director of The Breeze radio station in Port Arthur, which hosted a debate featuring the runoff candidates, said this is an important election and whoever wins needs to understand how to handle the city's business and the needs of the people.
"I hope whoever wins, they are studious about the issues that affect the people."


text:
Here's a look at videographer James Bernal's 2012 in 365 seconds. Bernal captured one-second of video a day using a Canon 5D MK II, a GoPro and an iPhone, and then assembled the clips into a stirring montage.
It's funny how epic real life can seem when you slice it into particles. Here's to a 2013 full of tiny hugeness. [Laughing Squid]

subset: commoncrawl


text:
2020 BMW i8. BMW, it seems to stick to pretty much the same formula that worked with the previous four-seater i8 coupe and we can not really blame them. When the original i8 hybrid went down, it actually challenged perceptions of what a hybrid car might look like. This i8 Roadster 2018 is the latest BMW 'i' electric car, powered by an eDrive eDrive electric motor. The car manufacturer still has to confirm the new car specifications. Most cars are style items in one way or another. Some drivers choose bold paint, although it adds hundreds of dollars to the cost of the car, while others ride on off-road roads that never put tires on two tracks.
Ideally, the car's shape will fit with its function, as in the case of many super-designed cars. But in some cases, the model is all that matters. Watch the BMW i8 roll over the street and you will notice instantly especially if the i8 is the new model of the sharp model. It's hard to think of a car on the road today that looks more like it has come out of a video game, similar to Jumanji. But can not set the power generation in i8 conversion checks by zany design. With 369 horsepower and an estimated 18 miles of electric range, the 2020 BMW i8 can not keep up with the best sports cars or the best plug-ins on the market. But for drivers who appreciate the appeal of the curve and the superiority above all else, none of that may be important.
The big news for 2020 BMW i8 is that the model is now available as a way, with a soft folding cloth and two seats instead of the second plus two stand in the coupe. BMW also modified the i8 power generation to produce an additional 12 horsepower and an additional 3 miles of the EV range, with a total of 369 hp and 18 miles of EV driving. There are two new exterior colors, E-Copper and Donington Gray, the new interior color scheme of copper with upholstery of leather and cloth, and internal carbon fiber embroidery. BMW iDrive 6.0 now runs the i8 Entertainment Information System. For 2017, BMW has added a new Protonic Red, a basic i8 design. The proton red prints came with red exterior paint, carbon fiber interior trim, unique black seats with contrasting red stitching, and a ceramic-like transformer. This was a special version, so if you're reading this, it's too late to get one.
The leather-trimmed sports seats look good; they are available with the $2,500 Tera World package, which also adds some blue touches to the exterior black-light bulbs. Future laser headlights add more than $6300, but at this stage who promises? The i8 will ring at a price of $173,095. We can think of a lot of reasons for not buying the 2020 BMW i8. But once you've chosen to spend a small fortune on this Tron mobile phone, it's hard to think about why you did not buy a Roadster. Certainly, at a price of $164,295, more than $15,000 of the coupe price.
You are viewing 2020 Bmw I8 0 To 60, picture size 800x534 posted by Administrator at July 11, 2018. Don't forget to browse another wallpaper in the related category or you can browse our other interesting wallpaper that we have. Please also read our Privacy Policy and DCMA for the copyright of the images.Back to 2020 BMW i8 Specs Update And Price


text:
Our success is getting noticed. Here are just a few of the awards and reviews we've received.
Awards & Reviews
Forbes - The 100 Most Trustworthy Companies In America
"To create this list, MSCI ESG Research screened more than 2,500 publicly-traded non-financial American companies with market caps of $250 million or more to identify the 100 that most 'consistently demonstrated transparent accounting practices and solid corporate governance."
Seattle Times - Blue Nile ranks #8 on Seattle Times' annual Best of the Northwest List
"We measure superior business performance by combining four key metrics: sales per employee, operating income, return on equity and stock-price appreciation. Together, those measurements get at a business's main purpose: efficiently using its resources to earn a return for its owners."
Forbes - Blue Nile ranks 42nd on Forbes' 200 Best Small Companies List
"It used to take as much courage to walk into a jewellery store as it took to walk into a car dealership. But Blue Nile has done away with shoppers' anxiety and pushy salespeople. Through its Web site, the company offers customers a hassle-free way to shop for and compare diamonds and other fine jewellery in the comfort of their own home."
Bizrate.com - "Circle of Excellence Platinum Award"
"Smart retailers have long figured-out that good service equals sales. If it were not for the exceptional quality of service these retailers have provided consumers, online spending would not have flourished to the extent it has over the last 10 years of ecommerce," said Chuck Davis, Chairman of Shopzilla. "The BizRate Research Circle of Excellence Awards serve to acknowledge those industry-leading retailers who make their customers a priority and raise the industry bar at the same time."
Seattle Times - Blue Nile ranks #14 on Seattle Times' annual Northwest 100 List
"Each of the Northwest 100's four ranking factors gets at part of that task: sales per employee (top-line efficiency), operating income (strength of the core business), return on equity (how much bang the company is getting out of shareholders' bucks) and stock-price appreciation (market recognition of all the above and more)."
BusinessWeek - Blue Nile ranks #13 on BusinessWeek's Hot Growth Companies List
"When Web entrepreneur Jason Calacanis was ready to pop the question to his girlfriend, he turned to his computer. Blue Nile (NILE), the leading diamond jewellery marketer on the Net, helped him bone up on such factors as colour, cut, clarity, and carat—the famous Four Cs. Turned off by high-pressure salespeople, he snapped up a three-carat diamond online, spending 'tens of thousands of dollars' for it. Recalls Calacanis: 'It was the best retail experience I never had.'"
Kiplinger's - Best E-Tailer
"Our overall bling-buying pick is Blue Nile. It can tap a pool of 60,000 diamonds and scores of settings, and the store lets you return an item 30 days from the day it ships. Most calls are answered within ten seconds by an employee in Seattle. And its prices are among the lowest."
Forbes - "Forbes Favorite" online jeweller
"Search by product, including anniversary rings, pendants and earrings, or by material, such as platinum or pearl. But the real draw here is the site's enormous selection of diamonds. Choose from hundreds of pre-set pieces or select a loose stone. The site now offers more than 60,000 stones in a variety of shapes, including Asscher and cushion-cut. A search for a princess-cut diamond yielded more than 11,000 choices alone. Narrow your search by criteria such as price range, carat range and colour. Offers an excellent learning guide on the four C's (cut, clarity, colour, carat weight). Each attribute includes helpful diagrams, and terms are linked to the site's glossary."
Smart Money - The Virtual Mall
"At Blue Nile, an education section covers the gamut, illustrating the difference between how a half-carat and a 0.75-carat diamond will look on the average finger, for example, and what cut grades give the most bang for the buck. From there, shoppers can search through an inventory of 60,000 loose diamonds, sort them by characteristic and select a custom setting."
Money Magazine - "Best Deal"
"Buying jewellery is already fraught with anxiety … Blue Nile tries hard to reassure with copious consumer education, on-call phone consultants and designs you can customise. As for price, one-carat (total weight) colourless diamond solitaire stud earrings go for $3,204 vs. $3,999 at zales.com."
Real Simple - "Best Web site for Jewelry"
"Plenty of classic pieces at affordable rates, from silver hoops ($35) to diamond studs (starting at $215) to, yes, engagement rings."
Wall Street Journal
"Although this site offers all kinds of jewellery, it really comes into its own in the diamond section. You can search thousands of diamonds by cut, colour, clarity, carat weight and price, and the page instantly shows you how many diamonds fall in the range you've set. Individual diamonds are described in even more intricate detail, including depth, table, symmetry, polish, girdle, culet and fluorescence. And the site even explains what all these things mean."
USA Weekend
"Mark Vadon founded BlueNile.com after he suffered through the ordeal of choosing an engagement ring. Those who can't distinguish a carat from a carrot should head to 'Education' to learn why platinum is a better diamond setting than gold. The 4-year old site is so detailed, it even shows drawings of bracelet, necklace and watch clasps, with directions for opening them. Shopping on the site is easy, too, with links such as 'Build Your Own Engagement Ring' and searches by budget and material."
TIME - "Best Indulgence"
"Elegant sterling-silver gifts for special clients. Blue Nile specializes in the luxe life, but there are plenty of items under $100 too."


text:
Last month, in honor of the launch of #1000Speak, I posted a special piece about compassion called Teaching Our Girls About Friendship. Writing on a shared theme and posting on the same day as hundreds of other writers worldwide was a mighty, moving event. Reading so many amazing stories and perspectives inspired me, swelled my heart and put a perma-grin on my face for days. The whole experience got me thinking:
If writing and reading about compassion can have this kind of impact on me, an adult, what can it do for our kids?
I decided to take my curiosity into my daughter's fourth grade classroom. She attends a Jewish Day School where the value of chesed, or kindness, is one of many intertwined throughout the curriculum. Each class takes on a yearlong service project ranging from caring for animals and respecting the elderly to teaching literacy, caring for the earth and helping people with special needs.
I have no doubt my girls are learning about kindness, both at home and at school, and what it means to do good in the world, but there's a difference between kindness and compassion. Most of us are born with empathy, the ability to feel for someone else in a sad or scary situation or someone who's had an awful experience. Our hearts drop; we feel sadness ourselves. But to have compassion means taking our emotions one step further into the realm of action.
What would a group of 9- and 10-year-olds know about compassion?
I started out asking them what they thought the definition of "compassion" was.
I showed them photographs that modeled compassion.
We talked about what it means to show kindness to strangers, to find understanding for people who might bully or tease and even what it means to have compassion for ourselves. After our group brainstorming and discussion, I asked them to express what compassion means to them – and that's when the magic happened.
Art happened.
Collaboration, play acting and story telling happened.
"Once I was walking and my little sister had just gotten a new jacket. There was a little girl, younger than my sister, with her mother and maybe her grandfather. They were begging and instead of throwing the old jacket away, we gave it to the little girl."
Singing happened
"Compassion, compassion, help someone get better.
"Compassion, compassion, have that feeling in your heart to make it okay."
Intention happened:
"To be a more compassionate person, I will give food to a food bank, help the poor and make sure no one and nothing will get abused."
Kids know more than we think they know and they know it because their big hearts take in everything they see and hear from us. So much of what the kids said about compassion had to do with us, the grown ups, the teachers, the parents:
"One time, when we were walking to our car from a restaurant, my dad gave our left over food to a homeless person. It was steak. My dad carries around a lot of steak."
Everything we do, each word we speak, every action we take – or don't take – even our tone of voice and our facial expressions make an impression on the children in our lives. That day, it was the kids who'd made an impression on me. I was so proud of my daughter and her classmates for their ability to see past differences, recognize need and think about how they can act to make the world a more compassionate place.
This is our future. It's in good hands.
This has been a Finish the Sentence Friday post. This week's prompt is "My proudest moment was…"
Hosted by Kristi from findingninee.com and cohosts Tarana Khan from sandinmytoes.tk and Kerri Ames of undiagnosedbutokay.com.
This post is also part of the 1000 Voices for Compassion movement where hundreds of writers post about compassion on the 20th of each month.


text:
The watermark in the lower right corner of the image will not appear on the final print.
Team Ferrari 500 F2 1952 French Gp Art Print
Retail Price:
Sale Ends:
3 Hours Remaining
Team Ferrari 500 F2 1952 French Gp by Yuriy Shevchuk - 10.000" x 6.250"
Archival Matte Paper
Rolled in a Tube
Assembly Charge
Print Discount
Material Discount
Team Ferrari 500 F2 1952 French Gp art print by Yuriy Shevchuk. Our prints are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All art prints include a 1" white border around the image to allow for future framing and matting, if desired.
Ships Within
2 - 3 business days
Similar Designs
Additional Products
Art Print Tags
Painting Tags
Comments (14)
Congrats on your sale!!!
Congrats on your sale!!!
Congratulations on the sale!
LOve it!!!
Well done - Congrats on your sale :)
Congratulations on your sale!!
nice job
Oh, wow, thats a very complex work, with a lot of action and details; excellently executed. Congrasts ♥�
About Prints
All prints ship in durable cardboard tubes.
Fine Art America is one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality prints. All of our prints are produced on state-of-the-art, professional-grade Epson printers.
We use acid-free papers and canvases with archival inks to guarantee that your prints last a lifetime without fading or loss of color. Paper prints include a 1" white border around the image to allow for future framing and matting. Canvas prints include a 2.5" white border to allow for future stretching on stretcher bars.
Prints ship within 3 - 4 business days in durable cardboard tubes.
Art Print Reviews (8067)
Average Rating (4.90 Stars):
Richard L Lehman
December 6th, 2019
John West
December 5th, 2019
Artist's Description
watercolour on paper 45 x 70 cm www.shevchukart.com
About Yuriy Shevchuk
Born in 1961 in Kiev, Ukraine, Yuri Shevchuk attended the Kiev Art School and later the prestigious Kiev Architectural Academy. Yuriy has adopted the practice of recording his own experiences in his artworks: his three passions, painting, jazz and historical cars have become the focus of his paintings. Since 1993 Shevchuk has been living in the city of Prague, which he depicts in many of his paintings and also where he exhibits his work widely. He has been described as an accomplished master, full of artistic and intellectual energy. Bewitched with jazz music he skillfully and rapidly sketches the cool and charming figures of musicians in action, showing the positive mood of jazz and the stunning spiritual intensity of this bright...
Shop with Confidence
Our return policy is very simple:
If you're not happy with a purchase that you made on FineArtAmerica.com, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we'll issue a full refund for the entire purchase price. Please note - Fine Art America does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.
Fine Art America sells thousands of pieces of artwork each month - all with a 100% money-back guarantee. We take great pride in the fact that hundreds of thousands of artists have chosen Fine Art America to fulfill their orders, and we look forward to helping you select your next piece!
All art prints ship from our production facility within 2 - 3 business days of your order.


text:
Seven years ago I created a play based on the Tolkien story "Leaf by Niggle", I wrote some songs (it was supposed to be a musical) and recorded a demo. It got put on the shelf because I couldn't figure out how to get over the copyright issues for the play. Listened back with my producer about a year ago and he said , "Why not just release the songs?" so that is what I did.
The album is called "Man Named Niggle". If anyone is interested in more info, let me know.


text:
sonia: Magnitude that expresses the level of sonorous sensation produced by an intense sound.
The RWM emits SON[I]A, its first program, since May 2 2006.
SON[I]A aims to be an alternative way to receive the information produced during Museum activities; audio information brought to us by characters who take part in activities in and around the MACBA.
This series is produced by: Dolores Acebal, David Armengol, Bani Brusadin, Lúa Coderch, André Chêdas, Lucrecia Dalt, Ricardo Duque, Sonia Fernández Pan, Jaume Ferrete, Antonio Gagliano, Carlos Gómez, Roc Jiménez de Cisneros, Raül Hinojosa, Arnau Horta, Yolanda Jolis, Sònia López, Lluís Nacenta, Enric Puig Punyet, Quim Pujol, Mario Quelart, Anna Ramos and Matías Rossi.
The Chilean poet Manuel Sanfuentes talks about Amereida, which emerged from a journey undertaken by a group of poets, architects, and philosophers from Tierra del Fuego to Santa Cruz de la Sierra, Bolivia, in the course of 1965. Years later, the experience resulted in Ciudad Abierta, a series of experimental, imagined, collaboratively-built constructions and practices jutting out of vast expanse of dunes, estuaries, and gorges bordering on the Pacific Ocean.
Artist/scientist David Burraston talks about his rainwire project and how using rain as a creative medium has led him to an ongoing research that could overcome some recognized shortcomings in the field of rainfall measurements. He also talks about complex systems and creative practice in science, with an overview of CA and its applications, including his findings on CA rule space self-organization using modular synthesizers and CA sequencers.
American composer-producer Lyra Pramuk talks about key moments in her childhood and adolescence, which was marked by a rigorous religious and musical education, and about her subsequent journey to deconstruct her assigned identity, taking refuge in her love of science fiction and role-playing games as basic strategies for reinventing herself. We also chat about performativity, resisting the text, non-verbal music, live vs studio work, the recording logic of the music industry, the importance of queer community building, and clubbing in Berlin.
Naeem Mohaiemen talks about pragmatic politics and failed masculinities, about Yasser Arafat, Muammar Gaddafi, and Salvador Allende, about the backstories of "Two Meetings and a Funeral", and about the Non-Aligned Movement and the Organisation of Islamic Cooperation. We also talk about the generative aspect of melancholy, behind-the-scenes politics, and the importance of keeping up the search for the things that we still do not know.
Artist, researcher and activist Helen Pritchard discusses some of her works and collective projects, in the more or less gray area in which computing intersects geography, design and cyberfeminist technoscience. Throughout our conversation we talk about all sorts of double bonds: orcas and sensors, fossils and fracking, alpaca and recipes, sheep and data infrastructures.
Aura Cumes charts a lucid historical path through colonial processes, analysing the mechanisms of control, violence, and dispossession that have perversely shaped the identity of the native-servant, relegated in favour of the progress and well-being of white men, their families, and their capital. Racism and sexism thus progress side by side, in a web of exploitation in which hierarchies often overlap.
Nora Sternfeld problematises the educational turn and talks about the crisis of the museum model, radical pedagogy, emancipatory practices and alliances, para-institutions, unlearning strategies and collective knowledge projected into the future.
Janna Graham talks about critical and radical pedagogy, about the educational turn, and about how pedagogical practices interact with cultural practices and social struggles. She discusses her experiences at different institutions, reflecting on the risk of the museification of activism in the midst of the neoliberal mélange, and talks about "parasitic" processes in the redistribution of cultural resources into social justice projects, and about the challenge of actively integrating the voices and demands of the marginalised groups that the museum works with.
Artist and researcher Olivia Plender talks about productivity and care, about suffragettes and museums, and about adolescence and schools. She looks at groups without charismatic leaders, embodied education, and the possibility of transforming errors in honest discussions.
Ramon Amaro introduces the basics of machine learning, its criteria for assigning value, the collision between blackness and the artificial, its flaws, and the problem of impunity that all too often accompanies them. He also calls for a techno-resistance that would require us to sacrifice our current view of the world and of ourselves.
David Levine discusses the historical precedents of what he calls "infiltrations" in everyday life, such as Adrian Piper's "The Mythic Being", Vito Acconci's "Following Piece", and Lynn Hershman Leeson's "Roberta Breitmore". Almost an hour chatting about reality and fiction, representation, invisibility, loops, and disappearances of all kinds.
Irit Rogoff talks about ways of creating participatory, creative, and cognitive alliances that allow us to critically inhabit contemporaneity. She also calls for the need to devise processes of unlearning, inside and outside the academy, that will pave the way to new and unexpected kinds of knowledge.
María Ruido talks about the political power of images and the subversive potential of cinematic strategies such as off-screen, voice over, and editing, which help us understand and imagine the world in new ways. She also reflects on the always contradictory relations between the critical and experimental power of culture on one hand, and its institutionalisation on the other
Irish artist John Gerrard talks about his initial fascination with 3D scanners and about how they led him to develop his current practice, about his conception of time in art, and a particular way of understanding simulation: somewhere between contemplation and the critical gaze.
Teal Triggs talks about the historical background of zines and their key role in generating communities outside of the mainstream. She discusses in particular the Riot Grrrl movement and the language and visual universe that opened up as a result of the cross between music, DIY, activisim, femininity, and feminism in the self-publishing world.
Artist, curator and researcher Sofía Olascoaga gives an overview of the activist history of Cuernavaca, a small city, around 80km south of Mexico City, which from the 1950s to the 1980s attracted several generations of intellectuals and activists, and reflects on how community and self-managed spaces can drive social change, while also looking at the processes of cultural and institutional colonisation by the West in Latin America.
Peter Zinovieff talks about how he assembled the world's first personal computer, his time at EMS and the team that accompanied him, about the listening room, academia, and the tribulations of paper-tape; about engineering, experimentation and how not to keep a sound archive; about Unit Delta Plus, how to run a synthesiser off a windmill, and how to kindly ask a computer to make us a beautiful composition.
Bernard Stiegler talks about education and smartphones, translations and linguists, about economic war, climate change, and political stupidity. We also chat about pharmacology and organology, about the erosion of biodiversity, the vital importance of error, and the Neganthropocene as a desirable goal to work towards, ready to be constructed.
Luke Fowler talks about music, computers, and instruments, about infrasound, ultrasound, and thresholds of the listenable, about archives and obsessions, about affect as a film editing criteria, and about the enormous complexity involved in representing a person's life. We also talk about the forces that make some artists disappear from the cultural canon altogether in spite of having created fascinating, ground-breaking work.
Dance interpreter, choreographer, thinker, writer, teacher and curator Boris Charmatz reflects on how to address power structures within the artistic field. He also talks about polisemy, collectivity, communities and anti-communities, radical pedagogy, dissent, the Musée de la danse, the complex and inexhaustible relationship between dance and history, working inside gestures, and the beauty of older people skateboarding.
Zenaida Osorio provides a critical reading of the official account of Radio Sutatenza and of the representations of peasants in the archive. Through this case study, Zenaida reflects on the contrast between the national images (in this case Colombian) that are considered legitimate by networks of civil servants, media producers, and academic researchers.
The philosopher, art historian, curator and critic José Luis Barrios Lara reflects on the founding myth of the West, modernity, and the invention of the other. He considers identity politics as a political tool and a means for the management of bodies in space, questions the effectiveness of the epistemologies of the South, and interprets the global migration crisis as a form of neo-slavery. A grim scenario in which, he says, certain intersections of art and politics still have the power to destabilise the semantic field of representation and make room for the subversive.
Raqs Media Collective founder Monica Narula talks about raga, the technological body, public domain, the ineffability of time, the Mahabharata, politics of language, exhaustion, dilation and the legibility.
Élisabeth Lebovici reflects on the AIDS crisis during the eighties, and on the crucial role of conceptual art and activism in shaping the new visual and affective paradigms which gave voice to communities that the capitalist, liquefied society was (and still is) striving to smother. We also talk about poetry, pornography, and all that art that museums balk at hanging on their walls.
Jean-Luc Nancy talks about the body as an echo chamber and as a sensible and sentient presence, about silence as the "infinite extremity of sound", and the role of sound and listening in the context of political practice.
Marina Gržinić talks about amnesia, aphasia, and seizure, about biopower and necropolitics, about borders and volumes, corpus and corpses, about deathscapes, intestines, and holograms, and about the disturbing miniaturisation of affect and empathy, as a process that runs parallel to technological acceleration.
Kristin Ross reflects on the power of subjectivity in addressing history, and on oral memory and first-person accounts. She examines the subversive potential of today's environmental struggles as forms of activism capable of generating a new ecological, social, and political intelligence, and she recaptures the associative and cooperative spirit of the Paris Commune, explores the needs to move beyond official national fictions, and defends solidarity as a political strategy.
Roberto Jacoby opens up his poetry books and talks about writing, inspiration, plundering and dematerialisation; about blacks and whites, sofa-beds, politics and activism.
Desire Marea and Fela Gucci talk about performing masculinity and self-policing, vulnerability, Siyakaka feminism, South African pop culture in the 90s, racialised queer bodies, music as a medium and dealing with contradictions.
Olin Caprison talks about limits, archetypes, connections, scenes, violence, rhythm, and freedom. Or what that catch-all word means beyond the clichés and neoliberal fantasies.
Goodiepal plays a borrowed Casiotone VL-1 VL-Tone and we talk about art's failure to have real impact, the best place to hide stuff, contracts and hacks, double standards in Europe, creativity in sheer survival strategies, Climate refugees, genocides in the making, modern afro-futurism, Radical Computer Music and circuit bending.
Nicolás Zukerfeld and Nicolás Daniluk talk about experimentation and collective work, about minor authors and mass copies, about the power of translating and adapting, and about the architecture of comic strips as a space where speed and time are resolved.
Sara Skolnick (aka DJ Riobamba) talks about organising parties for almost ten years, about multiple identities, the traumas of migration, processes of assimilation, music, catharsis and activism, the queer space that opens up in the underground scene, her social intervention projects, the origins of dembow and reggaeton, Justin Bieber, y… toda esa vaina.
Mônica Hoff talks about epistemological Dadaism and education in public, about institutions that learn, dissent as a strategy to generate movement and thought, scales, micropoltics, and the cracks in which everything happens, and about slowing down, or even stopping.
Jodi Dean talks about communism as a still-latent project, about the Party as a scalable global form, about dystopian municipalism, anamorphic ecologies, and liberal democracies, about Not An Alternative and Liberate Tate as examples of sustainable activism practices at museums, about desires, enthusiasm, and trust and about the emotions captured inside social media.
María Eugenia Rodríguez Palop talks about "new municipalism" , about the need to adapt justice and human rights to citizen empowerment, about the left's failure and about the need to recognise ourselves as vulnerable, interdependent beings, and to adapt our public policies accordingly, from a feminist activist perspective.
Melanie Smith talks about her encounter with Mexico, her relationship with painting, and the risks of so-called political art, which can end up being as dogmatic as the behaviour it supposedly condemns. She also reflects on satire and absurdity as tools of subversion and on the need to break down artistic frameworks and surfaces in order to create new realities.
Nicolás Paris talks about his years as a teacher in La Macarena and his particular teaching method based on association. He also reflects on the importance of drawing in his work as a tool for projecting ideas, on architecture as a working method, on words as artistic material, and on thought as form.
Norwegian artist Maia Urstad talks about nostalgia, radio pips, AM, FM and DAB, about the importance of ska, about arches and obelisks, sounds in the fjord, and time capsules, about program 81, freq_out, and foghorns, and about local radio stations and lost tapes.
Emilio Santiago Muiño talks about salad gardens in museums, social movements and public policies, about oil as a magical substance, ecofascism, acceleration, and degrowth, and about how an imaginary of more modest utopías may, in the long term, become a means of finding our way home.
AMOQA (Athens Museum of Queer Arts) is a hybrid, self-organized platform for the research and promotion of arts and studies on sexuality and gender, operating in Greece since 2016.
Jennifer Lucy Allan talks about metereology and aurality, about volumes, distance and communities, about sounds disconnected from their function, holes in YouTube and holes in official archives, amateur archivists and... foghorns.
In this podcast we talk to Germán Labrador about gastro-politics and nouvelle cuisine, about cannibalism and the class war, about Land Art, stone, and subalternity, about tides, poems, ditches, and fetishes, about imbalance as the basis of all order, and about how barricades and literature, which are part of the same process, manage to conceive of each other.
Yvonne Rainer talks about the passing of time, the transferability of dance, training as legacy and the body's filmic decay. About tenacity, physicality, and influences. And about the turns, leaps, and tumbles of a multifaceted career spanning more than half a century.
Domènec talks about his working and documentation processes – what he calls "bastard research", always straddling art, anthropology, sociology, history, journalism, and activism. He also reflects on the nature of the spaces of art as public spaces, and gives a detailed account of some of his most notable works.
We shared some mates with val flores as we chatted about queer pedagogy, writing, and microactivism. We touched on teaching practice as political practice, on queer dissidence as a means to activate deheterosexualisng know-how, and on the need to inhabit and write our identities in new ways that break down gender, race, and class boundaries.
Nina Power shares her thoughts on the ideological power of language, on systems of state violence, surveillance and control, and on the need to reverse the savage logic of neoliberalism through strategies such as commoning and her own notion of "decapitalism".
Mexican historian and 'violentologist' Daniel Inclán talks about coffee, Zapatismo, à la carte politics, hamburgers, long presents, tacos, biographical narcissism, authoritarianism in democracy, aesthetic whiteness, and the nixtamalisation of maize.
Griselda Pollock talks about her involvement in the Women's Movement in England in the seventies, and about the points of convergence between feminism and art history. Pollock advocates the need to decentralise and diversify knowledge, and to design resistance strategies specific to each socio-political context. And, last but not least, also reflects on memory technologies, trauma, Oedipal and mother-child relationships, narratives of progress, and Bracha Ettinger's matrixial ethics.
Martha Rosler analyses and questions the proliferation of surveillance systems and self-representations in contemporary society, while telling us about artistic circles in the seventies, the seminal video art scene, and the need to keep chasing utopias.
Judy Dunaway talks about tenor balloons, improvisation, greyhound buses, Western music, the AIDS crisis, studying with Alvin Lucier, working day-jobs and learning to play a well-tuned piano.
Hasan Elahi talks about data bodies and digital immigrants, about obsolete laws and cultural velocities, about little brothers, big brothers, and the potential agency of tiny secrets against big data.
Kenneth Goldsmith talks about Modernism and the digital, challenging and unchallenging literature, appropriation literary communism and what he calls his "third act".
Vincent Meessen talks about journeys, uprisings, and metaphors, about work cooperatives, music groups and constructed scenarios, about the politics of making versus the politics of showing, and about how to revivify lost or dying colonial memories in the present.
André Lepecki talks about the chronopolitics of disappearance, dance, Louis XIV, the acquisition of choreography, testimonial power, object-oriented ontologies, choreopolicing, the writing of movement, and selfies.
María Salgado talks about low-tech poetry, syncretism, spoken text, writing and orality, busy channels, the powers of the prefix 'an', drugs, and the productive tension between expressions used on the streets and those stored in books.
Italian historian Enzo Traverso talks about post-fascism and the emptying of the political, about the transformation of antisemitism, the politics of memory, the eclipse of utopias, and about some other collateral effects of early 21st century neoliberalism.
Matthew Fuller talks about sleep, procedural imperialism, big data, post-humanity, and what he calls "denial of service attacks on people's brains".
Laura Mulvey contextualises, updates, and elucidates on the far-reaching impact of her key text "Visual Pleasure and Narrative Cinema", where she coined the notion of the "male gaze" in classic Hollywood cinema and addressed the power asymmetry in representation and assigned gender roles, thus emphasising the patriarchal ideological agenda of the American film industry. At the same time, she opens up the debate with the notions of the "queer gaze" and the "universal whiteness" of Hollywood. Mulvey also defends orality as a form of "history from below", citing the example of "compilation films" (films that use archival footage re-written with new narrative) as a space for a new feminist film practice.
Marysia Lewandowska talks about the Women's Audio Archive, about the crucial need to generate counter-narratives in totalitarian regimes, about networking before networks, about the boundaries between the private and the public, the negotiations generated by the shift from one sphere to another, the responsibilities of the archive, and the potential to generate conversation through art.
The Italian artist Mitra Azar talks about points of view and the disembodiment of the gaze, drones, borders, nomadism, never-ending archives, processes, the "artropocene", and conflict zones as a breeding ground for creative practices.
Yayo Herrero talks about different forms of ecofeminsim, about the political management of desires, expectations, and needs, about the importance of reproductive work and the need to find new patterns of social and institutional co-responsibility, and about the management of the commons.
American filmmaker and activist Lizzie Borden talks about her first three films -"Re-grouping" (1976), "Born in Flames" (1983) i "Working Girls" (1986)-, about inductive and deductive filmmaking, about filming without a script, about the importance of editing, about style, about the use of documentary strategies in fiction films, about alternative distribution as a form of activism, about the lack of women in the film world and about her notion of television as the future of audiovisual media.
The writer and economist Miren Etxezarreta dismantles the false myth of the pensions crisis and explores new financing strategies. She also analyses the cooptation dynamics of neoliberalism, the recent rise of the right, and the crisis of the left, and discusses new citizen action strategies.
Zach Blas talks about utopian plagiarism, biometrics, life patterns, and unthinkable moments; about identity, opacity, and paranodes; about speculation understood in terms of usefulness, and about how we can go about conceiving sensual alternatives to the internet's total mono-narrative today.
John Mason talks about the power of rituals and food as the impetus for resistance, identity, and memory, about the cultural transfers that take place in migratory movements, and about the history of the Yoruba people. In this podcast, Mason also defends the untold story of the role of women as inventors, and highlights the political, social and economic impact of certain spaces occupied by women, such as agriculture and education, as well pediatrics, geriatrics and affects.
Raquel Gutiérrez talks about semantic revision and political experimentation, about the failure of "just add women and stir" policies, about popular feminisms and the women's struggle, about what happens when Sumak Qamaña (living well) stops being a path and becomes a model, and about how to introduce the agenda of the autonomy of the body into her notion of 'politics in feminine'.
Alberto Berzosa talks about the role of cinema before the transition in Spain in reference to two case studies: gay cinema and militant cinema.
Merve Elveren talks about the artistic and archival research at SALT (Turkey) and about research practices in politically turbulent situations, about the archiving paralysis of the eighties, the floundering promises of neoliberalism and the possibilities of reactivating past stories of responsibility and resistance in the present.
Robert Janz talks about his urban interventions, about art, Buddhism, politics, poetry and the passage of time.
Bob Nickas talks about means and ends, about information as space, about reading history through record covers and about the need to make up the meaning of everything around us as we go along.
Kendell Geers talks about structures of power, terrorism, linguistic violence, Africanness and socio-political tensions before and after apartheid.
Jota Izquierdo talks about Capitalismo Amarillo, about the informal economy, underground entrepreneurship, exoticization, and pirate ingenuity and reproducibility, all to the rhythm of cumbia.
Andrea Fraser talks about the challenges and limitations of cultural activism, about the sub-fields of art, the relationship between artists and the market, and the museum in the neoliberal era.
Christoph Draeger talks about disasters and disastertainment, surveillance, copies and originals, critical distance, reenactments, layers of meanings, and provocation.
Cuauhtémoc Medina talks about post-colonialism and fetishisation tactics, about the status of museums in global networks, about the role of the market as disseminator, and about how to fight – and try to finally win – the battle for cultural complexity.
To coincide with Alvin Lucier's 85th birthday, we feature a conversation with Lucier (that took place in Boston in 2014) in which he talks about the need to listen carefully, the composers that have accompanied and influenced him over the years, and the role of space and technology in his work, among many other things.
Lúa Coderch talks about photographs of journeys into space, the imitation of the sounds of the landscape, the hidden work in her images, and about improvising shelters as a way of connecting to others.
Natalie Jeremijenko talks about learning by living together, about the vitality and shortcomings of the environmental struggles of the past, and about how to imagine our relationships with natural systems from this point on.
Toni Serra/Abu Ali talks about trance, light, shadows, transitions, conditions of life and possibility, about seeing and concealing, about dreaming and unlearning. And about plants, of course.
Antoni Hervás talks about "expanded fanzines", hold-ups, about his grandmother, mermaid theme parks, Hercules, photocopies, and about approaching play as a system of resistance.
Enric Farrés talks about collecting obsessively, the value of the ephemeral, the use of lies as a creative strategy and the complicit relationship with those around him, as well as other aspects of his work.
Angela Dimitrakaki talks about the new feminist critique, the limits of democracy, the wiles of post-capitalism, and the ambivalence of the commons. We also touch on the notions of radical curating and collaborative practices.
Art gallerist, critic and curator Gigiotto Del Vecchio talks about some of the key aspects of The Living Theater: an attempt to break the fourth wall and promote ideas of anarcho-pacifism and liberalism around the world.
Art sociologist Pascal Gielen talks about post-Fordism, neo-liberalism, autonomy, and mobility, about the paradoxes of community art, and about the importance of artistic dissent in a possible economy of the commons, which is latent and still to come.
Jordi Ferreiro talks about educational situations outside the norm, affects and meaningful learning, and experimental systems of evaluation.
Bifo talks about mass killings in relation to cinema, mental health, neuroplasticity, friendship, irony and, ultimately, hope.
Michel Feher talks about the neoliberal project and its repercussions on education and culture. Feher also explores the importance of language, both in its liberal roots and in the changes that it has undergone in recent years as a result of the economization of politics.
Luz Broto talks about invisible forces, the space of art, negotiation, the visualization of processes, the poetics of politics, the art of the void, and her exquisite capacity to stick her nose where it doesn't belong.
Ignacio Uriarte talks about his daily routine as an artist, the demise of the physical office, the persistence of his imaginary, and about procrastination and over-compliance with rules as two different forms of resistance to imposed efficiency and productivity.
John Chowning shares the experience of being a pioneer in a discipline at a time when using computers to generate music was a leap into the void between creative eccentricity and scientific adventure.
Serafín Álvarez talks about video games, the origins of his fixation on corridors as a fetish, and the use of digital media in contemporary art.
Nanna Thylstrup talks about the digitalisation of the archive and its implications. She deeply analyses two consequences that both emerge in individual and collective spheres: first, the data shadow that big data contexts generates to each user; second, the politics behind the processes of mass digitalisation.
Roc Jiménez de Cisneros talks about EVOL's very free deconstruction and reinterpretation of György Ligeti's 'Continuum' and Hanne Darboven's 'Opus 17A', and how these works relate to the duo's current artistic practice. Unusual notions of time in relation to music, algorithmic reverse engineering, complexity through simplicity, anti-climax, ancient trance music, weird mental states and Dick Higgins' Superboredom concept pop up in the conversation.
Megan Prelinger talks about ephemeral literature, the inner workings of the Prelinger Library and the possibility of looking at the world through the lens of everyday evidence.
Eyal Weizman talks about the basic principles of forensic architecture, its practical applications, and its links to the world of art and creation.
Fatima El-Tayeb talks about the need to reassess Europe's internalist narrative and the discourse of integration. She evaluates the role of race in the construction of this account and argues for the creation and recovery of archives as a strategy for developing other types of narratives.
Clémentine Deliss, director of the Weltkulturen Museum in Frankfurt, talks about about the possibility of a post-ethnographic and post-colonial museum, and about the strategies that she has tested in recent years to counteract the ideology of conservation. These include the "remediation" of objects in the collection, fieldwork in the museum, and opening up spaces for work, production and research that go beyond storage and exhibition.
Kristine Khouri talks about the traces of modernity in the Arab World, and about the changes that have been produced in, and in relation to, the postcolonial Arab narrative as a result of 9/11 and its global consequences. She also discusses the methodology that she uses to rewrite regional histories based on the analysis of documents and the production of knowledge.
Rasha Salti talks about the methodology of unearthing images that she uses in her research, and about some of its repercussions. Her postcolonial analysis of artistic production in modernism favours new narratives about the former East and West.
Sigalit Landau talks about her work and about the methodology she uses to develop her personal vision of the world. She also discusses the inherent contradictions and connections between biography, territory and politics in her work, and analyses the role of art as the language that can account for this convergence.
Interview with Georges Didi-Huberman about the problems regarding the way in which we see and interpret images, a problematic issue that stems from the definition of what an image is, and from the hierarchy that has historically been imposed on the dialectic between words and images.
Paul Beatriz Preciado, co-curator of the show along with Teresa Grandas, talks about the exhibition "The Passion According to Carol Rama". Preciado takes us on a discursive tour through Rama's career, describing the processes of invisibilisation of her work that succeeded each other to the point where she became "completely extemporaneous".
Interview with Alicia Kopf about her research processes, her latest projects and her use of metaphors such as the inability to enter her house, conquering a summit, and the exploration of polar regions.
Antonio Gagliano talks about his projects, his relationship to drawing and to mind maps, and about how to generate tools, protocols and blueprints that can help us to navigate the archives and repositories of our time.
The Argentine semiotician Walter Mignolo talks about the relation between the construction of history and the perspective of power, as imposed by the West.
Xavier Rossell, restorer at MACBA, talks about the challenges and the peculiarities of contemporary art conservation, and discusses some specific examples of works from the MACBA Collection.
Marek Tuszynski talks about how the power of information can help marginalised social actors to expose and possibly counter dominant narratives.
Quinsy Gario talks about the role of the activism in the Netherlands today, and about the relation between its performative nature and the boundaries of the museum.
Javier Codesal talks about the video art boom in the eighties in Spain, the boundaries between documentary and fiction, and the places and narratives of contemporary art.
The writer Sergio Chejfec talks about the nature of literature and the way it is being transformed by the digital environment.
Eugeni Bonet and Valentín Roma talk about the exhibition 'The Listening Eye. Eugeni Bonet: Screens, Projects and Writings'.
The writer, cultural critic and teacher Jorge Carrión analyses the new registers and contexts of North American TV series.
Montse Badia and Valentín Roma talk about the exhibition 'Invocable Reality' and the links between the exhibition space and the reality exhibited in the show.
Bartomeu Marí, Paul Beatriz Preciado and Valentín Roma talk about the conceptual structure that will drive the MACBA's programming from 2014 to 2016.
The cultural critic and music journalist Diedrich Diederichsen talks about the role of criticism in contemporary art, the social dimension of today's music, and the links and differences between the art and music worlds.
An interview with DSL Collection co-founder Sylvain Levy about collectors and museums in times of crisis, the motivations behind the collection, and the ecosystem of Chinese contemporary art.
Maite Muñoz, Head of MACBA Archive, talks about how the material in the Archive is organised, strategies for dissemination, and how it all contributes to redefining the boundaries between art and document.
Interview with the political philosopher Michael Hardt about what role revolutions have today as spaces for new social creation.
Chris Dercon, current director of the Tate Modern in London, talks about museums in times of crisis, the role of art in contemporary society, and new forms of collecting, exhibiting and engaging with the market.
Matías Rossi, founding member of Bradien, and Eduard Escoffet, choose 10 anchorage points that enhance our understanding of the background, processes and intentions of their synthesis of poetry and music.
Interview with Mariana David and María Virginia Jaua about the artistic collective SEMEFO, which burst onto the Mexican scene in the early nineties with a proposal that explored the notion and implications of death by manipulating the corpse and its transformations.
The Belgian artist Els Opsomer talks about what travel and territories mean in her way of conceiving art, about how she builds up her archive and how it, in turn, generates her work.
Interview with Roser Argemí, the head of the Magnet Schools project at the Jaume Bofill Foundation, about the particularities of the Catalan model, the profile of the selected centres and the different types of alliances that are being formed.
Iman Issa, the winner of the first Han Nefkens-MACBA Contemporary Art Award, talks about memory and language through her artistic objects.
Soledad Gutiérrez talks about the process of setting up the exhibition 'Written on the Wind' and about the Lawrence Weiner's relationship to drawing, language, artistic reception and political commitment.
Ricardo Duque, one of the ten founding members of the printing workshop and cultural association L'Automàtica, talks about why they decided to get involved in a self-management project, the benefits of slowing down production processes, and the return to artisan approaches.
Interview with Eulàlia Grau about art and protest, about art audiences, and about the creation processes behind some of the works that can be seen in the exhibition 'I Have Never Painted Golden Angels'.
The anthropologist Alberto López Bragados analyses the complex socio-political context of the life and work of Ahlam Shibli. This show also includes brief comments by the artist on the exhibition "Phantom Home".
Interview with Gerald Raunig about Molecular Revolution, philosophical activism, and the differences and similarities between recent social movements and those of the late nineteen sixties.
Interview with Max Jorge Hinderer about the 'Cosmococa' series of performance-projections that Brazilian artist Hélio Oiticica imagined in the seventies in conjunction with Neville Almeida.
Carles Guerra talks about the exhibition 'Critical Episodes (1957-2011). MACBA Collection'.
Mexican artist Erick Beltrán shares some prominent examples from his personal research into archives and libraries.
The minimalist composer Tom Johnson talks about his compositional methods, and the influence that John Cage and Morton Feldman had upon it.
Wolfgang Ernst reflects on the possibility of going beyond the concept of the archive by exploring some of the practices around what is now being called the 'anarchive'.
Nasrin Tabatabai, Babak Afrassiabi and Soledad Gutiérrez talk about the exhibition, "Seep", and the process of the construction of modernity in Iran.
James Pritchett talks about the work of John Cage, David Tudor and Morton Feldman, and the direct link between his way of studying, playing and writing about their music.
Miguel Noguera talks about the start of his career as an illustrator and a stand up comedian, his working methods and his vision of contemporary art.
Jorge Luis Marzo talks about the relationships between art, culture and power, and about the different forms that these have in Spain and in Catalonia over the years.
Bartomeu Marí, Daniel Giralt-Miracle and Teresa Grandas talk about the research processes and the execution of the "Utopia is possible. ICSID. EIVISSA, 1971" exhibition.
Interview with Antonio Ramírez, director of La Central, about the origins of the project, the relationship of the bookshop with the Museum and the complex situation that bookshops face in times of economic crisis and digital revolution.
Interview with Rick Prelinger about home movies, alternative anthropology, lost landscapes and what he calls "archival anxiety syndrome".
The artist and educator Jordi Ferreiro talks about other ways of interacting with the Museum and about his conversation with Rita McBride's exhibition.
Bartomeu Marí and Nuria Enguita Mayo talk about the exhibition 'Luis Claramunt. The Vertical Journey'.
Bartomeu Marí, Carles Guerra, Harold Berg and Renzo Rossellini introduce the current presentation of the MACBA Collection.
Bartomeu Marí, Luis Fernández-Galiano, Anne Pöhlmann and Rita McBride talk about the exhibition "Oferta pública / Public Tender".
Interview with Silvia Federici about new models of communalism and of revalorisation of reproductive work that allow us to confront/address the debacle of the capitalist system.
Arthur Sauer, co-founder of The Game of Life, the world's only mobile Wave Field Synthesis system, talks about immersive sound, spatial electronic music, and other applications of Wave Field Synthesis.
Florent Bex talks about Gordon Matta-Clark's working process, the context in which they met and how the footage, photographs and drawings that he originally made as documentation have ended up becoming his body of work.
Isabel Bachs, Head of Architecture at MACBA, talks about the beginnings of the architectural project for the Museum, its impact in urban and citizen terms, its stylistic features, and some of the most noteworthy exhibitions.
Interview with Han Nefkens about art, writing, art collecting and patronage, on the occasion of the presentation of the Han Nefkens Foundation MACBA Award.
Carles Guerra and Daria Esteva talk about the films by Aleksandr Sokurov and Jacinto Esteva.
Interview with Michel Feher on the failure of neo-liberal policy and about possible alternatives through citizen activism in the face of the tyranny of the markets.
Interview with the dancer and choreographer Xavier Le Roy about his choreographies and working processes.
Interview with writer, teacher and theorist Mark Fisher about crisis, insurrection and Really Existing Capitalism.
Bartomeu Marí, Jorge Ribalta and Cristina Zelich talk about the exhibition "Centre Internacional de Fotografia Barcelona (1978-1983)".
Interview with sound artist Nuno Rebelo on his trajectory and his productions of kinetic installations and musical sculptures.
Bartomeu Marí, Carles Guerra and Yaiza Hernández introduce the 2012 programme.
Taking his works in the MACBA Collection and his piece for the project 'Constitucíon 1812' as a starting point, Isidoro Valcárcel Medina about the market, technocracy and responsibility.
Interview with Estrella de Diego about the dynamics among some of the key agents and institutions in the contemporary art system: artists, curators, critics, museums, galleries and universities.
Interview with Anri Sala about the cinematic project '1395 Days without Red', his work in general, the use of absence, and the relationship between ruptures and the continuum of history.
Interview with the writer, philosopher and political and cultural activist Franco Berardi on citizen resistance in the face of the crisis that currently hangs over Europe and possible strategies for insurrection.
Bartomeu Marí and Ninfa Bisbe speak about the exhibition "Volume! Works from the collections of "la Caixa" Foundation and MACBA".
Interview with the american composer Ari Benjamin Meyers about "1395 Days without Red" and some aspects of his work in general.
Interview with Šejla Kamerić about the cinematic project '1395 Days without Red', the use of memory and self-representation as critical tools, and the relationship between art and politics.
Bartomeu Marí and Muntadas speak about the installation and video project 'MACBA Collection. Muntadas. Between the Frames: The Forum (Barcelona), 1983-1993 (2011)'.
Interview with Ann Demeester on her professional career, her personal experience at De Appel Arts Centre and the impact of the economic recession on cultural institutions.
Interview with Natascha Sadr Haghighian about the '# 04 Natascha Sadr Haghighian. De paso' exhibition.
Interview with Ulf Langheinrich on aesthetics and perception of flow, both in his audiovisual work and during his experience in Ghana, where he has lived for some years.
Bartomeu Marí, Teresa Grandas and Àngels Ribé speak about the exhibition "In the labyrinth. Àngels Ribé, 1969-84".
Interview with Theo Burt on perceptual processes, visual music and intermedia art.
Interview with Judith Butler about politics, economy, control societies, gender and identity.
Interview with Rick Prelinger, an archivist, writer, filmmaker, outsider librarian and founder of the Prelinger Archives.
Interview with Ivan Novak on the history of Laibach and their views on some of the recurring themes in the group's work.
Interview with Ana Janevski on experimental cinema in Yugoslavia in the 60s and 70s.
Bartomeu Marí and Zdenka Badovinac speak about the exhibition "Museum of Parallel Narratives. In the framework of L'Internationale".
Interview with Suely Rolnik about the ethical, aesthetic, political and clinical dimension of the artistic experience.
Sound artists and curators Mark Fell and Joe Gilmore talk about minimalism, complexity, abstraction and the processes and concepts behind their audiovisual works.
Michael Baldwin and Mel Ramsden talk about the recent long-term loan of an extraordinary collection of 800 pieces by Art & Language at the MACBA, courtesy of the French collector Philippe Méaille.
Manuel Huerga talks about his experimental origins and the role that film, art and television have played in the course of his career.
Bartomeu Marí, Chus Martínez, Pep Duran and Jordi Puntí speak about the installation at the Capella MACBA "#03 Pep Duran. A Chain of Events".
Ariella Azoulay talks about her work and the recent revolution in Egypt.
Bartomeu Marí, Chus Martínez and Kodwo Eshun speak about the exhibition "The Otolith Group. Thoughtform".
Interview with Allan Sekula about the relationship between art and photography, about artistic activism, the role of the artist in the public sphere and "Waiting for Tear Gas".
Interview with Carolina López Caballero, the curator of the series "Little Histories of Cinema. TV Giants".
Interview with Seth Siegelaub about the sociocultural framework of the sixties and his association with contemporary art production.
Interview with Kenneth Goldsmith, founder and main editor of Ubuweb, the Internet's largest archive of artistic avant-garde material.
Interview with Pierre Bastien, conductor of mechanical orchestras consisting of self-playing sound sculptures.
Chus Martínez speaks about the exhibition "Are you Ready for TV?".
Interview about "the power of display" with Mary Anne Staniszewski.
Interview explaining how the Mediterranean can revive the idea of Europe with Costas Douzinas, professor of Law and Director of the Birkbeck Institute for the Humanities (University of London).
Interview with Vicki Bennett, plunderphonic genius behind People Like Us.
Interview with Enric Bou, professor from the Hispanic Studies Department of Brown University, about visual poetry.
Latifa Echakhch speaks about the exhibition "#02 Latifa Echakhch. La ronda".
Lars Bang Larsen, editor and co-author of the book "Palle Nielsen. The Model - A Model for a Qualitative Society" talks about Palle Nielsen and his work.
Brigitte Kölle, author of the book okey dokey Konrad Fischer, talks about the life and personality of Konrad Fischer.
Bartomeu Marí, Teresa Grandas and Benet Rossell speak about the exhibition "Paral·lel Benet Rossell".
Bartomeu Marí speaks about the exhibition "Gil J Wolman. I am immortal and alive".
Friedrich Meschede and Dorothee Fischer speak about the exhibition "With a Probability of Being Seen. Dorothee and Konrad Fischer. Archives of an attitude".
Interview with Natascha Sadr Haghighian about artistic research, the relationship between art and politics and artistic practices as a driving force for emancipation.
Interview with Jan Verwoert about artistic research, art criticism and the relationship between art and work.
Interview with Tonina Cerdà, the head of Educational Programs at the MACBA.
Armando Andrade Tudela and Chus Martínez speak about the exhibition "#01 Armando Andrade Tudela. ahir, demà".
John Oswald, one of the leading exponents of sound appropriationism, talks about his work.
Fareed Armaly, curator of the "Tawfik Saleh" cinema series, talks about the Egyptian director.
John Baldessari, Leslie Jones and Bartomeu Marí speak about the exhibition "John Baldessari. Pure Beauty".
Rodney Graham and Friedrich Meschede talk about the exhibition "Rodney Graham. Through the Forest".
Interview with Stuart Bailey, co-editor of the magazine "Dot Dot Dot" and one of the two people behind the print shop and bookshop Dexter Sinister.
Interview with Will Holder, co-editor of "F.R. David", the journal of de Appel arts centre in Amsterdam.
Bartomeu Marí talks about the MACBA activities for the 2009-2010 season.
Bartomeu Marí and Chus Martínez talk about the exhibition "The Malady of Writing. A project on text and speculative imagination".
Bartomeu Marí, Chus Martínez and Alex Sainsbury talk about the exhibition "Ray Johnson. Please Add to & Return".
Interview with Margaret Leng Tan, collaborator and performer of John Cage's music.
Bartomeu Marí and Julia Robinson talk about the exhibition "The Anarchy of Silence. John Cage and Experimental Art"
Interview with the experimental guitarist Jochen Arbeit.
Bartomeu Marí and Sabine Breitwieser talk about the exhibition "Modernologies. Contemporary artists researching modernity and modernism".
Bartomeu Marí talks about the MACBA exhibitions for the 2009-2010 season.
Interview with David Grubbs, an essential guitarist and composer in the field of contemporary avant-garde rock.
Interview with Guy Schraenen, curator of "On the Margins of Art. Creation and Political Engagement".
Interview with Michel François, artist and director of the project "La Ricarda".
Interview with MACBA chief curator Chus Martínez on the project "The Uncertainty Principle."
Interview with Bartomeu Marí, director of the MACBA, on "Time as Matter".
Interview to the artists Andreas Siekmann and Alice Creischer.
Interviews with Carmen Pardo, musicologist, editor, and translator of John Cage.
Interview with Filiep Tacq, designer of the catalogue Public Photographic Spaces. Propaganda Exhibitions from Pressa to The Family of Man, 1928-55.
Interview to Palle Nielsen, author of the project "The Model" (1968).
Interview with Oriol Rossell, co-curator of "The Tropicalia Effect" concerts program.
Bartomeu Marí, Guy Brett and Cildo Meireles talk about the "Cildo MEireles" exhibition an his work.
Bartomeu Marí, Chus Martínez and Thomas Bayrle speak about "I've a feeling we're not in Kansas anymore".
Bartomeu Marí talks about the exhibition "Rabascall, Production 1964-1982".
Interview with Beatriz Preciado, a lecturer in the PEI program who also leads the workshop "Art After Feminisms".
Interview with Mela Dávila, head of the MACBA Study Center.
Interview to Carmelo Vega, director of the course "The Image of Spain. Photography and Tourism, 1951-77".
Interview to Jorge Ribalta, curator of the project "Universal Archive. The condition of the Document and the Modern Photographic Utopia".
Jorge Ribalta and Bartomeu Marí speak about the exhibition "Universal Archive. The Condition of the Document and the Modern Photographic Utopia".
Interview with Alex Waterman, musician, composer, writer and curator of the exhibition Agapé.
Presentation of MACBA's exhibitions new season 2008-09.
Barbara Held and Pilar Subirà talk about the exhibition "Possibility of Action: the Life of the Score."
Manuel J. Borja-Villel and Bartomeu Marí talk about the exhibition "Nancy Spero. Dissidances."
Interview with Francesc Torres, on his exhibition Da capo at MACBA.
Interview to Bartomeu Marí, MACBA's new director.
Interview with the filmmaker Amos Gitai.
Interview with Carolina López Caballero and Mercedes Conde about the cinema series "Three Afternoons at the Opera."
Interview with Beatriz Preciado about the course "Art after feminism".
Jordana Mendelson talks about the condition of the document and the modern photographic utopia.
Lothar Baumgarten and Bartomeu Marí speak about the exhibition "Lothar Baumgarten autofocus retina".
Interview with Nomeda and Gediminas Urbonas about their exhibition "Devices for action" (MACBA 2008).
Bartomeu Marí and Alice Creischer talk about the exhibition "...for the Osmotic Compensation Of The Pressure Of Wealth."
Asier Mendizabal, Peio Aguirre and Bartomeu Marí speak about the exhibition "Asier Mendizabal".
Interview with Marta Berrocal, about the "Expressart. Portable Museum" education programme.
Interview with Marcelo Expósito about the figure of Rosalyn Deutsche.
Interview with Carolina Caballero about animated cinema during the Cold War.
Interview with Manuel J. Borja Villel and Charles Esche about the local reality and the periferia concept.
Interview with the Barceloona based collective ALKU, introducing "Less-Lethal. Vol I", a project about sonic weapons.
Manuel J. Borja-Villel speaks about the exhibition "Be-Bomb: The Transatlantic War of Images and all that Jazz. 1946-1956", co-curated with Serge Guilbaut.
Manuel J. Borja-Villel, Bartomeu Marí and Joan Jonas speak about the exhibition "Joan Jonas. Timelines".
Interview with Manuel J. Borja-Villel about the Programme of Independent Studies (Programa d'Estudis Independents, PEI).
Interview with Charles Esche, director of the Van Abbemuseum (Eindhoven, The Netherlands).
Interview with the saxofonist Llibert Fotuny, introducing the concerts series "¿Sonido Barcelona?".
Manuel J. Borja-Villel speaks about the exhibition "A Theatre without Theatre."
Interview with Patricia Soley–Beltrán about Judith Butler's work.
Interview with Antonio Sánchez about the course "Art, theatre and its double".
Interview with Ana Longoni on the seminar "Thinking about global conceptualism".
Manuel J. Borja-Villel, María García Yelo (MNCARS) and Carlos Pazos talk about the exhibition "Carlos Pazos. Tell me nothing".
Interview with Beatriz Preciado on the seminar "La nouvelle vague porno"
Interview with George Stolz about the work of Hollis Frampton.
Interview with Manolo Laguillo and Jorge Ribalta about the exhibition "Barcelona, 1978-1997... MANOLO LAGUILLO".
Interview with Marta Segarra about Hélène Cixous and the seminar "Hélène Cixous: Secret cities."
Interview with Eugeni Bonet on Norman McLaren and his work.
Interview with Jorge Ribalta on the local question, photography and the MACBA's programme of activities for the beginning of 2007.
José Rodríguez-Spiteri speaks about Pablo Palazuelo and his work.
Manuel J. Borja-Villel, Teresa Grandas, Juan Ignacio Vidarte and José Rodríguez-Spiteri speak about the exhibition "Pablo Palazuelo: Working Process."
Interview with Giovanni Arrighi, speaker at the seminar "Capitalism, Work Forces, Politics, Anti-systemic Movements."
Interview with Martin Jay, speaker at the seminar "Another Visuality: The Discourse of Display / The Display of Discourse."
Manuel J. Borja-Villel, Bartomeu Marí and Iris Peruga talk about the exhibition "Gego: Defying Structures".
Interview with Juan Bufill, curator of the film programme "Cinemavision: Masterpieces of Experimental Film, 1956–2000."
Interview with Serge Guilbaut, director of the course "Hot Paint for Cold War: 1946–1956."
Interview with Jorge Luis Marzo, leader of the "Hem pres la ràdio" ("We've Taken the Radio") project of the Centre d'Art Santa Mònica.
Monographic on the figure and sound work of George Brecht.
Interview with Jorge Ribalta on intellectual property rights, heritage and the public sphere.
Interview with Lee Ranaldo of the group Sonic Youth on the relationship between music, art and record covers.
Interview with Manuel Asensi, co-director of the Independent Studies Programme (PEI 2006).
Special concert series "Spinning Sounds": Interview with Martin Tétreault.
Interview with Julia Robinson, curator of the "George Brecht: Events" exhibition.
Interview with Victor Nubla about the "Spinning Music" concert programme.
Interview with Sònia López, coordinator of www.macba.es, about the "Quaderns portàtils" ("Portable Notebooks") line of Internet publications.
Interview with Roland Groenenboom about the Galeria Cadaqués exhibition.
Special concert series "The World as an Instrument": Interview with Yannick Dauby.
Interview with Bartomeu Marí about the "Peter Friedl: Work 1964–2006" exhibition.
Interview with Francisco López, musician and director of the "The World as an Instrument" course.
Beatriz Preciado speaks about gender theories.
Interview with Donna Haraway as part of the "When Species Meet: Feminism after Cyborgs" seminar.
Excerpts from Ana Longoni's intervention in the "Decentred: Other Accounts of Conceptualism (Argentina and Latin America)" course.
Interview with Víctor Nubla, curator of the part devoted to Spain in the "Vinyl: Records and Covers by Artists" exhibition.
Interview with Guy Schraenen, collector and curator of the "Vinyl: Records and Covers by Artists" exhibition.
Joaquim Jordà talks about cinema in the context of the "Joaquim Jordà: Situational Cinema" discussions.
Interview with Janet Cardiff and George Bures Miller.
"Portrait of Us on the Run": extract from sound pieces of "Audiodatabank" by Vito Acconci.
Interview with Jorge Ribalta about the "Institutional Critique and Mental Health" series. Includes a brief interview with Zush and an audio excerpt from "Mones com la Becky" ("Monkeys Like Becky") by Joaquim Jordà.
Interview with Yannick Dauby and conversation between Yannick Dauby and Francisco López.
Interview with Carles Guerra about the "Joaquim Jordà. Situational Cinema" series.
Interview with Franco Berardi "Bifo" and extract from the sound work by Marcel Broodthaers "Interview with a Cat", 1970.


text:
The Clintons are going to be grandparents -- Chelsea Clinton is expecting her first child later this year.
Chelsea Clinton, who married Marc Mezvinsky in 2010, made the announcement Thursday during an event in New York with her mother.
"Marc and I are very excited that we have our first child arriving later this year," she said. "I just hope that I will be as good a mom to my child, and hopefully children, as my mom was to me."
U.S. & World
Chelsea Clinton, 34, delivered the news as she and her mother hosted "Girls: A No Ceilings Conversation," which is part of their project that works to advance progress for women and girls around the world.
The former New York senator and secretary of state, who is considering another presidential run in 2016, said she is thrilled.
"It makes this work even more important because we've made a lot of progress," said the former first lady.
"Obviously we are very excited about what's happening in our family," she said. "But we're also very excited because of what we are doing that we hope gives confidence and support to so many of you across our country as you make decisions about the lives you want to lead."
Later Thursday, the Twitter account for Bill Clinton posted a tweet that said "Excited to add a new line to my Twitter bio ... grandfather to be! @hillaryclinton and I are so happy for Chelsea and Marc!"


text:
SavoryPaste is a grungy sans serif from insigne. SavoryPaste includes 64 discretionary ligatures of the most common letter pairs for a more natural look without distracting repeating characters. The typeface family also includes OpenType small caps, old style figures and alternates without filled counters.
The SavoryPaste family also includes a completely interchangeable and more restrained alternate.


text:
Home Mortgage Deduction
Use this calculator to assess the potential benefits of a home mortgage deduction.
You are viewing this website at a small screen resolution which doesn't support calculators. Click here to view this calculator.
Share |
Related Content
The Facts About Income Tax
Millions faithfully file their 1040 forms each April. But some things about federal income taxes may surprise you.
Red Flags for Tax Auditors
Here are six flags that may make your tax return prime for an IRS audit.
Tax Management Strategies
Learn more about taxes, tax-favored investing, and tax strategies.


text:
I have been working for ages and ages to complete a botanical mini book with pockets for loads and loads of tags (I think there are almost 40 two sided tags in all). Well I am on the last few now, here are 3 of my last favourites. I used a cool new technique (probably won't even show). I covered the tags in Gesso, then used 3 different colours of acrylic paints and then Colorbox chalk inks with a make-up sponge. On the photos it does not look all that different from just using Distress Inks, but in real life the chalk inks over the gesso give a really cool translucent effect.
Mt 11, 11-15
1 hour ago


text:
- Home
- Exhibitions
- Collections
- Events
- Visit
- Dine
- Join + Give
- Learn
- #BrooksMuseum
The Brooks' collection of African Art includes wood carving, metal, textiles, bead-work, paintings, and books. These holdings largely reflect the generous gift of Henry Easterwood, a local collector. The collection features objects from many sub-Saharan cultures, with especially strong holdings in masks and sculptures from west and central Africa. Among the highlights are a beaded Bamileke Kuosi society elephant mask from Cameroon and an Ethiopian diptych of the Crucifixion and the Virgin Enthroned—both of which shed light on the diverse and rich cultures living on the African continent today.


text:
[Arte di mano] Regular Belt
Color chart
(Vegatable tanned, Italy - Walpier)
Finish - Matt type, Oil, Hard type / Hardness - ★★★★☆
All of our works is based on Order to made system.
Working period is about 4 - 5 weeks for Lifestyle goods
Fedex shipping : about 1 - 3 business days
Of course if we can, we will do our best for reducing period.
And you can see our most recently news about work and new products on our Instagram & facebook page.


text:
Diarrhea, gas, bloating and heartburn are just a few of the many ailments associated with digestive disorders. And while they�re unpleasant to experience and talk about, approximately 60 million to 70 million Americans suffer from digestive problems, according to the U.S. Department of Health and Human Services.
Even more disturbing, is that digestive issues often cause problems throughout the entire body and manifest as a variety of symptoms, including allergies, rashes and mood disorders.
It seems difficult to believe, but the gut is often the root cause of many illnesses. So what makes our gastrointestinal system go haywire? The majority of problems are believed to be linked to damage in the gut lining and an imbalance of natural good bacteria found in our intestines.
Our gastrointestinal tract is composed of a single layer of epithelial cells, a thin layer of mucus and six pounds of healthy bacteria that form a nice tight lining. When the gut becomes inflamed, its cells shrivel almost like a sunburn. This creates a space for larger food particles to leak through into the bloodstream, leading to food sensitivities and allergies. This is referred to as a "leaky gut."
As the bowel becomes more inflamed, it releases mucus to coat the epithelial cells. If the inflammation progresses, the person can end up with both mucus and blood in their stool.
This is often the pathway that occurs in Inflammatory Bowel Disease (IBD), which includes Ulcerative Colitis and Crohn�s disease. IBD is part of a family of auto-immune disorders, including rheumatoid arthritis and psoriasis, where the body�s immune response becomes over-active and "attacks" healthy tissue.
Ulcerative Colitis causes severe inflammation of the colon that leads to the development of ulcers in its lining. A person with Ulcerative Colitis also experiences severe cramps and bloody diarrhea, often multiple times a day. This can result in anemia, malnutrition and depression.
Crohn�s disease can affect any part of the gastrointestinal tract and can cause abdominal pain, diarrhea and weight loss from malabsorption. Crohn�s disease is thought to be linked to an overgrowth of bacteria and numerous studies have shown that various antibiotics are effective in alleviating Crohn�s.
When the colon becomes very inflamed, blockages can occur that prevent any digestion, and people with IBD frequently have surgery to remove the inflamed tissue. Even once removed, additional inflammation can occur in other parts of the colon.
There are diets that aim to eliminate bacterial overgrowth in the intestines by restricting complex carbohydrates and only allowing simple sugars from fruit, certain vegetables, honey and homemade yogurt. The idea is to starve the bad bacteria by eliminating their food source of certain sugars and starches.
Diet plays a critical role in intestinal health and the overall health of the body. Whether you have a digestive ailment or not, it�s best to avoid white sugar, white flour, and large amounts of dairy, all which trigger inflammation. Aim for organic fruits and vegetables, grains, and lean meats to nourish the body.
If you experience bloating or gas after eating, that often means that food is fermenting in the gut and not digesting properly. Take a full spectrum digestive enzyme with meals to help break down food and decrease the fermentation. There are enzyme blends available to help digest lactose found in dairy, fat, protein and carbohydrates.
Irritable Bowel Syndrome , IBS, not to be confused with Inflammatory Bowel Disease, impacts the functioning of the GI tract, but does not damage it. IBS can be predominantly diarrhea or constipation, or both.
While there isn�t one sole cause, an imbalance of bacteria in the gut is often the culprit. Our body depends on billions of intestinal bacteria to work in synergy to digest food, synthesize vitamins and support bowel contractions and form normal stool.
Good bacteria include lactobacillus and bifidobacteria, both of which can be found in a probiotic. A good quality probiotic should contain 12 to 14 different strains of beneficial bacteria and should be kept refrigerated and purchased that way.
Probiotics are also found naturally in fermented foods, such as sauerkraut and kefir, a fermented milk product that produces live cultures of probiotics.
Probiotics also boost the body�s immune system to fight off illness and disease. This is because the gut plays an enormous role in our immune system and helps protect against invading microbes.
There are also prebiotics, which help cultivate a friendly environment in which probiotics can flourish. Prebiotics can be taken in a capsule form as fructose ogliosacchrides, FOS, or can be found in raw dandelion greens, raw garlic, raw leeks, both raw and cooked onions, asparagus, wheat bran and uncooked bananas.
The gut also produces 95 percent of the body�s serotonin, a neurotransmitter responsible for our mood, appetite, sleep patterns and gut motility. The intestinal tract is often referred to as a "second brain" because it�s sends messages to the brain.
With a direct gut-brain connection, it�s easy to understand why stress and anxiety have a direct impact on our gastrointestinal tract. Psychological factors can exacerbate gastrointestinal symptoms, especially when suffering from IBD or IBS.
If you�re experiencing a digestive problem it�s important to see your health-care provider. Changes in bowel habits can mean a more serious condition, such as cancer and should always be brought to the attention of a health care professional.
There are many natural ways to promote a healthy intestinal tract. In addition to prebiotics and probiotics, L-Glutamine is an amino acid that helps to regenerate the epithelial lining of the intestinal tract and heals inflamed tissue. There are also natural blends that are formulated to rebuild the lining of the intestines, and include cinnamon, d-mannose, slippery elm, plaintain, apple fruit powder and decaffeinated green tea.
If you are experiencing gastrointestinal distress or chronic symptoms, there are homeopathic remedies to help calm symptoms, such as an intestinal nosode. Additionally, cinchona, arsenicum album and podophylum, can help with diarrhea and cramping.
When eating a meal, remember to relax and chew slowly and thoroughly to support proper digestion. Avoid eating when in a hurry or stressed. This can lead to poor digestion, acid reflux, heartburn and other unpleasant symptoms.
Often times, when experiencing acid reflux or other common digestive ailments, we reach for a fast-acting over-the-counter medication, such as an antacid, laxative or anti-diarrhea medication. It�s important to remember that our body is sending a signal when we have digestive problems. We need to treat the underlying cause, rather than mask the problem with a fast over-the-counter medication.
Nourish and support a healthy gastrointestinal tract by living a healthy lifestyle, with proper nutrition, exercise and stress-relieving activities such as yoga and meditation. This combination of healthy lifestyle choices will not only strengthen our intestinal tract, but boost our immunity and help us achieve overall health.
Steve Bernardi is a compounding pharmacist and Dr. Gary Kracoff is a registered pharmacist and a naturopathic doctor at Johnson Compounding and Wellness Center in Waltham (www.naturalcompounder.com). Readers with questions about natural or homeopathic medicine, compounded medications, or health in general can email email@example.com or call 781-893-3870.
Over the Counter: Be kind to your digestive system
Diarrhea, gas, bloating and heartburn are just a few of the many ailments associated with digestive disorders. And while they�re unpleasant to experience and talk about, approximately 60 million to 70 million Americans suffer from digestive problems, according to the U.S. Department of Health and Human Services.


text:
DISCOUNTED MISSING STONE final sale tiny turquoise cabochons and lapis composite focal dome "sand" ring vintage from Afghanistan Size 81/4
This ring is missing one small turquoise color cab, therefore is discounted...lucky you!
Dome shape top adorned with a multitude of small turquoise composite cabochons culminating to a larger Lapis cab at the very top.
Traditional wire work separates each row.
The ring is traditionally filled with sand as a reminder of the region's soil during nomadic travels.
Perfect for the tribal dancer, or the nomad at heart!
It is also an amazing piece to wear with your boho look!
Due to its handmade and vintage nature, please allow imperfections. Some rubbing and patina present throughout.
To preserve the integrity of the piece when first acquired, I did not clean nor polish it. If you'd like a "shinier" appeal, it would be best achieved using a damp cloth with mild soap.
The rings are about a size US 8 with large shanks.
Weight: 0.36 oz
You will receive the rings pictured
Don't be shy ☺. Always feel free to send me a convo if you have any questions or requests!
Don't be shy ☺. Always feel free to send me a convo if you have any questions or requests!
Many pieces are one of a kind (OOAK) designs created and handmade by me.
I specialize in custom designs made just for you, so please do not hesitate to send me a convo.
SouKulture (formerly Tribal Trunk Bazaar) is your one stop shop for Tribal Ethnic Boho Bags - Jewelry - Accessories - Supplies - Vintage - Antiques & Decor
Berbère - Afghani - Turkmen - Rajasthani - Kuchi - Pashtun - Kazakh - Hindu- Baluch - Balinese - Hill Tribe - Tibetan - Banjara - Waziri...
Ethnic - Tribal - Jewellery - Accessories - Bags - Antiques & Décor...
www.soukulture.com / tribal trunk.com
SouKulture / Tribal Trunk Bazaar Copyright © 2018-2019 All images and content
1 business day
I'll do my best to meet these shipping estimates, but can't guarantee them. Actual delivery time will depend on the shipping method you choose.
Buyers are responsible for any customs and import taxes that may apply. I'm not responsible for delays due to customs.
But please contact me if you have any problems with your order.
All items' measurements are listed under the description's details.
If you are not sure about the size, please contact me and I'll be happy to help.
I spend a substantial amount of time packaging orders so that your purchase arrives to you in the exact same state it left the studio. Depending on the item's needs, it will be secured in bubble wrap, flat wrap, paper...and placed in a corrugated box or padded soft package.
Antique and vintage items are sold as is. As should be expected with used pieces more than 20 years of age, they're not perfect. Therefore they're not returnable nor refundable.
It sometimes happen that tracking is only available until it reaches US customs, depending on the destination of the package. Although it is frustrating, there's not much that can be done on our end. However, international buyers have the option to purchase insurance or added delivery "coverage". So do US buyers.
Your purchase can be secured (items won't be sold to anyone else) by making 2 or 3 payments without any surcharge.
A "reserved" listing will be created just for you and items will ship as they're paid. The total time for the transaction cannot exceed 30 days. There's a $200 minimum order for special arrangements.
For more info, please send me a private convo.
Any item can be placed on hold for up to 5 days. It will be taken out of the inventory and a RESERVED listing will be created just for you. Simply message me.
I value privacy. Your reserved listing(s) and private arrangements will not be disclosed. Only your initials and amount due will be visible to other shoppers.
Each order is meticulously wrapped and packaged before being shipped. Insurance coverage is offered by USPS and can be selected during checkout.
Tribal Trunk Bazaar cannot be held responsible for lost or damaged packages. When a package is returned to us as "unable to forward" or "undeliverable", we will promptly contact the buyer. The purchase cannot be cancelled nor refunded and the shipping cost to re-send the package is at the buyer's expense. The purchase will be held for 3 months from the first shipping date. After the 3 months, the item will become the property of the Tribal Trunk Bazaar and the customer cannot claim any refund nor credit. Thank you.
We all make mistakes! If you feel that the item description does not match what you've received, please contact us within 48 hours of its reception and we will work on the exchange process. Please note that you will be responsible for the shipping costs.
I am able to customize existing items or even potentially make one for you. Please send me a convo and I will do my best to make it happen!
The world wide web offers countless shopping options..You having chosen my shop means a lot to me! Your package includes a VIC (very important customer) coupon code of 10% off. As I strive to keep my inventory very affordable, I seldom offer a deeper discount, except for special sales events.
The default shipping method is USPS first class (standard). This shipping method does not include insurance coverage.
The customer may choose a different shipping option/carrier.
Insurance may be purchased by the customer for lost, stolen or damaged packages. If such incident occurs, it is the customer's responsibility to file a claim with the chosen postal carrier.


text:
China iPhone Craze Breeds Scalpers
Apple customers who were hoping the company's recently expanded presence in China would mean easier access to officially sold iPhone 4s have been disappointed, but a run on the devices has been kind to at least one group: gadget scalpers.
Apple opened two new stores—one in Beijing and another in Shanghai—last Friday, doubling the number of Apple retail outlets in China. The company also officially launched the iPhone 4 on the same day, marking the fastest roll-out of a new Apple device in China.
But as of Thursday morning, Apple's flagship store in Beijing's Sanlitun Village mall was sold out of the new smartphone. As a result, scalpers, who bought up iPhone 4s earlier in the week, are now lurking outside the store ready to pounce on anyone who walks out without merchandise.
"Want to buy an iPhone 4?" they say. "Come with us."
Working in groups, the scalpers lead willing customers to an empty stairway in the same mall, where their cohorts keep stacks of iPhone 4s in the original packaging. One scalper was offering the 16-gigabyte version of the device for 5,400 yuan, or about 795 dollars, a 10-percent mark-up over the sticker price.
If you're worried about the authenticity of the product, or warranties, the scalpers will offer to take you into the Apple Store where, according to them, you can claim someone gave you the iPhone as a gift and request an official Apple Store receipt.
One scalper said the Sanlitun store had a number of iPhone 4s in stock Wednesday morning but he and the rest of his group snapped them up after waiting in line overnight. By the time regular customers got there, he said, the devices were sold out, with arguments flaring up between the scalpers and Apple Store customers--arguments that clearly didn't deter the scalpers from returning Thursday.
Another scalper said his group has sold 10 iPhone 4s in the space of an hour. There were at least five groups working the mall Thursday morning.
Apple has not accepted pre-orders for the iPhone 4 on its Chinese website. A company spokeswoman could not be reached for comment on whether Apple has plans to resolve the situation.
An Apple Store employee advised customers Thursday to call and check or return to the store in several days to see if the iPhones had been restocked. But even if the store does get more phones in stock, the employee warned, it may take a little more pre-planning to beat the scalpers, who will no doubt be in line as well.
Scalpers or no scalpers, the high demand for official, un-hacked iPhones would seem like a boost for Apple. But Melissa Chau, analyst for researcher IDC, says an improvement in sales won't necessarily lead to a huge improvement in Apple's smartphone market share, which was 7.1% as of the second quarter.
"We are seeing a lot of Android models from Lenovo, ZTE, and Huawei picking up momentum in China," Chau said. "China-branded Android smartphones may not compete directly with the iPhone, especially given their sub-$300 price focus, but I expect their volumes to have a negative impact on Apple's market share."
-- Loretta Chao. Follow her on Twitter @lorettac