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AGUILAR 2010 METHODS FOR CATCHING BEETLES. 320 pags, 16 láminas color, 160 fotos
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AGUILAR 2010 METHODS FOR CATCHING BEETLES. 320 pags, 16 láminas color, 160 fotos
Many methods have been written about the collection of beetles in the world. However, only very specific papers were developed until now, for example: the traps, or about specific sampling methods of some families or genera of Coleoptera in the planet. This book aims provide to the scientific world and for students a collection of knowledge and experience of the author and others professionals of entomology, related to methods and capture techniques, transfer and preservation of Coleoptera, encompassed in a single work. This study tool has long been expected. There are many forums (especially in the internet) which perceived the need for instruction about this subject. Our colleagues were the first to applaud this initiative, describing it as very valuable in relation to its content. Now the students can count throughout this material, which is complement of development in the field activities, through practice. The methods of capture are varied and numerous, such as or more than the number of families of beetles. Early detection of environmental damage, which can be detected through the study of beetles populations and / or endangered species (it require also knowledge for the capture of different species in selected environments) will provide help for the implementation of measures to assist the conservation and protection of the environment. On the other hand, there is a tacit agreement among entomologists, in which the number of known species of Coleoptera is very small compared with the suspected number of existing species. This reminds us that phrase regarding the tip of the iceberg, and arouse our interest about how much we are lacking to know.
This book offers:
1) A brief summary of the physical and structural characteristics of major biomes in the world.
2) Instructions to collect beetles in every kind of environment such as savannas, forests, deserts, streams, rivers, mountains, caves, beaches, mangroves, dunes, etc.
3) Specific details about all beetles families known until now, in the long chapter "Where do they live? What do they eat? How to collect them?"
4) A variety of traps chosen according to their effectiveness, and how to make them by yourself
No customer comments for the moment.


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- Hot Wheels Star Wars Die Cast - Assorted Vehicles
Hot Wheels Star Wars Die Cast - Assorted Vehicles
per item
Recreate some of the galaxy's fiercest showdowns with Star Wars Hot Wheels.
Slip on the Flight Navigator, raise your hand and send your ship "flying" across the room-just like in hyperspace! The Flight Navigator also doubles as a display stand to show off your collection.
Starships can be used with Hot Wheels Star Wars play sets (sold separately) so kids can build an entire universe of play!
This die cast model is ideal for young Jedi aged four and up.
A variety of vehicles available.

subset: commoncrawl


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Serious Game Design Process, Study Case: Sixth Grade Math
Serious Game Design Process, Study Case: Sixth Grade Math - Download this document for free, or read online. Document in PDF available to download.
The way in which studentsare being educated is evolving; the traditional teaching paradigm, where formaland non-formal education are treated as a mutually exclusive, mustbe changed and turned into a new learning paradigm where formal and non-formaleducation are treated as one in order to achieve a meaningful and relevantlearning. In Mexico, it is clear that educational level of studentsis barely improving in elementary school students, considering basic topics onMath, Science, and Spanish. There is a need to integrate more efficientmechanisms, like serious video games, in non-formal environment for studentsand increase learning opportunities beyond the classroom. Therefore, it isenvisaged as a possibility, the large scale production of video games toaddress this problematic. But, a reason why it is not often carried out thelarge scale development of digital resources is the lack of well-defineddevelopment processes and documented experiences. This research will providesolution to the lack of well-defined development processes for large scaleproduction of serious video games, presenting a proposal for a developmentprocess with fundamentals in software engineering. The overall findings of theresearch show that there is an improvement in the knowledge acquisition of thestudents.
Game Design Process, Serious Video Games, Electronic Learning
Cite this paper
Álvarez-Rodríguez, F. , Barajas-Saavedra, A. and Muñoz-Arteaga, J. 2014 Serious Game Design Process, Study Case: Sixth Grade Math. Creative Education, 5, 647-656. doi: 10.4236-ce.2014.59077.
Author: Francisco J. Álvarez-Rodríguez, Arturo Barajas-Saavedra, Jaime Muñoz-Arteaga
Source: http://www.scirp.org/


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Saile Tented Camp
Unfortunately this camp is not available due to closure.
Please see other accommodation in Linyanti Reserve below.
Saile Tented Camp sits on the sands above the ancient river bed of the Linyanti.
Located in a private reserve, Saile Tented Camp borders the western boundary of Chobe in Chobe Enclave. The camp is situated on the sands above the ancient river bed of the Linyanti and resonates with the romantic charm of old Africa. The area's relative remoteness makes it a favoured wild safari destination and one of the most sought-after areas in northern Botswana. Saile is an intimate camp with four spacious Meru-style tents, each of which has private en-suite bathroom facilities with flushing toilets and hot water filled bucket showers.
The Linyanti Swamps are one of the most attractive areas in the park as it is the only source of water in the dry months. Much of the wildlife moves here to drink, ensuring a great diversity of game and a restful atmosphere. It is also best known for its enormous herds of elephants which move down to the Linyanti River at the start of the winter months and only move back inland once the main rains arrive.
Remote and pristine, the Linyati swamps offer the best of African wildlife – elephant, buffalo, lion, sable, roan, leopard, wild dog and a number of the plains game. Don't miss the opportunity to add many of Botswana's birds to your life list in this birdwatcher's paradise.
Saile Tented Camp catering for small groups and independent travelers offers game drives, walking safaris, spotlighting, boating and fishing safaris, as well as mokoro safaris. An intimate camp consisting of six spacious Meru-style tents, each of which has en-suite bathroom facilities and bucket showers.
The tents at Saile Tented Camp are spacious and the interior of each walk-in tent has comfortable twin beds with bedside tables, a hanging canvas wardrobe, luggage bench and sisal matting.
The en-suite bathrooms are fitted with a flush toilet and a zip-up door leads through to the open-air bucket shower. Although there is no running water, a large tin jug and basin are provided in the bathrooms and canvas wash basins on each private verandah.
The main area is an open-sided marquee and has been fitted with comfortable, stylish furniture. Touches such as hammocks, antique loungers, large mirrors give an air of extravagance to what is already a very comfortable camping affair.
Facilities and Activities
A main dining and lounge area is set-up for clients to enjoy their meal-times and relaxing in the heat of the day between activities. Activities consist of game drives, walking and night drives. Mokoro safaris and boating activities can be arranged in advance on special request.
>Best known for its large populations of Elephant and buffalo, guests may also have close encounters with other popular species such as lion, sable, roan, leopard, wild dog, hippo's, crocodile, the rare sitatunga antelope and other plains game species. In addition, the area offers spectacular birding year round. The area's relative remoteness makes it a favored wild safari destination and one of the most sought after areas in Northern Botswana.
Saile Tented Camp Reviews
"We just spent 4 days at the Saile mobile tented camp and it was unbelievable,. Our guide, Isaiah, was perhaps the best guide we have had in over 40 lodges in southern Africa. The camp was rustic but the food was excellent. Imagine having a cocktail with 1000 elephants in front of you on an open plain. We were fortunate." – Thomas S
"Wow, this really is camping in the wild. We love camping in our tent so are experienced campers but if you aren't a camper this might not be the place for you to stay. Things are a lot more primitive here than other tented camps in Botswana and for us this enhanced the experience." – AP
"This was just what we were looking for in our trip! We felt always well taken care of. The staff were generous and gracious. Our guide, Dennis was an amazing wealth of knowledge and so much fun to be with. And he found the lions for us!" – Carolyn N


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Job Description
My client is a leading retail business, they are now seeking a commercially focused accountant to deliver business performance on an interim basis
Working closely with Buying and Merchandising teams you will be integral to delivering the product offering to customers, specifics will include:-
- Interrogate and understand current stock metrics and control
- Partner with Merchandising and Buying to build sales and margin plans
- Work with merchandisers to challenge plans, influencing them to drive commercial thinking
- Partner Buying to manage the balance between stock buy and delivering sales
You must be a qualified finance professional who has worked within a retail business influencing Buying, Merchandising and stock control to deliver performance
Send your CV now.
Applicants must be eligible to work in the UK.
For more Finance jobs please contact me or one of my colleagues at CMC Consulting Ltd
CMC Consulting is committed to equal opportunities. We do our best to ensure that the wording used in our job vacancies does not discriminate against any individual in any way. Please contact us if you feel that this is not the case.


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Industrial Turbochargers
With over 20 years of turbocharger experience, we are ready to offer you a premium rebuilding service for your Cummins, CAT, Detroit, Mercedes or John Deere engine. Many times we offer durability upgrades to the existing units for longer service life, keeping the equipment running longer and your maintenance costs lower help you get the most profitability possible from your investment. These can vary widely on price, please call for details.
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Yesterday I went along to the Forever New media breakfast at the V & A Waterfront and was treated to some delicious snacks, an overview of their upcoming collections and a mini manicure from the ladies at Sorbet. Such a great morning but unfortunately I didn't get round to take any pics of the actual event since wet nails are not exactly very camera friendly! I do have some images from their latest collection to share with you though. These are some of my favourite pieces, which are all really great to update your Winter wardrobe with.
Above: Isabel Tuckstitch Tunic, Mika Ponti Blazer, Jade Pleat Front Drape Sleeve Dress, Adelaide Pussy Bow Blouse, Syan Wedge Boot, Mini Leopard Beret.
Above: Estella Skirted Mac
Above: Rebecca Fur Trim Cardigan, Neva Metallic Striped Batwing Top, Posy Faded Pleat Skirt, Jenny Tie-Waist Coat, Slouchy Cardigan, Esme Cable Sweater in blush, Bailey Brogue Ballet
All fashion images via Forever New


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Seld-Portrait's whimsical silhouettes are cut with flattering effect, as illustrated in this Grey-Blue Dress. It's defined by a eye-catching spiral Panel lace bodice, decorated with a contrast daisy bib panel and falls to a pleated skirt. Simply add statement heels and sculptural earrings.
• We recommend purchasing your normal size – this design has a true fit
• Maxi-length, designed to be fitted at the bust and waist, loose at the hip
• Mid-weight, non-stretchy fabric
• Model is 178cm/ 5'10", Bust 84cm, Waist 60cm, Hips 87cm and is wearing a UK size 8
• Contrast daisy bib panel and stand collar
• Long sleeves
• Centre-back exposed zip fastening
• Spiral Panel lace bodice
• Grosgrain waistband
• Pleated skirt
• Thigh-high split
• Partially lined
• 98% polyester, 2% elastane
• Combo 1: 100% polyester
• Combo 2: 100% polyamide
• Dry clean only
• Grey BlueProduct Code: 212608994
London-based Han Chong's attention to detail, love of lace and embroidery, makes Self-Portrait's intricate dresses and separates perfect for weddings, parties and special events.
Free for orders above 500 SAR 50 SAR for orders below 500 SAR


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Azzaro Visit by Azzaro 100ml Eau De Toilette Spray for Men
Timbered Bright Visit, it is oxygen a puff, a bright and radiant fragrance with citrus fruits and aromatic fresh.
Designer: Loris Azzaro
Recommended Use: Day, Evening, Night
Category: Men
Fragrance Notes: Bergamot, Grapefruit, Carambola, Basil, Tarragon - Nutmeg, Reeds, Wood of cedar, Vetiver - Amber, Muscs.
** Boxed, Sealed & Brand New **
We only sell Genuine, Brand New and Authentic Products in original packaging.
** We do not sell imitations, knock-offs or testers. **
Other products and sizes are also available. Please ask.
Our perfumes are in stock and ready to mail.
Postage can be combined with all our other listings.


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Computers, Electronics, And Expertise
IT engineering or Info Know-how engineering is a broad definition that may apply to software engineering, hardware engineering, integration of hardware and software or validation and verification of hardware and software program parts. Virtually all Millennium Generation youngsters have used computer systems to compose assignments for groups of students. They know that every member can produce particular person elements that can be brought collectively to type a cohesive final presentation. Many such teams have expertise joining the works of scholars positioned tons of or thousands of miles aside. The actions of those college students show how know-how has transformed crew assignments just as it has reworked so many other points of our trendy society.
Finest – Best are generally articles, and discussions which have proven themselves with quality over time. Have the option to revert any adjustments they don't seem to be happy with after their article is unlocked. However, articles which are modified extensively after edits are accomplished, and that stay on Network Sites, could possibly be moved again to HubPages. Computers and peripherals have grow to be the mainstream tools by means of which information is delivered to the young and previous alike. Even higher (or worrying!) children are studying to develop up with computing units, and gone are days when computer classes were handled solely as modules.
That is the obvious software of vacuums to the world of business. It applies to merchandise, markets, folks and management. The voids create vacuums and they will be stuffed. With Data to Knowledge integration, for every sales transaction, the data is processed by the business purposes and then handed on mechanically to a CRM repository. If you see that the articles really useful at the bottom of considered one of your own usually are not very related to the subject … Read the rest


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Thanksgiving Day
When I came to know Mike and become more familiar with Elevate one of the things that we started imagining was a Thanksgiving and Christmas barbecue at Second and Selden. Elevate had done a Christmas last year and Mike was passionate about doing that again.
As came closer and closer to the Thanksgiving cookout I was beginning to worry a bit. We had the chairs, tables, trailers and some workers, but I was concerned about having enough food. We hadn't done a whole lot of soliciting or putting feelers out there to see if anyone was bringing anything to actually eat. Luckily we had left over chilli and wings from our rained-out barbecue on Tuesday's episode of Chizzy Cam.
I asked Mike and Amanda about food for Thursday in our weekly meeting. They both just looked around and said, "I don't know. I think it will be there." I expressed some concern and pressed it a bit. "Do we know if anyone else is bringing anything?" "Um, no, I am pretty sure we have a few turkeys." So, I just sort of trusted them and trusted God– both of whom had been doing this kind of work longer than I have.
We pulled up to the park on Thursday morning, unloaded the trailers, set up chairs and the food started coming. First a couple here and a couple there. Then it just kept coming. Eventually we had four full tables of food, a table of deserts and a whole other table of drinks. Multiple turkeys, multiple hams, trash bags full of rolls, (literally) 85 pounds of mashed potatoes and more food than we could have imagined. It was more than enough to feed the 200 people there.
We all ate, laughed, had a fun meal together. When it came time to pack things up we still had a ton of food left over. More than we knew what to do with. We agreed to pack it all up and take it a couple blocks away to the Detroit Rescue Mission.
I mentioned on Chizzy CAM the other night that I come from a background where you have to work hard to make things happen. If things don't go right, it's because you didn't work hard enough. God works in a different way. He likes to make things work in spite of your efforts. These things are God confirming that he is on the side of what you are doing. Do what you can, and God will do the rest.
It would be impossible to personally thank everyone who brought food. Many people stopped on the curb, handed us food and drove off. But we do want to take the time to thank the people and organizations who we are able to thank:
Buffalo Wild Wings– The locations at Troy and Flint donated 225 wings a piece. Thank them when you go in.
Café Sonshine – I literally walked in for lunch and the owners asked if they could cook us a giant pot of chilli. They are the best.
Kensington Community Church – they lent us the use of 50 long tables and 294 folding chairs as well as two of their trailers and a truck to haul it all down there.


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In Xen it is possible to specify how many and which CPU cores the Dom0 or VM Guest should use to retain its performance. The performance of Dom0 is important for the overall system, as the disk and network drivers are running on it. Also I/O intensive guests' workloads may consume lots of Dom0s' CPU cycles. On the other hand, the performance of VM Guests is also important, to be able to accomplish the task they were set up for.
Dedicating CPU resources to Dom0 results in a better overall performance of the virtualized environment because Dom0 has free CPU time to process I/O requests from VM Guests. Failing to dedicate exclusive CPU resources to Dom0 usually results in a poor performance and can cause the VM Guests to function incorrectly.
Dedicating CPU resources involves three basic steps: modifying Xen boot line, binding Dom0's VCPUs to a physical processor, and configuring CPU-related options on VM Guests:
First you need to append the dom0_max_vcpus=X to the Xen boot line. Do so by adding the following line to /etc/default/grub:
If /etc/default/grub already contains a line setting GRUB_CMDLINE_XEN, rather append dom0_max_vcpus=X to this line.
X needs to be replaced by the number of VCPUs dedicated to Dom0.
Update the GRUB 2 configuration file by running the following command:
grub2-mkconfig -o /boot/grub2/grub.cfg
Reboot for the change to take effect.
The next step is to bind (or
pin) each Dom0's VCPU
to a physical processor.
xl vcpu-pin Domain-0 0 0 xl vcpu-pin Domain-0 1 1
The first line binds Dom0's VCPU number 0 to the physical processor number 0, while the second line binds Dom0's VCPU number 1 to the physical processor number 1.
Lastly, you need to make sure no VM Guest uses the physical processors dedicated to VCPUs of Dom0. Assuming you are running an 8-CPU system, you need to add
to the configuration file of the relevant VM Guest.
It is often necessary to dedicate specific CPU resources to a virtual machine. By default, a virtual machine uses any available CPU core. Its performance can be improved by assigning a reasonable number of physical processors to it as other VM Guests are not allowed to use them after that. Assuming a machine with 8 CPU cores while a virtual machine needs to use 2 of them, change its configuration file as follows:
vcpus=2 cpus="2,3"
The above example dedicates 2 processors to the VM Guest, and these being the 3rd and 4th one, (2 and 3 counted from zero). If you need to assign more physical processors, use the cpus="2-8" syntax.
If you need to change the CPU assignment for a guest named
alice in a hotplug manner, do the following on the
related Dom0:
xl vcpu-set alice 2 xl vcpu-pin alice 0 2 xl vcpu-pin alice 1 3
The example will dedicate 2 physical processors to the guest, and bind its VCPU 0 to physical processor 2 and VCPU 1 to physical processor 3. Now check the assignment:
xl vcpu-list alice Name ID VCPUs CPU State Time(s) CPU Affinity alice 4 0 2 -b- 1.9 2-3 alice 4 1 3 -b- 2.8 2-3


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Larry Bowa : Free Celebrity AddressesClaim to Fame: The Third-Base Coach: The Los Angeles Dodgers
Address 1:
Larry Bowa
c/o IMG Coaches
601 Carlson Pkwy
Ste. 610Minnetonka, MN
Address submitted by goldgoalz 1075, 42 on 03/29/2008
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Home Posts Tagged "Mortgage disclosure"
Are you aware of changes coming to mortgage disclosures in October?
Aug 28th, 2015
You may not know about words like CFPB, TILA, RESPA, and TRID --- but Realtors do. And they have been spending a lot of time making sure they are [...] Continue Reading →


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Catch up on all of today's Manchester City news with our City Summary!
There have been a huge number of reports of Alexis Sanchez to City picking up steam today, with the English press pack reporting that City are preparing their first formal offer.
Alexis Sanchez could be a Manchester City player within a week, according to people close to the Chilean. [@MiguelDelaney]
— City Watch (@City_Watch) January 8, 2018
Manchester City have made their first move to signing Alexis Sanchez by sounding out Arsenal over a £25m deal. Arsenal are willing to sell and want closer to £30m. [@johncrossmirror]
— City Watch (@City_Watch) January 8, 2018
City aren't keen on any player-plus-cash deal after Sterling rumours in the summer, and want a cash-only transaction with the Gunners.
Manchester City want a cash-only deal for Alexis Sanchez, with no players included. They also want to close a deal before Arsenal have found a replacement. [@MaksCardenas]
— City Watch (@City_Watch) January 8, 2018
There has also been more Jonny Evans talk today, with City and Arsenal set to do battle for the 30-year-old's signature.
Jonny Evans a man in demand. @Arsenal and @ManCity both made contact. Understood Wenger particularly keen. Could pay up to £25m, inc Debuchy going other way. Player ideally would stay in north west (family base) but not going to ignore club of Arsenal's standing.
— Simon Stone (@sistoney67) January 8, 2018
City and Arsenal are expected to hold further talks with West Brom about a deal for Jonny Evans in the next 24-72 hours. Arsenal are willing to offer Debuchy to WBA, but Evans' preference is to join Guardiola at City. [@TelegraphDucker]
— City Watch (@City_Watch) January 8, 2018
City will face either Championship or League Two opposition in the fourth round of the FA Cup.
Manchester City will play Cardiff or Mansfield away in the FA Cup fourth round. pic.twitter.com/pViDysZ2GN
— City Watch (@City_Watch) January 8, 2018
Gabriel Jesus is flying to Barcelona again amid rumours his injury could be worse than expected. City are playing down the reports that it could be a season-ending injury.
Gabriel Jesus is flying back to Barcelona for treatment on his knee injury. City insist it is a scheduled appointment and have nothing new to report on his progress. [@SunMartinB]
— City Watch (@City_Watch) January 8, 2018
Around half a year after leaving Manchester City for a Turkish adventure, Samir Nasri could soon be heading to Mexico if he accepts an offer on the table from Liga MX outfit Tigres.
Just five months after leaving City for Antalyaspor in Turkey, Samir Nasri (30) has an offer to link up with André-Pierre Gignac at Mexican club Tigres. [TMW] pic.twitter.com/Kv5ia6Gc0D
— City Watch (@City_Watch) January 8, 2018
That's it for today. Keep your eyes peeled on @City_Watch and the site, day and night, as we work to deliver the latest City news, views, and other high-quality content.
TRENDING! New #HashTag T-Shirts are now available at the City Store – buy online now!


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The new Droid Factory R-3DO Protocol Droid is now available to purchase to through the Disney Parks app available on Apple iOS and Google Play for $12.99
Tag Archives: iOS
Star Wars StudioFX App Now Available For Download
Hasbro has release the StudioFX app via the iTunes app store. Click on through for the details and features. Continue reading Star Wars StudioFX App Now Available For Download
UPDATE: Star Wars StudioFX App Featured at Mashable
Mashable.com has posted a first look article showcasing the features of the upcoming Star Wars StudioFX app launching on Sept. 30 with the role out of new Rogue One products.
The free app will be available for for iOS and Android.
Update: Hasbro's press release added after the break.
Continue reading UPDATE: Star Wars StudioFX App Featured at Mashable
Disney Interactive Delivers Toy Box 3.0 Experience To Mobile Devices
Disney Interactive has announced that the Disney Infinity: Toy Box 3.0 app is now available for free for iOS, Android and Amazon devices. The new app delivers Disney Infinity's Toy Box mode, with console-like graphics and functionality, tailored for mobile devices and tablets. Click on through for the details from Sean Patton, Senior Producer for Disney Infinity mobile.
Mimoco Star Wars MimoPowerTubes
Mimoco has updated with the release of 4 new Star WarsMimoPowerTubes featuring Darth Vader, Stormtrooper, C-3PO and Luke Skywalker's Lightsaber. Each retails for $29.99 and provides backup battery support for iOS and Android devices.
Thanks to Jedi Temple Archives for the heads-up.
Star Wars Commander – Now Available for iOS
Get a first look at Star Wars: Commander, a new action-strategy combat game coming to iOS devices! Build your base as you choose a side in the Galactic Civil War; will you take over the galaxy as the Empire, or command Rebel heroes to restore freedom?
Download the free game today for iPhone, iPad, and iPod touch.
Star Wars Commander Announced from Disney Interactive
Star Wars™: Commander is an upcoming combat strategy game featuring characters, locations and technology from the Star Wars™universe. A limited early access to the game is being offered in select international markets on iOS and Android while rolling out globally later this summer for iOS, Android and Windows devices.
Source: Disney Interactive via Tumblr
Announcing Star Wars Apps for Next Gen Fans
New Portfolio of Apps Introduces Legendary Saga in Unique Ways; "Star Wars Journeys: The Phantom Menace" Available Now on the App Store
GLENDALE, Calif., May 1, 2014 – Drawing from the success of its interactive storytelling products, Disney Publishing Worldwide today announced the launch of "Star Wars Journeys," a new episodic series of apps featuring the stories, heroes and villains from a galaxy far, far away. With immersive story content and fast-paced activities and game play, "Star Wars Journeys" apps will introduce the epic Star Wars universe to the next generation of fans like never before. More than half a dozen apps are slated for release for the Kids and Entertainment categories of the App Store; "Star Wars Journeys: The Phantom Menace" is available now and additional apps in the portfolio will roll out in sequential order leading up to the release of Star Wars Episode VII.
Continue reading Announcing Star Wars Apps for Next Gen Fans
Dark Horse Announces Star Wars Black Friday Deal
Dark Horse Comics has announced a huge Black Friday digital comics "megabundle" sale offering 150 comics for $100. Titles include the newest Star Wars series by Brian Wood, The Clone Wars, The Old Republic, Crimson Empire, Lost Tribe of the Sith, Legacy and more! Sale starts Nov. 29 and runs through Sunday Dec. 1. Visit DarkHorse.com for the full details.
New Star Wars Content Coming Exclusively To iOS 7 Devices?
Our friends at JediNews have posted an interesting bit of speculation (through an unnamed source) that iOS 7 users via Apple TV, iPhone and iPad may be the outlet through which new Star Wars content is distributed.


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My artistic roots lie in analogue black and white photography. For years I exclusively chose this medium and tried to extend my boundaries with it via experimental approaches such as long and multi exposures or chemical manipulation processes. Quickly I noticed that my interest in photography as a means to picture reality were limited and that I furthermore tried to use the different techniques to create new topics, aesthetics and compositions. Many of my works from around 2013 could be described as being dreamlike and surrealistic. Content wise these times were dominated by the search for forgotten days und the impossibility to stop time from disappearing. Losing every single moment of my life and working with the recycled and recombined products that are called memories has always been one of my key interests. The way back to colour photography which I started to reconnect to in 2015 also marked a general artistic extension when it comes to content, techniques and the use of different media. Since that time I focussed more and more on the ever-changing relation between humans, nature and technology. My strong interest in ecology and utopian concepts and topics such as climate change, the anthropocene or terraforming began to play a dominant role in my artistic approaches that since then included colour photography, collage and installations. Besides my artistic work I finished a masters program of cultural history with a thesis on "technological utopia and ecological consciousness in the arts of the 20. century" which was supervised by the German art historian Christoph Asendorf in April 2017.
Jan Herdlickab 1987 Dachau, Germany. Lives and works in Berlin.
- 2017 "MESSWERK I/DER BOTE I" Nautilus Zwei, Drei Raum Berlin
- 2017 "RE:KONSTRUKT III" LoosenArtGallery Rom
- 2017 "LUNAR/DER BOTE I" Nautilus Bootshaus Berlin
- 2017 "MISTELSTAND" O-Mato IV Berlin
- 2016 "RE:KONSTRUKT" O-Mato II München
- 2016 "RE:KONSTRUKT" O-Mato I Berlin
- 2016 "RE:KONSTRUKT" "Berlin Kommt" Lübeck
- 2016 "Arkadia" Blender&Co 48h Neukölln Berlin
- 2016 "Arkadia" AnalogueNow Berlin
- 2015 "RE:KONSTRUKT" "Wire Arts Experiment" Berlin
- 2015 "AMS I" "Borders" Studio Twins Berlin
- 2014 "We are Berlin" IheartBerlin 7th Anniversary Berlin
- 2013 "Riot" PhotocopyClub Doomed Gallery Dalston London
- 2013 "Unterholz" Werkstatt München
- 2012 "Untergrund" Orkanen Malmö
- 2012 "Käfige" Artconnect (48h Neukölln) Berlin
- 2012 "Käfige" Studio B Berlin
- 2011 "Stadtmomente" Huldigung der Künste Berlin
- 2010 "Stadtmomente" Rosa-Luxemburg-Stiftung Berlin
- ELLE, Süddeutsche Zeitung, BBC, Berliner Zeitung, Radio
- Fritz, I heart Berlin, ArtConnect Berlin, Tagesspiegel, SWR
To: Jan Herdlicka
Works by Jan Herdlicka
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Mulberry Street (2006)
Last night I watched Mulberry Street, one of those ultra low budget movies that are picked up for distribution by Lionsgate and After Dark Films for the "Horrorfest/8 Films to Die For" brand. Perhaps watched is too strong a word; tolerated is more like it.
Movie budgets are a funny thing. No one is ever satisfied; everyone always wants more money. But truly creative people blossom with restricted budgets. Kevin Smith did it with Clerks ($27,000), Darren Aronofsky on Pi ($60,000), Shane Carruth succeeded with Primer ($7,000) and just this summer Neill Blomkamp scored a huge hit with District 9 ($30 million). (Yes, to you and me $30 million is A LOT of money, but when when your summer competition's film budgets average from $150 to $200 million per film, you have to bring something extra, something special, to the table or the movie screen with your $30 milion film.)
Which brings me to Mulberry Street, which is a film on the OTHER end of the creative spectrum from those movies listed above. I really did not like this movie.
It starts out innocently enough. We meet a cast of colorful New York characters who live on the legendary street of the title. There's Clutch, the ex-boxer and our nominal hero, who is awaiting the return of his daughter Casey, a scarred Army vet who is coming home from the hospital. Clutch's pretty neighbor Kay the bartender has a sweet spot for the boxer, but works too hard to share this kind of info with her teen son Otto. The old apartment building where they all live has an even more colorful cast of characters: the harried superintendent (sort of a Schneider 2.0), the crotchety WWII vet who everyone looks after, and Clutch's flamboyant gay friend.
Because the movie didn't have a big budget they end up dragging out the set up scenes for far too long before the horror kicks in. In the hands of a better writer/director than Jim Mickle, a grip and scenic artist in his day job,this might have worked but he and co-writer Nick Damici, who plays Clutch don't pull it off. I'm reminded of From Dusk til Dawn where the first third, if not the entire first half, of that movie played as one thing - a gangster pic - before switching gears to become a vampire splatfest. The thing about From Dusk's gangster pic beginnings is that they were INTERESTING. Lurid, funny, creepy, dramatic and surprising. And THEN the vampires show up. But they had a Quentin Tarantino script, a charismatic George Clooney as the lead, and director Robert Rodriguez still cared about movies as a whole instead of just being amazed he could crank shit out from his home studio.
Mulberry Street just plods along with its interpersonal stories, which really aren't that interesting to begin with. Its chief plotline though, updated by constant local TV newscasts, is absolutely stupid: strange rats are biting people turning them into WERE-RATS. Make that WERE-RATS with silly make up. WERE-RATS IN NEW YORK! There's panic in the streets and on the subways! Watch out New Jersey! Look out Broadway, here come the WERE-RATS.
The movie also plays fast and loose with its style. It starts as a typical low budget effort, with decent enough photography, looking like they used a lot of available light, in the tiny cramped old New York apartments and a few locations including a bar, but then it throws in a little of J-horror style, funky compositions and crazy digitial editing tricks. It tries to be all horror things to all horror people. (Also the night scenes look terrible, really shouting "shot on video" with lots of splotchy black areas.)
The first real were-attack in the apartment building is extremely disingenuous. The filmmakers do the thing where the victim's attention is focused on something in front of him, when all of a sudden the were-rat chick is BEHIND the victim, just standing there (did she just teleport behind him) all quiet and stealthy, then she attacks the guy. But all the OTHER were-rats in the movie are constantly snarling and shrieking and raising a ruckus. So why was that first were-chick all ninja-like? The only reason was because the filmmakers thought the scene would be cool, and not that it made any sense in their story or the way they were telling it the rest of the time. They also do the 1,000,000th version of the J-horror chick with the chick's head bent over and the hair covering her face. BO-RING.
The make up effects are really bad, with stupid rat teeth and hair on the tips of people's ears. One "hero make up" looked a lot like either Nosferatu (who is very rat-like) or the Nightcrawlers from The Descent.
The trailers for the other films in the 8 Films to Die For series looked interesting. They always look interesting when they're whizzing by you at autobahn speeds. I might give one of them a chance, but heed my warning, and keep away from rats, stay out of the subway, and keep off the streets. Especially Mulberry Street.


text:
The gods of order demand blood
Directly across the narrow courtyard and one story up from the first-floor apartment my wife and I share lives a man who tends to make more noise than I deem reasonable. Recently, he's put his attention towards adding high lattice walls to his existing balcony, turning it from an open space into a miniature veranda. The construction sounds and loud conversation that flow through our living room windows have left me feeling tense and angry.
"How dare he disturb my peace?" I say to myself, shuddering at the thought of the parties he must envision hosting in his new outdoor living room. More than once, I've fantasized about our management company sending him a sternly-worded notice to cease his amateur carpentry or be evicted. Sometimes, I've just felt flashes of wild rage.
As someone who likes to think of himself as a fairly zen, spiritual person, these are not thoughts and feelings that I'm proud of. "Come on, I'm better than this," I tell myself. It doesn't help.
But as the days have gone on, I've started to see a connection between my petty grievance and the deep anger and vindictiveness that many of my fellow Americans seem to feel towards some of the people who want to immigrate to this country. There, I believe that I'm standing with the angels—I want us to abolish ICE, create a path to citizenship for anyone who wants it, and open up our borders.
But feeling the sanctity of my own home invaded, I've witnessed my generosity of spirit go flying out the window.
A consistent refrain among those who support our government's abusive behaviors towards immigrant people has been that immigrant people deserve this treatment because they are breaking the law. That coming to the United States and crossing the border without proper authorization is a crime, and therefore merits swift, harsh punishment. "It doesn't matter how badly we treat these people," such thinking goes. "They deserve it."
I've been appalled by this line of reasoning. Who hasn't broken the law in one way or another? Speeding, using drugs, parking in a red zone, taking a questionable tax deduction, littering, underage drinking—I doubt there is an American alive who hasn't committed at least one nonviolent crime of this ilk.
Abusing people in need because they broke the law is not just hurtful, but absurd when we realize how many of us citizens have done the same and gotten away with it.
But here I am, patting myself on the back for my compassion as I sit in my apartment and secretly hope that my neighbor face the threat of eviction because I'm irritated by his behavior. In other words, under the right circumstances, I start seeing things the same way as the anti-immigrant folks I've been looking down on. Yikes.
So what's all that about?
If I look at myself, I see that a lot of my anger stems from a sense that the order of my home is being violated and things are changing without my consent. In my mind, our apartment building is supposed to be a certain way—predictable, peaceful and quiet. The rogue veranda shatters that order, on the one hand reminding me that my home is not really my castle, and on the other, making me feel foolish for trying to keep my own behavior in line with my imagined sense of propriety.
You mean you can just do whatever you want? The foundations of the universe shake.
Because of course the truth is that very little in life is under our control. There is very little order, at least in a superficial sense—that which seems solid can disappear in an instant. I believe that our actions really do matter, deeply, but the effects are not always obvious or linear in how they appear. Meanwhile, impermanence is constant. Everything comes and goes with the inevitability of waves crashing on the sand, and there's nothing we can do to hold on to any of it.
But we want to pretend otherwise. We want to feel the sense of security that comes from being a part of something bigger than us. We want to feel that even if we ourselves can't hold the world together as it is, something or someone can.
So we beat down people who come to our country seeking a better life for themselves and their children, because they crossed an imaginary line. We hurt them to show ourselves that we're keeping chaos in check; that our rules really can create order. We beat down people within our country too, for all sorts of silly, banal reasons to convince ourselves that the hammer of justice can keep the villains in line. We want to believe that someone is driving this thing, and we're not just leaves blowing in the wind.
We can take it even deeper than that. We all like to think of ourselves as good people. But to feel like good people, we need bad people, so we can tell ourselves we're not like them. To define ourselves as separate individuals, we need to create an other to be separate from.
That most of those suffering under the weight of our government's retribution are some combination of poor, poorly-educated, brown or black makes it easier for many more comfortable folks like me to look away, because, in our minds, those people are all some sort of other.
The gods of order demand blood, and we've racked up quite a butcher's bill. To maintain the illusion of a society in which things are under control, we need to sacrifice people. We need to see power exerted. And who better to target than those at the margins?
Seen clearly, we can see how insane it all is. But we have to look, not just at what our government is doing, but at our own quotidian grudges. Change starts with changing our perspective.
What else can we do? One practice I'm trying this week is to open my own borders. When I hear my neighbor sawing away, I say to myself, "come on in." As I feel the chaos of a world beyond my control crashing down on me, I repeat, "come on in."
Sometimes, I say a quick prayer for my neighbor's well-being. I try to notice when I'm thinking of us as separate and opposed to one another. If I can see it, that sense of separation starts to soften.
I won't pretend that I've had a total change of heart, but I do feel a lot more calm about it. I even find myself thinking about the happiness his project seems to bring him, of his clear satisfaction in building with his own hands something that even I might call elegant.
That counts for something. My wife and I have cracked a few jokes too. When the waves come crashing, what can we really do but laugh and let them carry us? If by doing so, we can also open ourselves up to our shared humanity, then perhaps the world will laugh with us.


text:
This one-pot fish stew has a key shortcut
This recipe is the food equivalent of a cozy sweater - one made of the most luxurious cashmere. It is a big, warming bowl of comfort food, nourishing and easy for everyday eating, but with an elegance that allows it to cross over seamlessly to a dinner party. It marries the classic Sicilian trio of fennel, olives and orange - typically served together as a salad - in a robust one-pot meal.
The flavor of its fennel becomes deeper and mellower as it simmers and softens with the onion, garlic, carrot and celery in the tomato-infused fish stock. Strips of orange zest and bay leaf add layers of brightness to the mix. The stew's base may be made and refrigerated a day ahead, or it may be frozen so it is at your fingertips whenever you need it. When you are ready to serve, just bring the base to a boil, then add the olives for a briny kick, and the fish.
Cod works beautifully, but you can use any firm, white-fleshed fish, such as monkfish, halibut and sea bass. The fish takes just five minutes to cook, so with the base already at hand you can fix dinner in a flash.
A squeeze of orange juice at the end imbues the stew with a fresh burst of citrus, for a dish which, like that sweater, will be one you reach for again and again.
• Ellie Krieger is a registered dietitian, nutritionist and author who hosts public television's "Ellie's Real Good Food." She blogs and offers a weekly newsletter at elliekrieger.com.


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UnReviews:Plants vs Zombies war
"This is one of the only two games that i had never beaten before because the 10th level owned me so hard. The last few gargantuars literally owned by butt. (And i obviously never spent a cent and i never will.) The other one is final fantasy 20. That call of duty game over there...I don't give a rat's ass about it."
All gamers knew that the epic disaster of gaming of epic proportions, the end of gaming as we know it, known as "the gamingpocalypse", has descended into the gamingverse. As this phenomenon expands it's significance gradually, scam artists has started to trick our innocent youth into paying more and more of their hard-earned money into virtual nonexistent bullshit. Now, we are going to review one of the worst games that descended in the gamingpocalypse; Plants vs zombies war for the ipad.
The first Plants vs Zombies was legendary...until some Epically atrocious video game company ate the company who produced it (Popcap). And it was ruined. The second one, despite popcap being eaten by EA, is still fine and i had not saw many trouble against it aside of a few pinata parties. But all good things must come to an end, and this is especially obvious at the time of the gamingpocalypse. We had become insane for you just to write this review, so you will not have to. Note that over 800 USD is used in this review so we can beat the whole game.
This game is just fustrating as hell and is on par with deathly difficult games such as I wanna be the guy. However unlike this game, I wanna be the guy is 100% free and DOES NOT scam you out of your money. I will explain this in a few aspects.
First, the zombies. the zombies are LITERALLY impossible to beat without spending coins in this game. Every and any level will destroy you completely no matter what you do. The zombie types that appear in this game are extremely annoying. For example, there is a Kicker zombie that kicks all your plants in one shot regardless of their type, even tall-nuts. It's weakness? Gianut, which they cannot kick and will tire kicking them and die. The bad news? it's a premium plant which means that you will have to pay 8 USD for it. But this is far from the worst. The worst happens to be not actually a zombie, but instead is a nuke that reveals a bullseye, then drops in and destroy all the plants in a 3X3 square, and also leaves a 3X3 square of nuclear waste that CANNOT be planted on. This thing HAS a weakness, but it is so small you shouldn't even consider it one. It is a Bunker Leaf that shields 2 nukes in the 3X3 squares, but when two nukes drop into the same range of the plant, the plant gets "Chained" and gets destroyed instantly. This is too costly in endless levels as you will have to constantly replace the leaves and put a leaf every 3X3 squares. This is impractical as 7-10 nukes drop at the same time destroying all your plants at once, and once they blast away all your defenses, there is no way to get past it and you will die. You have no way other than to constantly use power-ups and use power-ups, as well as skip the more difficult levels using 100000 coins. If you can beat level 5-9 without spending coins, you are above God.
The second problem comes from the plants. Aside of having an extremely annoying and difficult zombie roster, you get absolutely nothing to combat the zombies. All the plants you get for free are weak as hell and you do not have time to save sun for your more powerful plants, due to the powerful zombies coming as early as the second or third zombie, only to be followed by about 100-700 zombies depending on the level. You do not have enough time to prepare yourself and attempting to save sun in order to plant the more powerful plants will just get you killed, and don't forget that starting up with weaker plants then going to the more powerful plants will get you killed as well. And finally, all the good stuff such as Gianuts, Winter Melons and Twin Sunflowers will require REAL money to purchase which means that regular free players don't stand a chance.
The third happens to be the "Star" system. The "star" system is a common form of scam method used in modern "Games" and this game just takes this faggotry to the extreme. I can guarantee to you that 9 out of 10 of the stars are literally nigh-on impossible. For example the third star of level 3-9 says: Do not use any defensive plants, do not plant on dave's mold colonies, and do not lose any lawn mowers. The problem is, The "dave's mold colonies" occupy like 5 columns from the hindmost column and with all the Zombonis and gargantuars swarming en masse this is impossible even with spikerock while Kicker Zombies will destroy all your plants without any obstacle. And as all the heat pads given to you at the start are unusable because of the Mold colonies, the end result is you will get raped no matter what. So you are forced to pay 6 USD and some more of your sanity which will leave you a phobia of games for eternity.
And finally the power ups. The power ups all require at least 1000 coins to use and despite you will get 100 coins after you beat a level and about every 70 zombies will drop a coin, a gold coin or a diamond (Never saw it), it is not enough to sustain regular use like you should. As a result, you are forced to buy coins. Also, There are a few powerups that also require real money to purchase before you can use them which is bullshit. You can also use coins to purchase plant food as well, as there is only two or three regular plant food in most regular levels.
The gamingpocalypse is nothing without it's insane microtransactions. Therefore, we will reveal this for you, for the sake of your sanity. First, As of previously said, all the good things that all plants vs zombies players need such as the Twin sunflower, Cherry Bomb and Winter melon, needs REAL MONEY to purchase. And as previously said, you get NOTHING good from Defeating levels (Not to say that The levels are impossible when free), You are pretty much screwed when you don't have these plants when 100-700 zombies rush you on screen before the first wave.
Secondly, there are also upgrades that you can buy, such as 25 extra sun and additional plant food slots. Unlike in PVZ2 where you can get a few of these upgrades for free, you can't get them free in this game and i am not going to say what you will pay for them again. Obviously you need these upgrades but you will still fucking die. It's like 3 seconds of quitting versus 10 minutes of quitting.
Third, you get to buy some powerups such as a power nuke that blasts all the zombies on screen with the power of a cherry bomb. you can also buy a level skip as well and you need coins to use them after you buy it which is a scam after scam non-stop. Note that the 5th area, the world graveyard does not have lawnmowers as well and you need real money to buy them. As those levels are impossible without lawnmowers and impossible with, you are better off not buying them and break your ipad/uninstall the game as engaging in more and more microtransactions will deplete your sanity until you become a golden husk.
And finally, you can pay money for some minigames that were similar to those from Plants vs. Zombies and it's sequel. But again, those minigames were literally impossible as thousands and thousands of zombies approach the screen asking for your money instead of your brains. You can also unlock an endless zone as well, but it is literally impossible. I heard that some guy used a cheat engine and changed his flag count to 1000, then he quickly became insane in less than 6 seconds as at least 1500 zombies approach the screen along with 15 zombnukes dropping down which drove him insane and he was never to be seen again, purported to be dragged into a mental hospital because he burned his house in fear of a zombie attack.
Finally my conclusion. This game is just like a program that says: "Click me in order to pay 8 USD to me!" and you must click me or i will delete all programs you ever had!" Some might say this is a virus, but this is a video game at the tempest of the gamingpocalypse. This is the path we are going and there is no turning back, until the term gaming will end as we know it, and we can only shook in terror and the ever-growing pool of scam methods flood our brains and put us into definite insanity.
Final rating[edit]
This article is part of Uncyclopedia's UnReviews series. See more UnReviews
This subject is 0 out of 5 stars!
That's a giant pile of shit!


text: Inlay: Information by Paul Lester, Deputy Editor, Uncut:'These days, records tend to come and go. Longevity is a thing of the past. M People's second album, on the other hand, had what you might call staying power. Released in October 1993, 'Elegant Slumming', the group's follow-up to 'Northern Soul', would reach Number 2, spend an astonishing 87 weeks on the album charts and spawn no fewer than four Top 10 singles. It also earned the band a BRIT award for Best British Dance Act and won the highly coveted annual Mercury Music Prize, beating such obvious candidates for the gong as Blur's 'Parklife', The Prodigy's 'Music For The Jilted Generation' and Paul Weller's 'Wildwood'.The album's title was taken from a description of New York City nightlife by notorious US pioneer of New Journalism, Tom Wolfe. For M People's mainman Mike Pickering, who'd spent plenty of time exploring club life and culture on both sides of the Atlantic, the term 'elegant slumming' struck a chord, as he said at the time: "Youth culture has always been England's greatest contribution to the world," he told a journalist. "Elegant slumming' seemed to sum it all up for me: that cross between the night life and the economic realities of England."It may have been born out of harsh, gritty, underground northern club culture, but 'Elegant Slumming', if anything, sounds impossibly rich, lavish and luxurious. Featuring M People's patented sophisticated, song-oriented brand of R&B, it is like a modern, British take on the music of the Mowtown, Stax and Philadelphia International labels of the '60s and '70s: a lush escapist fantasy soundtrack for people trying to survive in grim socio-political situations.As ever the music was mostly written (save for a cover of Dennis Edward's 1984 hit 'Don't Look Any Furhter') and produced by former DJ Pickering and the man he chose to realise his sonic visions, ex-Working Week boy wonder Paul Heard. Enhancing powerful lead singer Heather Small on backing vocals were Juliet Roberts, Beverly Skeet, Paul 'Tubbs' Williams (erstwhile bassist with Britfunk greats Light Of The World) and queen of UK Lovers Rock Carroll Thompson.On the tracks lifted from 'Elegant Slumming' as singles, 'One Night In Heaven' (which reached Number 6 in June 1993) was a rousing album-opener. The uplifting 'Moving On Up' (Number 2 in September 1993) moved with the insistence of an express train and instantly achieved semi-national anthem status. 'Don't Look Any Further' (Number 4 in December 1993) was sung by Mark Bell and chosen for the LP by Pickering because, according to the Hacienda decknologist, 'That was always my last song of the set when I would DJ. It's one of those timeless, powerful tracks.' And 'Renaissance' (Number 5 in March 1994) also seemed to achieve radio ubiquity within moments of its release.As ever, the music was mostly written... ...Carroll Thompson (this paragraph was repeated?!).Elsewhere, there was gospel-infused dance ('Natural Thing'), soul balladry ('Love Is In My Soul'), a brass construction called 'Little Packet', 'La Vida Loca' (no relation to the Ricky Martin tune of the same name) with its atmosphere of Brazilian favelas and 'Melody Of Life', an updated version of the sort of euphoric anthem The O'Jays purveyed circa 'Love Train' or 'I Love Music'. A bit of a classic, all told.


text:
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text:
Elements of this text were first presented at "Re-Materialising Feminism" (The Showroom and the ICA, London June 2014), that presentation is documented in an essay for the eponymous publication, "Re-Materialising Feminism" (Arcadia Missa, 2015).
We were posed a question (if obliquely) on how feminism might be rematerialised. I want to try to trace where it is we may have dematerialised feminism in the first place.
As a quick clarification: I'm interested in a constitutive confusion between different locations and meanings of the term 'material', so the term will be slipping between sites throughout this presentation; however, just to clarify a little, when I say for example 'material critique', what I'm talking about here is a critique or practice in which the material, real, economical and ecological conditions of the production of an object/event or a subject/identity are incorporated into a critique/understanding of its meaning.
So, I guess an easy place to start is with the 'dematerialisation of the art object' around the 1960s and 70s with conceptual art; historically, clearly the most important thing happening in the artworld in the 1960s and 70s, as we are repeatedly told, even while Mierle Laderman Ukele washes the stairs of the gallery, Janine Antoni makes paintings with her hair, and Loving Tender Care Abramovic (that is pre-postfeminist, neoliberal Abramovic) cuts herself over and over –
But anyway, so as Lucy Lippard & John Chandler, in their seminal 1968 essay, "The Dematerialisation of Art", write:
During the 1960s, the anti-intellectual, emotional/intuitive processes of art-making characteristic of the last two decades have begun to give way to an ultra-conceptual art that emphasizes the thinking process almost exclusively. As more and more work is designed in the studio but executed elsewhere by professional craftsmen, as the object becomes merely the end product, a number of artists are losing interest in the physical evolution of the work of art. Such a trend appears to be provoking a profound dematerialisation of art, especially of art as object, and if it continues to prevail, it may result in the object's becoming wholly obsolete. ( ...)1
In a 2012 article in the Guardian Professional section, entitled "Tino Sehgal's Tate Modern exhibition metaphor for dematerialisation", Jo Confino writes:
The two greatest mistakes of modern capitalism have been to confuse materialism with happiness, and growth with the need to produce an ever-increasing number of physical goods. These are the core ideas behind the work of artist Tino Sehgal, who is currently exhibiting at the Tate Modern's turbine hall.
By eschewing traditional forms, he has come to represent the core narrative of the sustainability movement, which is seeking to move beyond consumer fetishism to a more meaningful way of living life, one that respects planetary boundaries.
As part of his project for the Tate, Sehgal trained several hundred participants, many of whom have professional jobs, to interact with visitors. Their training was based around questions such as: "When did you feel a sense of belonging?" and When did you experience a sense of arrival?"
Like Sehgal's other works, These Associations, will not be photographed and no documentation or reproduction is allowed. It happens in the moment and leaves no physical trace, but an experience gained.
The Anglo-German artist, who rarely gives interviews, agreed to meet me at the Tate's outdoor cafe. By hosting These Associations, he says the Tate Modern has given official legitimacy to the move away from materialism.
"A place like the Tate is like a powerhouse, not in the sense of it having been a power station, but in the sense that politically whatever gets shown here is recognised as official Western culture," he says.
Sehgal is certainly no enemy of capitalism, pointing out that while there are fundamental problems with the techno-industrial complex, it has also been responsible for major advances in society such as a massive decline in child death rates.
He is also a fan of the market-based economy, arguing that it has been responsible for giving people the freedom to express themselves.
On a very, very basic level I'm definitely pro market because with the market comes the idea of the individual and the idea of specialisation and I personally like being an individual and choosing my interactions," he says2.
In Freud's 1917 essay "Mourning and Melancholia", Freud writes, of melancholia:
The object has not perhaps actually died, but has been lost as an object of love (e.g. in the case of a betrothed girl who has been jilted). In [some] cases one feels justified in maintaining the belief that a loss of this kind has occurred, but one cannot see clearly what it is that has been lost, and it is all the more reasonable to suppose that the patient cannot consciously perceive what he has lost either.
If the love for the object—a love which cannot be given up though the object itself is given up—takes refuge in narcissistic identification, then the hate comes into operation on this substitutive object, abusing it, debasing it, making it suffer and deriving sadistic satisfaction from its suffering. The self-tormenting in melancholia, which is without doubt enjoyable, signifies, just like the corresponding phenomenon in obsessional neurosis, a satisfaction of trends of sadism and hate which relate to an object, and which have been turned round upon the subject's own self in the ways we have been discussing3.
These Associations is a work by Tino Sehgal. The piece is the final in the Unilever series' Turbine Hall Commissions. I worked, officially, as was written on my contract, as a 'Participant' in the piece from when it started in July to when it ended on 28 October 2012. We got paid ₤8.33/hr (then known as London Living Wage) and worked either four or eight hour shifts.
The work required us to perform a series of sequences, (A – D), in which we were required to play a set of games with rules set out by the artist and by the piece's producer, Asad Raza.
Each sequence, A through D, works on combinations of basic flocking principles, as well as two chants. The first reads:
Thus we ask now: Even if the old rootedness is being lost in this age, may not a new ground be created out of which humans' nature and all their works can flourish even in the technological age.
This is a bastardized excerpt from Heidegger's 1966 Memorial Address.
The second is adapted from a Hannah Arendt text. Around 1924, Hannah Arendt was seduced by her professor. He was 35 and married, she was 18 and single. Most disturbing to some scholars, it is alleged, despite Heidegger's penchant for Nazism and Arendt's Judaism, Arendt and Heidegger resumed their friendship after the war.
At any moment during the piece, as well as at specific scheduled moments, any participant may break away from the piece and talk to any of the museum visitors.
Asad Raza, the producer of the piece, refers to this as 'giving a conceit', or just 'conceiting'. This terminology is also used by all of the participants, even when we are outside of the piece.
In literature, a conceit is an extended metaphor with a complex logic that governs a poetic passage or entire poem. By juxtaposing, usurping and manipulating images and ideas in surprising ways, apparently, a conceit should invite the reader into a more sophisticated understanding of an object of comparison.
The term is generally associated with the 17th century metaphysical poets, as an extension of contemporary usage. In the metaphysical conceit, metaphors tend to configure only a tenuous relationship between the things being compared.
The proposals, questions, or themes for the conceits that govern conversations in These Associations are:
A quality in a person that you admire (the quality, not necessarily the person)
And to be overwhelmed
The conceits should be tellings of true stories from the participant's own life, to be told in the first person. They should elicit empathetic rapport and generate affect. In-depth emotional conversation with visitors is encouraged as long as it remains on theme.
These Associations, I often used to give conceits that began with a reference to a visible mark on my body so as to somehow evidence the legitimacy of my story.
People often ask me about this scar on my chest.
Usually I will respond in one of two ways:
"Well, you know that scene in Indiana Jones where the bad guy rips out that other guy's heart from his chest? It's just before he pushes him into the pit to sacrifice him and then holds the heart in his hand still beating…"
This explication is necessarily accompanied by a demonstrative hand movement: Fingers bent at top and middle joint curl up from flattened hand and bend, pause, bend, pause; squeezing invisible meat.
"Well, it was like that."
"So, I was dead for six hours. And now I'm not. Basically, I'm a zombie."
Since the zombie seems to have become the dominant metaphor for the object-oriented subject of 'Late Capitalism', I tend to favour this explanation, particularly when speaking to Speculative Realist boys.
I find that it excites them suitably, my animated corpse4.
"So, my heart was outside of my chest for six hours, while my blood was pumped around my body by a machine. When they put it back, when I woke up, I felt the most amazing sense of arrival…" .
"I didn't plan my first tattoo…"
After the first few weeks, I began to scour newspapers to see if any reporters had written about the no doubt life-changing conversations I had had with them.
At this stage I found only one: an article written by Gareth Harris for the Art Newspaper, published on July 26th, two days after opening night. The article was titled "Tragic event overshadows Tate Modern opening", with the subtitle, 'Tino Sehgal's storytelling takes centre stage in vast Turbine Hall'. Harris writes:
Snorkelling off the Italian island of Elba; a mother's tears as her son departs for university; the trauma behind erasing a tattoo: these are some of the tales told by participants in Tino Sehgal's commission for Tate Modern's Turbine Hall in London. "These Associations," (until 28 October), the first "live" work in the vast space, consists solely of encounters between around 70 storytellers and visitors to the gallery.
Harris continues:
The opening of These Associations on the evening of 24 July was overshadowed by the death of a man who fell from an external balcony of Tate Modern late that afternoon.
A later edit states:
UPDATE: According to The Times, the man who died after falling 100ft from a balcony at Tate Modern last week has been identified as Michael Foreman, a 48-year-old banking manager for HSBC.
Harris was notably the only journalist to link this suicide with the opening of These Associations. Although the Evening Standard and Daily Mail both featured the story of this death as their cover headline, neither mentioned Sehgal's piece. The Mail's lead photograph includes Damien Hirst's Hymn in the foreground. Their headline reads 'Horror as man in suit plunges to his death from 100ft-high private members' balcony at Tate Modern during busy summer season.'
As the weeks progressed, I started to shift some of my conceit. I began to talk to visitors about what was happening in my everyday emotional life.
So, when I read this piece, which I call This Association, aloud in its entirety at a 'workshop session'/conference/painfully, liberally open sharing session in Davos recently, a woman got extremely angry with me for speaking, as she understood it, about this everyday emotional life. While at first I placed her vitriol within a rubric of straightforward generational antagonism – something I've been seeing a lot of lately, from Angela McRobbie's "phallic girl" to RuPaul's claim to being justified in using transphobic language due to his time on the scene, sitting in yet another feminist conference and listening to the overwhelming damning of those college girls who like being rated on their blowjobs, those girls who shave and wax and weave, those girls who wear pretty pink dresses, those girls on the internet –
So anyway, this woman (who I characterize immediately as 'some horrible woman', some witch, some unnamed competitor, because this is what the academy and capitalism produces in us, us workers, us women); this horrible woman kept saying, "This mode of telling is irrelevant". She said – she actually said – "Look, women can sit in a circle and tell stories about their lives as much as they like and it's not going to change anything." She said, "Yeah right the personal is the political but surely we're over this now," she said "this overly subjective text is totally meaningless"; she said "these stories, your stories, are insufficient." And yeah she was right, that story is insufficient, this story is insufficient, this I is insufficient this body is insufficient and so on and so on and so on –
But, this whole 'overly subjective' thing, I've heard it before; the 'merely personal narrative', the 'hysterical artist', the 'failed revolutionary', the 'subjective emotional irrelevant critique of the art object event.'
So here I'd want to ask how we can practice a criticality that is against 'objectivity' and critical distance, that masculinist rudder of truth, taste and sensibility, and yet for realism: a material, post-critical position that moves towards some kind of ethicality or emancipation, an undoing of alienation where immanent, material critique begins with, or circulates through, the points of the author? Here, methods often referred to as subjectivised, hypersubjective or personal, are shown rather to demonstrate a new objecthood, an unmediated realism and a possibility for meaningful critique as practice. That is, practice as action: where the 'self' is considered as material, as immanent ethical aesthetic object; as contestable, but nameable and groundable position; as thing.
Though Jameson may have heralded the collapse of critical distance twenty years ago, and while new forms of criticism, art writing and so on are currently furiously taking hold, breeding maggot-like in the still-warm bodies of criticism; there remains, in institutions and art schools everywhere, the debilitating hangover of Modernity within criticism. How many times am (even) I told that, as a critic, my role is to translate, or to explain, or to tell the reader something of the transcendent quality of an art object/event which they themselves may not see, may not 'get', BUT I CAN: something entirely unrelated, of course, to any feeling outside of an immediate relationship with said object. Critical distance, with its elitism, emptiness, its macho genius is still clinging to art and artworlds, reborn as zombie in the indeterminate emptiness of contemporary art.
Such critical distance is predicated first on the preservation of an insurmountable subject-object divide, and secondly on a claim for 'objectivity'; an objectivity which always reproduces existing hegemonies since it necessitates a 'neutral subject', which can only mean one whose power has been made invisible. The 'objective truth' or judgment can only originate from an (inevitably white, male) already-privileged hegemonic position.
Many of you will be familiar with Hito Steyerl's essay "A Thing Like You and Me"; it's very trendy, but I'm going to quote it anyway:
But as the struggle to become a subject became mired in its own contradictions, a different possibility emerged. How about siding with the object for a change? Why not affirm it? Why not be a thing? An object without a subject? A thing among other things?5
So, as Steyerl suggests, instead of trying for subjectivity, which is anyway to be subjected to an other; instead of trying to get back, behind and before the image to some imagined and originary subject, what if we could become objects, be things? What new possibilities might this produce in the exchange of materials, commodities, but also specifically in exchanges with art objects?
At this point it is worth noting that my suggestion that material critique moves away from the model of the subject as sole emancipatory position is in no way situated in 'post identity' or 'anti identity politics' rhetoric. Rather, the argument is that the subject as it is produced throughout art history, and particularly in contemporary art, is part of a reproduction of capitalist modes of oppression. In the empathetic exchange of objects the specificity of lived experience (informed by an intersection of race, gender and class) forms the basis for the treatment of the 'I' and the body as material and immanent objects.
The subject is produced through a relationship to an other (that is usually inferior) as typified in the critic/art object relationship, as well as the artist/art object relationship, with the latter also forming a feedback loop in terms of the construction and expression of an originary 'identity' in the artist subject. In this relation the art object/event maintains a particular distance from the subject, cannot threaten the subject and is complicit in the reproduction of the exact subject that capitalism wants.
What happens if we, as women or queers or trans* folk, as black folk, as objectified, traumatised, fungible bodies, what if we as objects are in the perfect position to speak to other objects in a meaningful and rupturing way, to replace the distanced objectivity of critical distance with an empathetic exchange of ethical aesthetic objects? What happens if we treat ourselves – our bodies, our history as well as our 'I's , as malleable structural frames, which are grounded on every utterance – as material?
Those who are not recognized as rational hegemonic subjects, those who are already objects may be better positioned and more capable of inhabiting the position of beholder who recognizes the "nonsensuous", invisible, but nonetheless real properties of an object as it acts in mutual participation in that which it images, in its maker, in abstract ideas, in the beholder (here also positioned as object). S/he recognizes the equivalence of powers residing in the bodies of law, of object and of human beings; the loop of meaning conferred between all representations, all things, like her. S/he participates in the object nonsensuously, non-rationally, via belief and knowledge as emotion, which is a "a force tending toward action, rather than contemplation"6 , an immediate mediation, a participation in the image, offering a new possibility for a reciprocal radical critique.
Knowledge as participation in the object undoes the alienation that is the base principle of capitalism, language and especially of art, culture and assumed cultural understanding; criticism. Criticism and especially art criticism is traditionally the simultaneous distancing, acknowledgement and naming of the immediate expression – the gasp, the cry, the apprehension that precedes judgment.
This empathetic exchange of objects is an attempt to reconsider the object, as opposed to the subject, as a potentially emancipatory position and site of resistance to neoliberal models of subjectivity. In this case in particular, the empathetic exchange of objects, which necessitates our becoming-thing strives for emancipation from the assumed freedom of the artist within the institution. The empathetic exchange of objects moves towards a less alienated, more radical form of being with art objects that might just escape the institutionalization of that institutional critique which exactly reproduces the neoliberal project of the free market and precarious work force, where the appearance of freedom, possibility, autonomy, strictly regulates the actual real possibilities for emancipation from these institutions.
Objectivity, as it is inevitably positioned in opposition to subjectivity, and often to 'emotional', 'immediate' and 'personal' positions, also constitutes the phallic pole of the false masculine/feminine dichotomy. Objectivity necessitates a subject who believes they speak from a neutral or invisible, wholly-formed subject-position – a non-identity – and can only be proffered by members of existing ruling hegemonies.
To speak 'objectively' is to objectify the world, to feel capable of speaking of the world (and, often, of others) as object. When someone claims objectivity, and especially when this assertion is reaffirmed by others, there is a claim for describing the nature of the world as it is; from a distance, and without any possibility for including the speaker in this ecology. Like critical distance, this model of objectivity – masculine objectivity – functions only to reproduce the subject/object divide (according to which, traditionally, man is subject and woman object) and to maintain the boundaries which keep knowledge, truth and judgment as privileged and impermeable territories, and which enable the position of the human (male) as central and abusive ruling subject.
Since to speak objectively as subject is to speak in a way that fits with the world, masculine objectivity can only reaffirm the status quo; cannot rupture the capitalist chains of production, is incapable of action, petrified.
Critique, criticality and self-reflection have a particularly difficult task in the realm of contemporary art today. Adorno & Horkheimer claimed that 'self-reflection' might still rescue the Enlightenment and Modernist projects, meaning here reflection on the Enlightenment, as opposed to on any individual speaker/writer. However, since reflection and especially criticality is considered the primary use value of contemporary art, whereby institutional critique has long been institutionalized, the positioning of critique as utility produces a muffling bind of its own on any kind of project geared towards a critical or post-critical position (including this one).
It is also in this contemporary climate, though, where the 'total freedom of the artist designated by the institution'7 is assumed both as given and sufficient, that emancipation seeks new objects; new things, which are not (only) tools.
Thus contemporary art must foreground a rupture of critical distance, which reproduces privilege and authority; which affirms the status quo and furthers the institutionalization of non-rupturing 'criticality' as truth and imperative; which before it is reason, judgment, logic, 'objectivity' is predicated on a privileged subject (contemplating an) object relationship where The Critic has authority over the
object, and remains safe, in a clear divide between speaking/writing self, and silent, or else hysterical, other.
So, going back to this whole dematerialising thing, we might mark the dematerialisation of the art object as a space in which we lost our material feminism: a site for reclamation, for being/doing materiality, & feminism as well; idealistically, perhaps, as material feminism.
So where else? Well, I guess a good place, always, to look for dematerialisation, is online: disembodied feminism, virtual feminism, twitter feminism 'Internet Feminism', those girls on the internet … this reminds me of being at a feminist conference at Goldsmiths when one of the speakers was talking about the 'Am I Pretty or Am I Ugly' YouTube phenomenon, in which (mostly white, middle class) teenage and preteen girls post videos featuring themselves talking into the camera, and often a montage of screenshots, asking, "Am I pretty or am I ugly?" to the assembled online public. The conference speaker memorably commented: "Look, people are talking about a crisis of self esteem in young (white middle class) girls, but you don't post pictures of yourself on the internet if you have low self esteem."
(Me and Caspar were there, and they were just like "Yeah lol you really don't understand the internet")
Anyway, so one of the worst examples of 'hashtag feminism' that I saw recently was the hashtag started by prominent liberal UK feminists: '#nounexpected penises'. It was going around twitter a few days ago, proclaimed by Trans* Exclusionary Radical Feminists as a way to claim a 'right' for cis-gendered women, particularly women survivors of sexual violence, to police the genitalia of those around them. They say "We just want a safe space a space that is for women only" and "We just want a safe space that we will police(?)". Will 'we' be looking at your birth certificate? Will 'we' be groping you or worse? "We don't want trans women here because this is a safe space for women only". "We don't want any violence (except for the violence that we are doing to you)" and worse and worse and worse –
This stuff, it makes me think about how Lacan and Freud and all those men would talk about the phallus, when what they were talking about was their cocks, but how somehow trans exclusionary radical feminists get this confused. It's like not only do they want to instrumentalise victims of sexual violence in their transphobia, they also are intent on rematerialising the phallus, so that biology should remain destiny: fixed.
That the fleshy external thing must be that thing which is feared, that sign which they will reassign with power, male violence, oppression. A silly thing, which in its nagging visibility is, for them, the naming object; the assertion that to be a woman is to not have this thing, and to have a 'right' to remain without and outside of this absolute object. Gender, in this schema, is visible, quantifiable, measurable: gender as the pinnacle ofnmasculine objectivity, its sign the unfallible cock.
To be trans*, to be genderqueer is not only to be outside of so much of feminist discourse, as well as mainstream acceptance; it is to constantly need to reinvent language – to refuse to accept the massive division between form and content, to refuse difference and distance, to undo the binaristic categories of man and woman – as if these words themselves produce a tangible reality in which there are only two genders, two primary identities based bizarrely on the absence (the lack) or presence of a cock. The thing is…
Found object; phallus.
I read somewhere recently that trans* identities mark a refusal to accept anything other than a radical non-division of form and content, immanence trouncing phenomena. This non-division, which is more complicated than agreement; this lack of distance, closeness, this negation of alienation feels like an ethical imperative within neoliberal politics, and particularly within the indeterminate reproductions of contemporary art. A literal, material agreement of image and object, in excess to representation; the essence of the image made real (of the real made image): radical participation.
- 1. Lucy Lippard & John Chandler, "The Dematerialisation of Art," in: Art International 12:2, February 1968, pp. 31–36.
- 2. Jo Confino, "Tino Sehgal's Tate Modern exhibition metaphor for dematerialisation," in: Guardian Professional, Friday 5 October 2012, 16.50.
- 3. S. Freud, 1917, Mourning and Melancholia. The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XIV (1914-1916): On the History of the Psycho-Analytic Movement, Papers on Metapsychology and Other Works. Vintage Classics: London. pp. 244 & 250.
- 4. A version of this text first appeared as "People often ask me about this scar on my chest" in: Stupart, L., 2013, "Untitled," in: Noonan-Ganley. J. (ed.), Oh wicked flesh!
- 5. Hito Steyerl, "A Thing Like You and Me," in: e-flux journal #15 April 2010. Available http://www.e-flux.com/journal/a-thing-like-you-and-me/ (1/1/2012).
- 6. Ibid., pp. 332.
- 7. Suhail Malik, 2013, "Ape Says No," in: Red Hook Journal. Available: http://www.bard.edu/ccs/redhook/ape-says-no/ (10.1.2014).


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Achieve a personal meeting to connect with companies attending eee. Take this opportunity to meet your future employer, create a contact for your network or have a first meeting to engage for tomorrow. The companies that come to the fair are here because of YOU, they are here to meet their dream colleague.
The application will open closer to the fair.


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|Life story
|Artistic career
|Her idols
|About art
|About her
During her almost 50 years of artistic work, Kristina's creativity has never ceased. After initial preference for drawing and illustration, she rapidly enlarged her area of interest to painting - watercolor, gouache, oil, acrylic - trying even engraving, sculpture and monotype.
One characteristic trait is strongly present in all her work, even if it mainly appears in paintings. On paper, on canvas, on fibreboards, powerful traces of charcoal or oil pastel structure the solid or transparent areas of color. The effect of line can even be achieved without the usual drawing tools, in a kind of negative, as the effect of scraping the outer layers of paint.
Excellent in drawing, Kristina was also a good colorist. In her studio, she created infinity of nuances starting with countless jars of pigments, to combine them later in an original way.
Here you see samples of different techniques used by Kristina.


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July 1 will not only be about the biggest indirect direct tax reform — the Goods and Services Tax — but also about a new kid on the block in India's hydrocarbon space: Open Acreage Licensing, which allows companies to cherry-pick their own areas for exploration.
Like GST, OAL, another policy initiative of the previous UPA government, will be offered under the Hydrocarbon Exploration Licensing Policy. OAL will also mean the end of the story for the existing auction mechanism, the New Exploration Licensing Policy (NELP).
Officials associated with the process say that if the trial run is anything to go by, OAL has already attracted the Exxons of the world, who have been keeping India low on their oil and gas exploration priority list.
However, a question being asked is why the government is going ahead with OAL now, when blocks awarded under NELP, including the controversial Reliance Industries-BP Krishna Godavari Basin-D6 block, are showing results?
Since NELP was introduced in the late 1990s, 314 blocks have been offered, of which 254 have been awarded. Besides, at present, most of the producing blocks in the country are those that have been offered before NELP or after NELP.
OAL is intended to cut the red tape and plug the gaps in the NELP model, a senior official in the Ministry for Petroleum and Natural Gas told BusinessLine.
A prerequisite for OAL is the National Data Repository (NDR) to be unveiled by Finance Minister Arun Jaitley on June 28.
"All the data will be made available on NDR, which will be the backbone of OAL. To be manned by the Directorate-General of Hydrocarbons, OAL will offer 2.7 million sq km of Indian sedimentary basin out of the total 3.14 million sq km available in NDR," the official added.
The NDR will be made operational immediately and OAL will roll out from July 1, on expression of interest basis. "Companies will be allowed to submit their EoI (expression of interest) till November 15, and within a month, the notice of inviting offer will be put out.
Then, in a month or so, bids will be invited. The bid evaluation will be based on minimum-work programme and revenue-sharing model," the official said.
Contracts could be awarded in March-April next year and May 2018 is the target to sign the contracts. OAL is an ongoing cycle, so when the first lot goes out, parallely the companies would be looking at other areas. However, there will be a cap on the number of areas they can carve out.
With OAL, the government also hopes to win back the trust of the companies in the business as it will allow the players to choose their own areas and carve out their own blocks with pricing and marketing freedom. However, they will have to work under the revenue-sharing model, unlike NELP, which was based on cost recovery.
When asked what happens to the blocks that have already been contracted for under NELP and prior to the NELP regime, the official said those contracts would co-exist with OAL. Only those areas that have been surrendered or not already awarded are being put on offer in OAL.
Stating that enough checks and balances have been put in place to ensure data security, the official said the server will be physically in DGH hands and there are enough firewalls. To access the data, the companies will have to pay a nominal price, which will be announced once the NDR is unveiled.


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Drever.A is a malicious SIS file trojan that disables the automatic startup of Simworks and Kaspersky Symbian Anti-Virus software. Currently, it is still unverified whether either of these software have protection against such attacks. Drever.A does not affect F-Secure Mobile Anti-Virus.
Drever.A can be disinfected easily by using F-Secure Mobile Anti-Virus available from http://www.f-secure.com/estore/avmobile.shtml. Alternatively, you can uninstall it by uninstalling the Drever SIS file with application manager.
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text: About Me Hi! My name is Tammy. I am from San Francisco, California. Yes, I was born and raised there. I am Chinese and Korean. I'm just kidding, I am 100% Chinese. I just really LOVE the Korean culture, language, Kpop music, and definitely the Korean dramas. I have watched them ever since 7th grade. The number one place I want to travel to is South Korea. I have one younger brother. I have a little Yorkie and her name is Brownie Cupcake (I don't know why I name all my pets as desserts). I have always wanted to be a model/fashion blogger when I was younger, but I have always put myself down about doing it which led to me actually not taking the action to give it a try. But I have a lot of positive and supportive people in my life that gives me the confidence and courage to pursue my dreams and goals. When I dress up and look nice, it's for myself to feel good and confident. I hope to empower and inspire others to follow your dreams and goals. BUSINESS INQUIRIES EMAIL ME = email@example.com Share Get link Facebook Twitter Pinterest Email Other Apps Share Get link Facebook Twitter Pinterest Email Other Apps


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Tag Archives: Guavas
Tropical Cocktails
I just set up my winter storm voicemail, and email. "The city is set to shut down, and I am blessed that our power is still on. So, yes; I have Netflix and my clean fuzzy blanket right out the … Continue reading
Posted in Kitchen Adventures Tagged cocktails, entertaining, Guavas, happy hour, pineapple, snow day, soda, winter strom 4 Comments


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In a May State of Mind
I just spent the last few days transcribing a lot, creating a lot and talking a lot. So I'm not surprised that today I woke up in need of some introversion. So I'm shifting out of super-verbal output mode and into intake mode. And when I do that, I find that the best therapy is sifting through old photos. This morning, I came across some shots I took around this time last year, when spring seemed ready any second to burst into summer. This spring has proven a bit more shy than last, but my window box daisies have finally announced that it's fully present. So here's to spring, sitting quietly and taking it all in.
Happy weekend!