every girl is judged on there appeareance.

and because of it , they become insecure.

Because instead of someone basing them on their personality, there opinons , and strengths they tend to judge you based on what you look like, how tall or short you are , how skinny or bigger you are. Truth is when it comes down to it, were all the same. We all judge people, we all are terrified whats going through peoples minds when they study us. We have no reason to be insecure, But it just happens.

During insecure times, it has been often surprising to work on security, as this was never part of my life plan or ambition but has proven to be quite fascinating. Devotion to the safety of patrons and art treasures is a worthy goal and one that requires vigilance, savvy and persistence.

It turns out that regular appearances of guards in uniform may actually deter a huge amount of theft and destructive behavior. I have never been fond of uniforms or wished to wear one, but I am learning that they may command respect and offer some reassurance.

I often have folks walk up to me and say, "I appreciate what you are doing to keep us safe."

Mojave Inn Motel – General Description

Since a long time, my desire to build an iconic North American desert motel had grown, and insecurity about what would be possible with the pieces I owned kept me excited and a tad worried at the same time. What if I couldn’t design it how I had been envisioning it? Would I have to give up my idea of a somewhat spacey, out-in-the-middle-of-nowhere-motel, set into desert scenery, ideally at the intersection to a side road leading towards a desert airfield such as “Lerner Field” from the movie Con Air? Would I have to go for an alternative design, or wait a while until I’d have more of the needed elements in my collection?

In the end, it all worked out according to the picture I had in my mind. Time pressure before the Lego convention “Bricky Way 2018”, organized by Gábor Horvath, helped me to finally get the Mojave Inn Motel project done.

In my imagination, its location out in a desert always had inspired me to combine it with another favourite set of clichés of mine – the whole Area 51, alien, UFO and desert spaceport topic. I wanted the motel’s style to somehow match an environment like that. That is why I went for oval windows, an aspect that gives the motel a bit of a spacey attribute from the outside. On the inside, I worked with transparent walls for the motel rooms’ bathrooms and transparent vertical “stripes of lights” in the rooms. In addition to these details, the Mojave Inn Motel’s central lobby, bar and breakfast / restaurant area includes tables resembling flying saucers and a pretty spacey juke box as well.

The four rooms are designed equally and contain basic equipment: a double bed, a table and two chairs, a radio, a coffer in the entryway and a bathroom with a walk-in shower, sink and toilet.

The entire roof of the building is one huge patio. Behind the “Mojave Inn” sign, there is a small pool as well.

Together with its parking lot, the motel needs a space of exactly four 32x32 studs-seized base plates.

Because I’m old-fashioned and a huge fan of Lego’s 12V equipment from the 1980s, especially the lights, I illuminated the entire motel with nine of those nice 12V light bricks which the older builders among you may still know from their childhood days. I love those light bricks, as they shine forward and downward at the same time, and produce a warm light (unlike the PF-LEDs with their cold light, of which I still don’t own any). Thus, in terms of lighting, the Motel fits really well to my Airfield Tower, which is also equipped in that way.

Most of the pictures of the Mojave Inn Motel were taken during the Bricky Way 2018 weekend, at which ER0L, Gábor and me had a joint layout once more. The shots of the interior and the photo showing its modular construction, suitable for transport, were taken at home.

The Mojave Inn Motel will be part of desert layouts, and will be joined by other buildings and landmarks fitting into that kind of scenery in the future…

Orange and red convertibles made & owned by ER0L.

Thanks for looking!

We are all human beings, and we all have insecurities, but it's about being healthy and happy with yourself. I'm not perfect, and I will indulge in pizza and sweets on occasion. The goal is to make the majority of your decisions good for your body. So listen to your body, and treat it like your temple.

Any insecurity has a navel and mine is

the constant loss of my "me".

View On White

________________________________________________________________

Please don't use this image on websites,

blogs or other media without my explicit permission.

Thank you. © 2009 All rights reserved

The Tree Planted by the Waters

George Everard, 1884

The servant of God is often described in Scripture under the image of a tree bearing good fruit. And under this figure we have his verdure and fruitfulness connected with the River of God's grace. We find it both in Psalm 1, and also in Jeremiah 17.

Before dwelling upon this description, let us take something of a contrast. Hugh Macmillan tells of a remarkable plant that grows in the South American forests. It is a sort of club moss, and in dry seasons becomes somewhat of a traveler. When every particle of moisture is extracted from the soil, it will detach itself from the earth where it has been growing, and curl itself up into a ball. It is then carried away for miles by any strong wind, and remains coiled up until it reaches some marshy land or pool of water. It will then begin slowly to unfold itself, taking root and assuming its former appearance. It may grow long enough to cast its seed on the air, and when its new home becomes dry, as the previous one — it will take to its former unsettled habits, and like a pilgrim go forth to seek the water that it loves.

Truly does the author, who gives this account, compare this plant to a child of the world. Such a one has no fixedness or stability. He goes from scene to scene, from one object to another, seeking for a little passing gratification. Unsettled in spirit, tossed hither and thither by temptation, by the world's allurements, or by every breath changing opinion — finding no permanent spring of hope or consolation, at length he passes away without having ever discovered the secret of true peace and satisfaction.

The prophet Jeremiah uses somewhat of a different image. "This is what the LORD says: Cursed is the one who trusts in man, who depends on flesh for his strength and whose heart turns away from the LORD. He will be like a bush in the wastelands; he will not see prosperity when it comes. He will dwell in the parched places of the desert, in a salt land where no one lives." Jeremiah 17:5-6

But not so is it with the godly man. He leans on a Divine arm. His heart draws near to a Father in Heaven. His spirit cleaves steadfastly unto God. The name of Jesus is his stay and resting-place. In the darkest night of trouble he makes the Lord his hope, and encourages himself in His faithful care. And how rich is the blessing he inherits! There is no curse for him. He is not like the heath in the desert, or the rolling plant of the forest. He inhabits no parched places or desolate wilds. The very reverse of all this is his portion. "But blessed is the man who trusts in the LORD, whose confidence is in him. He will be like a tree planted by the water that sends out its roots by the stream. It does not fear when heat comes; its leaves are always green. It has no worries in a year of drought and never fails to bear fruit." Jeremiah 17:7-8

What a variety of blessedness is promised here! All around may be parched and dry. Sin and worldliness and unbelief may wither up all true joy — but he still retains his comfort in God, and grace to confess the Name he loves. He casts his roots deeper and deeper, in stronger faith, in more frequent meditation — and thus drinks in perpetually from the ever-flowing streams of living water. He flourishes as the cedar in Lebanon. He grows rapidly like the palm-tree. His bough is laden with precious fruit. Even in the year of drought — in times of deepest trouble or distress — he is freed from perplexing carefulness, and still honors God by his joyful patience and holy submission to the will of God.

In the life of the patriarch Joseph, we have a forcible illustration of the promise here given. He was ever a man of faith, deriving all his strength from nearness to God. He was "a fruitful bough by a well" (Genesis 49:22). Like a well-rooted tree, he was ever steadfast, rejecting with abhorrence the sin proposed to him, and manfully performing his duty and bearing the fruits of righteousness . . .

in the house of Potiphar,

in the prison, and

in his high position in Egypt.

"His branches ran over the wall." He was a blessing wherever he went. He brought down a blessing on his heathen master, then on Egypt, and then on all his father's house. Never, never did his leaf fade, nor were his branches found without their appropriate fruit.

But how may this blessing be yours? How may you, too, be a tree of righteousness, ever growing, ever bearing fruit through the power of divine grace?

Be sure, the River of Life is near at hand, the waters are flowing on in rich abundance, and if you will follow the directions which the Master gives, you cannot fail of the promised blessing.

Come near, and keep near, to the secret source of all life and fruitfulness.

From first to last, it is a matter of humble trustfulness. The heart of the ungodly man departs from the Lord — the heart of the godly man flees to Him. He runs, he walks, or he creeps, which ever it is — at least, he comes and draws near. Thus must you do. Set your face toward God. Remember His promises and rely upon them. Remember the precious name of

Jesus, and let this give you sure confidence. Remember God's exceeding loving-kindness. Remember His faithfulness and truth. Remembering all this, trust the Lord continually. Trust Him for all that concerns this life. Put every care and sorrow and burden into His hand. Leave all with Him, however gloomy, or painful, or threatening, the prospect may be. Trust Him with all that concerns your spiritual welfare. Trust Him when the heart feels cold and dead, that He will revive and quicken you. Trust Him when you can scarcely utter a word of prayer, believing that His Spirit will again stir up your heart in this as in every other grace. Trust Him always and trust Him forever. So will you keep close to the River, and your soul will be refreshed and comforted.

Be careful about the little things in a Christian life. No one can tell the immense difference that will be made by the use or the neglect of little opportunities — or in the matter of little duties. Remember it is the little fibers of the roots of a tree which drink in the moisture and receive nourishment from the soil, and thus promote its growth and fruitfulness.

Be very careful about these little fibers. Watch over your thoughts. Let them ever cleave to Jesus. Let them be sanctified by the remembrance of all that He is, and of all that He does for His people. Let them be filled with the sweet promises and precepts of Holy Scripture. Ever cherish heavenly aspirations, longing desires, and frequent upliftings of the heart in prayer and praise. Your highest attainments in grace and holiness will be closely connected with every secret prayer which arises to God. Just as the topmost branches of the tree are dependent upon the thin, hair-like roots that the eye can scarcely discern — so all spiritual advancement will depend on the secret walk before our Father in Heaven.

The figure of the tree shows also the importance of firmness and steadfastness in the Christian life. You must seek to be rooted and grounded in the faith, and so established that nothing can move you. Hold fast the faithful Word. Beware of new views and new opinions which are perpetually springing up around you. Stand firm and strong when persecution or reproach comes to try you. Rather suffer loss or exile or death — than dishonor or forsake your Savior.

Only lately I heard of an example of this steadfast spirit which it will be well for us to follow.

The son of a very rich man in Calcutta came to England to educate and qualify himself to practice at the bar in India. Brought up as a strict Hindu, he had no thought of becoming a Christian, though he had some knowledge of the truths of the Gospel. On his way to England a storm arose, and for three days the ship was in imminent danger. During the storm he felt how insecure was his own position; he thought of Christ, and sought Him in earnest prayer. He found spiritual peace and hope; and during his stay in London his convictions were deepened, and he was baptized.

As soon as his father heard of his baptism, he cut off his supplies — and the young man would have been utterly destitute but for a few Christian friends whom God raised up to help him.

After finishing his course he went back to Calcutta, and to his surprise his father received him with open arms. He received from his father every possible kindness, and for a time he thought his father had forgiven him. But it was only a device to draw him back to Hinduism. After about a week his father spoke to him on the subject. He told him that if he would give up Christianity, he would at once make over to him all his property. He need not practice at the bar, but might live in every possible comfort and luxury.

But the young man was not to be moved. Neither persuasions nor promises could turn him from his purpose. So he said to his father, "Not for all you have done for me, or for all you have now promised me, nor for your love, which I value most of all — dare I deny the Savior who has loved me."

Then said the father, "If this be so, you are no longer my son, nor am I your father. Begone! and never let me see your face again!"

So, without a shilling of his own, he had to go to another city and seek his living, having given up all for Christ's sake.

Another word of guidance I would give you: Endeavor to make progress. Cultivate growth in every direction. Aim at increase in every Christian virtue.

In dependence on God's grace, let there be the downward growth — the roots going deeper into the soil. Be clothed with humility. Follow Him who was meek and lowly in heart. Keep near the Savior's footstool. Strive to grow in the knowledge of your sin and unworthiness. The sense of sin ever deepens with growth in holiness, because God's light shines in more brightly, and thus discovers the evil that is in us.

Then also grow in steadfastness. As the roots of a tree go deeper into the soil, it becomes more firmly fixed, so that the winds and storms can the less move it. Thus be firm and immovable, rooted and grounded in the truth as it is in Jesus. Do not be swayed by the current of human opinion. Do not take your views from the Newspaper, or the last Magazine. Rather, hold fast by the faithful Word, being assured that not one thing has failed or will fail of all that the Lord has spoken.

Let there also be the upward growth. Like the tree shooting higher and higher, ever tending upward, so let it be with your heart. Set your affection on things above. Get nearer and closer in true fellowship with the Father and the Son. Tend evermore in true holiness toward the light of the Sun of Righteousness. Let your whole life be filled with joy and praise and thankfulness to Him.

Let there also be growth in the breadth and circumference of the tree. I mean, let the Christian grow in largeness of heart, in wide-spreading sympathies, in holy charity, in efforts to spread everywhere the savor of Christ's name. Wherever God opens to you a door of usefulness, by which you can enter without neglect of other duties — don't hold back. By intercessory prayer, by free-handed gifts, by a book given to someone going into a foreign land — your influence for good may spread far and wide, and perhaps hereafter the most precious jewels in your crown will have been won in lands you have never seen.

Above all, let your growth and fruitfulness never cease. Cleave to the Lord, and He will never fail you. He will give "more grace," and thus you shall bear more fruit. "He is like a tree planted by streams of water, which yields its fruit in season and whose leaf does not wither. Whatever he does prospers." Psalm 1:3

Oh fill me with Your fullness, Lord,

Until my very heart overflow

In kindling thought and glowing word,

Your love to tell, Your praise to show.

Oh use me, Lord, use even me,

Just as You will, and when and where,

Until Your blessed face I see,

Your rest, Your joy, Your glory share.

Havergal

After some insecurities,

first stumbling steps,

bottomless excitement,

daring fickleness

and a climb up the hill.

After a time of years it is,

that one reaches,

certain heights,

receives certain views

of life

and of things within

oneself.

Now,

therefore you have gained more experience,

have developed yourself,

your path will bring you down again.

Back again.

Seasoned

and with all sereneness,

you can enjoy this stage of life.

Each step,

taken regardfully,

whilst rolling down the hill,

finding your joy

in observing the view

and in just being there.

For yourself

and for others.

Fun with flashlights.

This is consuming me

Am I good enough?

How long will this take?

Places you have come to fear the most

Can I get through?

Do I need this?

Can I keep going?

Does this even mean anything?

Am I a failure?

I've lost my way

Can I reach the summit?

What will the view be like when I get there?

Incapable

What do they expect of me?

Time well spent?

Do I enjoy this?

Will I finish this?

Am I clever enough?

Failure.

No way out

Running out of time

I need more data

Day by day

Step by step

Brick by brick

Piece by piece

Where's this road taking me?

I'm not the same person who went into this

Where will I go next?

I started my PhD in 2008, by mid 2010 I was really stuggling, with my studies, with my self confidence, with my mind and with my life. I wanted to quit. I wanted to just walk away. I decided to just get loads and loads of post-it notes and flush my mind out. Write down anything and everything that came to mind over the course of a week. It started with a question mark and spiralled out from there. The photo of me in the background is from 2012, just as I was about to give a presentation on my work at an international conference in Barcelona.

Well this week I completed my PhD, thousands of hours and thousands of words later and it's all over. The post-it note "What will the view be like when I get there" sticks in my mind as I write this, I don't know if relief has a visual aspect but if it did then that's all I can see right now.

If anyone who is currently doing a PhD finds this photograph then no doubt you are feeling the same as I did, or you will do at some point. My advice is come to terms with your demons and insecurities, don't let them fester in the back of your mind, admit to yourself what they are, and then you can tackle them head on. Dig in, and don't surrender your ground, fight it out and prove to yourself that you're capable. No one else matters, this is your battle, your title and it's no one's business but your own. You can do it, just like I did it.

"The major reason for setting a goal is for what it makes of you to accomplish it. What it makes of you will always be the far greater value than what you get."

John Rohn

Earlier this month, I wrote about Rock Your Ugly, a photography project by talented Dubai-based photographer Waleed Shah:

www.diyphotography.net/this-photo-project-empowers-you-to...

I wanted to be a part of it, but we live reeeally far from each other. So, we had an idea: let's do a Skype photoshoot! It was fun, unusual and completely awesome!

So, here I am, rockin' my flaws and insecurities. I'm proud to be a part of this project, and it was so much fun shooting via Skype! Opening up wasn't easy though, but it sure was liberating.

You can read my story, along with stories from amazing, brave and inspiring people here: www.waleedshah.ae/rock-your-ugly/. I'm proud to be a part of this group!

I wrote about Waleed's project on DIYP: www.diyphotography.net/this-photo-project-empowers-you-to...

And here's how we shot it: www.diyphotography.net/i-posed-for-a-photographer-via-sky...

lost and insecure, you found me.

lying on the floor -surrounded- why'd you have to wait?

where were you?

just a little late; you found me..

| the fray - you found me |

this little butterfly seemed to wait for me as i went through the grass that day, and he did not fly away, no matter how close i went to him with my camera.

ahw i've been editing this right now and i just spotted this little bug below the butterfly as i've set this picture as my laptop-wallpaper. (:

you have to view it in large to see him somehow, haha. huh i like it ^_^

facebook | ♥

Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.

Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.

At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.

A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.

The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.

www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...

Sacramento, California

I'm not sure how that trunk is staying shut.

muse: sarah

View LARGER

I set up this photo to illustrate a child's anxiety, lnsecurity and abandonment that they sometimes feel when their parents go away to work, and etc.. This little girl was a super child model.

Night Photo Blog | Facebook | 500px | Google+ | Workshops : 2014 Schedule

Keywords: child; looking; through; out; window; abandon; abandoned; abandonment; alone; anxiety; anxious; anxiously; awaiting; waiting; wait; baby; behavior; development; childhood; curtain; curtains; discipline; feeling; insecure; little; girl; innocence; insecurity; kid; lonely; loneliness; looking; parenting; sad; secure; security; sorrow; toddler; young;

Shot in Sreemangal Train Station, Bangladesh.

Copyright 2013 Aneek Mustafa Anwar

Contact: labouffon@gmail.com

selfhelp and guide books, sneakers, concrete, paint.

Denkmal für Unsicherheit. Selbsthilfe- und Ratgeberbücher, Turnschuhe, Beton, Farbe.

Facebook

St James street, Manchester.

Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.

Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.

At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.

A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.

The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.

www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...

Administration/recreation building of an abandoned veterans care facility.

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Midjourney Niji Group www.flickr.com/groups/niji/

In order to visualize the theme of insecurity in the whole educational field we firstly ran a deep analysis of the different schoolastic paths that an Italian student can walk from his/her first years to his/her entrance in the work market. We noticed that most of their choices are made after the high school, deciding for a job or an Univeristy, and facing the different courses option. Our choice to focus on public education is related to the shortage of information given from our sources about the private institutes.

The fragmented appearance of the visualization, its formless global image, reflects the confusion in which data are treated and offered from miur (the Italian Ministry of Education, University and Research) and istat (the most important and authoritative Italian statistics institute).

The first part of our visualization tries to show the complex relationships system (economic, didactical and decision-making flows) that makes possible the existence of the whole Public University System. In the second part we analysed the different academic paths from starting University to obtaining a master degree and in which way and misure academic careers are related to the real work world.

We also wanted to point out the precariousness of the academic situation and, as a consequence, how our visualization is logically correct only in the present. Our representation could not tell the same story in the next future; currently a lot of changes regarding the whole educational system have being discussed by the Parliament for an important reform proposed by the Minister Mariastella Gelmini (anyway we are not sure for how long she will be our Minister).

As a conclusion of this period of research and design, we face an unsolved question: is it possible that employement possibilities are the only factor that influences students’ choices?

Project by:

Monica Diani

Valerio Pellegrini

Tommaso Trojani

Giorgio Roberto Uboldi

Francesco Villa

www.densitydesign.org/course_projects/insecurity_systemdi...

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

analogue photography

One for Holmes 750. M18 seen on suspended tow heading over to Lancashire. The roof canvas had just started to lift so we had to hastily pull over and remove the insecure parts.

Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.

Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.

At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.

A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.

The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.

www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...

>>> WEBSITE <<<

Model: Rachel

Camera: Nikon D700

Project Brief: Inside Outside

Concept:

For this shoot I have been looking at insecurities and how we often hide behind a persona to escape our true emotion.

I am always trying to improve my work so please help me by giving me a little feedback on what you think and I will make sure to return the favor (don't be afraid to criticize). Thanks a lot.

What you see here; are 3 law enforcement officers, walking up to my front door. The guy with the cowboy hat; loudly knocks on the door. The one far to his right; is turning on or adjusting his body camera. There is another one between them; to the far rear.

What they are here for; is an incident that happened the evening before, on 1-5-25. I was making dinner that night and didn’t check my phone notifications, until much later that night. I received several security notifications, from multiple security cameras, outside of my house. I reviewed them; and saw two people walking through my front yard, with a flashlight. Entering from the far north of my truck and other drive; pictured center left of the image. They walked through the length of my front yard and to the south, side of my house. Swinging, a lit flashlight, instead of shining it at any spicific location. They, then left my yard the same way. A minute later; a Sheriff’s SUV, pulled into my yard, at the same location. A Deputy stepped out of the vehicle. He walked in the same direction, first shinning his flashlight, towards my front door. My porch and garage lights, were both on at the time. He walked to the sme area the others did. He then turns around, goes running back to his vehicle. By then, the two that were in my yard; came walking back from the road, to the back, then passenger side of the vehicle. They seemed to talk for a minute. The Deputy got back in the vehicle, pulled further into my yard, not my drive, then backed up and left. The two in my yard, were standing in my neighbors drive. They also had a kid with them. They looked familiar, and I’m pretty sure who they are. No one, stopped at my door, to let me know what was going on.

It was late when I viewed this, so I thought, I’d call the Sheriff’s department the next day. I called at 1:08 pm, on Sunday. I spoke with the dispatcher, told her what I saw, and asked if someone could tell me what happened, on my property. After a short hold; she said, the Sheriff was requested by the City for assistance. She said I would have to call the City Police and ask them. I told her, very tactfully; I don’t trust anything from the City Police. Not to offend you, but the Sheriff’s vehicle was the one in my yard, and a Deputy walking through my yard. Could I speak to someone with the Sheriff’s department, to let me know what was going on, on my property? She said, she would have someone call me back. I waited about 3 ½ hours, then called them back. The same dispatcher said; I’ll refer you to the phone number, for the City Officer on duty. I knew exactly who was on duty, the guy in the image, walking to my front door, with the Cowboy hat. He’s the guy I mentioned in a previous post. A City Police Officer, that abuses his authority, tries to intimidate, by making threats, yelling and making false statements. That incident was previously captured on my doorbell camera. I asked again, to speak with with a Deputy.

After another hold, I spoke with, what I thaught was a Deputy. I told him, I’m not trying to offend anyone, please don’t take this personal. I don’t want to speak with the City Police, I’ve had problems with them. It wasn’t City police in my yard, it was a Sheriff Deputy. I’ve had trouble with my neighbors, I’d just like to know what happened in my yard. I have very hateful neighbors, that use their kids, grand kids, great-grand kids; to harass me and my service dog. He was respectful, said he would haves someone call me shortly.

Well, 2 hours later, as I was making dinner again; these 3 officers show up at my front door. The officer I told the dispatcher twice, the Deputy, I didn’t want to talk to, is knocking on my front door. There was no reason why they should be there. They could have settled this with a simple phone call. THIS WAS AN ATTEMPTED ACT OF INTIMIDATION. I say “ATTEMPTED”, because I wasn’t intimidated. What I was, was appalled. These 3 officers could be out making a positive impact on their community, but here they are. Wasting time and resources (3 officers, 2 vehicles). Putting a dark shadow and probably, increased risk; to the good officers, serving their communities. All this, to try and intimidate little-o-me. Some officers, and I say some, are offended; when someone stands up for their rights, someone dare speak the truth. Even, in a tactful manner.

These guys were expecting me to open the door. I spoke through the doorbell speaker. Cowboy Bob, steps away from the door after knocking. The Deputy, fidgeting with his body camera steps to the door.Yes, it’s a magical doorbell camera, with audio. It actually shows and tells the truth. I asked; what can I do for you? He said we are here to let you know what was going on last night. Or, something in that order. He told me that 2 caretakers, had a 14 yo, girl, takeoff and was hiding in the woods. The City requested assistance, and they were looking for her. I s aid “if someone would have told me, I would have helped them”. I was really thinking; if the 2 caretakers are the 2, I’m thinking of, I don’t blame the girl for running off. I know it sounds cruel, but I have some extremely vile, hateful neighbors. I said I wish someone would have told me. Walking around on my property, without permission, is trespassing. I said thank you and they left.

The actions of these three, have a direct impact on the morale, of the good men and women serving in Law Enforcement.

Seriously, this could have been done with a simple phone call.

I’m not against Law Enforcement. I am against Corrupt Law Enforcement. Law Enforcement; that uses acts like this, to intimidate and harass someone. To validate the actions of Neighborhood and Community Hate Committees. Law Enforcement that abuse their authority. I’ve had people trowing trash in my yard. Tampering with my vehicles and property, entering my home and garage. They dismiss all this, or make excusses.

Note: The house in the far background, with the garage door open; is a Perp thing. I bought my house in January, moved in, then the garage door stayed open 2/7. It’s called baiting.

Gangstalking is real. You know; the ones that can’t think for themselves. The ones with no fulfillment in their lives, full of hate. Those that will use their own children, grand and great grandchildren, pets; to harass a total stranger and their family. The guys with the big loud trucks and little brains. The Post Office workers, that deliver your mail after the holidays, your birthday, or not at all. The ones so insecure, they’ll take acceptance from anyone, anygroup. These are some of the Malevolent Characteristics of a Gangstalker.

Many will try to keep these truths, from the public. The good news is; their propaganda machines are starting to be exposed. Our corrupt government agencies, bias national media and corporations are being exposed by ligament podcast and professionals in many fields. In time, many more Americans, will wake up and realize they have been lied to for decades, even centuries.

If you are a Targeted Individual, violence is not the answer. Harm to yourself, or others will only feed into their false narratives. I know it’s hard, but believe in yourself. Document everything, every day. Expose them if you can. Try and find humor in their idiotic behavior. Stay away from the Rabbit Holes online, that claim to help TIs. They are full of false operators, trying to discredit everything about you. Whether you stand up to a school board, an employer, a government agency. You know who you are, don’t let anyone take that from you.

I am not anti-government. I am, anti-corruption. The only threat I possess; is exposing the corruption, that prevents us from being a Nation, all are proud to live in. Thanks for visiting my photostream. If feel my photostream may help someone, that feels they are alone in this, Please share a link. All photos, content are free to copy, download and share. Please keep my Logos, on all photos.

Aki stole a some of the hair that's mean tot be for Rodziie. I'm gonna buy her some actual hair to go there tomorrow, but I cna only buy one piece. SHe will eventually get a green fringe on a black wig, but for now I don't know what to get her.

Color suggestions?

Also, once again, she's got a new look. Because I can't bond with her. Her stupid fucking eyes piss me off!

View On Black -- Highly Recommended

lost and insecure

you found me, you found me

lying on the floor

surrounded, surrounded

why'd you have to wait?

where were you, where were you

just a little late

you found me, you found me

~the fray you found me

going to a wedding on saturday, and we're making it into a mini holiday, so leaving tomorrow. might be without internet, not entirely sure...so i'll upload sometime. have a good few days everybody :)

*please read*

I came across this photo about two years ago, and it will always remain in my mind. And quick shout out to Phlearn for teaching about the liquify tool! I've never used it before and kelianne's is way better but I wanted to try it! *This is NOT how I look, I photoshopped myself, I'm way fatter lmao!

And no need to worry, this photo does not apply to me, I'm STRONGLY against eating disorders! I decided to make this because of the many people I know that are insecure about their weight.

I see girls and guys way too often that become overly obsessed with being thin, and deal with it in very unhealthy ways. People starve themselves, feel they need to work out for hours every day, throw up, and never end up feeling good enough.

If you're like this, I want you to do something. Go look in the mirror and look at yourself. You're beautiful. What you're looking at is beautiful. No one can tell you otherwise. Who defined "perfection?" Why does "skinny" have to mean perfect? Because our society defined perfection for us the wrong way. Being skinny isn't being perfect. And many of the people who have these "perfect" bodies are a mess of insecurities and aren't even happy with themselves.

So stop obsessing about being thin, and start working on being happy. You don't want to die and not have ever felt comfortable in your own skin. Before you can love others you must learn to love yourself, and you have all the reason to do that.

I had two groups in mind when I created this image. ODC mystery and TOTW insecurity inspired this image.

I took a little time back yesterday afternoon for all the extra hours I have put in recently and worked on setting up my garage as a little studio. There is still more to do in this project, a lot more really, but some of the lights are up and a table for tabletop. Once I had the floors cleaned and the lights up, I thought why not give it a test shot and this is what I came up with in the doing. I haven't given it a title; perferring, I suppose to let the viewer decide what it should be called. I also processed this with abandon after the push from Joe kept me from going to extreme in photoshop. I wanted to give it that noir, 1950s, noise-y feeling and I am quite pleased with how it came together. As it was also shot with my 50mm, I am adding it to 50 days of 50mm as #10.

MUCH BETTER ON BLACK.

Mission Impossible

Hunger and food insecurity are closely related, but not the same. Food insecurity refers to a lack of access to enough good, healthy, and culturally appropriate food. In Mississippi it is easier to access fast food versus healthy food.

For more information visit www.jxnplanning.com/fertile-ground.

You're insecure,

Don't know what for,

You're turning heads when you walk through the door,

Don't need make-up,

To cover up,

Being the way that you are is enough,

Everyone else in the room can see it,

Everyone else but you,

Baby you light up my world like nobody else,

The way that you flip your hair gets me overwhelmed,

But when you smile at the ground it ain't hard to tell,

You don't know,

Oh oh,

You don't know you're beautiful,

youtu.be/CjPc8RVJ0Dc

Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.

Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.

At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.

A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.

The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.

www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...

Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.

Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.

At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.

A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.

The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.

www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...

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More from the Portrait Set

Nikon D300: Lens: AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED ISO 250: Aperture f/3: White Balance Auto

Processing: Adobe Photoshop CS3 custom curves and Contrast adjustment.

Listening to Bob Marley - Waiting in Vain

Lyrics

Kodak Medalist II, Ilford HP5, 400 ISO