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Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Confucius (孔子; pinyin: Kǒngzǐ; lit. 'Master Kong'; c. 551 – c. 479 BCE), born Kong Qiu (孔丘), was a Chinese philosopher of the Spring and Autumn period who is traditionally considered the paragon of Chinese sages. Much of the shared cultural heritage of the Sinosphere originates in the philosophy and teachings of Confucius. His philosophical teachings, called Confucianism, emphasized personal and governmental morality, harmonious social relationships, righteousness, kindness, sincerity, and a ruler's responsibilities to lead by virtue.
Confucius considered himself a transmitter for the values of earlier periods which he claimed had been abandoned in his time. He advocated for filial piety, endorsing strong family loyalty, ancestor veneration, the respect of elders by their children and of husbands by their wives. Confucius recommended a robust family unit as the cornerstone for an ideal government. He championed the Silver Rule, or a negative form of the Golden Rule, advising, "Do not do unto others what you do not want done to yourself."
The time of Confucius's life saw a rich diversity of thought, and was a formative period in China's intellectual history. His ideas gained in prominence during the Warring States period, but experienced setback immediately following the Qin conquest. Under Emperor Wu of Han, Confucius's ideas received official sanction, with affiliated works becoming mandatory readings for career paths leading to officialdom. During the Tang and Song dynasties, Confucianism developed into a system known in the West as Neo-Confucianism, and later as New Confucianism. From ancient dynasties to the modern era, Confucianism has integrated into the Chinese social fabric and way of life.
Traditionally, Confucius is credited with having authored or edited many of the ancient texts including all of the Five Classics. However, modern scholars exercise caution in attributing specific assertions to Confucius himself, for at least some of the texts and philosophy associated with him were of a more ancient origin. Aphorisms concerning his teachings were compiled in the Analects, but not until many years after his death.
In the Analects, Confucius presents himself as a "transmitter who invented nothing". He puts the greatest emphasis on the importance of study, and it is the Chinese character for study (學) that opens the text. Far from trying to build a systematic or formalist theory, he wanted his disciples to master and internalize older classics, so that they can capture the ancient wisdoms that promotes "harmony and order", to aid their self-cultivation to become a perfect man. For example, the Annals would allow them to relate the moral problems of the present to past political events; the Book of Odes reflects the "mood and concerns" of the commoners and their view on government; while the Book of Changes encompasses the key theory and practice of divination.
Although some Chinese people follow Confucianism in a religious manner, many argue that its values are secular and that it is less a religion than a secular morality. Proponents of religious Confucianism argue that despite the secular nature of Confucianism's teachings, it is based on a worldview that is religious. Confucius was considered more of a humanist than a spiritualist, his discussions on afterlife and views concerning Heaven remained indeterminate, and he is largely unconcerned with spiritual matters often considered essential to religious thought, such as the nature of souls.
Attachment theory describes several behavioural systems, the function of which is to regulate human attachment, fear, exploration, care-giving, peer-affiliation and sex. Attachment is defined as any form of behaviour that results in a person attaining and retaining proximity to a differentiated other. The primary caregiver is the source of the infants stress regulation and, therefore, sense of safety and security. Attachment theory emphasises the role of the parent as mediator, reflector and moderator of the childs mind and the childs reliance on the parent to respond to their affective states in ways that are contingent to their internal experience, a process often referred to as secure base/safe haven functioning. Within the close parent-child relationship neural networks dedicated to feelings of safety and danger, attachment and the core sense of self are sculpted and shaped. These networks are conceptualised as internal working models of attachment.
Characteristic patterns of interaction operating within the familys caregiving-attachment system give rise to secure, insecure and disorganized patterns of attachment. These discrete patterns have been categorized using the Strange Situation research procedure, which observes the young childs behaviour when separated and reunited with his or her primary caregiver. Attachment patterns are represented in the childs internal working models of self-other relationships. Secure attachment is promoted by the interactive regulation of affect, which facilitates the recognition, labelling and evaluation of emotional and intentional states in the self and in others, a capacity known as reflective function or mentalization. The recognition of affects as having dynamic, transactional properties is the key to understanding behaviour in oneself and in another. The child comes to recognize his or her mental states as meaningful self-states via a process of parental affect mirroring and marking. Secure children are able to use sophisticated cognitive strategies to integrate and resolve their fear of separation and loss.
When the parent is unavailable, inconsistent or unpredictable, the infant develops one of two organized insecure patterns of attachment: avoidant or ambivalent-resistant. These defensive strategies involve either the deactivation or hyper-activation of the attachment system. Deactivation is characterized by avoidance of the caregiver and by emotional detachment. In effect, the avoidant child immobilizes the attachment system by excluding thoughts and feelings that normally activate the system. Hyper-activation is manifested by an enmeshed ambivalent preoccupation with the caregiver and with negative emotions, particularly anger. However, in common with the avoidant child, the ambivalent child appears to cognitively disconnect feelings from the situation that elicited the distress. Disorganised-disoriented attachment is discussed below.
Attachment research, then, demonstrates that discrete patterns of secure, insecure, and disorganized attachment have as their precursor a specific pattern of caregiver-infant interaction and their own behavioural sequelae. Repeated patterns of interpersonal experience are encoded in implicit-procedural memory and conceptualized as self-other working models of attachment. These mental models consist of generalized beliefs and expectations about relationships between the self and key attachment figures, not the least of which concerns ones worthiness to receive love and care from others.
In sum, the care-giving environment generally, and the infant-caregiver attachment relationship particularly, initiate the child along one of an array of potential developmental pathways. Disturbance of attachment is the outcome of a series of deviations that take the child increasingly further from adaptive functioning. Child abuse and cumulative developmental trauma violate the childs sense of trust, identity and agency and have pernicious and seminal influences on the developing personality. In essence, internal working models of early attachment relationships provide the templates for psychopathology in later life, which may include violent, destructive and self-destructive forms of behaviour. In attachment theory, the main purpose of defence is the regulation of emotions. The primary mechanisms for achieving this are distance regulation and the defensive exclusion of thoughts and feelings associated with attachment trauma.
Early trauma in the form of abuse, loss, neglect and severe parent-child misattunement compromises brain-mediated functions such as attachment, empathy and affect regulation. From an attachment theory perspective, patterns of attachment are encoded and stored as generalized relational patterns in the systems of implicit memory. These are conceptualized as cognitive-affective internal working models which are seen as mediating how we think and feel about ourselves, others and the relationships we develop. Although open to change and modification in the light of new attachment experiences, whether positive or negative, these non-conscious procedural models, scripts or schemas within which early stress and trauma are retained, tend to persevere and guide, appraise and predict attachment-related thoughts, feelings and behaviours throughout the life cycle via the implicit memory system. Psychopathology is seen as deriving from an accumulation of maladaptive interactional patterns that result in character traits and personality types and disorders.
Disorganised attachment may occur when the childs parent is both the source of fear and the only protective figure to whom to turn to resolve stress and anxiety. In such instances, neither proximity seeking nor proximity avoiding is a solution to the activation of the childs attachment and fear behavioural systems. If the trauma remains unresolved and is carried into adulthood, it leaves the individual vulnerable to affect dysregulation in interpersonal conflict situations that induce fear, hate, shame and rage. In such cases, alcohol and illicit drugs are often resorted to as a maladaptive means of suppressing dreaded psychobiological states and restoring a semblance of affective equilibrium.
Findings show that disorganised attachment developed in infancy shifts to controlling behaviour in the older child and adult, reflecting an internalized mental model of the self as unlovable, unworthy of care and support, and fearful of rejection, betrayal and abandonment. Disorganised attachment is associated with a predisposition to relational violence, to dissociative states and conduct disorders in children and adolescents, and to personality disorders in adults. This state of mind constitutes a primary risk factor for the development of borderline, anti-social and sociopathic personality disorders. The rate of such disorders in forensic settings is particularly high. Clinically, dissociated traumatic experience is unsymbolized by thought and language, being encapsulated within the personality as a separate, non-reflective reality which is cut off from authentic human relatedness. The information contained in implicit memory may be retrieved by state-dependent moods and situations. Dissociated archaic internal working models are then activated, influencing and distorting expectations of current events and relationships outside of conscious awareness, particularly in situations involving intense interpersonal stress. In such situations, the self is felt to be endangered, thereby increasing the risk of an angry and potentially violent reaction.
Wonderwerp #60
Studio Loos, Den Haag 2015
Based loosely on Ganzfeld experiments (a technique used in parapsychology in the 1970s as a way of invoking telepathy), Color Field Immersion involves masking the audience with semi-transparent blindfolds onto which light projections are mapped. Similar to sensory deprivation, Color Field Immersion provides perceptual deprivation, replacing the entirety of each audience member’s visual field with washes of color, line, and movement – often inducing hallucinations as the brain seeks to replace lost stimuli. Flipping the traditional performer-audience relationship, the internalized experience becomes the location of the performance. Combined with rich, textural soundscapes, Color Field Immersion creates a deeply immersive perceptual architecture of sound and vision.
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provacative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile performing arts venue in Brooklyn (RIP), and has curated various new music/sound festivals around NYC, including the multichannel SOUNDCORRIDORS Festival, Easy Not Easy, John Cage Musicircus, and more.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Attachment theory describes several behavioural systems, the function of which is to regulate human attachment, fear, exploration, care-giving, peer-affiliation and sex. Attachment is defined as any form of behaviour that results in a person attaining and retaining proximity to a differentiated other. The primary caregiver is the source of the infants stress regulation and, therefore, sense of safety and security. Attachment theory emphasises the role of the parent as mediator, reflector and moderator of the childs mind and the childs reliance on the parent to respond to their affective states in ways that are contingent to their internal experience, a process often referred to as secure base/safe haven functioning. Within the close parent-child relationship neural networks dedicated to feelings of safety and danger, attachment and the core sense of self are sculpted and shaped. These networks are conceptualised as internal working models of attachment.
Characteristic patterns of interaction operating within the familys caregiving-attachment system give rise to secure, insecure and disorganized patterns of attachment. These discrete patterns have been categorized using the Strange Situation research procedure, which observes the young childs behaviour when separated and reunited with his or her primary caregiver. Attachment patterns are represented in the childs internal working models of self-other relationships. Secure attachment is promoted by the interactive regulation of affect, which facilitates the recognition, labelling and evaluation of emotional and intentional states in the self and in others, a capacity known as reflective function or mentalization. The recognition of affects as having dynamic, transactional properties is the key to understanding behaviour in oneself and in another. The child comes to recognize his or her mental states as meaningful self-states via a process of parental affect mirroring and marking. Secure children are able to use sophisticated cognitive strategies to integrate and resolve their fear of separation and loss.
When the parent is unavailable, inconsistent or unpredictable, the infant develops one of two organized insecure patterns of attachment: avoidant or ambivalent-resistant. These defensive strategies involve either the deactivation or hyper-activation of the attachment system. Deactivation is characterized by avoidance of the caregiver and by emotional detachment. In effect, the avoidant child immobilizes the attachment system by excluding thoughts and feelings that normally activate the system. Hyper-activation is manifested by an enmeshed ambivalent preoccupation with the caregiver and with negative emotions, particularly anger. However, in common with the avoidant child, the ambivalent child appears to cognitively disconnect feelings from the situation that elicited the distress. Disorganised-disoriented attachment is discussed below.
Attachment research, then, demonstrates that discrete patterns of secure, insecure, and disorganized attachment have as their precursor a specific pattern of caregiver-infant interaction and their own behavioural sequelae. Repeated patterns of interpersonal experience are encoded in implicit-procedural memory and conceptualized as self-other working models of attachment. These mental models consist of generalized beliefs and expectations about relationships between the self and key attachment figures, not the least of which concerns ones worthiness to receive love and care from others.
In sum, the care-giving environment generally, and the infant-caregiver attachment relationship particularly, initiate the child along one of an array of potential developmental pathways. Disturbance of attachment is the outcome of a series of deviations that take the child increasingly further from adaptive functioning. Child abuse and cumulative developmental trauma violate the childs sense of trust, identity and agency and have pernicious and seminal influences on the developing personality. In essence, internal working models of early attachment relationships provide the templates for psychopathology in later life, which may include violent, destructive and self-destructive forms of behaviour. In attachment theory, the main purpose of defence is the regulation of emotions. The primary mechanisms for achieving this are distance regulation and the defensive exclusion of thoughts and feelings associated with attachment trauma.
Early trauma in the form of abuse, loss, neglect and severe parent-child misattunement compromises brain-mediated functions such as attachment, empathy and affect regulation. From an attachment theory perspective, patterns of attachment are encoded and stored as generalized relational patterns in the systems of implicit memory. These are conceptualized as cognitive-affective internal working models which are seen as mediating how we think and feel about ourselves, others and the relationships we develop. Although open to change and modification in the light of new attachment experiences, whether positive or negative, these non-conscious procedural models, scripts or schemas within which early stress and trauma are retained, tend to persevere and guide, appraise and predict attachment-related thoughts, feelings and behaviours throughout the life cycle via the implicit memory system. Psychopathology is seen as deriving from an accumulation of maladaptive interactional patterns that result in character traits and personality types and disorders.
Disorganised attachment may occur when the childs parent is both the source of fear and the only protective figure to whom to turn to resolve stress and anxiety. In such instances, neither proximity seeking nor proximity avoiding is a solution to the activation of the childs attachment and fear behavioural systems. If the trauma remains unresolved and is carried into adulthood, it leaves the individual vulnerable to affect dysregulation in interpersonal conflict situations that induce fear, hate, shame and rage. In such cases, alcohol and illicit drugs are often resorted to as a maladaptive means of suppressing dreaded psychobiological states and restoring a semblance of affective equilibrium.
Findings show that disorganised attachment developed in infancy shifts to controlling behaviour in the older child and adult, reflecting an internalized mental model of the self as unlovable, unworthy of care and support, and fearful of rejection, betrayal and abandonment. Disorganised attachment is associated with a predisposition to relational violence, to dissociative states and conduct disorders in children and adolescents, and to personality disorders in adults. This state of mind constitutes a primary risk factor for the development of borderline, anti-social and sociopathic personality disorders. The rate of such disorders in forensic settings is particularly high. Clinically, dissociated traumatic experience is unsymbolized by thought and language, being encapsulated within the personality as a separate, non-reflective reality which is cut off from authentic human relatedness. The information contained in implicit memory may be retrieved by state-dependent moods and situations. Dissociated archaic internal working models are then activated, influencing and distorting expectations of current events and relationships outside of conscious awareness, particularly in situations involving intense interpersonal stress. In such situations, the self is felt to be endangered, thereby increasing the risk of an angry and potentially violent reaction.
Attachment theory describes several behavioural systems, the function of which is to regulate human attachment, fear, exploration, care-giving, peer-affiliation and sex. Attachment is defined as any form of behaviour that results in a person attaining and retaining proximity to a differentiated other. The primary caregiver is the source of the infants stress regulation and, therefore, sense of safety and security. Attachment theory emphasises the role of the parent as mediator, reflector and moderator of the childs mind and the childs reliance on the parent to respond to their affective states in ways that are contingent to their internal experience, a process often referred to as secure base/safe haven functioning. Within the close parent-child relationship neural networks dedicated to feelings of safety and danger, attachment and the core sense of self are sculpted and shaped. These networks are conceptualised as internal working models of attachment.
Characteristic patterns of interaction operating within the familys caregiving-attachment system give rise to secure, insecure and disorganized patterns of attachment. These discrete patterns have been categorized using the Strange Situation research procedure, which observes the young childs behaviour when separated and reunited with his or her primary caregiver. Attachment patterns are represented in the childs internal working models of self-other relationships. Secure attachment is promoted by the interactive regulation of affect, which facilitates the recognition, labelling and evaluation of emotional and intentional states in the self and in others, a capacity known as reflective function or mentalization. The recognition of affects as having dynamic, transactional properties is the key to understanding behaviour in oneself and in another. The child comes to recognize his or her mental states as meaningful self-states via a process of parental affect mirroring and marking. Secure children are able to use sophisticated cognitive strategies to integrate and resolve their fear of separation and loss.
When the parent is unavailable, inconsistent or unpredictable, the infant develops one of two organized insecure patterns of attachment: avoidant or ambivalent-resistant. These defensive strategies involve either the deactivation or hyper-activation of the attachment system. Deactivation is characterized by avoidance of the caregiver and by emotional detachment. In effect, the avoidant child immobilizes the attachment system by excluding thoughts and feelings that normally activate the system. Hyper-activation is manifested by an enmeshed ambivalent preoccupation with the caregiver and with negative emotions, particularly anger. However, in common with the avoidant child, the ambivalent child appears to cognitively disconnect feelings from the situation that elicited the distress. Disorganised-disoriented attachment is discussed below.
Attachment research, then, demonstrates that discrete patterns of secure, insecure, and disorganized attachment have as their precursor a specific pattern of caregiver-infant interaction and their own behavioural sequelae. Repeated patterns of interpersonal experience are encoded in implicit-procedural memory and conceptualized as self-other working models of attachment. These mental models consist of generalized beliefs and expectations about relationships between the self and key attachment figures, not the least of which concerns ones worthiness to receive love and care from others.
In sum, the care-giving environment generally, and the infant-caregiver attachment relationship particularly, initiate the child along one of an array of potential developmental pathways. Disturbance of attachment is the outcome of a series of deviations that take the child increasingly further from adaptive functioning. Child abuse and cumulative developmental trauma violate the childs sense of trust, identity and agency and have pernicious and seminal influences on the developing personality. In essence, internal working models of early attachment relationships provide the templates for psychopathology in later life, which may include violent, destructive and self-destructive forms of behaviour. In attachment theory, the main purpose of defence is the regulation of emotions. The primary mechanisms for achieving this are distance regulation and the defensive exclusion of thoughts and feelings associated with attachment trauma.
Early trauma in the form of abuse, loss, neglect and severe parent-child misattunement compromises brain-mediated functions such as attachment, empathy and affect regulation. From an attachment theory perspective, patterns of attachment are encoded and stored as generalized relational patterns in the systems of implicit memory. These are conceptualized as cognitive-affective internal working models which are seen as mediating how we think and feel about ourselves, others and the relationships we develop. Although open to change and modification in the light of new attachment experiences, whether positive or negative, these non-conscious procedural models, scripts or schemas within which early stress and trauma are retained, tend to persevere and guide, appraise and predict attachment-related thoughts, feelings and behaviours throughout the life cycle via the implicit memory system. Psychopathology is seen as deriving from an accumulation of maladaptive interactional patterns that result in character traits and personality types and disorders.
Disorganised attachment may occur when the childs parent is both the source of fear and the only protective figure to whom to turn to resolve stress and anxiety. In such instances, neither proximity seeking nor proximity avoiding is a solution to the activation of the childs attachment and fear behavioural systems. If the trauma remains unresolved and is carried into adulthood, it leaves the individual vulnerable to affect dysregulation in interpersonal conflict situations that induce fear, hate, shame and rage. In such cases, alcohol and illicit drugs are often resorted to as a maladaptive means of suppressing dreaded psychobiological states and restoring a semblance of affective equilibrium.
Findings show that disorganised attachment developed in infancy shifts to controlling behaviour in the older child and adult, reflecting an internalized mental model of the self as unlovable, unworthy of care and support, and fearful of rejection, betrayal and abandonment. Disorganised attachment is associated with a predisposition to relational violence, to dissociative states and conduct disorders in children and adolescents, and to personality disorders in adults. This state of mind constitutes a primary risk factor for the development of borderline, anti-social and sociopathic personality disorders. The rate of such disorders in forensic settings is particularly high. Clinically, dissociated traumatic experience is unsymbolized by thought and language, being encapsulated within the personality as a separate, non-reflective reality which is cut off from authentic human relatedness. The information contained in implicit memory may be retrieved by state-dependent moods and situations. Dissociated archaic internal working models are then activated, influencing and distorting expectations of current events and relationships outside of conscious awareness, particularly in situations involving intense interpersonal stress. In such situations, the self is felt to be endangered, thereby increasing the risk of an angry and potentially violent reaction.
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
A CHRISTOPHER WHITBY PRIMER
96" x 176"
Drawing panels: 96" x 48" each
Gesso, acrylic, paper, hemp, wood maché, vellum
Sculpture: 77" x 24" x 24"
Modeling stand, metal, wood, wood maché, vellum, hemp, modeling paste, acrylic
While teaching at the La Jolla Art Center (now the San Diego Museum of Contemporary Art) Robert Cremean would often see the young son of his landlady playing in the yard, most often riding his hobby horse. The image of the child equestrian was indelible in the imagination of the artist who first depicted him in sculpture in 1958 and again in 1960. The child on the hobbyhorse appeared repeatedly thereafter both in individual works and as a detail within much larger and more comprehensive studio sections. These depictions were done in wood maché, wood mortise, carved wood, graphite drawings, modeling paste relief, gesso and in bronze. The most extensive examination of Christopher Whitby was in THE CHRISTOPHER WHITBY COLORING BOOK, 1990-1993.
In this final portrayal, many of the metaphorical images depicted and analyzed by the artist during the whole of the fifty-five year ride of the ever-young but spiritually and intellectually maturing equestrian are once more revisited. It appears that his and his horse’s expressions have radically changed, as if the events confronted and experienced while riding through that ever-present “valley of astonishment,” contemplated by the artist decades earlier, have at last been fully internalized. He remains a child but no longer is he naive.
Numerous questions arise when viewing this depiction: could it really be a self-portrait of the artist whose memories are so clearly made manifest in the drawings on the two wall panels?; through time and sexual awakening and diminishment, exactly whose passage was it?; have the artist and the equestrian finally become one in which the boy is becoming the horse and the horse the boy and the boy a man?; does the amorphous naiveté of the child of first view metamorphose into the startled cognizance of the second view, the horse reacting with startled and rearing anger and the equestrian of the third view resigned?; have the equestrian and the horse finally become one both actually and sexually?; do the panels serve as a defining retrospective of so many of the ideas and events and thoughts through which the horse and rider have ridden? And is A Christopher Whitby Primer further evidence that the entire STUDIO SECTION 2009-2015 is, in fact, a multi-faceted retrospective of the artist’s work and his own abbreviated autobiography?
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Miss SL Press Presentation - Paper Couture.
MISS SL ♛ Ireland 2016.
MISS SL ♛ Ireland 2016, Aealla Illyar chose the beautiful painting, "L'Etoile (The Star)" by Degas. When she looks at this painting, she says it brings her joy and peace. MISS SL ♛ Ireland studied dance from the age of three to the age of 19, and performed in a dance company. She has feelings of joy and peace that she experienced dancing that are brought back to her when she contemplates this painting.
MISS SL ♛ Ireland describes herself as somewhat shy and tends to internalize her feelings, but participating in the Miss SL competition has helped her rediscover and grow in confidence. This painting represents stepping out of the shadows and into the light thanks to that renewed sense of confidence.
MISS SL ♛ Ireland's crinkled paper ballerina dress is from Wicca's Wardrobe "Princess Petite" Dress and Collar, AZOURY Argippina Ballet Shoes, Lode Balts Headpiece that resemble paper flowers and Meva Flower Spheres.
The Cause
MISS SL ♛ Ireland, Aealla Illyar chosen cause is Domestic Violence Awareness, representing the group, "Women Thrive Worldwide" and their campaign, "Stop The Violence. Stepping out of the shadows is something women do every day when they make the decision to leave a violent relationship.
The World Health Organization reports that an astounding one in three women worldwide experiences physical or sexual violence. In some countries, that rate jumps to 70 percent.
These statistics are shocking but domestic violence is still clouded in shame and victims are forced to hide in the shadows until they die or get help.
For MISS SL ♛ Ireland, the Degas painting, L'Etoile (The Star), is a good representation of victims leaving the shadows and stepping out on their own for the first time. We need to bring this issue out of the shadows and continue to encourage women to talk about their experiences and grow confident in themselves once again.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Color of Life Color Conceals: Cuttlefish are excellent examples of cryptic coloration. Chromatophores in the cuttlefish skin are controlled neurologically, allowing almost immediate color change disappearing into its background right before your eyes.
Ref: California Academy Color of Life exhibit 2015
TAXONOMY
Kingdom: Animalia
Phylum: Mollusca
Class: Cephalopoda
Order: Sepiida
Family: Sepiidae (Cuttlefishes, shell internalized)
Genus/species: Sepia bandensis
GENERAL CHARACTERISTICS: S. bandensis has 8 arms with rows of suckers along each and 2 feeding tentacles. It moves by the undulation of lateral fins that surround the body. Cuttlefish have an internal shell within their bodies that they can fill with more or less gas to create neutral buoyancy. The cuttlebone is often collected and used as a calcium supplement, beak sharpener, and all-purpose toy for caged birds.
Like most cephalopods, cuttlefish have 3 hearts. Two hearts pump blood to the gills, and a central heart pumps oxygenated blood to the body.
Length up to 10 cm (4 inches)
DISTRIBUTION/HABITAT: The Indo-Pacific region, including the Philippines, Indonesia, and Papua New Guinea.
Found in shallow coastal waters near or on coral reefs or sandy substrates.
DIET IN THE WILD: Crustaceans and fish. The Cuttlefish changes colors and patterns as it approaches prey then ejects its feeding tentacles to capture its prey with its suckers and eating it with a parrot-like beak and a radula. Active diurnally.
ACADEMY DIET: Shrimp and crab (M Avila, staff biologist)
LONGEVITY: Life span: 6 mos. to 3 yrs.
REMARKS: Masters of camouflage, cuttlefish and most cephalopods can change their colors, shapes and textures in seconds to avoid predators and blend into their surroundings. They have keen vision, but are color blind.
They also produce large amounts of ink, both as a decoy and foul-tasting deterrent. Known as sepia ink, after the genus name of cuttlefish, it was a dye once prized by artists.
The Steinhart Aquarium is the first institution in the U.S. to breed dwarf cuttlefish. To date, (2010) more than 350 have hatched at the Academy, most of which have been sent to other aquaria and research institutions. Quote from Rich Ross, Academy biologist and cuttlefish breeder extraordinaire: Over time, [cuttlefish] learn to recognize and respond to you, and will often greet you when you walk into the room (or maybe they just know you bring the food). They are smart, beautiful and unusual, and unlike certain other eight-armed cephalopods (think octopus), they don’t try to escape from your aquarium!
References
California Academy of Sciences Steinhart Aquarium Water is Life Surviving 2016 AQG13
The Marine Biology Coloring Book 2nd Ed. Thomas Niesen 2000
EOL Encyclopedia of Life eol.org/pages/591499/details
Ron's flickr www.flickr.com/photos/cas_docents/3953684359/in/album-721...
Ron's Wordpress shortlink wp.me/p1DZ4b-1yp
10-15-11, 11-7-14, 7-22-15, 12-8-16
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
I have this distinct memory.
15 years in the making.
An advanced art class, a project I had been putting together for weeks. It had come time for a class critique.
We sat in a circle, taking turns and showing what we had been working on.
My turn came and there was just silence.
A boy, of course the only one that I had some silly school girl crush on, finally spoke up and simply said "I don't get it"
..."I don't get it"...
I could even muster the strength to push out a sound. There was so much I put into this, so much i could have said.
But I was embarrassed. Then I was just plain angry, why did I have to explain what this meant to me. Take it in, internalize it, what does it mean to you. You who sat here as an artist, the same as me.
But I said nothing, I just couldn't. finally the instructor chimed in and put an end to my misery with some constructive comments.
But, for years those exact words rang in my ears and paralyzed me with everything I wrote, everything I drew, everything I created.
I still freeze. I don't share what I write. And I sit on my photograph for weeks, internalizing them, analyzing them, worrying. Will they get it? Before I ever muster enough confidence to share.
These photos I share, are so much more than a snapshot of our day. They are a piece of me. They are what it means to me to be a wife, a mother, a women, a poet. an artist.
Maybe you get it, maybe you don't. Maybe you draw your own interpretation, and that's okay too.
I'm learning to walk into the unknown and be okay with what is waiting there; I'm learning to be okay with the uncomfortable.
Nothing is more frightening than transparency.
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
Five Pointed Star: Masonic usage
The Zelator ritual of S.R.I.C.F. briefly introduces the symbolism of the Pentagram on the Altar to the new postulant:
The Five-pointed Star reminds us of the five points of felicity, which are to walk with, to intercede for, to love, to assist, and to pray for our Brethren, so as to be united with them in heart and mind.
As an emblem of the five points of felicity, the Pentagram reminds us of our duties towards our brethren of the Rose and Cross throughout the world.
Further in the ritual the subject of number symbolism is addressed, and the number five is explained as
the emblem of Health and Safety; it is also denominated the Occult number; the Pentagram was a famous talisman; it represents Spirit and the four elements.
The reference to health and safety is interesting as it is reminiscent of the Greek hygeia discussed earlier.
The Pentagram may be seen as symbolic of the entire course of initiation in the S.R.I.C.F. First Order, as the elemental degrees are easily associated with the elemental points of the Pentagram; while initiation into the Second Order represents the quintessence or fifth, top-most point of the Star. In this way, the candidate of the S.R.I.C.F. symbolically builds up the power of the pentagram internally as they progress through and assimilate the lessons of the degrees. Entrance to the Second Order would then represent Adepthood, as the initiate has established the flaming star within their very heart of hearts and embodies the very essence of the Pentagram, and is a living embodiment of the Stone of the Philosophers.
Within the Craft degrees, the figure of the Pentagram may also be seen in the image of the 5 rayed Blazing Star. According to Albert Pike, the pentagram is synonymous with the Blazing Star of Masonic Lodges:
The Blazing Star in our Lodges, we have already said, represents Sirius, Anubis, or Mercury, Guardian and Guide of Souls. Our Ancient English brethren also considered it an emblem of the Sun. In the old Lectures they said: ‘The Blazing Star or Glory in the centre refers us to that Grand Luminary the Sun, which enlightens the Earth, and by its genial influence dispenses blessings to mankind. It is also said in those lectures to be an emblem of Prudence. The word Prudentia means, in its original and fullest signification, Foresight: and accordingly the Blazing Star has been regarded as an emblem of Omniscience, or the All-Seeing Eye, which to the Ancients was the Sun.[vi]
He further associates this star with the “Divine Energy, manifested as Light, creating the Universe.”[vii]
The Masonic scholar Rex Hutchins asserts that the Pentagram
is the symbol of the Divine in man… The five-pointed star with a single point upward represents the Divine. It also symbolizes man for its five points allude to the five senses, the five members (head, arms and legs) and his five fingers on each hand, which signify the tokens that distinguish Masons.
Furthermore he writes that this figure
is the symbol of the Microcosm, the universe where humans dwell. Since the pentagon which encloses the pentagram may be formed by connecting the five points of the human body, for many centuries the symbol was also used to represent humanity in general.
Within this symbol then is a representation of humanity, and our Divine role in the Universe as co-creators of eternity.
In addition to being a central altar piece in our Rosicrucian Temples, and the Blazing Star of the Craft Lodges, the Pentagram appears as an ensign in some of the High Degrees and rites. For example, it is central on the apron of the 28th Degree of the Ancient & Accepted Scottish Rite, Knight of the Sun or Prince Adept. In discussing the symbol of the pentagram in the lecture of this degree, Pike writes in Morals & Dogma that
in certain undertakings [the Pentagram] cannot be dispensed with. It is what is termed the Kabalistic pentacle… This carries with it the power of commanding the spirits of the elements.
A central lesson of this highly Kabalistic and Alchemical degree is that there is no death, only change. The Pentagram, symbol of humanity as the microcosm is an apt representation of this wisdom which, to one who has internalized it, may have that contempt for death which is expressed in the line from 1 Corinthians – “Where, O death, is your victory? Where, O death, is your sting?”
In the same lecture, Pike alludes to the true meaning of this radiant symbol:
When the masters in Alchemy say that it needs but little time and expense to accomplish the works of Science. When they affirm, above all, that but a single vessel is necessary, when they speak of the Great and Single furnace, which all can use, which is within the reach of all the world, and which men possess without knowing it, they allude to the philosophical and moral Alchemy. In fact, a strong and determined will can, in a little while, attain complete independence; and we all possess that chemical instrument, the great and single athanor or furnace, which serves to separate the subtle from the gross, and the fixed from the volatile. This instrument, complete as the world, and accurate as the mathematics themselves, is designated by the Sages under the emblem of the Pentagram or Star with five points, the absolute sign of human intelligence.
It may be said that the Pentagram represents the power of the Divine Will, as manifested in Humanity, to effect conscious change. As conscious participants with the Divine Will, humanity is in the unique position of being able to be co-creators with the Divine.
Our sisters of the Eastern Star utilize a Pentagram as their primary symbol. Interestingly, their usage places the pentagram “upside down,” with two points on top and a single point facing down. According to esoteric tradition, this usage indicates the “evil” forces of darkness. The occult authority Eliphas Levi writes in Transcendental Magic:
The Pentagram with two horns in the ascendant represents Satan, or the goat of the Sabbath, and with the single horn in the ascendant is the sign of the Savior. It is the figure of the human body with the four members and a point representing the head; a human figure head downward naturally represents the demon, that is, intellectual subversion, disorder and folly.
As to whether the author of the Easter Star rituals was aware of these qualities when designing the emblem of the rite is most likely unknown. A contemporary member of the Eastern Star has informed us that the explanation of the symbol she received attributes the two points as facing towards the east, providing an unobstructed channel from the altar to the Eastern dais, as well as creating a confined center or “chamber” in the east that is formed between the two extended points and the dais. All Masons would be familiar with the idea of having the path from the Altar to the East clear at all times, and this may in fact be the most probable reason for the design.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
As part of The Armory Show and Tell artist Elena Rosa presents:
Show and Tell
“I make film and video installations that explore gender and performativity through the form of acting. My work is structured through the language of theater and I primarily ‘act’ in a ‘male’ gender. [T]he process of becoming or ‘building a character’ is central not only to the performance but also to the internalization and finally representation of gender roles and reversals. So, for The Armory Show and Tell I will do a performance entitled Show and Tell. I will take on the role of the artist, Elena Rosa, and perform a scene in which that character does a slide presentation of her artwork. I am always interested in where the performance begins and ends. This performance will be very familiar as to what is expected in an artist’s presentation. [I will] build a slippage between what might be perceived as the real artist and the more stylized or dramatic representation of character and type.”
Elena Rosa received a Masters of Art from Otis College of Art and Design in Los Angeles and her BA from the Drama Centre London, University of Central Lancashire. Rosa’s aesthetic production consists of photography as well as film and video installations that explore performativity through the form of acting. The work inhabits a space between the excessive or exaggerated style of performance and the naturalistic or real. Rosa has shown in Los Angeles venues including JAUS Gallery and Bolsky Gallery.
About The Armory Show and Tell
The Armory Show and Tell coincides with the launch of the Armory’s 25th season of exhibition programs as well as the 100th anniversary of the 1913 Armory Show, the first exhibition of modern art in the US. For the past 25 years, Armory Center for the Arts has distinguished itself through its commitment to the notion of artist as educator. Today, The Armory Show and Tell has invited current and former Armory teaching artists and audiences to interrogate that idea; it centers around daily public presentations by 35 of more than 300 current and former Armory teaching artists who responded to an invitation to “perform your practice” in the Armory’s Caldwell Gallery. These artists have been further invited to leave behind a remnant of or detritus from their events, to be incorporated into an exhibition that expands over its 11-week duration.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
In mouse dermis, the extracellular matrix component collagen (green) is partially degraded and internalized into the endosomes and lysosomes (labeled with dextran, red) of cells (nuclei labeled
blue). Madsen et al. reveal that collagen uptake and turnover is mainly carried out by a small population of M2-like macrophages.
Image courtesy of Madsen et al.
Reference: Madsen et al. (2013) J. Cell Biol. 202:951-966
Published on September 9, 2013.
doi: 10.1083/jcb.201301081
Read the full article online at: jcb.rupress.org/content/202/6/951.full
Elise is not going to take all of this sitting down. as soon as she got free, she summons Giselle and whispers something to her ears, her plan is rolling as early as now, and Giselle, the bimbo of a personal assistant was with her to lay down the blueprint of the downfall of Jordan. Giselle listened intently, internalizing every detail of the plan... and was shocked upon hearing Elise's final sentence to her... "Your Boots are really, really, REALLY ugly Giselle."
Wondering what was that all about, she proceeded and went directly to the studio where the pictorial wuld take place... inside her purse were another set of shoes for Jordan to wear and snapped the heel of one. Giselle knows for a fact how the mood and styling of the shoot, it was something about rocks, and heels and climbing, while wearing the best lipcolor in the world....
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
The photo of a Black man’s fists handcuffed shows the anger that darker skinned Black men feel when being criminalized and targeted for simply being. The tension shown in his fists shows the anger that most white people within the systems and institutions such as prisons see when they look at or picture darker skinned men. The photo of the handcuff on one wrist and hanging freely, is to depict how Black men are not free from dehumanization and criminalization. Even when they are “free” they are not because they are continuously looked at as dangerous and as criminals. The side profile was meant to continue on the conversation of dehumanization with darker skinned Black men. It was also meant to depict how darker skinned Black men are not thought of unless they have committed or have been accused of a crime. Then they are shown in the media as being “dangerous,” a “thug,” and a criminal. All of these stereotypes continue the dehumanization of darker skinned Black men.
Shaquona Espinoza is an artist and Western Michigan University social work student who was born and raised in Kalamazoo, MI. Shaquona started painting in 2018 focusing on the simplicity of nature. She then transitioned to black and white photography in 2019 and is currently focused on the intertwining of both art and social justice.
Instagram @quonaesp_art
Facebook @ Shaquona Espinoza
For artist Shaquona Espinoza, photography is used to depict the reality of the negative effects of colorism in the Black Community. As someone who is a light skinned Black woman, she decided to use her privilege to focus on the internalized racism, criminalization and dehumanization that happens to darker skinned men and women. Before taking photos, Shaquona talked with people within her community to share their truth about their realities with colorism. When taking these photos, she decided to deface each of her subjects so that it can uphold its relatability to individuals within the Black community.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
What you see before you is a serving of beans and posho. This is what the children at the Care Point in Oditel, Uganda are served twice a day. Some only are able to get one meal. I was talking to a guy from work about overseas travel yesterday and I was impressing on him to take time to mull over the experiences he has (he's going to Jerusalem). Unless you spend time internalizing things, you run the risk of returning to your life without any lasting effect.
Today at work, we're having our lunch catered by some really great cooks. It's surprising to me that now is the time when I can't help thinking about this bowl of two simple foods. I don't want to forget what it symbolizes especially to the children who eat it day in and day out.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
with cooperativ regards,
edgar neo
t: +31(0)84-0032893
e: edgarneo@gmail.com
========================
sent via my iPhone 3G 2.1 :-D
- Posted using www.mobypicture.com
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
Puberty certainly was a bane. I was constantly gushing with excuses for my changing body and mind. One hormonally charged and menstrually vexed day I walked into my classroom in class 7 with a group of (most likely) hormonally charged boys giggling and looking devious. One of the boys, with whom I had been constantly confrontational on other fronts, turned towards me and in his best taunting voice jeered, "Watch out! It's going to get bloody!" I was still attempting to understand his cheek when he began to wave around my sanitary pad before my face as if it were a weapon from a crime scene. Not to mention that his smirk indicated that he had solved some crime because he obviously felt the need to search my bag for my heinous ability to menstruate. With the other boys leading him on, he went on to make dubious connections between my menstrual cycle and sexual promiscuity. I don't know how long I brooked his name-calling and remarks about how I was a slut for, but eventually I remember pushing him against the wall, pointing at his crotch and sincerely asking, "You know where it really hurts?" and kicking him. he held on to his testicular region a while before he could process my angry retort. I am not a physically aggressive person, and I don't know if I necessarily believe in responding in kind to those who feel bodies are meant to be manhandled, but I remember acting on instinct and knowing that I didn't walk away internalizing how I had felt.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
זו הסדרה שהצגתי אתמול בארטישוק 3,
העוסקת בריצוד עיניים מהיר, מה שקורה כשאנחנו חולמים, ותוכן החלומות הללו.
המלל שהיה מצורף לעבודה:
הכול נעלם וחוזר ונעלם שוב במהירות עצומה כשאת מחוברת לאלקטרודות עיקשות, אפילו אם זה רק בראש שלך, במיטה הריקה שלך, בעייפות ובצמרמורות קשות העורף.
ערימות של נייר מזכירות לך שהליכה מתוך שינה זה מה שאת מבצעת כאשר את ערה לחלוטין. עם עוויתות פה ושם, המסייעות לך להפנים את עצם העובדה שאת בעצם חרדה ומשתוקקת לחזור לתרדמת.
היכן שהוא בתת מודע, את עוברת עוד אפיזודה שמראה לך כי גם בין אלפי תמונות את עדיין תיראי אותו הדבר. אם לא מבחוץ אז מבפנים, ואם לא מבפנים, אז לפחות יש לך מרשמים שיגרמו לך להמשיך לשכוח.
בין הסתערות אחת לשנייה ישנו מגע שפתיים בלתי נראה. חולמני. שקוף. את נושפת-שואפת וחוזרת חלילה אל אותן נוסטלגיות נושנות שתמיד שבות אלייך, גם אם כל השאר מתעלמים או בורחים.
זה הכול בראש שלך. האדום, המחנק, הכמיהה לשבור את רצף הטעויות.
הכול מהידיעה שההתבוננות הפנימית מציינת מראה שאת רק רוצה לשבור, לחתוך כמה חבלי לידה, לעצום עיניים, ולישון.
ולאנגלוסקסים שמבנינו:
This album contains the series I have show-cased last night at the ARTiSHOWk 3.
It deals with R.E.M - Rapid Eye Movement, which occurs when we are dreaming, and the content of those dreams.
This is the text that was attached to the series:
Everything disappears, comes back and disappears again tremendously fast when you're attached to stubborn electrodes, even though it's only in your head, in your empty bed, in your tiredness and your stiff-necked chills.
Piles of paper remind you that sleep-walking is what you do when you're wide awake. With some twitches here and there, that assist you to internalize the fact that you're actually anxious and craving to go back to your coma.
Somewhere in the subconscious, you go through another episode that shows you that even in thousands of photographs; you will still look the same. If not on the outside than on the inside, and if not on the inside, at least you have prescriptions to make you keep on forgetting.
Between one attack and another there's an invisible touch of lips. Dreamy, transparent. You Breathe in – breathe out into those old nostalgias that always come back to you, even if all the rest ignore you or just run away.
It's all in your head. The red, the asphyxiation, the craving to amputate the continuity of errors.
All from the knowledge that the introspection indicates a mirror that you just want to break, cut a few birth pangs, close your eyes, and sleep.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
Weathervane Playhouse in Akron, Ohio, presents Lorraine Hansberry's "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15.
ABOUT THE SHOW
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
The photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal on Jan. 28, 2015.
'worst vacation ever’
an illustration of the romanticized, american desire for “hitting the open road”, ‘worst vacation ever’ documents the mundane and trivial pursuit of seeking adventure, looking for love, and finding oneself as typical ideas associated with traveling by automobile to a randomly appointed destination. these attempts at finding fulfillment in ones life through various extracurriculars such as speeding with the windows rolled down, screaming ‘til your throat bleeds, blaring music, spontaneous exploration and the overall juvenile desires for random recklessness ultimately lead to the internalized, unsatisfactory feeling of ennui and the unanswered question of, “why the fuck did i agree to this shit?”
entire series on site: [here]
ORLANDO, Fla. - Army Brig. Gen. Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary) conducted an officer professional development brief for Army Reserve Officers' Training Corps cadets April 9, 2015 at the University of Central Florida.
The officers in training listened
attentively to Espaillat as he gave his perspective on leadership, command, and officer expectations. They also heard him provide an overview of the
143d ESC mission and structure as well as heard him stress the importance of living and internalizing the Army Values. The Fighting Knights Battalion
at UCF is not only one of the best ROTC programs in the county, it is also one of the country's largest ROTC programs with close to 220 cadets.
Photos by Army Lt. Col. Christopher West and Army Chief Warrant Officer 3 Desiree Felton, 143d ESC
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
Detail from the Triptych, CHAOS, of MARTYRS OF THE CITIES OF THE PLAIN, the Feminine Entelechy. The floating letters at each corner of the triangle and at the lower center outside of it spell GAEA, the significance inherent in the piece as a whole. The writing in the Triangle of the central panel of the triptych is transcribed below:
[BEING]
I am the eye of Chaos...a single point of light illuminating the duality of that which is….I am the eternal moment…the personification of isness….Those that seek me would become me…painters of light…diviners of the line between light and shadow…invaders of shadow, conquerors of shadow….But always there is shadow…definer of light. I am denied and defined out of human need as here again I am defined…given purpose, given audience, given history. I am nothing and everything…I am Being, the invention of being….Washed in shadow…reflecting shadow I am what I seek. Forced by desire, formed by chance, I am the shape of light filtered through the motes of chaos….I am becoming…the reflection of process….Forced through the conflicted grid, formed and forming, I seek pause within interstices of silence. In hiatus, I lid the naked eye of desire and dream of static order…personification of the void…Herein gods are born….Stretched out over vast continents of time, I am a palimpsest of the stains and etches of prevailing certitudes…weaving whole cloth from Procrustean slumber….Layer upon layer of intersection and repose have assured me a kind of history…a sequential pattern of survival. My faces are legion, conflicting and parallel….I am the mirror and mimic of chaos….Beneath lidded eye, I paint the cave walls of myself with remembered light…images formed and forming to create a chamber of comprehension…a brief moment of semblance before Desire forces the lid and bleaches the walls with sight….In repose, I create the gestalts of recognition, the metaphors of embrace…the structures and strictures of redundancy…real to actual…the narcosis of Desire…the reification of light…the paradox of creation: In order to make, I must Be…In order to Be, I must make…In order to wake, I must sleep…In order to live, I must die…Obtected, I created myself within the cradled pupa of becoming….With Desire’s Vision inverted…eye lidded in repose…sparks of comported light explore my interior in a microcosm of resemblant chaos creating chambers from the mirrored grid….Trapped, compartmentalized, chaos is divided and restrained through metaphors of concordant gestalt….I was born of desire from the first question imposed by chance…the first chamber internalized ripped from the interstices of chaos….I am a mirror in search of reflection….Awake, I scan the motes of chaos…in repose, I dream the dreams of order….Universe within universe within universe the stratum layers from infinity to infinity in phyla of similitude…macrocosm to microcosm, all, reflecting sheets of isness….This is the bed of Procrustes…sheet upon sheet of process layered to the cut of generic repose…Each sheet cut to the perimeters of survival…specific in its pattern of disclose….It is survival that sharpens my edges and directs the eye of desire…it is survival that rips the silent interstices from the grids of chaos to submit becoming to the angled whims of time…and it is time that distorts the hierarchies of being…bending light to the chambered interludes of possibility….It is Being who has invented time…and it is time that sculpts the contoured weights of being to a human scale….Time is the obtect of becoming…folding furtherance in protective embrace isolating Being from the tides of chaos in a hubris of comprehension…dreams of order…re-creating chaos in microcosm within the cycling solutions of being…alchemizing space into time…and seeking survival through the dramatization of impulse….Time is the armor of Being…obtect of becoming….I am of human invention…created of desire, I am the survival of a species. Existing only in evidence I create evidence to support my existence. Projecting myself into the center of chaos, I create chaos to surround me. In a layering palimpsest of discovery, I seek myself in a mirror of large design. Desire motivates my becoming and objectifies my desire. Born of the middle, I seek beginnings and endings. I am a metaphor in search of gestalt…a tautology in search of resolve….August Sixth Nineteen Hundred and Forty Five:…I am blinded by light…the layering lid burnt crisp in mirrored sun…Trapped, encapsulated…riveted to a spinning orb of containment…I am raped with light….Light enters my chambers and strips free the shadows from the contoured walls…holocaust!…I am beset by light…ravaged and pillaged…I am entered and left naked of construction…There exists only space…and light. I am in hiatus….Fleeing the light, old shadows drape threads of history across the scoured walls…insinuating angles into liquid light. Raped by light…I am purged by light. Scanning the infinities for survival, I seek to clothe myself in new tapestries of definition…projecting desire into Gaean cycles of becoming…I seek survival….I am emptied of the father…raped by the father I am purged of the father…his death, as foretold, lives in fire…his circle closed…there exists only light….The absence thrills me…the dissolving obtect frees my wings as I scan the shadows of the sun. Am I dying?…Blinded by light, I am born of light…Suspended, my wings unfurl the grids of chaos…And if I die… Who dreams my death….
"MARTYRS OF THE CITIES OF THE PLAIN examines the First Holocaust. Based on the blue triangle that descends the back panel of PROCRUSTES IN SITU, the third section of the Trilogy concerns itself with the destruction of the cities Admah, Gomorrah, Sodom, and Zeboiim which the Old Testament attributes to the wrath of God. It examines the procrustean constrictions of patriarchy and the liberating challenge of feminine entelechy through the songs of Procrustes and the opposing chants of Chance, Being, and Desire. Masculine gestalt versus feminine insurrection." Robert Cremean
Collection:
Fresno Art Museum
Fresno, California
A noticeable difference between China and many (so called) western countries is of course the lack of personal space. (that invisable barrier between yourself and others around you) In a country as over populated as China (1.3 + billion), personal space has 'no meaning' and one must simply internalize this concept.
Weathervane Playhouse in Akron, Ohio, presents "A Raisin in the Sun" -- live on stage from Jan. 29 to Feb. 15, 2015.
Set during the early 1950s, "A Raisin in the Sun" tells the timeless story of one family’s grasp for a piece of the American Dream — and the explosive backlash that erupts when they seek to become the first black family to move into an all-white neighborhood.
The play revolves around the divergent dreams and conflicts within three generations of the Youngers, a black family living in a cramped apartment in Chicago’s racially segregated Southside neighborhood. The family’s struggle for dignity and their quest for a better life shape the powerful drama in this ground-breaking masterpiece of the American theater.
Younger family matriarch Lena (whom everyone calls “Mama”) is the strong, moral heart of her clan, but she clashes frequently with her extended family. The family’s “man of the house” is her son Walter Lee, who works as a chauffeur but remains frustrated by his dead-end position in both life and the workplace. Walter’s wife is Ruth, who masks her discontent by directing all her energies toward her husband and their young son, Travis. Walter’s sister, Beneatha, is a young dreamer who dabbles in various hobbies and activities but embraces a strong desire to become a doctor.
When the insurance money from her deceased husband’s insurance policy comes through, Mama dreams of moving to a new home and a better neighborhood. But Walter Lee, who describes himself as a volcano full of internalized regrets and pipe dreams, has other plans: he wants to buy a liquor store and be “his own man.” Meanwhile, Beneatha wants to spend the money on her medical schooling. The tensions within the family and the blatant prejudice they receive from outside their home combine to shape the rich dramatic texture in this seminal American play.
For more information, visit www.weathervaneplayhouse.com/a-raisin-in-the-sun-2015-01-29
THE CAST
TAMICKA SCRUGGS
Ruth Younger
BRIAN KENNETH ARMOUR
Walter Lee Younger
JOHNTAE LIPSCOMB
Travis Younger
TAYLOR ADAMS
Beneatha Younger
KEEYA CHAPMAN-LANGFORD
Lena Younger
MICHAEL SWAIN
Joseph Asagai
BRIAN STEELE
George Murchison
CHACE COULTER
Karl Lindner
KYM WILLIAMS
Bobo
THE CREATIVE TEAM
JIMMIE WOODY
Director
TABA ALEEM
Stage Manager
SCOTT CRIM
Lighting Designer
AUDREY FLIEGEL
Sound Designer
JOE HUNTER
Properties Designer
JASEN J. SMITH
Costume Designer
TODD DIERINGER
Scenic Co-Designer
KATHY KOHL
Scenic Co-Designer and Assistant Technical Director
All of the photos in this Flickr set were shot for Weathervane Playhouse by Scott Diese at the show's final dress rehearsal (Jan. 28, 2015),