Internalizing photos on Flickr

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Photographed on an eastbound Canadian Pacific freight

Friday September 29th, 2023

Imposter syndrome is a psychological pattern in which an individual doubts their skills, talents, or accomplishments and has a persistent internalized fear of being exposed as a ""fraud"". Despite external evidence of their competence, those with imposter syndrome remain convinced that they are frauds, and do not deserve all they have achieved. Individuals with imposter syndrome incorrectly attribute their success to luck, timing, or deceiving others into thinking they are more intelligent than they perceive themselves to be.

"A Raisin in the Sun" at Weathervane Playhouse by Weathervane Playhouse

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.

Elana Rosa by armoryarts

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.

standard of beauty by Tarra Louis-Charles

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How do you internalize society's standard of beauty?

Information overload by Ina Stockhausen

This "wig" made out of computer chips is a perfect example of information overload... which message should you follow... internalize...believe... stand up for?

LIE-IN (LION) with Shannon Rose Riley at Grimmuseum | Photo by Lindsay Tunkl & Amanda Ribas Tugwell by Month of Performance Art Berlin

A woman closely observes the movements and gestures of a lion at the Berlin Zoo. She relies on processes of attention and memory, does not use a camera or writing materials. Later, she enters a gallery and tries to mimetically reenact the gestures andspatial usage of the lion.

This work explores the ways in which humans are informed by and might internalize the lives of nonhuman animal others. It is an exercise in interspecies epistemology, focusing on the role of empathic observation and attentiveness in the construction of knowledge. It addresses interspecies ethics by attempting to, as Donna Haraway says, “...strike up a coherent conversation where humans are not the measure of all things and where no one claims unmediated access to anyone else.” (Bristol)

Joanne Bristol, erogate performer #3, is a multidisciplinary artist currently working on a PhD dissertation titled ‘Towards a Feline Architecture’. Interested in troubling the traditional opposition between nature and culture as she investigates building and

dwelling practices across human and non-human populations, Joanne’s main artistic collaborator for more than a decade has been her housecat, Sabre. It seems only fitting that Sarah, her surrogate, who is now helping her relocate/translate her (inter)spatial research on inter-species relationships from Winnipeg to Berlin, was originally going to be named ‘Feline’ by her mother.

Curated by Ilya Noe

Sri Yantra in Living Color by JoreJj Z. Elprehzleinn

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Elprehzleinn.ca

artwork produced by: JoreJj Z. Elprehzleinn

The extremely benevolent Sri Yantra.

Here is a page that links to a playlist on YouTube that has many views of this imagery from different angles as well as a method for using this Sri yantra combined with your magical mind power to consciously create your own reality.

Elprehzleinn.ca/site-map/magical-mind-power

Maha Meru is the 3 dimensionalization of Sri Yantra which has many benefits including producing unbounded happiness in one's life and all forms of well being. So it is said about Maha Meru.

Sri Yantra represents the Supreme Goddess, Srimati Radharani, Sri Mahalaxmi , "The Goddess of Fortune!" It is one the most auspicious, important and powerful Yantras, which not only gives the maximum benefit, but also proves beneficial for almost everybody. It is the source of attaining all worldly desires & fulfilling all wishes through inner cosmic power & mental strength. accompanying Music ~ Shri Radhe Sharanam

en.wikipedia.org/wiki/Sri_Yantra

The two dimensional Sri Chakra, when it is projected into three dimensions is called a Maha Meru (Mount Meru).

high resolution imagery of Maha Meru that you can download:

www.flickr.com/photos/jorejj/16149637280/

The Sri Yantra is a tool to give a vision of the totality of existence, so that the adept may internalize its symbols for the ultimate realization of his unity with the cosmos.

more benefits of Shri Yantra (and Maha Meru) listed on this site which I am not affiliated with:

www.rudraksha-ratna.com/shreeyantra.htm

Elana Rosa by armoryarts

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.

Guakia, Inc. Presents Ray Gonzalez Latin Jazz & Salsa Festival, Tributo a Catalino Tite Curet Alonso. Canta, Ray De La Paz, Josue Rosado y Juan M Garcia Ramos by Santos Torres

PERIODICO DE AYER www.youtube.com/user/RANiEL1963#p/u/0/BNSb013wcfU

LOS ENTIERROS www.youtube.com/user/RANiEL1963#p/u/1/zu3sPt8zEpw

DE TODAS MANERAS ROSAS www.youtube.com/user/RANiEL1963#p/u/2/n1xG6hncg4U

LAS CARAS LINDAS www.youtube.com/user/RANiEL1963#p/u/3/BZ3w684Sfmg

PLANTACION ADENTRO www.youtube.com/user/RANiEL1963#p/u/4/b-Ap266F7g8

MAXIMO CHAMORO www.youtube.com/user/RANiEL1963#p/u/5/sKCx-DmE7Zk

LAMENTO DE CONCEPCION www.youtube.com/user/RANiEL1963#p/u/6/AXOAi4cWNtE

LA CURA www.youtube.com/user/RANiEL1963#p/u/7/iHnsIDlHECg

EVELIO Y LA RUMBA www.youtube.com/user/RANiEL1963#p/u/8/NWJCq_S7NQ0

IBABAILA www.youtube.com/user/RANiEL1963#p/u/9/Bn48g_0mK5Q

GUAKIA INC www.guakia.org/index.html

Based in Hartford, Connecticut, Guakía, Inc. is the premiere Puerto Rican cultural center in southern New England.

Our mission is "to provide a focal point for the promotion of the cultural identity and heritage of Puerto Ricans in the United States through the advancement of the groups' history, language, music, arts, literature, and other cultural characteristics; and to establish a center that will serve as a clearinghouse for the study, celebration, and exposition of the Puerto Rican/Hispanic culture available to all residents of the city of Hartford and the capital region."

This page is just the beginning of our new website, being built with the assitance of Trinity College's "Smart Neighborhood Plan," a project funded in large measure by grants from the W.K. Kellogg Foundation. Additional funding for Guakia's website has been received from the Hartford Foundation for Public Giving.

We hope that you will soon be able to learn more about our organizations' history by exploring the pages of this site as they become available. The site will include detailed information on Guakía's educational and arts programs, its community partnerships, and will also feature photos and video clips of participant children and youth. We also welcome inquiries about how to help support Guakía, Inc. as we seek to expand our children and youth programs.

To provide a focal point for the promotion of the cultural identity and heritage of Hispanics in the United States through the advancement of the groups history, language, music, arts, and literature and to establish a center that will serve as a clearinghouse for the study, celebration and exposition of Hispanic cultureavailable to all residents of Connecticut.

Vision and Goals

To be the premier non-profit Hispanic arts, cultural and humanities organization dedicated to enriching the value of the Hispanic community by promoting, preserving and celebrating its cultural heritage and diversity.

To help our youth develop a strong sense of self, maximize their talents, acquire vision, internalize learning and in turn impact others in a positive way, fostering harmonic diversity in our community. Founded in 1983, Guakía is the most prominent arts and cultural organization in Hartfords Hispanic community. The word, guakia, means we in Taino, the language of the original inhabitants of the Caribbean (pre-Columbus). The word guakia signifies the unity of the Hispanic community no matter where individuals may be living. Volunteer parents who felt that their children had lost contact with the traditions of their culture and heritage founded Guakía. They felt their children needed to connect with their heritage in order to develop a sense of pride, community and self-esteem. Originally, Guakía was focused on the culture of Puerto Rico, however in recent years, as the community has become more diverse and the needs have shifted, Guakías mission has been broadened to include all Hispanic cultures. Using a curriculum based on both Puerto Rican and Latin American music, dance, and art forms, Guakía provides a wide array of visual and performing arts initiatives such as folkloric dance, painting, ceramics, traditional Hispanic music, and art classes. The early sacrifices of parents, volunteers, and teachers gave Guakía strong roots in the Puerto Rican culture. These roots have now expanded and sprouted like a beautiful tree with many branches and leaves to include all Hispanic cultures.

Dwarf Cuttlefish by Ron DeCloux

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

NARA, NW National Children's Mental Health Awareness Day Ribbon by NARA, NW Nak Nu Wit

NCMHAD 2012: “WARRIORS AGAINST TRAUMA.”

“When we recognize our Warrior Self, we can exhibit strength without sacrificing tenderness.”

The human soul is dynamic, adapting readily to the changing conditions we encounter as time marches unerringly forward. Though we may use a single set of characteristics to define ourselves, we slip easily into contradictory roles when circumstances necessitate doi...ng so. When we feel called to explore the way of the warrior, we may feel a strong sense of dismay because we have no wish to disavow ourselves of our softer side. Yet embracing the warrior spirit is not a matter of denying gentleness or compassion—all human beings embody all traits to some degree & seemingly contradictory aspects can coexist peacefully within us. We can exhibit strength without sacrificing tenderness precisely because both are elements of the self & both have a role to play in the complexity of existence.

Balance is the key that unlocks the door of peaceable coexistence where opposing characteristics of the self are concerned. The warrior spirit, when allowed free reign, is overpowering & all-consuming. If it's to be an affirmative force in our lives, it must be tempered with wisdom & moderation. Our inner warriors are ready to react instantly to conflict, chaos & confusion, while nonetheless remaining committed to a path of goodwill & fairness. They lie at the root of our dedication to integrity but do not drive us to use our strength to coerce others into adopting our values. The warrior may be nourished by raw emotions with the potential to cause us to lash out, but it channels that energy into positive & constructive action.

Your inner warrior is one source of strength you can draw upon in times of great need. When you employ your warrior spirit thoughtfully, it manifests itself as clarity, focus, determination, courage, constancy & an unflappable zest for life. The warrior views roadblocks as evolutionary opportunities & isn't afraid to pursue a purpose to its climax. There is more than enough room in the existence of the warrior for softness & benevolence, and the warrior’s willingness to stand up for their beliefs can aid you greatly as you strive to incorporate these ideals into your existence. Exploring this unique side of yourself is a means of broadening your reality so you can internalize mindfulness while meeting life’s challenges with an intensity of spirit that never wavers.

###

For more information, join the conversation on Facebook: www.facebook.com/groups/NARANCMHAD/ and Follow us on Twitter @NCMHAD

—

and then winter came (I) by Emilia Tjernström

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On September 6, the snow fell, families moved, and the wind whipped our faces raw. Huddling close to a ger stove, warming my fingers around a warm bowl of salty milk tea, with a spoonful of creamy butter floating and melting on top, the truth of this sentence struck me:

"Nomads do not live to migrate – they migrate to live"

P.C. Salzman, from Pastoralists – Equality, Hierarchy and the State

It's not that I didn't know this before, but when you can't feel your toes or your fingers or your ears, and groups of horses 25 meters away are hardly visible through the blizzard, the romantic aura surrounding nomadism fades... I guess you could say I internalized its meaning.

These are my horses, Le Loco and Le Wagon, turning their butts to the wind.

Ovorkhangai aimag, September 2006

LIE-IN (LION) with Shannon Rose Riley at Grimmuseum | Photo by Lindsay Tunkl & Amanda Ribas Tugwell by Month of Performance Art Berlin

A woman closely observes the movements and gestures of a lion at the Berlin Zoo. She relies on processes of attention and memory, does not use a camera or writing materials. Later, she enters a gallery and tries to mimetically reenact the gestures andspatial usage of the lion.

This work explores the ways in which humans are informed by and might internalize the lives of nonhuman animal others. It is an exercise in interspecies epistemology, focusing on the role of empathic observation and attentiveness in the construction of knowledge. It addresses interspecies ethics by attempting to, as Donna Haraway says, “...strike up a coherent conversation where humans are not the measure of all things and where no one claims unmediated access to anyone else.” (Bristol)

Joanne Bristol, erogate performer #3, is a multidisciplinary artist currently working on a PhD dissertation titled ‘Towards a Feline Architecture’. Interested in troubling the traditional opposition between nature and culture as she investigates building and

dwelling practices across human and non-human populations, Joanne’s main artistic collaborator for more than a decade has been her housecat, Sabre. It seems only fitting that Sarah, her surrogate, who is now helping her relocate/translate her (inter)spatial research on inter-species relationships from Winnipeg to Berlin, was originally going to be named ‘Feline’ by her mother.

Curated by Ilya Noe

"A Raisin in the Sun" at Weathervane Playhouse by Weathervane Playhouse

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.

Swami_Chinmayananda_on_his_day_of_Sannyas_initiation,_with_Guru_Swami_Sivananda_and_other_disciples,_Feb_25,_1949,_Maha_Shivratri_Day by Riaz Padamsee

1

Germany - Aachen, St Foillan by Glass Angel

3

For the incidence of light into the house of God provide, inter alia, three large central window in the choir. They date from 1958 and were by Wilhelm Buschulte created. Depicting scenes from the Book of Revelation of John. As motifs show the great west window in a color composition the theme "Salvation (red) in the history". Shown are the creation, the Incarnation and the eschatological consummation.

translate.google.com/translate?depth=1&hl=en&prev...(Kirche)

Choir window

Wilhelm Buschulte from 1958. The three central windows show themes from the Secret Revelation of John: in the middle, the “New Jerusalem” with the “Throne of the Lamb”, on the right the armies on the white horses, on the left the destruction of Babylon, the “Mother of all atrocities ”. The outer northern choir window shows Jacob's dream of the ladder to heaven, an image of God's closeness and willingness to help.

Left to Right:

Revelation of John: The destruction of Babylon.

Revelation of John: The heavenly Jerusalem.

Revelation of John: The logo with the hosts on white steeds.

Wilhelm Buschulte 1958

Windows in the choir,

Antique glass / lead / Schwarzlot

Wilhelm Buschulte (1923-2013).

From 1943 to 1950 - with wartime interruptions - Buschulte studied at the Academy of Fine Arts in Munich . He was a master student of Hans Gött . Since 1953 Buschulte lived freelance in Unna.

Round window in the Bielefeld Holy Ghost Church Buschulte turned from 1951 to artistic window dressing. It accounts for the center of his work and his real life's work, at least the accessible sight to a wider audience. In the 1950s and 1960s he also designed curtains discs with religious representations in a internalized, almost naive style. Set to any artistic technique applies Buschultes endeavor of unity and harmony of (church) space and window design, as in their "clear simplicity" (Buschulte) well in the window design of St. Paul Church is most impressive to see. Biblical themes can be found as well as topics from the Catholic Sacred Tradition, abstract design like his in the 1990s clearly recognizable effort to simplest (geometric) forms, which therefore is increasingly becoming a painting on glass as a painting with glass.

In his late work he relies more and more organic shapes and bright colors (except windows in Paderborn Cathedral ) in favor of geometric patterns made of clear glass and gray. In all his designs but the artistic endeavor is visible to be the church subservient waiving any superficially illustrative effect and precisely thus participate in the task of proclaiming. "His monumental glazing are abstract, but show partially figurative echoes and enclose sometimes - especially in the 1980s - symbolically organic forms."

Besides participating in exhibitions at home and abroad, he also staged their own exhibitions. Works by him are in museums at home and abroad. The amount of the stained glass windows designed by him is hard to miss.

translate.googleusercontent.com/translate_c?depth=2&h...

de.m.wikipedia.org/wiki/St._Foillan_(Aachen)

www.franziska-aachen.de/gemeinden/st-foillan/

mahesh the indian intern of Result.COM talking about the indian business opportunity @ #sime by Edgar Neo

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

Mark Zuckerberg lies again by Promote Clean

via WordPress ift.tt/2AFVW3I

In a new interview published today, Facebook co-founder Mark Zuckerberg goes long on a wide range of topics including selling data, taking holocaust deniers at their word, fake news, and one simple idea that’s crazy enough, it just might work.

Speaking with Recode, Zuckerberg continued his apology tour that’s followed the Cambridge Analytica scandal. The revelation that Facebook lost control of millions of users’ data and that it ended up in the hands of a shady political consultancy served as a tipping point, reminding the world of the long list of missteps, screwups, and malpractice that have characterized the company’s entire existence. In the months since it first admitted how poorly it handled that situation, Zuckerberg has been on a merry-go-round of stops in Congress, EU Parliament, and press junkets to do damage control.

Recode asked Zuckerberg if he felt that someone should be fired for not thoroughly responding to the Cambridge Analytica situation when Facebook first learned about it in 2015. After acknowledging that it’s a big issue, Zuckerberg said, “I designed the platform, so if someone’s going to get fired for this, it should be me.” The 34-year-old CEO has taken responsibility for the company’s failures on this topic before, but the subject of firing himself awkwardly lingers in this interview.

Zuckerberg and Recode jokingly banter about the great news value that would come from him firing himself on this podcast. Alas, he confirms that won’t be happening today. Recode insists that he’ll probably be okay if he just hung it up right now and moves on to a question about privacy before Zuckerberg interrupts just to circle back and ask, “Do you really want me to fire myself right now?” After more needling, Recode says, “no” and Zuck drops it, saying, “I think we should do what’s gonna be right for the community.”

This seems like a great idea. Through some chummy insider ribbing, the CEO hit on the idea that he really should maybe go, that he’d be fine if he did, and the most important thing is what’s best for the community. At this point, it seems all too clear that firing himself would be a good step in doing what’s best for the community of 2 billion Facebook users, and the larger community of 7.6 billion people just trying to live their lives in this world.

Who knows if Zuck has retained any skills as an engineer, but it’s hard to say he’s been a bad businessman. Facebook’s stock hit an all-time high this month despite its tarnished image because it dug its claws deep into users’ daily lives and it brushes off the consequences of growth. On my list of potential ways to fix Facebook, shutting it down would be right at the top closely followed by losing the algorithmic sorting of the news feed. Since neither of those things will happen, Zuckerberg stepping down would be a worthy consolation prize.

Throughout the interview, the CEO demonstrates some of his worst qualities. For one, he seems incapable of learning from his mistakes. Early in the interview, he pounds on some of his pet peeves and shows that he hasn’t really absorbed or processed criticism. He still gets really frustrated when people construe Facebook’s model of selling advertisers access to users based on their data and its inferences about that data as “selling data.” He still hasn’t grasped that the line between those two characterizations is extremely thin, and he ignores the fact that “selling data” is a good shorthand for what he’s actually doing and the dark implications it carries.

Zuckerberg also gripes about the characterization of Facebook as a media company. He says that he used to call it a utility, but today he prefers “social network” over “social media.” He says that “building a network and building relationships is one of the most core things that people do, and that is an enduring utility that people need.” As always, Zuckerberg speaks about relationships and human contact like a man who’s never experienced either.

He thinks that social networking should be focused on building something “useful and enduring.” That sounds reasonable, but then he gives an example. He says that Facebook has “mapped out all of the people who a person cares about” and then converts its knowledge into a useful product: Facebook Marketplace. Yup, after almost 15 years of crunching data about billions of people on this planet, the most useful thing Zuck comes up with is a place for everyone to buy more shit.

Moving on to the incredibly volatile subject of Facebook’s platforms being used to incite mob violence and ethnic cleansing in places like Myanmar, Sri Lanka, and India, Zuckerberg does his best to avoid taking any responsibility for the role his platform might have played. “It is clearly the responsibility of all of the players who were involved there,” he says. “So, the government, civil society, the different folks who were involved, and I think that we have an important role, given the platform, that we play, so we need to make sure that we do what we need to.”

He’s ignoring the fact that Facebook didn’t do what it needed to do before expanding to markets around the world. He mentions that the company is bringing on more native speakers of languages in problem areas and attempting to better understand local cultures. “It’s often hard, from where we sit, to identify who are the figures who are promoting hate and what is going to… which is the content that is going to incite violence,” he says while failing to acknowledge those are the kinds of questions that should’ve been considered before going halfway across the world and providing a platform that can be used to turn whole societies upside down.

On the subject of fake news, he’s still fooling around with moral relativity that isn’t necessary. I sympathize with Zuckerberg’s reluctance to become a censor of speech or the one that determines what news is accurate. But his company makes determinations on what content users will or won’t be allowed on the platform. Specifically asked about Infowars’ clear spreading of false information with real-world consequences, he still won’t admit that the conspiracy theory-loving outlet could easily be booted from the platform based on its current harassment and bullying policies.

Infowars spread a hoax that the child victims of the Sandy Hook shooting weren’t real and the whole situation was an elaborate plot. That action has resulted in lawsuits by the victims’ parents who’ve endured years of harassment and accusations of being a “crisis actor.” The best consequence Zuckerberg can come up with for Infowars if someone uses his platform to confront a victim of Sandy Hook is “telling them, ‘Hey, no, you’re a liar’—that is harassment, and we actually will take that down.” This is a simple judgment call—Alex Jones uses his platform to harass people in real life. Mark Zuckerberg can’t see his way to making any kind of judgment about that.

Speaking of bad judgment, he decided to pivot to an example of relative facts by talking about the Holocaust. Here he goes:

I’m Jewish, and there’s a set of people who deny that the Holocaust happened.

I find that deeply offensive. But at the end of the day, I don’t believe that our platform should take that down because I think there are things that different people get wrong. I don’t think that they’re intentionally getting it wrong…

Okay.

He’s already walked those comments back in a way, clarifying to Recode, “I personally find Holocaust denial deeply offensive, and I absolutely didn’t intend to defend the intent of people who deny that.”

Despite his hired handlers’ inability to train him how to look normal in public, they’ve done a pretty good job of teaching him the art of the evasive answer. Whether testifying before Congress or speaking to a journalist, he stays on message for the most part and he gives answers that carry the illusion of complexity but are really just ways of saying that he doesn’t want to deal with his problems in a meaningful way. Facebook’s still growing, people are still addicted to it, the checks are still cashing, so what’s the real issue?

When asked what single thing he would most like to apologize to the public about, he’s at a loss. “I don’t know,” he says bluntly. But then the old PR muscles kick in and he settles on: “I think that the main thing that I’ve tried to internalize this year is we get that there’s a big responsibility and a lot of things that we need to do better than we are.”

If Zuckerberg is serious about his goals of altruistic community building, he should walk away from the company that’s being used to tear communities around the world apart. He says that Bill Gates is his hero, and he knows it’ll take years to build a philanthropic strategy as well reasoned as the Gates Foundation’s approach. He also says he’s not taking on any personal goals this year because fixing Facebook is all-consuming at the moment. Maybe—and stick with me here—this thirtysomething with some $80 billion could give someone else a try in the driver’s seat and totally throw himself into making those Gates-style charity plans. If there’s one upside to Zuckerberg’s youth, he has plenty of time to follow through on his pledge to give away all of his money.

"The Trojan Horse" by Matteo Hirsch, EPFL by SNSF Scientific Image Competition

Entry in category 1. Object of study; © CC-BY-NC-ND: Matteo Hirsch

In a quiet and naive SEM session of a hydrogel sample made of polyacrylic acid, an unexpected battle arises. Beyond suspicion, the hydrogel-made horse was hiding a handful of Greeks. It is a bloodshed; the Trojans took the bait and lost the war.

The SEM micrograph represents the edge of a piece of PAA hydrogel where large aggregates of particles can be seen. This arises from the fact that during the formation of the hydrogel, only the stable particles contributed to the physical crosslink of the network, thanks to their higher mobility and active sites availability. As a result, aggregated particles are not internalized in the structure and are segregated at the boundary of the hydrogel.

400px-Gurudeva_at_beach by Riaz Padamsee

Techart GranGt by Werner Bayer

Original TECHART programs have always stood for highest quality. This fundamental principle has been incorporated in TECHART’s new exterior package for the Panamera without any compromises. The consistent and intelligent use of selected high-tech materials and a unique style of design ensure that the TECHART GrandGT

GT – uniquely sporty, which is embodied by the program not only in design. The GrandGT internalizes it as well. The exterior package consists of a fiber-reinforced composite based on carbon, glass-fiber-reinforced plastic and polyurethane RIM components. These materials are primarily used in motor sports and are distinguished by their extraordinary product characteristics. The exterior components of the TECHART GrandGT program are remarkable, among other things, thanks to an impressive dimensional stability, great strength and low intrinsic weight.

Routens SeatMast by CycleTsar

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Rear brake cable internalized within seat tube to align cable with brakes, which are mounted underneath the seat stays

Season2: Eps 13 - Sin in the City 7 (photo story) by APPark

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--Front Door Slams--

Lukas (desolately): "Hell."

Yuri: "Lukas, darling, he did not mean what he said. He did not mean he was sick of you. He loves you."

Lukas: "He meant it, and it's true. Our parents have always given Dan a hard time--harder than he deserves for sure. I tried to make it easier on him, but in retrospect, I probably just made it worse."

Yuri (fiercely): "This is not your fault, Lukas. One of your few shortcomings is that you internalize things too much, and you always accept the blame whether it is yours to bear or not!"

Lukas: *pats Yuri's knee* "Right. Thanks, babe, but I need some air. We'll talk later, okay?"

Fashion Credits

Yuri

Polo shirt: Integrity Playline - Replaced the original buttons.

Pants, Tall Boots: Fashion Royalty - Model Behavior - Urban Outfitter Nadja

Earrings and Bracelet: Me

Lukas

Pants, Belt: Kelsie of Mutant Goldfish Designs

Shirt: Fashion Royalty - Homme - Power Couple Francisco

Boots: Volks - Who's That Girl? - Selfish Line

Watch: Fashion Royalty - Homme - High and Mighty Darius

The Aghori Sadhus At Nasikh Kumbh 2015 by firoze shakir photographerno1

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The Aghori (Sanskrit aghora)[2] are ascetic Shaiva sadhus.

The Aghori in Shaivism.

The Aghori are known to engage in post-mortem rituals. They often dwell in charnel grounds, have been witnessed smearing cremation ashes on their bodies, and have been known to use bones from human corpses for crafting kapalas (which Shiva and other Hindu deities are often iconically depicted holding or using) and jewelry. Due to their practices that are contradictory to orthodox Hinduism, they are generally opposed.[3][4]

Many Aghori gurus command great reverence from rural populations as they are supposed to possess healing powers gained through their intensely eremitic rites and practices of renunciation and tápasya. They are also known to meditate and perform worship in haunted houses.

Aghoris are devotees of Shiva manifested as Bhairava,[5] are monists who seek moksha from the cycle of reincarnation or saṃsāra. This freedom is a realization of the self's identity with the absolute. Because of this monistic doctrine, the Aghoris maintain that all opposites are ultimately illusory. The purpose of embracing pollution and degradation through various customs is the realization of non-duality (advaita) through transcending social taboos, attaining what is essentially an altered state of consciousness and perceiving the illusory nature of all conventional categories.

Aghoris are not to be confused with Shivnetras, who are also ardent devotees of Shiva but do not indulge in extreme, tamasic ritual practices. Although the Aghoris enjoy close ties with the Shivnetras, the two groups are quite distinct, Shivnetras engaging in sattvic worship.

Aghoris base their beliefs on two principles common to broader Shaiva beliefs: that Shiva is perfect (having omniscience, omnipresence and omnipotence) and that Shiva is responsible for everything that occurs – all conditions, causes and effects. Consequently, everything that exists must be perfect and to deny the perfection of anything would be to deny the sacredness of all life in its full manifestation, as well as to deny the Supreme Being.

Aghoris believe that every person's soul is Shiva but is covered by astamahapasha ("eight great nooses or bonds") - sensual pleasure, anger, greed, obsession, fear and hatred. The practices of the Aghoris are centered around the removal of these bonds. Sadhana in cremation grounds destroys fear; sexual practices with certain riders and controls help release one from sexual desire; being naked destroys shame. On release from all the eight bonds the soul becomes sadashiva and obtains moksha.[citation needed]

History[edit]

Aghori in Satopant.

An Aghori man in Badrinath smoking hashish or Cannabis from a chillum in 2011.

Although akin to the Kapalika ascetics of medieval Kashmir, as well as the Kalamukhas, with whom there may be a historical connection, the Aghoris trace their origin to Kina Ram, an ascetic who is said to have lived 150 years, dying during the second half of the 18th century.[6] Dattatreya the avadhuta, to whom has been attributed the esteemed nondual medieval song, the Avadhuta Gita, was a founding adi guru of the Aghor tradition according to Barrett (2008: p. 33):

Lord Dattatreya, an antinomian form of Shiva closely associated with the cremation ground, who appeared to Baba Keenaram atop Girnar Mountain in Gujarat. Considered to be the adi guru (ancient spiritual teacher) and founding deity of Aghor, Lord Dattatreya offered his own flesh to the young ascetic as prasād (a kind of blessing), conferring upon him the power of clairvoyance and establishing a guru-disciple relationship between them.[7]

Aghoris also hold sacred the Hindu deity Dattatreya as a predecessor to the Aghori Tantric tradition. Dattatreya was believed to be an incarnation of Brahma, Vishnu, and Shiva united in the same singular physical body. Dattatreya is revered in all schools of Tantrism, which is the philosophy followed by the Aghora tradition, and he is often depicted in Hindu artwork and its holy scriptures of folk narratives, the Puranas, indulging in Aghori "left-hand" Tantric worship as his prime practice.

An aghori believes in getting into total darkness by all means, and then getting into light or self realizing. Though this is a different approach from other Hindu sects, they believe it to be effective. They are infamously known for their rituals that include such as shava samskara (ritual worship incorporating the use of a corpse as the altar) to invoke the mother goddess in her form as Smashan Tara (Tara of the Cremation Grounds).

In Hindu iconography, Tara, like Kali, is one of the ten Mahavidyas (wisdom goddesses) and once invoked can bless the Aghori with supernatural powers. The most popular of the ten Mahavidyas who are worshiped by Aghoris are Dhumavati, Bagalamukhi, and Bhairavi. The male Hindu deities primarily worshiped by Aghoris for supernatural powers are manifestations of Shiva, including Mahākāla, Bhairava, Virabhadra, Avadhuti, and others.

Barrett (2008: p. 161) discusses the "charnel ground sādhanā" of the Aghora in both its left and right-handed proclivities and identifies it as principally cutting through attachments and aversion and foregrounding primordiality; a view uncultured, undomesticated:

The gurus and disciples of Aghor believe their state to be primordial and universal. They believe that all human beings are natural-born Aghori. Hari Baba has said on several occasions that human babies of all societies are without discrimination, that they will play as much in their own filth as with the toys around them. Children become progressively discriminating as they grow older and learn the culturally specific attachments and aversions of their parents. Children become increasingly aware of their mortality as they bump their heads and fall to the ground. They come to fear their mortality and then palliate this fear by finding ways to deny it altogether.[2]

In this sense, the Aghora sādhanā is a process of unlearning deeply internalized cultural models. When this sādhanā takes the form of charnel ground sādhanā, the Aghori faces death as a very young child, simultaneously meditating on the totality of life at its two extremes. This ideal example serves as a prototype for other Aghor practices, both left and right, in ritual and in daily life."[8] The Aghoris are also recorded to perform shava sadhana, worship with a corpse.

Adherents[edit]

Though Aghoris are prevalent in cremation grounds across India, Nepal, and even sparsely across cremation grounds in South East Asia, the secrecy of this religious sect leaves no desire for practitioners to aspire for social recognition and notoriety. [1]

Spiritual headquarters[edit]

Hinglaj Mata is the Kuladevata (patron goddess) of the Aghori. The main Aghori pilgrimage centre is Kina Ram's hermitage or ashram in Ravindrapuri, Varanasi.[9] The full name of this place is Baba Keenaram Sthal, Krim-Kund. Here, Kina Ram is buried in a tomb or samadhi which is a centre of pilgrimage for Aghoris and Aghori devotees. Present head (Abbot), since 1978, of Baba Keenaram Sthal is Baba Siddharth Gautam Ram.

According to Devotees, Baba Siddharth Gautam Ram is reincarnation of Baba Keenaram himself. Apart from this, any cremation ground would be a holy place for an Aghori ascetic. The cremation grounds near the yoni pithas, 51 holy centers for worship of the Hindu Mother Goddess scattered across South Asia and the Himalayan terrain, are key locations preferred for performing sadhana by the Aghoris. They are also known to meditate and perform sadhana in haunted houses.

Medicine[edit]

Aghori practise healing through purification as a pillar of their ritual. Their patients believe the Aghori are able to transfer pollution and health to and from patients as a form of "transformative healing", due to the believed superior state of body and mind of the Aghori.[10][verification needed]

"A Raisin in the Sun" at Weathervane Playhouse by Weathervane Playhouse

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.

Femininity under glass 26 by In Memoriam: R A Pyke (SweRon)

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Part of a show for women's day 2013. It is being displayed with this quote:

”Sexism is overtly exhibited in nearly every aspect of modern society. Women and adolescent girls, in particular, are especially vulnerable to the deleterious effects of sexism. Whether it is a model in a magazine, an actress on television, or a mannequin in a store window, images of how women should look, dress, act, and even react are everywhere. Adhering to society’s unrealistic and often varied models of the ideal woman makes it difficult for women to find and accept their own identities and bodies. In fact, the sexist beliefs associated with women, both negative and positive, have been linked to numerous physical and mental health issues for women, including depression, anxiety, binging, purging, and anorexia. Young women are also heavily influenced by the opinions and judgments of those closest to them, including their family members, friends, and co-workers. Understanding how the beliefs of others and internalization of those beliefs affects a woman’s body image is necessary in order to help women overcome any challenges related to self-worth, self-esteem, and positive self-image.”

--www.GoodTherapy.org Olympia Bureau www.goodtherapy.org/blog/women-bodyimage-sexism-0109133

Women's Day 2013 Set: www.flickr.com/photos/sweron/sets/72157632949391522/with/...

View On Black

please don't feed me 14-web by Tiffany Gholar

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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:

society6.com/TiffanyGholar

Buy the book on Amazon and Etsy.

My Neighbor's Keeper Panel Discussion #2: Safety and Marginalized Communities by SPACES Gallery

Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."

According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.

MODERATOR Sharyna C. Cloud (Peacemakers Alliance)

Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.

Ashley Hartman (Recovery Resources)

Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.

Jazmin Long (Global Cleveland)

Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.

Phyllis Harris (THe LGBT Center of Cleveland)

A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.

John H. Flores (Social Justice Institute at Case Western Reserve University)

John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.

Paul D. Fitzpatrick (Peacemakers Alliance)

Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.

A Comparison of Kirsten's Eyes Before & After Replacment by A Thousand Splendid Dolls

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I sent my beloved Kirsten doll to the hospital in April of 2016, to get her eyes replaced. This was a decision that had weighed on my mind for a very long time. Kirsten contracted silver eye sometime when my sister and I were kids (I believe it appears within the first few years after a doll is purchased). Oddly, I never made the connection that what was "off" about Kirsten was in fact her one silver eye. But after researching about American Girl dolls in 2011, after I began collecting dolls again, I learned about this common factory defect, and acknowledged that our childhood Kirsten and Molly dolls had silver eye. I was able to ignore it for a few years, but subconsciously, it was grating on me. Even though I didn't internalize it, the first thing that always caught my attention was Kirsten's "cyborg" eye. By the time I noticed just how awful her silver eye was (that it was in her pupil too, which is why she fared worse than Molly), I couldn't help but fixate on it all the time. Luckily for me, replacement eyes for this condition are free from American Girl. They consider this to be a factory defect, so they replace the parts for no charge. If silver eye was caused by water (as some people are mislead into believing) American Girl would not provide this service for free. Kirsten and Molly had never been in contact with water when they contracted silver eye. Kirsten had always been lightly played with and to this day, still has a brand new looking wig. Silver eye happens arbitrarily, and even dolls who were never removed from the box can have it.

My hesitation to get Kirsten new eyes was because I was afraid these different eyes would "change" her. I feared that she wouldn't feel like my doll anymore, since these new, silver proof eyes would be slightly darker and would have black lashes, instead of dark blonde. But at the end of the day, I thought it was unfair for my poor Kirsten doll to be stuck with a cyborg eye forever. She never looked as beautiful in clothes as she could. For that reason, I was subconsciously never motivated to buy her more outfits from eBay. I wasn't as interested in fixing her hair, and I always found her to be dull, and a little homely to look at (even though I loved her with all my heart). She was gone for a little over a month, because the doll hospital was backed up. The day she arrived, I could barely contain myself. When I first saw Kirsten's eyes I was shocked. It was strange seeing her for the first time in years without her "cyborg" eye stealing the show. But at the same time, I was surprised that she still looked like MY Kirsten. In the same way that her "silver eye" flew under the radar, but nagged at me subconsciously, her new eyes had the opposite, positive, yet subtle effect. Ever since Colleen and I got Kirsten back, we always notice her on display. Even though she sits beneath the ever breathtaking Elizabeth Cole, Kirsten still steals the limelight. Her new eyes transform the flea market outfits we got for her back in 2011. She looks flawless in every ensemble. She appears so much younger and fresher, but she's still that doll I took with me to my mom's office cleaning job when I was ten years old. Her new eyes have fulfilled a long time dream of mine. It finally feels like the Kirsten dolls I admired in the catalogue growing up have materialized. My doll looks just like the beauties from these catalogue spreads, wearing her authentic clothes. And as I knew it would, this eye replacement motivated my sister and I to buy dear old Kirsten some new clothes from eBay! Most telling of all, Colleen says that Kirsten's replacement eyes recapture that same beauty she admired on Christmas day 1998--the first thing she noticed about our beloved Kirsten was her light baby blue eyes, and they were always her best feature.

Beth Dunn teaching about helping other writers to internalize your voice by Confab

LIE-IN (LION) with Shannon Rose Riley at Grimmuseum | Photo by Lindsay Tunkl & Amanda Ribas Tugwell by Month of Performance Art Berlin

A woman closely observes the movements and gestures of a lion at the Berlin Zoo. She relies on processes of attention and memory, does not use a camera or writing materials. Later, she enters a gallery and tries to mimetically reenact the gestures andspatial usage of the lion.

This work explores the ways in which humans are informed by and might internalize the lives of nonhuman animal others. It is an exercise in interspecies epistemology, focusing on the role of empathic observation and attentiveness in the construction of knowledge. It addresses interspecies ethics by attempting to, as Donna Haraway says, “...strike up a coherent conversation where humans are not the measure of all things and where no one claims unmediated access to anyone else.” (Bristol)

Joanne Bristol, erogate performer #3, is a multidisciplinary artist currently working on a PhD dissertation titled ‘Towards a Feline Architecture’. Interested in troubling the traditional opposition between nature and culture as she investigates building and

dwelling practices across human and non-human populations, Joanne’s main artistic collaborator for more than a decade has been her housecat, Sabre. It seems only fitting that Sarah, her surrogate, who is now helping her relocate/translate her (inter)spatial research on inter-species relationships from Winnipeg to Berlin, was originally going to be named ‘Feline’ by her mother.

Curated by Ilya Noe

2001 - 10 - a yellowstone doug toni by Mississippi Snopes

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Yellowstone.

This is a real but also kind of fake picture -- or maybe it's more accurate to say this "hey, would you take our picture" snapshot represents a temporary respite from reality.

On September 11, I was -- once again -- away from home, in Roseville, California, for a government audit of a client. I was on the phone with Leslie, my office manager, a little after 6 a.m. Pacific time, with the morning news shows in the background. I was just saying, "Have you seen that weird thing with the plane in New York" when the second plane hit. After a second panicked call discussing with Leslie the odds of a poison gas attack on the Metro (our office was then two blocks from the White House), phone lines went out and I couldn't reach Leslie Toni for almost the entire day. Toni's school is in the flight path of the plane that hit the Pentagon and she thinks she might have heard it. The principal of the next closest elementary school lost her husband that day. I got back four days later.

For the next month, Toni couldn't sleep because of the noise of the fighter jets flying low altitude surveillance missions over DC. Those poor people ... those evil "other." I was angry, Toni was shaky, and we were both sick at heart.

We had frequent flyer tickets to Bozeman, Montana for early October, but they were out of Washington Reagan National, which was the last airport to reopen in the country, so we assumed the flight would be canceled. However, the day before we were advised that National had reopened and so our vacation to Yellowstone was on.

We were among the first flights to leave out of the reopened National. When we passed through the airport metal detectors and the newly intrusive security, Toni saw the National Guardsmen with automatic rifles and started crying. But we had a good time at a strangely deserted and (as usual) surreally beautiful Yellowstone.

Then, as we were driving back from Yellowstone to Bozeman through Idaho, the radio announced we (USA) had just started our bombing of the Taliban in Afghanistan. I started cheering and cussing, and Toni started crying.

"Leadership lessons are all around you. You just need to know where to look!" - Futurist Jim Carroll by Jim Carroll

"Leadership lessons are all around you. You just need to know where to look!" - Futurist Jim Carroll

Throughout my career, I've had the wonderful opportunity to share the podium at many events with some of the world's most fascinating leaders and celebrities. The late Jack Welch of GE once shared his leadership insight directly after I spoke on stage about the need for speed; Roger Goodell of the NFL was the next speaker directly after my opening keynote at a sports conference; the late Carrie Fisher - Princess Leia of Star Wars - spoke about mental health issues after my opening talk at a healthcare conference; George W. Bush covered geopolitical issues after I opened up an event in Dallas with a focus on future megatrends. (The Secret Service had me wrap up my talk 15 minutes early so they could do a security sweep of the stage).

All of these instances - with both the pre-event preparation as well as my time at the event - have given me the opportunity to witness, in real-time, valuable leadership insight from some top world leaders. Much of what I have seen has become an incubator for my own insight; I try to take the time to learn from these world leaders and icons in order to continually enhance my own perspective.

And yet, I've also learned that you don't need to look only to those famous leaders, business icons, and global innovators for this type of valuable knowledge - you can simply look around you and discover it in the most unusual of places.

Such as right next door. Let me introduce you to Carter Florence, my 14-year-old neighbor, a high school student, and CEO of Yardex. You can best get an idea of his story on the latter by reading a recent newspaper about his initiative. A full PDF is here; the original article here.

And with that, 10 Leadership Lessons from a 14-Year-Old CEO.

Yardex? I dare you to take a look at the site, and then marvel at the fact that it was created by a fellow who is normally busy going through the paces of the average life of the average Grade 10 student. While it would seem most kids this age are worried about sports and high school get-togethers and social events, Carter is busy building out his business. He's CEO, after all, and has big goals, contracts to land, and customers to keep happy.

I first took notice of Carter when we moved to our new home in a new city just over a year and a half ago. Living directly next door, he often seemed busy up the street working on the yard of another neighbor. In asked his dad, Nathan, about this.

"Oh Carter?" he replied with a twinkle in his eye. "He's a capitalist."

Nathan proceeded to explain to me that when Carter wasn't working on a few neighborhood properties with his lawncare activities, he was busy minting some NFTs for resale, and was also busy managing his cryptocurrency portfolio. At the time, he was but 13.

Whoah. That was it.

That was my introduction to Carter. Nathan explained that he was somewhat driven to explore the ideas of business, earn some money, and make something of himself. Always eager to understand unique people, I found myself carefully observing how Carter went about his business, understanding that there was one of those young entrepreneurs that we often hear about. Right next door! And I caught him in the early stages of what will likely be a fascinating entrepreneurial career.

I found myself compiling in my mind a list of the unique leadership lessons I was witnessing in real-time with this young man, knowing that there would one day be valuable insight to share here in my Daily Inspiration post. And so this is what I came up with. This is what you can learn from Carter - my 10 Leadership Lessons from a 14-Year-Old CEO.

Constantly explore new ideas and learn - relentlessly. The fact that my first introduction to this young fellow was at a time when. he was involved with NFTs and crypto told me that we had here an inquisitive mind. That's the mindset of someone eager to learn and explore, staying out at the edge of trends to understand what they might mean. His efforts here in 2021 were before the great crypto-collapse, and I never have asked and have never heard from Carter as to how he made out with investments. But even if he took a loss, I know one thing - he learned a lot!

Be professional right out of the gate. If you are going to try and pursue any type of business initiative, make 'professionalism' your middle name. The Yardex screams professionalism, as does the manner and attitude of Carter. When you talk with him, you come away thinking you aren't talking with a 14-year-old - you are talking with a young CEO. I think he figured out somewhere along the way that if you are going to try and do something, you've got to do it right. Simply browse the site. You'll know what I mean.

Always listen - carefully - and soak in knowledge. One thing I've noticed is that he listens - carefully. One day I was talking with his dad about his own business and career situation, which is somewhat complex. Carter made one opening comment in our conversation - but then I noticed that he stood there, listening quietly, taking it all in. I've noticed this in other circumstances - he seems to have that unique characteristic of being a knowledge sponge through quiet listening.

Be respectful always. Not a moment goes by that Carter doesn't remind you of his respect for the moment. Most 14-year-olds are still in that awkward stage of being trapped between childhood and manhood; the mannerisms are awkward, the conversation stilted; the demeanor skewing constantly. Not with this young fellow - he seems older than his years. Demenaour is a critical life skill - you always have to know how to master a moment, and I notice that he seems to have this unique trait.

Never boast. As a young entrepreneur, one would think that you'd want to share your success wide and far. I understand that Carter has quite a busy summer lined up with his business this year, with contracts in place that go into five figures This is a 14-year-old - when I was that age, these types of goals were not a part of my mindset! Yet I've never seen him boast of his success; he keeps it to himself. This is a sign of the ability to internalize success; you only need to share what you need to share, when you need to share it.

Work on your communication and presentation skills. As a 14-year-old, Carter seems to carry with him the disposition of someone older for his years - and I think he gets the importance of communication. One of the Grade 10 classes this year that drew a lot of his interest was acting class - which will be invaluable in developing the all-important skills of personal interaction. In addition, he participated in a local, and then provincial, public speaking and leadership competition. Although he didn't place at the top where he hoped to, I know he developed even more insight into the issues of communication and presentation.

Have a plan. It's interesting to hear Carter talk about the plans for his company Web site. Right now, it's based on one of those straightforward Website-builder platforms and features the ubiquitous 'free website" banners. Yet he told me one day that his plan is to upgrade it to fully paid version this July - I presume once he has his summer cash flow happening. This implies to me that he has in his mind a plan, a structure for moving forward. Always have a plan.

Focus on your interaction. Carter has a blog, business cards, a customer mailing list - all the accouterments of a significant business initiative. He has a presence on LinkedIn and other social media channels for his business; he's busy learning the modern ways of modern business. The nature of the interaction is changing, and he is busy embracing it.

Learn to be a winner at customer service. Over the last year, Carter has done a bit work for my wife and I. With that in mind, imagine our surprise when the doorbell rang one night last December - and there he was with a Yardex Christmas gift! It was a mug with a logo, a few wonderful chocolates, a candy cane - and a note of thanks for our business for the year. This absolutely blew my mind - where does he learn this stuff? The most important thing any business can do is to be relentlessly customer-centric - and I saw that at this very moment.

Focus on work/life balance. Just the other day, an opportunity came up for part-time work at my golf club. They were looking for range attendants - work a few hours a day each week, and you get free golf, and I mentioned this to him. Carter explained that his plan this summer was to work four days a week - and then golf the rest of the time. Boom! He's 14 and understands the importance of work/life balance.

There's powerful stuff happening here, and valuable insight.

The thing is - leadership lessons like this are all around us. We can all take inspiration from global icons and business heroes - but often, simply by also looking at observing the successful people who surround us. Including the 14-year-old young man next door.

Oh, and one more thing.

He's a heck of a golfer.

He had a hole-in-one last year.

Magical!

Original post: jimcarroll.com/2023/04/daily-inspiration-leadership-lesso...

My Neighbor's Keeper Panel Discussion #2: Safety and Marginalized Communities by SPACES Gallery

Some of us take safety for granted, some have their safety threatened every day, and still, some feel they are safe until those feelings are shattered by an unanticipated act of violence. While we have a visual language for safety, usually embodying various orange objects and signs, it is our shared interpretation and internalization of these symbols that create the safety we take for granted. Join SPACES for monthly discussions on the right and expectation to safety and how we as a community can work together to expand safety to all as we speak with marginalized groups and youth activists, discuss power dynamics, and focus on how we can change and do better together. FREE and open to the public as part of FRONT International and "A Color Removed."

According to a 2016 FBI report, hate crimes are on the rise with increasing attacks against Jews, Muslims and LGBT people. Additionally, individuals with mental illness are more likely to face violent victimization. Join SPACES for a conversation about how these communities cope with safety issues and what you can do to prevent violence against them.

MODERATOR Sharyna C. Cloud (Peacemakers Alliance)

Sharyna C. Cloud has a passion for community enhancement, empowerment and education, evident in her career history. Her legacy includes work in the criminal justice and the social service arena spanning over 27 years. Her successful engagement within the city of Cleveland provided unmatched insight and experience, evolving to her current role as the Executive Director of the Cleveland Peacemakers Alliance, an organization that provides prevention and intervention alternatives to the most at risk youth and young adults who are victims and/or perpetrators of gun violence within the city of Cleveland.

Ashley Hartman (Recovery Resources)

Ashley Hartman is the Coordinator of Training and Wellness at Recovery Resources, a community mental health agency in Cleveland. Recovery Resources helps people triumph over mental illness, alcoholism, drug and other addictions. Ashley is proud to be part of this work as an educator, trainer, and advocate.

Jazmin Long (Global Cleveland)

Jazmin oversees all welcoming activities that engage organizations and communities in supporting and engaging Greater Cleveland’s 115+ various ethnic groups in immigrant integration efforts. As the Deputy Director, Jazmin works closely with the President to chart Global Cleveland’s future growth and strategic response to an ever-increasing demand for the organization’s services. Additionally, she works to establish partnerships that focus on empowering people and neighborhoods through economic development tools.

Phyllis Harris (THe LGBT Center of Cleveland)

A Cleveland native, Phyllis "Seven" Harris has nearly two decades of leadership experience in local nonprofits, includes program management and development, fundraising, and senior-level executive positions. For many years, she also has played a strong role as an advocate in Cleveland’s LGBT community. Previously Ms. Harris worked at Planned Parenthood of Northeast Ohio, where she oversaw youth engagement programming. She has served as director of education and advocacy with the Cleveland Rape Crisis Center, was vice president of programs and interim CEO with Big Brothers Big Sisters of Greater Cleveland, and capital campaign director at the Cleveland Sight Center. Her involvement with Cleveland nonprofit leadership includes roles on the governing boards of the LGBT Center, SPACES, and Community Shares of Greater Cleveland. Ms. Harris holds a master’s degree in non-profit management from Case Western Reserve University and a Bachelor of Arts from Baldwin Wallace College. She lives in Shaker Heights and is the proud mother of two children.

John H. Flores (Social Justice Institute at Case Western Reserve University)

John H. Flores is a Professor of Immigration History and the Interim Co-Director of the Social Justice Institute at Case Western Reserve University. He specializes in Mexican American history, and his research examines the history of immigration and citizenship in the United States.

Paul D. Fitzpatrick (Peacemakers Alliance)

Paul D. Fitzpatrick is a Cleveland native and Marine Corp. veteran who spent 18 ½ years in an Ohio prison and has over 20 years in recovery from both alcohol and drug addiction. He is an accomplished motivational Speaker who uses his life experiences to relate to his audiences. Currently he is the Doby Fellow for the Cleveland Peacemakers Alliance where he coordinates youth outreach programming, staff training, and a mentorship program designed to partner 15 - 25 year old Cleveland area at risk youth with Public Safety Personnel. Mr. Fitzpatrick Is an undergraduate at Cleveland State University at the Levine School of Urban Affairs Majoring in Economic Development. He holds Associate level degrees from both Ohio University and The University of Finley in Business Administration and Sociology. Mr. Fitzpatrick Interned at the ADAMHS Board of Cuyahoga County under both his mentor Bill Denihan and the late Valeria Harper where he worked specifically on the Fentanyl/Opioid epidemic.

ANCESTREE HEALING ...Isometree by tteerriitt 12 by Terri Turner tteerriitt

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Spiritual/physical definition;

Isometree…

Equality of measure. preserving distances,

proportional change in size of a part or parts as it grows and evolves both physically and spiritually.

"Why my friend,

asked one day,

Why?

Why did they do this to children?

She was a stolen child,

from the stolen generation,

stolen as she was deemed,

far too white,

amounts all that dark skin of family,

stolen from her birth family.

Her father,

Like most stolen children,

during those early days,

Was a Scotsman,

Border Reiver family most likely,

Newly arrived settler,

convict or free settler,

against the law,

to marry a native,

even if they bore their child.

Could go to prison,

if they owned up,

being the father,

I was told.

Why my friend,

asked one day,

Why?

Why did they do this to children?

How could I tell my friend,

this was never done,

for the colour of her skin,

this was never,

a black and white revenge,

or about her family heritage,

or the title of savage,

this was never an act,

of prejudice.

This was done,

out of rage,

anger,

jealously,

“How dare my friends 'child self' have such a free spirit and soul?”

“How dare my friends 'child self' not be domesticated like them?”

“How dare my friends 'child self' spirit not be in bondage as theirs still are?”

“How dare my friends 'child self' be free of fear and guilt?”

It was the oppressor’s imagined duty,

to enslave my friends 'child self',

“Domesticate it!”

“Imprison it's free will!”

“Imprison it's spirit and soul!”

“Subordinate it's beauty!”

just as it had been done to them,

far too many generations back,

back deeper than imagined,

ancestral trauma unimaginable.

.

How could I tell my friend,

About all the,

hidden truths,

suppressed knowledge,

secrets bind tighter,

than physical chains,

all internalised now,

patterns set in stoned hearts,

numbed minds,

frozen souls,

paralysed spirits.

How can I tell my friend,

This is why,

Why they did this,

Did this to the children then,

But still doing it today,

Hidden under other titles,

names and acts,

even by herself,

even by myself,

internalized patterns now,

owned and polished,

as precious gems.

How can I tell my friend,

the battle is now within,

camouflaged as heritage,

needing to be freed,

freeing our own,

own spirits and souls,

our own free wills set into flight,

freeing our own bound capacities,

defrosting our own frozen potentials,

from the oppressors hands,

now our own egos

hidden within.

How can I tell my friend?

National Sorry Day Australia 2009

3x images in this superimposing image...first one is of the isolation cells out the back of the main prison wings...that window if you can call it that is all the light the poor souls had while locked away in such heinous places. Small rooms, not much bigger than a average toilet. White lime covered walls and floors...no furniture. Second superimposed image is the viewing hole in the solid studded Jarrah door. the third superimposing image is of clouds and blue sky and a dead burnt branch of a young Jarrah tree from Karragullen bush black.

Added to each image in this album are their inspired stories to this emerging family HISHERTREE.

Each image has a word title that would have been spelt in English with "try" at the end like ancestry, carpentry, or infantry. I have added "tree" to replace the "try" and then taken their dictionary meanings that are only ever describing the outside physical world and married some spiritual elements.

The human beings body lives in the outside world of the physical but their inner self lives in the realm of spirit.

20120105-OC-AMW-0526 by U.S. Department of Agriculture

Graduate student intern, University of Maryland Food Science/Food Safety major Ruth Oni and junior intern, University of Maryland Food Safety major Yitzy Paul observe the internalization of salmonella in tomatoes while working in the Produce Quality and Safety Laboratory at the U.S. Department of Agriculture's (USDA) Agricultural Research Service (ARS), Beltsville Agricultural Research Center in Beltsville Maryland, Wednesday, July 28, 2010. USDA photo by Bob Nichols.

Commanding General's Professional Development Brief at 257th Transportation Battalion by 143d Sustainment Command (Expeditionary)

Brigadier General (BG) Francisco Espaillat, commanding general of the 143d Sustainment Command (Expeditionary), conducted a leader professional

development brief for civilian and military staff of the 257th

Transportation Battalion at their command headquarters in Gainesville, Florida on April 22, 2015. There the 13 representatives of the unit present listened attentively as BG Espaillat gave his perspective on leadership,

command, and full time support 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.

Photos by Army Lt. Col. Christopher West, 143d

Monument To Confucius, Chinese Garden, Shahar Hokimiyati, Abdurahmon Jomiy ko'chasi, Samarkand, Uzbekistan. by PHOTOGRAPHY by DM & DBM.

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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.

Wien, 1. Bezirk (the art of very renowned palace and museum buildings in the core of downtown Vienna), Palais Erzherzog-Albrecht (Albertina), Albertinaplatz/Hanuschgasse (Ross Bleckner, 1949 (AC over DG, 2004 - Albertina - Sammlung Batliner) by Alfred Lex

The Play between Realism and Vagueness

Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.

Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.

Das Spiel zwischen Realismus und Unschärfe

Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.

Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.

The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.

Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.

Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.

Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.

www.albertina.at/ausstellungen/albertina-contemporary-art/

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