Internalizing photos on Flickr

Small tooth sawfish by Abby Rottler

This is a small tooth sawfish(Pristis pectinata) from Ripley's Aquarium in South Carolina. This species can grow up to 770 pounds and 18 feet in length.they are part of the Elasmobranchs but are modified rays with a shark-like body and central gill slits. Their saw is actually a modified rostrum with 25-30 teeth on each side as well as Ampullae of Lorenzini. They use the rostrum to sense, catch and eat their prey. Ampullae of Lorenzini are little sensors which tells them where prey are. This sawfish is in captivity but the species can be found from Florida to North Carolina and in the Gulf of Mexico over to Texas. They live in shallow coastal waters close to shore with muddy and sandy bottoms. They prefer waters up to a depth of 32 feet. They are commonly found in sheltered bays, shallow banks, and estuary or river mouths. They prefer water temperatures between 22 and 28 degrees Celsius and have salinity preferences between 18 and 24 parts per thousand. They feed mostly on fish but also consume crustaceans. They are ovoviviparous meaning the mother internalizes the eggs until the young are ready to hatch. They are listed under the Endangered Species Act and were the first Elasmobranchs to be listed as so. They are threatened due to bycatch, getting tangled in fishing nets, juvenile habitat lost and other human destruction activities.

and then winter came (II) 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.

Ovorkhangai aimag, September 2006

Tree of life...Sacred tree...the practise of celebrating Evergreen trees for winter festivals in December.The tree of knowledge connecting to heaven and the underworld such as Yggdrasil and the tree of the knowledge of good and evil in Genesis by Hughes Songe

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The tree of life is a fundamental archetype in many of the world's mythological, religious, and philosophical traditions. It is closely related to the concept of the sacred tree.[1] The tree of knowledge connecting to heaven and the underworld such as Yggdrasil and the tree of the knowledge of good and evil in Genesis, and the tree of life, connecting all forms of creation, are forms of the world tree or cosmic tree,[2] and are portrayed in various religions and philosophies as the same tree.[3]

Religion and mythology

Main article: Trees in mythology

Various trees of life are recounted in folklore, culture and fiction, often relating to immortality or fertility. They had their origin in religious symbolism. According to professor Elvyra Usačiovaitė, a "typical" imagery preserved in ancient iconography is that of two symmetrical figures facing each other, with a tree standing in the middle. The two characters may variously represent rulers, gods, and even a deity and a human follower.[4]

Ancient Mesopotamia

Assyrian tree of life, from Nimrud panels.

The Assyrian tree of life was represented by a series of nodes and crisscrossing lines. It was apparently an important religious symbol, often attended to in Assyrian palace reliefs by human or eagle-headed winged genies, or the King, and blessed or fertilized with bucket and cone. Assyriologists have not reached consensus as to the meaning of this symbol. The name "Tree of Life" has been attributed to it by modern scholarship; it is not used in the Assyrian sources. In fact, no textual evidence pertaining to the symbol is known to exist.

The Urartian tree of life

The Epic of Gilgamesh is a similar quest for immortality. In Babylonian religion, Etana, the King of Kish, searched for a 'plant of birth' to provide him with a son. This has a solid provenance of antiquity, being found in cylinder seals from the Akkadian Empire (2390–2249 BCE).

Urartu

In Urartu in the Armenian highlands, the tree of life was a religious symbol and was drawn on walls of fortresses and carved on the armor of warriors. The branches of the tree were equally divided on the right and left sides of the stem, with each branch having one leaf, and one leaf on the apex of the tree. Servants stood on each side of the tree with one of their hands up as if they are taking care of the tree.

Ancient Iran

Tree of life on a rhyton from Marlik, Iran, currently at the National Museum of Iran.

In the Avestan literature and Iranian mythology, there are several sacred vegetal icons related to life, eternality and cure, such as Amesha Spenta; Ameretat, the guardian of plants and goddess of trees and immortality; Gaokerena or white haoma, a tree that its vivacity would certify continuance of life in the universe; the bas tokhmak, a tree with remedial attribute, retentive of all herbal seeds, and destroyer of sorrow; Mashya and Mashyana, the parents of the human race; barsom, copped offshoots of pomegranate, gaz (Tamarix gallica), or haoma that Zoroastrians use in their rituals; and haoma, a plant, unknown today, that was the source of sacred potable.[5]

The Gaokerena is a large, sacred haoma planted by Ahura Mazda. Ahriman created a frog to invade the tree and destroy it, aiming to prevent all trees from growing on the earth. As a reaction, Ahura Mazda created two kar-fish staring at the frog to guard the tree. The two fish are always staring at the frog and stay ready to react to it. Ahriman is responsible for all evil including death; Ahura Mazda is responsible for all good (including life).

Haoma is another sacred plant due to the drink made from it. The preparation of the drink from the plant by pounding and the drinking of it are central features of Zoroastrian ritual. Haoma is also personified as a divinity. It bestows essential vital qualities—health, fertility, husbands for maidens, even immortality. The source of the earthly haoma plant is a shining white tree that grows on a paradisiacal mountain. Sprigs of this white haoma were brought to earth by divine birds. The tree is considerably diverse.

Haoma is the Avestan form of the Sanskrit soma. The identity of the two in ritual significance is considered by scholars to point to a salient feature of an Indo-Iranian religion antedating Zoroastrianism.[6][7]

Another related issue in ancient mythology of Iran is the myth of Mashya and Mashyana, two trees that were the ancestors of all living beings. This myth can be considered as a prototype for the creation myth where living beings are created by Gods.

Hinduism

A genre of the sacred books of Hinduism, the Puranas, mention a divine tree called the Kalpavriksha. This divine tree is guarded by gandharvas in the garden of the mythological city of Amaravati under the control of Indra, the king of the devas. In one story, for a very long time, the devas and the asuras decided to churn the milky ocean to obtain amrita, the nectar of immortality, and share it equally. During the churning, along with many other mythical items, emerged the Kalpavriksha. It is described to be gold in colour and bear a mesmerising aura. It is said to be pleased with chanting and offers: when it is pleased, it grants every wish. Hindu tradition holds that there are five separate kalpavrikshas and each of them grant different types of wishes. These trees also appear in the beliefs of Jainism.[8]

Chinese mythology

Bronze Tree with birds, flowers, and ornaments from Sanxingdui

See also: Tree of life (Quran)

The Quran never refers to the tree as the "tree of the knowledge of good and evil" but rather typically refers to it as "the tree" or (in the words of Iblis) as the "tree of immortality."[32] Muslims believe that when God created Adam and Eve, he told them that they could enjoy everything in the Garden except this tree and so Satan appeared to them, telling them the only reason God forbade them to eat from the tree was that they would become angels or immortal.[33]

When they ate from this tree, their nakedness appeared to them, and they began to sew together leaves from the Garden for their covering.[34] The Quran mentions the sin as being a 'slip'.[35] Consequently, they repented to God and asked for his forgiveness,[36] and were forgiven.[37] In Islamic tradition, the forbidden fruit is considered wheat or barley, not an apple as within Western Christian tradition.[38]

In Quran Al-A'raf 27, God states:

[O] Children of Adam! Let not Satan tempt you as he brought your parents out of the Garden, stripping them of their garments to show them their shameful parts. Surely he [Satan] sees you, he and his tribe, from where you see them not. We have made the Satans the friends of those who do not believe.

Similar depictions in Akkadian seal

A cylinder seal, known as the Adam and Eve cylinder seal, from post-Akkadian periods in Mesopotamia (c. 23rd – 22nd century BCE) has been linked to the Adam and Eve story. Assyriologist George Smith (1840–1876) described the seal as having two facing figures (male and female) seated on each side of a tree, holding out their hands to the fruit, while between their backs is a serpent, giving evidence that the fall of man account was known in early times of Babylonia.[39]

The British Museum disputes this interpretation, and holds that it is a common image from the period depicting a male deity being worshipped by a woman, with no reason to connect the scene with the Book of Genesis.[40]

en.wikipedia.org/wiki/Tree_of_the_knowledge_of_good_and_evil

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

sky day 289 by maureen_sill

feelings are incalcuable and i am still trying to work them out like a math problem

everyone is still trying to work them out like a math problem

if this happens, i will feel this way

turns into

if this happens, i will probably feel this way

when alana left her computer in the airport i felt bad for her because everyone said she acted careless and stupid

but i knew when i saw her face, that she was just thinking about more important things

than things

so it is not an issue

someone thoughtful found it and is mailing it to her

you got so fucking lucky, i heard someone say

and i saw her face, i could tell how that might have made her feel

sometimes being here makes me love people even more

and other times it makes me so confused and so lonely

how can you talk to people like that

how can you talk about people like that

using words like that

i can imagine kristin looking at my photos and using some words like that

but then i know it's different

because it is sarcastic, i guess

we just keep trying to be ironic

the ones i don't post anywhere later on, when i come home

and saying these aren't perfect, but they're nice i guess

i can imagine her picking them apart, and that being a part of the way she would appreciate them

the light isn't always perfect but somehow pictures just kind of fall into my camera

i feel like i have almost nothing to do with them sometimes

they are just what my eyes saw

so how can i take credit for that

how can anyone take credit for that

i felt very alone staring at a hundred and fifty people sitting in the same room and it was quiet and no one was talking

it could have been because they all felt like me

or it could have been because none of them felt like me

maybe one or two of them, maybe seventy three of them felt like me

i felt alone and it seems like people often feel alone or paranoid or nervous or akward

i looked into the faces of people around me and studied some wrinkles

a little acne, a healthy and a pleasant level of imperfection

my fingers hurt, i had played guitar for six or so hours in a hammock that day

i looked at the faces of everyone and measured them by how intimidating i percieved them to be

and then i remembered that probably everyone is very scared of almost everything

maybe it is not hard to be a person at all

maybe i just want it to be hard!

maybe lots of things

does it have to be one way

do we even have to talk about it or can we just get high and internalize it

fuck, that was stupid

i want to dig a hole and then i want to put a seed in it and then i want to take a picture of what comes out of it every day and people who look at it will say it is discussing the political structure of growth and development

and then people who look at it will tell me that it is incredible because they like me or love me, if that is possible, and they will want to be nice to me because they feel positively about me as a human being

and i will say thank you and i will want to say i am not the plant, don't thank me

and then i want to wake up and write something completely original but then i will just write something similar to this and want to do a photo project that is nothing like anything i have ever done but then i will do something remarkably similar

i will say no sequences, no series, no multiples of the same thing over time, no portraits and then i will do series and lots of portraits

i imagined an earthquake this weekend that was set to the tune of a perfect banjo

lying in a hammock playing guitar and spinning under some trees in africa (fuck, finally)

you said it sounded good, please don't stop playing

it had been so long since you heard live music

and i knew i had misjudged you

i knew i had pegged you wrong in that split second

and in the airport when you said you weren't thinking about your computer not because you were careless but because you were caring, instead, was exactly when i knew i was wrong

some things are not complicated

but we are used to everything being complicated

i wish i could just say, "i like you" to everyone who has a nice smile, and everyone who listens to people next to them instead of waiting to talk

and it would be understood exactly as i meant it depending on who i was saying it to

but unfortunately we have to articulate

if we expect people to feel what we feel, and i think that is bullshit sometimes!

i end up wishing for things, for perfect sense to be made

as if it weren't a sentence but instead maybe a picture or a stencil

but most likely an instrumental song

an opus!

i can't write anything, i know, so i listen to the one song that makes me feel anything lately

and i thank coincidence for it's length

and i wait for the parts when i feel like i am listening to my favorite people talk to me

without electricity and technology distorting their voice

killing their pitch, buzz humming over their laugh

without pixels refusing to do justice to their beautiful perfect faces

for changing the color of their eyes

whatever, there is never anything to say, really, and somehow i always manage to spill my guts unsatisfactorily every time i look at a fucking keyboard

fuck

"fumbling green gentleness"

Internalize... by David Niddrie

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Outtake from issue #37 of Momentum Magazine

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.

breaking point by Danny Ngan

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365 days - year 2 - day 3

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I want to scream. I want to lash out. I want to break things violently. But I don't. I suck it up, internalize it, and find other ways to blow off some steam or distract myself from feeling angry and frustrated. I'm probably going to have a heart attack at some point.

Frost Park Chalk Off Episode IX by Erik Bjornson

Announcement by RR Anderson:

It Was A Dark and Stormy Night:

Out in the park legions of holy men + women labored against the

stone and din with ferocious determination carving out a place for

NEW LIFE in the NORTHWEST ROOM (Historical, Non-Fiction Section).

Who are these MASKED INDIVIDUALS? Supernatural Beings? Nay!

WE ARE CHALK ARTISTS...

An Idea Doesn't Have to be big, It just has to CHANGE THE WORLD.

Friday, 12 Noon - 1PM

Larry Frost Memorial Park

9th & Commerce

STANDARD TIME TABLE for ARTISTS or SIMPLY ANYONE WISHING TO PARTICIPATE

1200 - ARRIVE, CLAIM YOUR SLAB (TIP: AVOID DISTRACTION!!!)

1205 - BEGIN DRAWING

0100 - STOP DRAWING (TIP: YOU CAN KEEP DRAWING I F NOBODY NOTICES)

0115 - YOU ARE DOCUMENTED BY THE MINISTRY OF PRIZES

0130 - PHOTOS OF EVENT BEGIN TO TRICKLE ONTO INTERNETS. ...ONLINE VOTING BEGINS on feedtacoma.com

0200 - RALLY YOUR FRIENDS! GIVE YOUR HONEST OPINION OF COMPETITOR'S WORK

2400 - VOTES ARE TALLIED, THIS WEEKS "BEST ILLUSTRATOR IN THE UNIVERSE" CHAMPION IS CHOSEN.

Corporate Sponsorship

Chalk Challenge No. 9 is made possible through charitable donation by THE ULTRA-ATTRACTIVE JULIE BENNETT + Tacoma's Own URBAN XCHANGE clothing resource for HIPSTERS and YOUNG PERSONS. "Though you may be surprised when I reveal to you that we Computer&Comic Book Enthusiasts grow our fashion sense from an internalized philosophy of 'those who embrace their seemingly unsexy side, become sexy by doing so' I feel that Ms. Bennett's FREE STORE CREDIT CUPON will be well appreciated by our next chalk challenge winner" ~ RR Anderson, 2008

Official Rules (for entertainment purposes only)

get pumped, visit FeedTacoma.com's TACOMA URBANIST.

* * * N00B SPOILE R ALERT * * *

PREVIOUS SIDEWALK CHALK CHAMPIONS (by week)

Andrea "LupinGoddess" Trenbeath Lowen

RR Anderson (Sponsored by Erik Bjornson Attorney at Law: Military Divorce Specialist)

Life of Elle (sponsored by Puget Sound Pizza)

James Stowe (sponsored by EMBELLISH SALON)

Andrea "LupinGoddess" Trenbeath Lowen (sponsored by THE RED HOT)

James Stowe (sponsored by BRICK & MORTAR EXECUTIVE CONDO SUITES )

RR Anderson (sponsored by CORINA BAKERY + BISTRO)

Mr. Lance Kagey of Beautiful Angel (sponsored by Hilltop Glass Artists, John Hathaway)

your name here ??

Honorable Mention

Dave L

Laura Hanan

James: The Boy who Draws Garfield

Dawn

Mark Monlux

Artists Too Cowardly

two guys from 'the helm'

Chris

rhymes with "Manuel Glue"

the living statue

your mom

* * *

--

R. Ryan Anderson,

Your Friendly Neighborhood Webmaster @

www.holisticforgeworks.com | Detective Agency: (253) 238-6718

++ conscientious objector + media liberator + humorist for hire ++

"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.

The Printed Image 4 / Christa Carleton by Topeka Library

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Christa Carleton

Bozeman, Montana

Let’s Not Talk About It

Cyanotype, carborundum, chine collé

An integral part of the path toward truly knowing one's self and, to an extent, the human condition, is the process by which one captures their reflection and internalizes it as meaningful abstraction. My portraits and self-portraits serve to not only exhibit the human condition but also to explore my own passion and turmoil.

Evidenced throughout my artwork is the symbolism of searching: seeking, wondering, reacting and reflecting. Whether it is my personal experience being conveyed or that of others, these thematic elements of introspection are the sources of my inspiration.

Carborundum – a type of intaglio process where ground silicon carbide is applied as a paste to a printing plate. The texture of the carbide makes embossed indentations in the paper as the ink gets transferred under pressure in the printing press.

Cyanotype – a photographic process, used for architectural blueprints. One can place objects on the paper to create images from the cast shadows of the objects, called photograms.

Chine collé—combines printmaking with collage. An extra layer of paper (or more) is glued to the main print paper, either before or after the print is made.

Guakia, Inc. Presents Ray Gonzalez Latin Jazz & Salsa Festival, Tributo a Catalino Tite Curet Alonso by Santos Torres

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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.

10di1448-016 by U.S. Department of Agriculture

Interns Ruth Oni (left), University of Maryland Food Science/Food Safety and Yitzy Paul (right), University of Maryland Food Safety observe the internalization of salmonella in tomatoes while working in the Produce Quality and Safety Laboratory at the Agricultural Research Service, Beltsville Agricultural Research Center in Beltsville, Maryland, Wednesday, July 28, 2010. USDA photo

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.

2/10 Oliver + S Seashore Sundress by pollywoggold

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This summer I had a goal to try 10 new patterns from my pattern stash. No. 2 was Oliver + S Seashore Sundress size 8 in Hello Kitty fabric from Joann's (that I didn't find gaudy and objectionable).

My cousin's daughter loves Hello Kitty and if I want to test a pattern out, doing it for her in Hello Kitty fabric usually results in an item she'll wear. I like Hello Kitty, too, and see lots of cute Japanese fabric but it's pricey. I've found I'm less inclined to find Hello Kitty fabric at Joann's that agrees with me, but I thought this print was cute. Inserting piping and adding rick rack tacked a little bit of time on to making this but it still went together quickly. And I was on a mission to get better at piping this summer. I think while I was making this dress, I started to internalize the notion that not every seam in my life needs to be serged. My cousin's daughter loves it and wore it to both our annual family reunion and on her first day of school...in fact she was not very happy that my cousin made her wait until the family reunion to wear it for the first time as my cousin feared any pre-reunion damage would result in tears.

orange is the new green? @ organic food corner near Result.com swedish HQ 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

Adiyogi 3 by Vivek KB

Arundhathi: For yoga, he often says, is not for him an acquired knowledge system. It is the wisdom of his marrow, his bloodstream. An internalized wisdom. The mode by which he received it was not instruction. It was transmission – an ancient mode of spiritual pedagogy. That makes him a living archive – except that this is a man who is incapable of being turgid or pedantic. For me, he is always a reminder that mystical wisdom can be recognized by how lightly it is worn. He wears his with the careless panache with which he drapes his handwoven shawls.

#AdiyogiBook Page 3

Maha Meru Sri Yantra in Living Earth by JoreJj Z. Elprehzleinn

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Elprehzleinn.ca

artwork produced by: JoreJj Z. Elprehzleinn

The extremely benevolent Sri Yantra.

You can purchase printed versions of this on various items in my Redbubble store here:

www.redbubble.com/people/ruhnyiam

The Sri Yantra when 3 dimensionalized is known as Maha Meru. There are typically eight petals on the inside, and 16 petals on the outside ring. Protecting all that is earth with four openings. I have chosen to depict the petals and plants and the earth as a mountainscape. The energy of this Maha Meru imagery can be beneficial for all who see it or have it in their homes or offices in a printed or digital form. Repeated viewing is considered to bring forth numerous benefits.

Please read my disclaimer at MagicalMindPower.com/disclaimer.htm regarding the things I share.

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

Manuel Prior "Los borrachos - ("Tarde de sábado")" - The drunks ("Saturday afternoon") 1951 by Vaughanoblapski!

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From cultura.castillalamancha.es/culturaenredclm/prior-corazon...

The exhibition “PRIOR 70 years of painting, revealing what reality hides” compiles paintings of all the themes and series that it has carried out, and where it proposes a journey into the heart of its creator that he has been able to capture pictorially. a very personal, unique and recognizable universe in a continuous investigation and renewal in the search to show his own creative vision, represented by his hands in a masterful way.

His technique and pictorial style, the wisdom of his hands and, above all, his gaze show us human landscapes, situations and life experiences, from a point of view not discovered by the majority.

His creations are poetic and musical compositions of the emotions and fundamental values of the human being, which he puts before our eyes through his visions, visions that entail a rich script of which he gives us a snapshot so that the viewer can also participate. and final creator, since it causes us to evoke our own meanings and vision before the painting. That is why we find ourselves before creations of masterful execution that are not closed, they are impulses that come to us from his heart to provoke ours...

PRIOR self-taught painter, born in Puertollano in 1933, moved to Madrid in 1954 where he resides to this day. In 1958 he won the National Exhibition Award for Painters of Africa and traveled through Europe, visiting the great museums, being dazzled by expressionism; an expressionism that, as can be seen in the portrait of his mother painted in 1949, was already innate and it is from this trip that he decided to express his painting in a less realistic and more personal way, following the dictates and impulses of his heart. and not from his mind.

Throughout his career and up to the present, José Hierro, Castro Arines, Sánchez Camargo, Corredor-Matheos, Figuerola-Ferretti, Carlos García-Osuna, Luis López Anglada, M. A. García Viñolas, Fernando Ponce, Corredor have written about his work. Matheos, Gianna Prodán, Rodríguez Alcalde, María José Carrasco Campuzano, Campoy, Carlos Arean, Felicidad Sanchez Pacheco, José Rivero, Agapito Maestre, Tomas Paredes.

José Hierro referred to his painting, “Manuel Prior has something that he has always needed in art: personality.” “His painting of him is intelligence wanting to restrain instinct”

Corredor Matheos defined his pictorial style as “a new figuration coming from informalism and traditional figurative painting orchestrated by a great expressionist temperament.”

Fernando Ponce, framed his style: “…If we had to frame Prior's work we would have to place it in the current of universal expressionist painting…”

María José Carrasco Campuzano: “….His painting of him is an avant-garde within the avant-garde… it is a work that is always alive and will never die, it will always have its future…”

Felicidad Sánchez Pacheco: “…It is a language created to renew the mechanisms of perception…”

Agapito Maestre: “…Prior's painting is an emotional canon, a wisdom of the soul, a unique way of seeing, appreciating and judging the evolution of expressionism, cubism and other classical and modern pictorial styles…”

José Rivero: “…It is a kind of personal legacy and social and cultural frieze that is given to us to contemplate and question”

Tomás Paredes indicates: “… There are those who defend his initial realistic painting – clear and firm – of him, but that was a stage prior to others. Where Prior shines is in his idiolect, in that deformation of bodies where the soul is empowered... ..In the history of contemporary Spanish figurative expressionism, which Carlos Areán studied in part, there are still many threads to be tied up. Within that world in which the names of Solana, Luis García-Ochoa, Álvaro Delgado, Francisco Mateos, Quirós, Barjola enter and leave... PRIOR has its own space, looking at that domestic base, but more at the international panorama, with a view put on Oskar Kokoschka, Egon Schiele or Rouault…”

The exhibition setup is designed so that the visitor can live the following experiences:

• Cause the viewer, at first glance, to be immersed in the forest of shapes and colors of the world of PRIOR; a wild and exquisite world, hard and tender, dramatic and joyful that will fill us with emotion through its rich symphonies of shapes and color, and feel at first impact the roar of its fiery gestures.

• Involve the visitor in the dialogue and sensual song of his paintings.

• Awaken in the viewer curiosity and interest in

investigate how the development of his pictorial career has been and how he is able to reach his required expressive level.

Upon entering the first room of the exhibition we find a representation of his “Christs” series. The painting "Golgotha" shows us what until now no one has dared to represent: the dehumanization, humiliation, mockery, contempt that Jesus suffered on the cross for those he came to save.

In front of the Christs, we can see representations of dances, dancers and figures with the intention of paying tribute to the Lord of Heaven through rhythm, music and color, in a celebration of life.

As he represents in his paintings about the Corpus Christi of Camuñas, dances that adopted the argument of Autos Sacramentales offering a good tribute of rhythm and music.

We will see both one of his masterful paintings “Camuñas” about this festival, as well as his previous drawings to capture everything that impressed him and was recorded in his retina during his visit to this impressive celebration, and that helped him paint with great strength and vigor. his characters and dances, representing them just as he lived and felt them.

Continuing the visit through the different rooms, we will see both urban and human landscapes, evoking Toledo and Madrid, with paintings that bring us the atheleia and crackling of the capital. And we will feel attracted by the masks and polychromes in his paintings about the circus world and carnivals, as well as in the representation of his series about love relationships, families, couples. Disturbing and entertaining us with his series about Halloween, which he calls “Yalowen” (You see it) as a satire on the adoption of a custom foreign to our traditions and a satire on existing social realities, painted as criticism with a humorous key.

As for the drawing, the visitor will be able to appreciate its evolution from a very perfectionist technique in the formal execution and mastery of the drawing, to absolute freedom where the drawing is made with Indian ink in a single execution and without lifting the brush from the paper. These inks belong to his Petroleum Series, which he has been developing since its inception and which he still continues to complete.

He calls this series Petroleum for several connotations: for the technique that uses black Chinese ink with a brush, for the Puertollano oil refineries, and because it considers human beings and their lives as the greatest universal value that exists.

Key works exhibited in the exhibition.

Considered as an Avant-garde creator within the Avant-garde itself, he has managed to synthesize the pictorial world in such a way that he is positioned as a universal expressionist painter, since his painting is valued as a synthesis of the history of painting.

He begins to make his way in the field of realistic figuration with painting representations of a social nature, being interested in the mysteries and experiences of the mining social world that has surrounded him since his childhood and that will mark his continuous interest in the existences of people, their lives and its cultural, landscape, urban environments...

From this stage, the paintings “The Vote” and “Saturday Afternoon” (colloquially called “The Drunkards”), from 1951, stand out. In this painting, with an exquisite realistic and vibrant technique, he represents a group of miners, residents of his street. , having fun after his day in the mine. As he himself details, they are painted from life, previously making a sketch drawing of the composition he wanted and portraying them, posing one by one, in the small patio of his house, and inventing the background and the tavern atmosphere that surrounds them. This painting, like “The Vote,” already has an unmistakable seal of his painting: the movement and life that PRIOR always achieves in his creations.

This painting, as we can see throughout the entire exhibition, is the representation of an instant, a snapshot full of movement and life that contains a rich script, managing to tell us and transmit many messages to us and all of this through the emotions of its characters. or scenes, whether they are of festivity, joy, drama... he is a master at bringing us the emotions and feelings behind the apparent reality, emotions that in many cases go unnoticed by our eyes, but by delving into that reality we He brings them through his paintings, REVEALING WHAT REALITY HIDES with his mixtures of brave, dense, clean strokes; in its drag of colors that manage to light up and fill the canvases with movement, as we can see in Los Caretones, Camuñas, Familia Verde, El Beso, Gólgota, El Vito, La Sandía, Desde Cibeles

The portrait “To my mother” painted in 1949 and recently discovered when selecting this exhibition, is a key piece to understand the origin of his expressionism. Taking into account that he painted this painting when he was 16 years old and without having received any painting or drawing class, with this painting we discover how he naturally already internalized a way of painting that was more expressive and vigorous than realistic, and how innately he He used his brave, dense and clean strokes so characteristic of his painting. But due to his interest in learning and researching, in a self-taught way, through the great painters of the Spanish tradition, whom he considers his teachers and calls "The Magnificent 5": Zurbarán, Murillo, Velázquez, Goya and El Greco ; He decided to put aside that innate expressive and temperamental style to practice a more formally realistic painting until, with his trip in 1958, through Germany and Austria, he made contact with the European expressionists and decided to bet on the courage to evolve towards his personal experimentation of forms and rich polychromes and loose and dynamic brushstrokes and give free rein to the expressionist dictates of his heart.

“Pintan Bastos” 1974. At this stage he focuses on giving greater expressiveness to his figures, transforming their hands and faces, breaking with any academic norm. It is the starting point to deconstruct everything that he ties academically and focus on expressing the silent cry of the people, their fears and their anxieties, mixed with their desire to smile and make fun of the life they have been given. With an execution of the figures without adhering to orthodoxies, and where the effectiveness of the image lies in the graphic tension and in the purpose of a voluntary deformation that fills the human drama and that of the painting itself with meaning.

Starting in the 80s is when we see his consolidated style, his palette and execution of brushstrokes and composition are increasingly more avant-garde with a unique and very personal style.

Achieving a painting that is based on abstraction but an abstraction that he carves with his brushstroke creating the forms that finally show us an expressionist figuration.

“Golgotha” is one of his most emblematic paintings of this period, showing us what until now no one has dared to represent in the crucifixion of Christ:

In the painting Jesus is nailed to the cross, still alive, on Mount Golgotha. And around him several characters dance rejoicing at his death, with grimaces and mockery.

The demon jumps and cheers in triumph, representing evil, the naked woman provoking him represents the life that he will no longer enjoy, belittling him with provocations and mockery, the figure at his feet is laughing at him, on the right an angel appears defeated, collapsed , defeated and a woman pushes him away from Jesus and the scene, representing how the worst of the human being overcomes goodness. To the left of Jesus is the figure of a Roman soldier with an attitude of stupor before the scene of that group, as if trying to protect him, it is not God who protects him by freeing him from that suffering, it is a Roman soldier who ends his agony by stabbing him. sword in the side

With the triptych "San Fermines 2022" we enjoy a very impressive expressionist evolution, through total freedom where abstraction reigns, PRIOR makes us delight and enjoy discovering and recognizing scenes and moments of the San FermInes celebration.

These pieces are considered by critics as the culmination of his career, he manages to achieve the most difficult yet, a figurative expressionist abstraction... In these paintings we see an abstraction already absent from the carving that outlines the figuration, stains, polychromes in a dance of chaos perfectly orchestrated and harmonized to show us scenes of the San Fermines in an extremely passionate way: the chaos of the races and the bulls, fallen and trampled characters, others standing or sitting on a bull... They are considered masterful pieces not only for the technique developed but also for being made at the age of 89, an age that does not prevent him from continuing to investigate and achieving a modernity and freshness worthy of the vitality of a young man who lives and expresses himself in a contemporary way. more current and evolved. Taking to the maximum exponent how the complexity of his work requires the viewer to feel attracted by more than one look at the canvas, since in each of his glances the painting is reborn and each time this happens, a new contribution appears, a new discovery to the observer of the painting.

A tribute to PRIOR's career

Manuel Prior is considered the universal painter par excellence, his only ability to combine and cross pictorial boundaries with his art, human and universal, pictorially tearing his fabrics with the tragicomedy of the world but mythologizing it with a smile. Magic operates in him, because he has achieved what is truly difficult: remaining present in constant, honest and continuous evolution.

This exhibition, a tribute from Castilla-La Mancha to the pictorial career and contribution to contemporary art of Manuel Prior; It is the exhibition of an expressionist who transcends the regional, the national to locate himself in an area of high plastic and emotional interest. It can be enjoyed in the rooms of the Santa Cruz Museum until May 5, we encourage you not to stop enjoying this impressive experience.

Author: Margarita Prior Ruiz,

Curator of the exhibition. Degree in fine arts

"THE EMERGENCY WILL REPLACE THE CONTEMPORARY " by Thierry Geoffroy / Colonel : Artist

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We need , NOW , platforms for artists , always open to react on emergencies . Now before it is too late .

www.emergencyrooms.org .

ultrafast since 1990.

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Hito Steyerl

The Spam of the Earth: Withdrawal from Representation

Dense clusters of radio waves leave our planet every second. Our letters and snapshots, intimate and official communications, TV broadcasts and text messages drift away from earth in rings, a tectonic architecture of the desires and fears of our times.1 In a few hundred thousand years, extraterrestrial forms of intelligence may incredulously sift through our wireless communications. But imagine the perplexity of those creatures when they actually look at the material. Because a huge percentage of the pictures inadvertently sent off into deep space is actually spam. Any archaeologist, forensic, or historian—in this world or another—will look at it as our legacy and our likeness, a true portrait of our times and ourselves. Imagine a human reconstruction somehow made from this digital rubble. Chances are, it would look like image spam.

Image spam is one of the many dark matters of the digital world; spam tries to avoid detection by filters by presenting its message as an image file. An inordinate amount of these images floats around the globe, desperately vying for human attention.2 They advertise pharmaceuticals, replica items, body enhancements, penny stocks, and degrees. According to the pictures dispersed via image spam, humanity consists of scantily dressed degree-holders with jolly smiles enhanced by orthodontic braces.

Medical spam images retrieved from corporation Symantec Intelligence’s blog, found here →

Image spam is our message to the future. Instead of a modernist space capsule showing a woman and man on the outside—a family of “man”—our contemporary dispatch to the universe is image spam showing enhanced advertisement mannequins.3 And this is how the universe will see us; it is perhaps even how it sees us now.

In terms of sheer quantity, image spam outnumbers the human population by far. It’s formed a silent majority, indeed. But of what? Who are the people portrayed in this type of accelerated advertisement? And what could their images tell potential extraterrestrial recipients about contemporary humanity?

From the perspective of image spam, people are improvable, or, as Hegel put it, perfectible. They are imagined to be potentially “flawless,” which in this context means horny, super skinny, armed with recession-proof college degrees, and always on time for their service jobs, courtesy of their replica watches. This is the contemporary family of men and women: a bunch of people on knockoff antidepressants, fitted with enhanced body parts. They are the dream team of hyper-capitalism.

But is this how we really look? Well, no. Image spam might tell us a lot about “ideal” humans, but not by showing actual humans: quite the contrary. The models in image spam are photochopped replicas, too improved to be true. A reserve army of digitally enhanced creatures who resemble the minor demons and angels of mystic speculation, luring, pushing and blackmailing people into the profane rapture of consumption.

Image spam is addressed to people who do not look like those in the ads: they neither are skinny nor have recession-proof degrees. They are those whose organic substance is far from perfect from a neoliberal point of view. People who might open their inboxes every day waiting for a miracle, or just a tiny sign, a rainbow at the other end of permanent crisis and hardship. Image spam is addressed to the vast majority of humankind, but it does not show them. It does not represent those who are considered expendable and superfluous—just like spam itself; it speaks to them.

The image of humanity articulated in image spam thus has actually nothing to do with it. On the contrary, it is an accurate portrayal of what humanity is actually not. It is a negative image.

Ed Ruscha, SPAM, Detail, 1961. From the series Product Still Lifes, 1961/1999.

Mimicry and Enchantment

Why is this? There is an obvious reason, which is too well known to elaborate on here: images trigger mimetic desires and make people want to become like the products represented in them. In this view, hegemony infiltrates everyday culture and spreads its values by way of mundane representation.4 Image spam is thus interpreted as a tool for the production of bodies, and ultimately ends up creating a culture stretched between bulimia, steroid overdose, and personal bankruptcy. This perspective—one of more traditional Cultural Studies—views image spam as an instrument of coercive persuasion as well as of insidious seduction, and leads to the oblivious pleasures of surrendering to both.5

But what if image spam were actually much more than a tool of ideological and affective indoctrination? What if actual people—the imperfect and nonhorny ones—were not excluded from spam advertisements because of their assumed deficiencies but had actually chosen to desert this kind of portrayal? What if image spam thus became a record of a widespread refusal, a withdrawal of people from representation?

What do I mean by this? For a certain time already I have noted that many people have started actively avoiding photographic or moving-image representations, surreptitiously taking their distance from the lenses of cameras. Whether it’s camera-free zones in gated communities or elitist techno clubs, someone’s declining interviews, Greek anarchists smashing cameras, or looters destroying LCD TVs, people have started to actively, and passively, refuse constantly being monitored, recorded, identified, photographed, scanned, and taped. Within a fully immersive media landscape, pictorial representation—which was seen as a prerogative and a political privilege for a long time6—feels more like a threat.

There are many reasons for this. The numbing presence of trash talk and game shows has led to a situation in which TV has become a medium inextricably linked to the parading and ridiculing of lower classes. Protagonists are violently made over and subjected to countless invasive ordeals, confessions, inquiries, and assessments. Morning TV is the contemporary equivalent to a torture chamber—including the guilty pleasures of torturers, spectators, and, in many cases, also the tortured themselves.

Additionally, in mainstream media people are often caught in the act of vanishing, whether it be in life-threatening situations, extreme emergency and peril, warfare and disaster, or in the constant stream of live broadcasts from zones of conflict around the world. If people aren’t trapped within natural or man-made disasters, they seem to physically vanish, as anorexic beauty standards imply. People are emaciated or made to shrink or downsize. Dieting is obviously the metonymic equivalent to an economic recession, which has become a permanent reality and caused substantial material losses. This recession is coupled with an intellectual regression, which has become a dogma within all but a very few mainstream media outlets. As intelligence doesn’t simply melt away via starvation, derision and rancor largely manage to keep it away from the grounds of mainstream representation.7

Thus the zone of corporate representation is largely one of exception, which seems dangerous to enter: you may be derided, tested, stressed, or even starved or killed. Rather than representing people it exemplifies the vanishing of the people: it’s gradual disappearance. And why wouldn’t the people be vanishing, given the countless acts of aggression and invasion performed against them in mainstream media, but also in reality?8 Who could actually withstand such an onslaught without the desire to escape this visual territory of threat and constant exposure?

Additionally, social media and cell-phone cameras have created a zone of mutual mass-surveillance, which adds to the ubiquitous urban networks of control, such as CCTV, cell -phone GPS tracking and face-recognition software. On top of institutional surveillance, people are now also routinely surveilling each other by taking countless pictures and publishing them in almost real time. The social control associated with these practices of horizontal representation has become quite influential. Employers google reputations of job candidates; social media and blogs become halls of shame and malevolent gossip. The top-down cultural hegemony exercised by advertisement and corporate media is supplemented by a down-down regime of (mutual) self-control and visual self-disciplining, which is even harder to dislocate than earlier regimes of representation. This goes along with substantial shifts in modes of self-production. Hegemony is increasingly internalized, along with the pressure to conform and perform, as is the pressure to represent and be represented.

Warhol’s prediction that everybody would be world-famous for fifteen minutes had become true long ago. Now many people want the contrary: to be invisible, if only for fifteen minutes. Even fifteen seconds would be great. We entered an era of mass-paparazzi, of the peak-o-sphere and exhibitionist voyeurism. The flare of photographic flashlights turns people into victims, celebrities, or both. As we register at cash tills, ATMs, and other checkpoints—as our cell phones reveal our slightest movements and our snapshots are tagged with GPS coordinates—we end up not exactly amused to death but represented to pieces.9

Example of spam advertising schooling, found here →

Walkout

This is why many people by now walk away from visual representation. Their instincts (and their intelligence) tell them that photographic or moving images are dangerous devices of capture: of time, affect, productive forces, and subjectivity. They can jail you or shame you forever; they can trap you in hardware monopolies and conversion conundrums, and, moreover, once these images are online they will never be deleted again. Ever been photographed naked? Congratulations—you’re immortal. This image will survive you and your offspring, prove more resilient than even the sturdiest of mummies, and is already traveling into deep space, waiting to greet the aliens.

The old magic fear of cameras is thus reincarnated in the world of digital natives. But in this environment, cameras do not take away your soul (digital natives replaced this with iPhones) but drain away your life. They actively make you disappear, shrink, and render you naked, in desperate need of orthodontic surgery. In fact, it is a misunderstanding that cameras are tools of representation; they are at present tools of disappearance.10 The more people are represented the less is left of them in reality.

To return to the example of image spam I used before; it is a negative image of its constituency, but how? It is not—as a traditional Cultural Studies approach would argue—because ideology tries to impose a forced mimicry on people, thus making them invest in their own oppression and correction in trying to reach unattainable standards of efficiency, attractiveness, and fitness. No. Lets boldly assume that image spam is a negative image of its constituency because people are also actively walking away from this kind of representation, leaving behind only enhanced crash-test dummies. Thus image spam becomes an involuntary record of a subtle strike, a walkout of the people from photographic and moving-image representation. It is a document of an almost imperceptible exodus from a field of power relations that are too extreme to be survived without major reduction and downsizing. Rather than a document of domination, image spam is the people’s monument of resistance to being represented like this. They are leaving the given frame of representation.

Political and Cultural Representation

This shatters many dogmas about the relation between political and pictorial representation. For a long time my generation has been trained to think that representation was the primary site of contestation for both politics and aesthetics. The site of culture became a popular field of investigation into the “soft” politics inherent in everyday environments. It was hoped that changes in the field of culture would hark back to the field of politics. A more nuanced realm of representation was seen to lead to more political and economical equality.

But gradually it became clear that both were less linked than originally anticipated, and that the partition of goods and rights and the partition of the senses were not necessarily running parallel to each other. Ariella Azoulay’s concept of photography as a form of civil contract provides a rich background to think through these ideas. If photography was a civil contract between the people who participated in it, then the current withdrawal from representation is the breaking of a social contract, having promised participation but delivered gossip, surveillance, evidence, serial narcissism, as well as occasional uprisings.11

While visual representation shifted into overdrive and was popularized through digital technologies, political representation of the people slipped into a deep crisis and was overshadowed by economic interest. While every possible minority was acknowledged as a potential consumer and visually represented (to a certain extent), people’s participation in the political and economic realms became more uneven. The social contract of contemporary visual representation thus somewhat resembles the ponzi schemes of the early twenty-first century, or, more precisely, participation in a game show with unpredictable consequences.

And if there ever was a link between the two, it has become very unstable in an era in which relations between signs and their referents have been further destabilized by systemic speculation and deregulation.

Both terms do not only apply to financialization and privatization; they also refer to loosened standards of public information. Professional standards of truth production in journalism have been overwhelmed by mass media production, by the cloning of rumor and its amplification on Wikipedia discussion boards. Speculation is not only a financial operation but also a process that takes place in between a sign and its referent, a sudden miraculous enhancement, or spin, that snaps apart any remaining indexical relation.

Visual representation matters, indeed, but not exactly in unison with other forms of representation. There is a serious imbalance between both. On the one hand, there is a huge number of images without referents; on the other, many people without representation. To phrase it more dramatically: A growing number of unmoored and floating images corresponds to a growing number of disenfranchized, invisible, or even disappeared and missing people.12

Cover of Voyager’s golden record with playing instructions and sound diagrams, launched in 1977.

Crisis of Representation

This creates a situation that is very different from how we used to look at images: as more or less accurate representations of something or someone in public. In an age of unrepresentable people and an overpopulation of images, this relation is irrevocably altered.

Image spam is an interesting symptom of the current situation because it is a representation that remains, for the most part, invisible.

Image spam circulates endlessly without ever being seen by a human eye. It is made by machines, sent by bots, and caught by spam filters, which are slowly becoming as potent as anti-immigration walls, barriers, and fences. The plastic people shown in it thus remain, to a large extent, unseen. They are treated like digital scum, and thus paradoxically end up on a similar level to that of the low-res people they appeal to. This is how it is different from any other kind of representational dummies, which inhabit the world of visibility and high-end representation. Creatures of image spam get treated as lumpen data, avatars of the conmen who are indeed behind their creation. If Jean Genet were still alive, he would have sung praise to the gorgeous hoodlums, tricksters, prostitutes, and fake dentists of image spam.

They are still not a representation of the people, because, in any case, the people are not a representation. They are an event, which might happen one day, or maybe later, in that sudden blink of an eye that is not covered by anything.

By now, however, people might have learned this, and accepted that any people can only be represented visually in negative form. This negative cannot be developed under any circumstance, since a magical process will ensure that all you are ever going to see in the positive is a bunch of populist substitutes and impostors, enhanced crash-test dummies trying to claim legitimacy. The image of the people as a nation, or culture, is precisely that: a compressed stereotype for ideological gain. Image Spam is the true avatar of the people. A negative image with absolutely no pretense to originality? An image of what the people are not as their only possible representation?

Rendition of iSee Manhattan, a web-based application charting the locations of CCTV surveillance cameras in urban environments. Users are able to locate routes that avoid being filmed by unregulated security monitors.

And as people are increasingly makers of images—and not their objects or subjects—they are perhaps also increasingly aware that the people might happen by jointly making an image and not by being represented in one. Any image is a shared ground for action and passion, a zone of traffic between things and intensities. As their production has become mass production, images are now increasingly res publicae, or public things. Or even pubic things, as the languages of spam fabulously romance. 13

This doesn’t mean that who or what is being shown in images doesn’t matter. This relation is far from being one-dimensional. Image spam’s generic cast is not the people, and the better for it. Rather, the subjects of image spam stand in for the people as negative substitutes and absorb the flak of the limelight on their behalf. On the one hand, they embody all the vices and virtues (or, more precisely, vices-as-virtues) of the present economic paradigm. On the other, they remain more often than not invisible, because hardly anybody actually looks at them.

Who knows what the people in image spam are up to, if nobody is actually looking? Their public appearance may be just a silly face they put on to make sure we continue to not pay attention. They might carry important messages for the aliens in the meantime, about those who we stopped caring for, those excluded from shambolic “social contracts,” or any form of participation other than morning TV; that is, the spam of the earth, the stars of CCTV and aerial infrared surveillance. Or they might temporarily share in the realm of the disappeared and invisible, made up of those who, more often than not, inhabit a shameful silence and whose relatives have to lower their eyes to their killers every day.

The image-spam people are double agents. They inhabit both the realms of over- and invisibility. This may be the reason why they are continuously smiling but not saying anything. They know that their frozen poses and vanishing features are actually providing cover for the people to go off the record in the meantime. To perhaps take a break and slowly regroup. “Go off screen” they seem to whisper. “We’ll substitute for you. Let them tag and scan us in the meantime. You go off the radar and do what you have to.” Whatever this is, they will not give us away, ever. And for this, they deserve our love and admiration.

×

This text originated as a presentation at the “The Human Snapshot” conference, organized by Tirdad Zolghadr and Tom Keenan at the Luma Foundation in Arles, July 2–4, 2011. It is the third part of a trilogy about spam, the first two of which are published in October, no. 138 (fall 2011), guest-edited by David Joselit. Part one is titled “Spam and the Angel of History,” and part two “Letter to an Unknown Woman: Romance Scams and Epistolary Affect.” The writer would like to thank Ariella Azoulay, George Baker, Phil Collins, David Joselit, Imri Kahn, Rabih Mroué, and the many others who sparked or catalyzed various ideas within the series. Thank you also to Brian, as ever.

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

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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.

The Big Show by WHipflaShin

In every sense, I did it right, maximized my experience, beat the crowds, etc. Throughout history, there's never been such a fantastically executed day trip to the famed ruins of Machu Picchu. I did it all; and I did it first.

Even so, I think that I missed out. Not that it was no fun to summit Montaña Machu Picchu before the first tourists or beams of heaven had touched the grassy plaza. Not that beating the first tour busses up to the park entrance wasn't gratifying. Not that pushing through hunger pains to reward myself with a huge lunch and Pisco Sour in Aguas Calientes wasn't worth it. It's not that. For me, those things are really great fun, but that's it: In my daily routine, I haven't had to consider the whims or comforts of another in over two weeks.

All considered, I'd bet the farm that the chubby mother of four, dripping in the 11 o'clock sun, passed by dozens, and gasping for the thin Andean air gets much more enjoyment, feels more awe and humility when she finally raises her head from between her knees, to see her waiting family sprawled on the beautiful precipice, ruins a mile below.

Perhaps the beauty is found more complete in the company of the most ordinary things. Perhaps the friendly flicker of headlights outside of the glass of the baggage claim is more beautiful than any mountainscape internalized in solitude. Perhaps the headlights only beautiful after so many mountainscapes, or perhaps neither is welcomed into memory without the other. There's something to the freedom I have to disregard the hindrances of diaper bags and cramps, but after these awe-inspiring experiences, sacked solitarily, I'm ready to feel the flicker of ordinary for a bit. I'm ready to make puns that I can calibrate, I'm ready to eat hot-wings.

Bogotá - 24.7.13

ATL - 26.7.13

co-founder of www.result.com presenting the lotsovRESULT opportunity 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

A campground cabin by Anne Davis 773

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I took a ride through Shingleroof Campgrounds, a local site in McDonough. It is very desolate during this time of year so I had the opportunity to get up close for a shot. Many summer activities will make this place come alive. I'm reading though a book, "Exposure Photo Workshop" by Jeff Wignall. I've been shooting in Manual for over a year but I still have so much to learn, especially about exposure. I think this book is going to help. Anyway my first assignment was to photograph a piece of architecture — either in whole, or a piece of architectural detail. No worry about creative exposure yet — the task was just to get a good basic exposure in the Automatic mode. I'll see where we go from here. It's nice to just be able to take my time and try to internalize my learning a bit more.

Photo Credit: Paul Morse by Clinton Global Initiative

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

75/365 by My Brother Godzilla

8

Two of five exams are done. I sold back one of my textbooks today. I think I get more angry selling the books back than I do buying them in the first place. It is such a racket.

Also, it turns out that in my exam today, about 1/3 of the class received a version of the exam with the answers for the first page included. Supposedly people are relying on the Honor System (it's a big deal here) not to blatantly answer the questions after seeing what the correct ones were and having torn off that front page and traded it for a new version. Honor or not, it's impossible not to have seen those answers, internalized them, and then not bubble them in on the scantron (I didn't get one of those exams....). Our professor says he's going to find some way to fairly curve or grade the exams without just eliminating those answers altogether, but I am doubtful. I'd say we ought to just re-take the exam, but that's never gonna happen.

Also, my ass is wet from biking in the rain.

Part of the 365 Days Project.

DSC05857-cropped 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.

Wien, 1. Bezirk (the art of very renowned palace and museum buildings in the core of downtown Vienna), Palais Erzherzog-Albrecht (Albertina), Albertinaplatz/Hanuschgasse (Hubert Scheibl, 1952 - Albertina - Sammlung Batliner by Alfred Lex

Hubert Scheibl, 1952 Ones, 2011/2012 (Albertina - Sammlung Batliner)

Hubert Scheibl's so-called Ones take the "landscape strokes" that he typically places in the bottom area of his paintings to evoke associations of vast views and broad horizons one step further. The Ones lift off the ground and start floating. Here, Hubert Scheibl draws a single gestural broad brushstroke across the grounding. He thus leaves a time trace, a single line that viewers may follow with their eyes and that brings some deceleration amid the hectic sensory overload of today's world.

Die sogenannten Ones sind eine Weiterentwicklung der "Landschaftsstriche", die Hubert Scheibl an den unteren Rand seiner Bilder setzt und die Assoziationen von Landschaften und Weite hervorrufen. Die Ones verlieren die Bodenhaftung und schweben. Hier zieht Hubert Scheibl nur einen einzigen gestischen breiten Pinselstrich auf dem Untergrund. Er setzt damit eine Zeitspur, einen einzigen Strich, dem man mit den Augen nachspüren kann und der so zur Entschleunigung in unserer reizüberfluteten Welt beiträgt.

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/

A Personal R.E.M (Rapid Eye Movement) Research - Film Frame by Noa Magger

זו הסדרה שהצגתי אתמול בארטישוק 3,

העוסקת בריצוד עיניים מהיר, מה שקורה כשאנחנו חולמים, ותוכן החלומות הללו.

המלל שהיה מצורף לעבודה:

הכול נעלם וחוזר ונעלם שוב במהירות עצומה כשאת מחוברת לאלקטרודות עיקשות, אפילו אם זה רק בראש שלך, במיטה הריקה שלך, בעייפות ובצמרמורות קשות העורף.

ערימות של נייר מזכירות לך שהליכה מתוך שינה זה מה שאת מבצעת כאשר את ערה לחלוטין. עם עוויתות פה ושם, המסייעות לך להפנים את עצם העובדה שאת בעצם חרדה ומשתוקקת לחזור לתרדמת.

היכן שהוא בתת מודע, את עוברת עוד אפיזודה שמראה לך כי גם בין אלפי תמונות את עדיין תיראי אותו הדבר. אם לא מבחוץ אז מבפנים, ואם לא מבפנים, אז לפחות יש לך מרשמים שיגרמו לך להמשיך לשכוח.

בין הסתערות אחת לשנייה ישנו מגע שפתיים בלתי נראה. חולמני. שקוף. את נושפת-שואפת וחוזרת חלילה אל אותן נוסטלגיות נושנות שתמיד שבות אלייך, גם אם כל השאר מתעלמים או בורחים.

זה הכול בראש שלך. האדום, המחנק, הכמיהה לשבור את רצף הטעויות.

הכול מהידיעה שההתבוננות הפנימית מציינת מראה שאת רק רוצה לשבור, לחתוך כמה חבלי לידה, לעצום עיניים, ולישון.

ולאנגלוסקסים שמבנינו:

This album contains the series I have show-cased last night at the ARTiSHOWk 3.

It deals with R.E.M - Rapid Eye Movement, which occurs when we are dreaming, and the content of those dreams.

This is the text that was attached to the series:

Everything disappears, comes back and disappears again tremendously fast when you're attached to stubborn electrodes, even though it's only in your head, in your empty bed, in your tiredness and your stiff-necked chills.

Piles of paper remind you that sleep-walking is what you do when you're wide awake. With some twitches here and there, that assist you to internalize the fact that you're actually anxious and craving to go back to your coma.

Somewhere in the subconscious, you go through another episode that shows you that even in thousands of photographs; you will still look the same. If not on the outside than on the inside, and if not on the inside, at least you have prescriptions to make you keep on forgetting.

Between one attack and another there's an invisible touch of lips. Dreamy, transparent. You Breathe in – breathe out into those old nostalgias that always come back to you, even if all the rest ignore you or just run away.

It's all in your head. The red, the asphyxiation, the craving to amputate the continuity of errors.

All from the knowledge that the introspection indicates a mirror that you just want to break, cut a few birth pangs, close your eyes, and sleep.

Disability and the Cuddlist by lewizscot lewizscot

Professional Cuddlist Ilya and client Steve describe their experiences with professional cuddling. Thanks to Ilya's amazing work, Steve is able to receive the needed nurturing touch he has been looking for throughout his life.

www.cuddlist.com

- My disability is spina bifida.

My spinal column wasn't fully formed at birth,

which can cause different kinds

of functional and sensation issues.

I feel like I have many people in my life

that are touch avoidant that I could never ask for a hug.

Being touched by a doctor is obviously very clinical.

Growing up with all those operations,

having a family that did not value nurturing care,

I probably in some ways have been

seeking it out my whole life.

- I'm hoping that today, if there's anything

that feels uncomfortable to you physically

or emotionally, you'll let me know.

- Mm-hmm.

- Thank you.

I'm glad I can trust you to do that.

Can I get another hug hello?

Thanks

Cuddlist is a way for people to get their touch needs met.

It addresses touch deprivation and intimacy in a non-sexual safe way.

We make the intention for the time together to be nurturing, to be caring, to be close.

- The sessions are emotionally centered based on my emotional needs and requests.

It's very healing for that time.

I'm hoping that I can internalize the idea of safety, support.

- What I've heard from Steve is that he feels safe and he feels happy and joyful with being touched,

and people sometimes have a misconception of,

"Oh, isn't it sad you have to pay someone to touch you?"

- Anything meant from the heart, any touch meant from the heart.

- But I don't feel that way at all.

There must have probably once been the same kind of stigma for going to see a counselor.

"Oh, sad that she has to see a counselor.

"Doesn't she have any friends

"who will listen to her or give her counsel?"

- For me, touch can be as important as air or food.

Touch is pretty much what I need most,

and what hasn't been in my life most.

Having somebody care enough about me to spend time having their arms wrapped around me

and supporting my needs is really great.

- I'm really proud of my clients, no matter who they are.

Walking through the door and saying, "I need to be touched,"

it's an act of courage and bravery and I'm proud of 'em.

www.youtube.com/channel/UCpkaPXfwIitVcVm9mofNyxw/video

I'm so desperate and feeling extremely depressed between my bipolar disorder, my chronic depression, my gender dysphoria and my overwhelming need and desire to have a sex change operation so I can finally be free to be a woman which has been internalized by emily iannielli

0121-1110=109061 by lizard drinking

2

Lee Jaehyo

【Korea】

Three globes that suddenly appear in the scenery. As one approaches, one realizes that these are constructed out of logs. The natural material changes with the passage of time, altering the spirit internalized in the objects as well as their relationship to their surroundings.

color explosion by kelihoskins

2 15

sorry I have been so absent lately

we found out a while ago that i am expecting baby number three ... quite an unexpected surprise! of course, we are thrilled. i had some difficulties in the beginning, but things seem to be moving along quite well, now.

i'm not really sure why i've unplugged so much, but i guess it's just part of internalizing this new path we are now going down.

Photo Credit: Max Orenstein by Clinton Global Initiative

Closing Plenary Session: Imagine All the People

Imagine that you were born in the midst of a civil war, into bonded labor, or an overcrowded refugee camp. Imagine how the circumstances of your birth—your zip code, gender, or ethnicity—would severely restrict your opportunities. For too many this is not imagined, but a reality. As CGI members, we seek to create unrestricted opportunities for all. To succeed, we must imagine ourselves as others—internalizing the challenges facing people who are born into circumstances different from our own. We must commit our hearts and minds to effective empathy, cooperation, and action to create peace and prosperity for people everywhere. This session will explore the nature and science of empathy and imagine how each of us can apply it to our own work and lives.

REMARKS:

Chelsea Clinton, Vice Chair, Clinton Foundation

Donnel Baird, Chief Executive Officer, BlocPower

Bill Clinton, Founding Chairman, Clinton Global Initiative, 42nd President of the United States

MODERATOR:

Uzodinma Iweala, Co-Founder, Editor-In-Chief, and CEO, Ventures Africa Magazine

PARTICIPANTS:

Ben Affleck, Actor, Filmmaker and Founder, Eastern Congo Initiative

Chouchou Namegabe, Founding Member, South Kivu Women's Media Association

You’re Going To Have To Train Your Youngsters About Local weather Change. Right here’s How. by kalpesh nitore

When my daughter was 4 or 5 years previous, she overheard her older brother say one thing alongside the strains of, “We’re destroying the planet.” She furrowed her little forehead and regarded up at us.

“However not this planet, proper?” she requested.

I believed that my coronary heart had already damaged for the local weather on the January day I noticed a brilliant purple crocus rising from the bottom. However having to disclose to my baby that we solely have one planet, and we have to do a significantly better job of defending it, was exponentially extra painful.

She is 9 now, sufficiently old to know that modifications in how we expertise the seasons — like the truth that she went all winter with out the possibility to debut her new snowsuit — are indicators of a much bigger, extra ominous phenomenon.

Melissa Burt is the mom of a 7-year-old daughter. She can be a professor of atmospheric science at Colorado State College and part of Science Mothers, a bunch of local weather activists.

“We all the time suppose as mother and father that they don’t know what we’re speaking about, however they really are listening to what we’re saying they usually’re internalizing these emotions,” Burt advised HuffPost.

Whereas we don’t wish to conceal the seriousness of threats like climate change from our youngsters, we are able to body the data in ways in which go away the door open for hope.

kninfocare.com/youre-going-to-have-to-train-your-youngste...

Guakia Inc. SHOWCASE, Jennifer Murillo by Santos Torres

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

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 group’s 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 culture…available 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 Hartford’s 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, Guakía’s 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.

Vol. 201, Issue 7: etoc 2 by The Journal of Cell Biology

Weigert et al. review methods to image subcellular events in living animals, including the internalization of systemically injected fluorescent markers into small endocytic vesicles (red) in the proximal tubuli of mouse kidneys. Cell membranes are labeled green.

Image courtesy of Weigert et al.

Reference: Weigert et al. (2013) J. Cell Biol. 201:969-979

Published on June 24, 2013.

doi: 10.1083/jcb.201212130

Read the full article online at: jcb.rupress.org/content/201/7/969.full

Longwu Temple 隆务寺, Tongren 同仁, Qinghai 青海 by Byrnzie500

1 5

Longwu Temple, also known as Rongwo in the Tibetan language, is a Tibetan Buddhist monastery in Tongren, Huangnan Prefecture, Qinghai, China (known as Rebkong Town in Amdo to Tibetans) and is 186 km from Xining.

Rongwu Monastery was initially established as a three temple site in 1341 by Rongwu Samten Rinpoche.

A "Thangka," also known as "Tangka", "Thanka" or "Tanka" (Nepali pronunciation: [ˈt̪ʰaŋka]; Tibetan: ཐང་ཀ་; Nepal Bhasa: पौभा) is a Tibetan silk painting with embroidery, usually depicting a Buddhist deity, scene, or mandala of some sort. The thankga is not a flat creation like an oil painting or acrylic painting but consists of a picture panel which is painted or embroidered over which a textile is mounted and then over which is laid a cover, usually silk. Generally, thangkas last a very long time and retain much of their lustre, but because of their delicate nature, they have to be kept in dry places where moisture won't affect the quality of the silk. It is sometimes called a scroll-painting.

These thangka served as important teaching tools depicting the life of the Buddha, various influential lamas and other deities and bodhisattvas. One subject is The Wheel of Life, which is a visual representation of the Abhidharma teachings (Art of Enlightenment).

To Buddhists these Tibetan religious paintings offer a beautiful manifestation of the divine, being both visually and mentally stimulating.

Thangka, when created properly, perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities. Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment. The Buddhist Vajrayana practitioner uses a thanga image of their yidam, or meditation deity, as a guide, by visualizing “themselves as being that deity, thereby internalizing the Buddha qualities (Lipton, Ragnubs).”

Photograph - by Shaquona Espinoza by Soul Artistry LLC

This photograph shows the anger that darker skinned Black men feel when being criminalized and targeted for simply being. The tension shown in his fists shows the anger that most white people within the systems and institutions such as prisons see when they look at or picture darker skinned men. The photo of the handcuff on one wrist and hanging freely, is to depict how Black men are not free from dehumanization and criminalization. Even when they are “free” they are not because they are continuously looked at as dangerous and as criminals. The side profile was meant to continue on the conversation of dehumanization with darker skinned Black men. It was also meant to depict how darker skinned Black men are not thought of unless they have committed or have been accused of a crime. Then they are shown in the media as being “dangerous,” a “thug,” and a criminal. All of these stereotypes continue the dehumanization of darker skinned Black men.

Shaquona Espinoza is an artist and Western Michigan University social work student who was born and raised in Kalamazoo, MI. Shaquona started painting in 2018 focusing on the simplicity of nature. She then transitioned to black and white photography in 2019 and is currently focused on the intertwining of both art and social justice.

Instagram @quonaesp_art

Facebook @ Shaquona Espinoza

For artist Shaquona Espinoza, photography is used to depict the reality of the negative effects of colorism in the Black Community. As someone who is a light skinned Black woman, she decided to use her privilege to focus on the internalized racism, criminalization and dehumanization that happens to darker skinned men and women. Before taking photos, Shaquona talked with people within her community to share their truth about their realities with colorism. When taking these photos, she decided to deface each of her subjects so that it can uphold its relatability to individuals within the Black community.

Guakia, Inc. Presents Ray Gonzalez Latin Jazz & Salsa Festival, Tributo a Catalino Tite Curet Alonso. Canta, Josue Rosado 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.

Guakia Inc. SHOWCASE by Santos Torres

GUAKIA, Inc. www.guakia.org/stories.html

75 Charter Oak Avenue

Hartford, CT 06106-1903

(860) 548-9555

GUAKIA SHOWCASE , ALEGRIA BOMBA E www.youtube.com/user/RANiEL1963#p/u/0/u7VX8w00Lnw

GUAKIA SHOWCASE , OBSESION www.youtube.com/user/RANiEL1963#p/u/1/flZeQBkAYqY

GUAKIA SHOWCASE , BOMBA DANCERS www.youtube.com/user/RANiEL1963#p/u/2/xqmHaY8Bi98

GUAKIA SHOWCASE , SALSA DANCERS www.youtube.com/user/RANiEL1963#p/u/3/kkgLiu1Pxwc

Guakia Showcase, Jennifer Murillo, DICEN QUE SOY www.youtube.com/user/RANiEL1963#p/u/4/fb8WWZHomr8

GUAKIA SHOWCASE, Jennifer Murillo, AT LAST www.youtube.com/user/RANiEL1963#p/u/5/mv_HtVudwts

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 group’s 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 culture…available 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 Hartford’s 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, Guakía’s 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.

the assassination of jesse james by the coward robert ford by Matthew McQuilkin

Brad Pitt expertly internalizes the personality of an icon in The Assassination of Jesse James by the Coward Robert Ford.

'Ibis' by Evan Reed -- The Capitol Hill Alphabet Animals 2nd and I Streets SE Washington (DC) January 2022 by Ron Cogswell

1

Per The Washington Post July 23, 2021:

The Capitol Hill Alphabet Animals are 20 public sculptures scattered throughout Capitol Hill and surrounding neighborhoods, mounted on lights and street signs.

The project was the brainchild of Stephen Young, a Capitol Hill resident who taught his daughters the alphabet by reading street signs: 'This is D Street. D is for Dog.'

Young approached the nonprofit Capitol Hill Arts Workshop (CHAW) with an idea for mnemonic animal signs. CHAW then selected 20 artists to make 10 animals come to life, with only a couple of restrictions: the sculptures had to weigh seven pounds or less and had to be able to withstand the elements.

The first animals were installed on 2014.

Five years later, CHAW received a grant from the D.C. Commission on the Arts and Humanities to create 10 more animals, which were installed by late summer 2020..

One observer notes that what makes the series of 20 animals compelling is the scavenger hunt-like nature of the setting out to find them, and discovering parks and architecture along the way.

Per Evan Reed in the Post's July 23, 2021 article,

"To make this ibis, I actually scheduled a visit to the natural history museum to look at stuffed specimens in their archives. I photographed and sketched on-site as much as possible, so I could get a grasp of the form.

Translating the 2-D information into 3-D is a little bit of a challenge, but having the firsthand observation internalized made it a little easier to transition.

For the Ibis, I used old automobile license plates to sculpt the form. They are all plates from states that are street names in that neighborhood, and D.C.plates also."

DSC3982 V1

i thought thenextweb.org conference rocked www.sime.nu is mindblowing!!! what a production!!! 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

The Falk Lab at Lehigh University by ASCB We Are Research Week

Back (L-R): John Fong (grad student), Rachael Kells (grad student), Chuck Fisher (grad student), Matthias Falk (Primary Investigator).Front (L-R): Anastasiya Thevenin (post-doc), Tia Kowal (grad student).

The Falk Lab at Lehigh University is a molecular/cellular biology lab that studies special channels called "gap junctions" that link the fluids, or "cytoplasms," of cells together. Our lab specifically studies how cells break these channels by internalizing them. Understanding how gap junctions work is important because gap junction defects have been implicated in many neurological diseases and cancers.

The Falk lab, in collaboration with the Material Science Department at Lehigh University, is also in the process of developing a type of glass that can be used to treat bone fractures by giving bone cells a "scaffold" to grow on.

All persons in this photo live in vicinity of Bethlehem, PA and work in the lab of the primary investigator (PI), Matthias Falk.

LGBT Drug Rehab by Dynamic Recovery Center

Gay friendly drug rehabs are drug rehabs who are generally capable of addressing the needs of the gay, lesbian, bisexual or transgender community. By gay friendly, we refer to LGBT drug rehabs whose staff are trained in the areas of homophobia, internalized homophobia, sexual orientation, as well as, have dealt with any their issues relating to prejudice, discrimination and alienation.

dynamicrecoverylgbtq.com/

Locus of control by John Suler

2 4

In what psychologists call an “external locus of control,” external forces determine a person’s behavior, or the person believes this to be true. In an “internal locus of control,” the person determines his or her own behavior, or at least believes this to be true. During development, children develop their own sense of control by internalizing the controlling forces from the outside.

(Side note: My wife thinks that the parent is adjusting the boy's diaper. My perception is that the parent is attempting to hold the boy back from touching the glass of the aquarium. The previous shot in my photostream actually occurred AFTER this one, which I think reflects the boy's frustration at not being able to grab the fish).

Tags Internalizing

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