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The Hall of Languages is a Syracuse University building designed by Horatio Nelson White and built in 1871-73. It is made of Onondaga limestone and features three large towers or cupolas. It was the first building constructed on the Syracuse University campus and the building originally housed the entire university
Built:1871
Architect:Horatio Nelson White
Architectural style:Second Empire
Governing body:Private
NRHP Reference#:73001236
The Watergate Hotel, Washington, D.C. Color adjusted from a black and white exposure.
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Belgian postcard by Edt. Decker, Brussels, no. A. 104.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of the Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in the European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, Moi Claudia, Toi Claudia (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
21:30 ~ Montparnasse Station ~ Paris ~ MjYj
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Watching Jane's Addiction and a terrific sign language interpreter (with pink hair) on a hot and sunny summer afternoon in Chicago. Lollapalooza, 25th Anniversary.
Chicago Chain: the link is both "Jane" and the location - Grant Park is spitting distance from the Prairie District.
One of the many splendid architectures that make up the learning halls of the prestigious Syracuse University.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
I was nosy enough to ask what her accent was, and she said "German". Having previously mastered the misuse of the German language, I embarked upon a discussion with her, a kind of German/English mish-mash. It was fun, and she was a bit amused. I was actually able to make some sense. Her name is Sullawa (probably wrong spelling, sorry). She met her husband in Germany (he was military) and they live somewhere in the neighborhood. Das vergnügen war ganz auf meiner Seit! Tschüss!
These paintings express a personal need to delineate images and fantasies abundant with color and emotional explosion. Signs, lines and the materials appear of their own volition and develop as an external language bridging the eye, the hand and the painted surface.
During the making of a painting the power of the shapes emanate from an unconscious and concealed inner dimension.
Line by line, painting after painting while repeating shapes and patterns, a creation evolves into new shapes and patterns.
Ami Steinitz
Behold, he cometh with clouds; and every eye shall see him, and they also which pierced him: and all kindreds of the earth shall wail because of him. Even so, Amen.
I am Alpha and Omega, the beginning and the ending, saith the Lord.
Revelation, 1. 7
Arawak was the language of the first settlers on the island of Jamaica, the Tainos. The Tainos arrived in Jamaica somewhere near 600 AD. It is assumed that the Tainos were the natives of the northern coast of South America.
The Arawakan speaking Tainos were peace-loving people. They settled down in Jamaica and continued to live there for almost 900 years. The existence of the Tainos was threatened when the Spanish invaded Jamaica in 1494. Spanish Conquest was devastating to the First Nation on the Island which let to extinction.
The Tainos became an extinct race within 50 years of the arrival of the Spanish. People were killed, some died of hunger, some were unable to survive the diseases brought in by the Spanish. Many committed suicide to escape being enslaved by the Spanish.
With the extinction of the Taino from Jamaica, their language Arawak was almost led to complete annihilation. The ups and downs in the history of Jamaica was enough to erase the Arawak language. The language belongs to the Arawakan Group of languages. Though some parts of the Caribbean still has other dialects belonging to the group, the Arawak as spoken by the Taino is absent.
Arawak has however contributed certain words to the English language. The list of Arawak words adopted into English include words like 'hammock', 'hurricane', 'tobacco', 'barbeque', 'cassava', 'guava' and 'canoe'.
Interestingly the word Jamaica has been derived from the Arawak word 'xaymaca' which means the 'land of wood and water' or the 'land of forest and water'. Arawak as a language of the Tainos may not be in vogue but it has definitely contributed to the enrichment of the English language.
Today no trace of Taino people can be found on the Island except for their artifacts and ruined settlements unearthed by archaeologist.
Reconsider Columbus Day (VIDEO)
www.youtube.com/watch?v=il5hwpdJMcg
Today all over the world tribal peoples continue to be threatened by outsiders. Over one hundred tribes around the world choose to reject contact with outsiders. They are the most vulnerable peoples on the planet. Many of them are living on the run, fleeing invasions of their land by colonists, loggers, oil crews and cattle ranchers. They have often seen their friends and families die at the hands of outsiders, in unreported massacres or epidemics.
They all look the same, dress the same way, use the same facial expressions and body language but each will tell you he's "doing his own thing" Interactions, mirroring consists of the parent imitating the infant's expressions while vocalizing the emotion implied by the expression. This imitation helps the infant to associate the emotion with their expression, as well as feel validated in their own emotions as the parent shows approval through imitation. Studies have demonstrated that mirroring is an important part of child and infant development. According to Kohut's theories of self-psychology, individuals need a sense of validation and belonging in order to establish their concepts of self. When parents mirror their infants, the action may help the child develop a greater sense of self-awareness and self-control, as they can see their emotions within their parent's faces. Additionally, infants may learn and experience new emotions, facial expressions, and gestures by mirroring expressions that their parents utilize. The process of mirroring may help infants establish connections of expressions to emotions and thus promote social communication later in life. Infants also learn to feel secure and valid in their own emotions through mirroring, as the parent's imitation of their emotions may help the child recognize their own thoughts and feelings more readily.When we meet others for the first time, we need to assess quickly whether they are positive or negative towards us, just as most other animals do for survival reasons. We do this by scanning the other person's body to see if they will move or gesture the same way we do in what is known as 'mirroring'. We mirror each other's body language as a way of bonding, being accepted and creating rapport, but we are usually oblivious to the fact that we are doing it. In ancient times, mirroring was also a social device which helped our ancestors fit in successfully with larger groups; it is also a left-over from a primitive method of learning which involved imitation.Additionally, individuals are likely to mirror the person of higher status or power within the situation. Mirroring individuals of higher power may create an illusion of higher status, or create rapport with the individual in power, thus allowing the person to gain favor with the individual in power. This mechanism may be helpful for individuals in situations where they are in a position of bargaining with an individual who possesses more power, as the rapport that mirroring creates may help to persuade the higher status individual to help the person of lower status. These situations include job interviews, other work situations such as requesting promotions, parent-child interactions, and asking professors for favors. Each of these situations involve one party who is in a more powerless position for bargaining, and another party who has the ability to fulfill the person of lower status's needs, but may not necessarily wish to. Thus, mirroring can be a useful tool for individuals of lower status in order to persuade the other party to relinquish goods or privileges for the lower status party.Mirroring generally takes place subconsciously as individuals react with the situation. Mirroring is common in conversation, as the listeners will typically smile or frown along with the speaker, as well as imitate body posture or attitude about the topic. Individuals may be more willing to empathize with and accept people whom they believe hold similar interests and beliefs, and thus mirroring the person with whom one is speaking may establish connections between the individuals involved.
One of the most noticeable forms of mirroring is yawning - one person starts and it sets everyone off. Dr. Robert Provine found that yawning is so contagious you don't even need to see another person yawn - the sight of a wide-open mouth is enough to do it. It was once thought that the purpose of yawning was to oxygenate the body but we now know that it's a form of mirroring that serves to create rapport with others and to avoid aggression - just as it also does for this pictured boat and yawning building.
Wearing the same outfit as another woman is a mirroring no-no. But if two men show up at a party wearing the same outfit, they could become lifelong friends.
Non-verbally, mirroring says 'Look at me; I'm the same as you. I feel the same way and share the same attitudes.' This is why people at a rock concert will all jump to their feet and applaud simultaneously or give a 'Mexican Wave' together. The synchronicity of the crowd promotes a secure feeling in the participants. Similarly, people in an angry mob will mirror aggressive attitudes and this explains why many usually calm people can lose their cool in this situation.
The urge to mirror is also the basis on which a queue works. In a queue, people willingly co-operate with people they have never met and will never see again, obeying an unwritten set of behavioral rules while waiting for a bus, at an art gallery, in a bank or side by side in war. Professor Joseph Heinrich from the University of Michigan found that the urges to mirror others are hardwired into the brain because co-operation leads to more food, better health and economic growth for communities. It also offers an explanation as to why societies that are highly disciplined in mirroring, such as the British, Germans and ancient Romans successfully dominated the world for many years. Mirroring the other person's body language and appearance shows a united front and doesn't let either get one-up on the other
Mirroring makes others feel 'at ease'. It's such a powerful rapport-building tool that slow-motion video research reveals that it even extends to simultaneous blinking, nostril-flaring, eyebrow-raising and even pupil dilation, which is remarkable as these micro-gestures cannot be consciously imitated.
Creating the Right Vibes
Studies into synchronous body language behavior show that people who feel similar emotions, or are on the same wavelength and are likely to be experiencing a rapport, will also begin to match each other's body language and expressions. Being 'in sync' to bond with another person begins early in the womb when our body functions and heartbeat match the rhythm of our mother, so mirroring is a state to which we are naturally inclined.
When a couple are in the early stages of courtship it's common to see them behave with synchronous movements, almost as if they are dancing. For example, when a woman takes a mouthful of food the man wipes the corner of his mouth; or he begins a sentence and she finishes it for him. When she gets PMT, he develops a strong desire for chocolate; and when she feels bloated, he farts.
When a person says 'the vibes are right' or that they 'feel right' around another person, they are unknowingly referring to mirroring and synchronous behavior. For example, at a restaurant, one person can be reluctant to eat or drink alone for fear of being out of sync with the others. When it comes to ordering the meal, each may check with the others before ordering. 'What are you having?' they ask as they try to mirror their meals. This is one of the reasons why playing background music during a date is so effective - the music gets a couple to beat and tap in time together. Mirroring on a Cellular Level
American heart surgeon, Dr Memhet Oz, reported some remarkable findings from heart recipients. He found that, as with most other body organs, the heart appears to retain cellular memories, and this allows some patients to experience some of the emotions experienced by the heart donor. Even more remarkably, he found some recipients also assume the same gestures and posture of the donor even though they have never seen the donor. His conclusion was that it appears that the heart cells instruct the recipient's brains to take on the donor's body language. Conversely, people suffering from disorders such as autism have no ability to mirror or match the behavior of others, which makes it difficult for two-way communication with others. The same goes for drunk people whose gestures are out of sync with their words, making it impossible for any mirroring to occur.
Because of the phenomenon of cause and effect, if you intentionally assume certain body language positions you will begin to experience the emotions associated with those gestures. For example, if you feel confident, you may unconsciously assume the Steeple gesture to reflect your confidence, but if you intentionally Steeple you will not only begin to feel more confident, others will perceive that you're confident. This, then, becomes a powerful way to create a rapport with others by intentionally matching their body language and posture.
Mirroring Differences Between Men and Women
Geoffrey Beattie, at the University of Manchester, found that a woman is instinctively four times more likely to mirror another woman than a man is to mirror another man. He also found that women mirror men's body language too, but men are reluctant to mirror a woman's gestures or posture - unless he is in courtship mode.
When a woman says she can 'see' that someone doesn't agree with the group opinion she is actually 'seeing' the disagreement. She's picked up that someone's body language is out of sync with group opinion and they are showing their disagreement by not mirroring the group's body language. How women can 'see' disagreement, anger, lying or feeling hurt has always been a source of amazement to most men. It's because most men's brains are simply not well equipped to read the fine detail of others' body language and don't consciously notice mirroring discrepancies.
Men and women's brains are programmed differently to express emotions through facial expressions and body language. Typically, a woman can use an average of six main facial expressions in a ten-second listening period to reflect and then feed back the speaker's emotions. Her face will mirror the emotions being expressed by the speaker. To someone watching, it can look as if the events being discussed are happening to both women.
A woman reads the meaning of what is being said through the speaker's voice tone and his emotional condition through his body language. This is exactly what a man needs to do to capture a woman's attention and to keep her interested and listening. Most men are daunted by the prospect of using facial feedback while listening, but it pays big dividends for the man who becomes good at it.
Some men say 'She'll think I'm effeminate!', but research with these techniques shows that when a man mirrors a woman's facial expressions as she talks she will describe him as caring, intelligent, interesting and attractive.
Men, on the other hand, can make fewer than a third of the facial expressions a woman can make. Men usually hold expressionless faces, especially in public, because of the evolutionary need to withhold emotion to stave off possible attack from strangers and to appear to be in control of their emotions. This is why most men look as if they are statues when they listen.
The emotionless mask that men wear while listening allows them to feel in control of the situation, but does not mean men don't experience emotions. Brain scans reveal that men can feel emotion as strongly as women, but avoid showing it publicly.
What to Do About It if You're Female
The key to mirroring a man's behavior is in understanding that he doesn't use his face to signal his attitudes - he uses his body. Most women find it difficult to mirror an expressionless man but with males this is not required. If you're a woman, it means that you need to reduce your facial expressions so that you don't come across as overwhelming or intimidating. Most importantly, don't mirror what you think he might be feeling. That can be disastrous if you've got it wrong and you may be described as 'dizzy' or 'scatterbrained'. Women in business who listen with a more serious face are described by men as more intelligent, astute and sensible.
When Men and Women Start to Look Alike
When two people live together for a long time and have a good working relationship, they often begin to look alike. This is because they are constantly mirroring each other's facial expressions, which, over time, builds muscle definition in the same areas of the face. Even couples who don't look facially similar can appear similar in a photograph because they use the same smile.
n 2000, psychologist Dr John Gottman of the University of Washington, Seattle, and his colleagues, discovered that marriages are more likely to fail when one partner not only does not mirror the other's expressions of happiness, but instead shows expressions of contempt. Instead, this opposite behavior affects the smiling partner, even when they are not consciously aware of what is happening.
Do We Resemble Our Pets?
You can also see mirroring occur in the pets some people choose. Without realizing it, we unconsciously tend to favor pets that physically resemble us, or that appear to reflect our attitudes. To demonstrate the point, here are a couple of examples: too far and presume that our model of body language and social interpretation applies to a dog's body language.
Be careful however not to extrapolate the metaphor too far and presume that our model of body language and social interpretation applies to a dog's body language.
Monkey See, Monkey Do
The next time you attend a social function or go to a place where people meet and interact, notice the number of people who have taken the identical gestures and posture of the person with whom they're talking. Mirroring is the way one person tells another that he is in agreement with his ideas and attitudes. One is non-verbally saying to the other, 'As you can see, I think the same as you.' The person with the highest status often makes the first moves and the others copy, usually in pecking order.
In the image above it is apparent by virtue of the facial expressions and other body language that there is a good rapport between the US President's wife Michelle Obama, of informally superior status, and a university president. If Michelle changes her body posture, one might expect there is a reasonably good chance the gentleman will unconsciously emulate her posture, indirectly demonstrating they are of the same mind. Mirroring happens among friends or between people of the same status and it is common to see married couples walk, stand, sit and move in identical ways. Albert Scheflen found that people who are strangers studiously avoid holding mirror positions.
Matching Voices
Intonation, voice inflection, speed of speaking and even accents also synchronize during the mirroring process to further establish mutual attitudes and build rapport. This is known as 'pacing' and it can almost seem as if the two people are singing in tune. You will often see a speaker beating time with his hands while the listener matches the rhythm with head nods. As a relationship grows over time, the mirroring of the main body language positions becomes less as each person begins to anticipate the other's attitudes, and vocal pacing with the other person becomes a main medium for maintaining rapport.
Never speak at a faster rate than the other person. Studies reveal that others describe feeling 'pressured' when someone speaks more quickly than they do. A person's speed of speech shows the rate at which their brain can consciously analyze information. Speak at the same rate or slightly slower than the other person and mirror their inflection and intonation. Pacing is critical when attempting to make appointments by telephone because voice is your only communication medium.
Intentionally Creating Rapport
The significance of mirroring is one of the most important body language lessons you can learn because it's a clear way in which others tell us that they agree with us or like us. It is also a way for us to tell others that we like them, by simply mirroring their body language.
If a boss wants to develop a rapport and create a relaxed atmosphere with a nervous employee, he could copy the employee's posture to achieve this end. Similarly, an up-and-coming employee may be seen copying his boss's gestures in an attempt to show agreement when the boss is giving his opinion. Using this knowledge, it is possible to influence others by mirroring their positive gestures and posture. This has the effect of putting the other person in a receptive and relaxed frame of mind, because he can 'see' that you understand his point of view. Before you mirror someone's body language, however, you must take into consideration your relationship with that person. Let's say, for example, a corporate employee has asked for a pay rise and is called into his manager's office. The employee enters the office, the manager asks him to sit down and assumes the Catapult with a Figure-Four showing the employee a superior, dominant attitude. But what would happen if the subordinate then instinctively copied the manager's dominant body language while discussing the potential salary increase? A boss might perceive a subordinate's mirroring behavior as being pushy or impertinent
Even if the employee's manner of speaking and phrasing was typical of a subordinate, the manager could feel affronted by the employee's body language, placing the employee's pay increase request in doubt and perhaps posing a threat to his future promotability. Mirroring is also effective for intimidating or disarming people who deem themselves 'superior' and try to take control of situations. Accountants, lawyers and managers are notorious for using superiority body language clusters around people they consider inferior. By mirroring, you can disconcert them and force a change of position. But never do it to the boss. Through mirrored multi-tasking, these business associates are taking their minds off what can seem an awkward encroachment on their personal zones.
Who Mirrors Whom?
Research shows that when the leader of a group assumes certain gestures and positions, subordinates will copy, usually in pecking order. Leaders also tend to be the first of a group to walk through a doorway and they like to sit on the end of a sofa, table or bench seat rather than in the center. When a group of executives walks into a room, the person with the highest status usually goes first. When executives are seated in the boardroom, the boss usually sits at the head of the table, often furthest from the door. If the boss sits in the Catapult, his subordinates are likely to copy in order of their importance within the group You can see this in a meeting where people 'take sides' with others by mirroring their body language. This lets you see who will vote with you and who will vote against you.
Mirroring is a good strategy to use if you are part of a presentation team. Decide, in advance, that when the team spokesperson makes a gesture or takes a posture when speaking, the entire team will mirror. This not only gives your team the powerful appearance of being cohesive, it can frighten the hell out of competitors who suspect something is up, even though they can't quite figure out what it is. When presenting ideas, products and services to couples, watching who mirrors whom reveals where the ultimate power or final decision-making ability lies. If the woman makes the initial movements, however small, such as crossing her feet, lacing her fingers or using a Critical Evaluation cluster and the man copies, there is little point in asking him for a decision - he doesn't have the authority to make it. When we rub both of our eyes simultaneously, it is as if we are telling our psyches, "I wish I never saw that", or "I can't believe he did that". We are trying to wipe it from our minds. People will also display this body language tell when recalling a past event in the "mind's eye".
Group Mirroring
It happens on fall season Sundays in American football stadiums around the country. Suddenly, 50,000 individuals became a single unit, almost a single mind, focused intently on what was happening on the field - that particular touchdown grab or dive into the end zone. Somehow, virtually simultaneously, each of those 50,000 people tuned into what the other 49,999 were looking at.
Becoming part of a crowd can be exhilarating or terrifying: The same mechanisms that make people fans can just as easily make them fanatics. And throughout human history we have constructed institutions that provide that dangerous, enthralling thrill. The Coliseum-like stadiums that host American football games or soccer games throughout the world are, after all, just modern knockoffs of the massive theater that housed Roman crowds cheering their favorite gladiators 2,000 years ago.
In fact, recent studies suggest that our sensitivity to crowds is built into our perceptual system and operates in a remarkably swift and automatic way. In a 2012 paper in the Proceedings of the National Academy of Sciences, A.C. Gallup, then at Princeton University, and colleagues looked at the crowds that gather in shopping centers and train stations.
In one study, a few ringers simply joined the crowd and stared up at a spot in the sky for 60 seconds. Then the researchers recorded and analyzed the movements of the people around them. The scientists found that within seconds hundreds of people coordinated their attention in a highly systematic way. People consistently stopped to look toward exactly the same spot as the ringers.
The number of ringers ranged from one to 15. People turn out to be very sensitive to how many other people are looking at something, as well as to where they look. Individuals were much more likely to follow the gaze of several people than just a few, so there was a cascade of looking as more people joined in.
In a study in Psychological Science, Timothy Sweeny at the University of Denver and David Whitney at the University of California, Berkeley, looked at the mechanisms that let us follow a crowd in this way. They showed people a set of four faces, each looking in a slightly different direction. Then the researchers asked people to indicate where the whole group was looking (the observers had to swivel the eyes on a face on a computer screen to match the direction of the group).
Because we combine head and eye direction in calculating a gaze, the participants couldn't tell where each face was looking by tracking either the eyes or the head alone; they had to combine the two. The subjects saw the faces for less than a quarter of a second. That's much too short a time to look at each face individually, one by one.
It sounds impossibly hard. If you try the experiment, you can barely be sure of what you saw at all. But in fact, people were amazingly accurate. Somehow, in that split-second, they put all the faces together and worked out the average direction where the whole group was looking.
In other studies, Dr. Whitney has shown that people can swiftly calculate how happy or sad a crowd is in much the same way.
Other social animals have dedicated brain mechanisms for coordinating their action - that's what's behind the graceful rhythms of a flock of birds or a school of fish.
Summary
Mirroring someone's body language makes them feel accepted and creates a bond and is a phenomenon that occurs naturally between friends and people of equal status. Conversely, we make a point of not mirroring those we don't like or strangers, such as those riding with us in a lift or standing in the queue at the cinema.
Mirroring the other person's body language and speech patterns is one of the most powerful ways to build rapport quickly. In a new meeting with someone, mirror his seating position, posture, body angle, gestures, expressions and tone of voice. Before long, they'll start to feel that there's something about you they like - they'll describe you as 'easy to be with'. This is because they see themselves reflected in you. A word of warning, however: don't do it too early in a new encounter as many people have become aware of mirroring strategies. When someone takes a position you have one of three choices - ignore it, do something else or mirror it. Mirroring pays big dividends. But never mirror a person's negative signals.
westsidetoastmasters.com/resources/book_of_body_language/...
Hti, a Burmese language word meaning umbrella, is the name of the finial ornament that tops almost all Burmese pagodas. Many pagoda htis around Myanmar are made of metal (usually iron or steel), coated with gold. The hti is then decorated with golden or gold-plated brass and bronze bells and at jewelry donated by devotees.
Copyright © 2014 by Craig Paup. All rights reserved.
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Six Aboriginal language groups are the traditional owners of the Greater Blue Mountains World Heritage Area:
Darug.
Gundungurra.
Wanaruah.
Wiradjuri.
Darkinjung.
Tharawal.
I acknowledge the Traditional Custodians of the land on which I work and live, and recognise their continuing connection to land, water and community. I pay respect to Elders past, present and emerging.
Glen Davis is an old shale mining town located 70 kilometres north of Lithgow in the Capertee Valley, Glen Davis constituted the only attempt to commercially produce petrol from shale oil in Australia.
In the Glen Davis park there is an amenities block and a number of B.B.Q's. Camping is allowed. There are no petrol or general store facilities.
From Lithgow take the Mudgee Road across the overhead pass, driving past the Wallerawang Power Station. Following the Mudgee Road you pass several coal mines until you reach Capertee. Turn right onto the gravel road and follow the road through beautiful scenery and spectacular escarpments. Oil shale was first discovered in the northern side of the Capertee Valley around 1865 by local grazier Mr. B.R. McLean. Glen Davis still has the largest seam of high grade oil shale in the world. The first shale oil lease was granted in 1891 to MPI Mining Development which later abandoned the scheme. This site was the centre point for the future development.
The wartime petrol shortage caused the Government to organise a revival of oil shale mining and treatment in 1940. Mr. G, F, Davis of Davis Gelantine undertook the proposed development and a new company was formed (National Oil Pty. Ltd.). Much of the equipment from the abandoned Newnes oil shale works was transferred to Glen Davis.
A pipeline was built so that products could be pumped to storage tanks at Newnes Junction. The pipeline followed the route of the Newnes railway line which was removed in the 1940's. In 1940 the first oil was produced and in 1941 some 4,273,315 gallons were produced. 170 miners were employed.
Initial housing conditions were deplorable. Lack of schooling facilities, unreliable food supplies and endemic diseases accentuated the already poor living conditions. By 1947 the situation had improved. A hotel, barracks, staff cottages and permanent housing had been built. The town population of 1,600 had access to a school, post office, hall, cinema, bank, chemist, butcher and general stores.
By 1950 production levels were dropping and operating costs were continuing to rise. The years of industrial trouble, difficulties with retorts, Labour, material shortages and the importing of middle east crude-oil finally led to the closure of the works in 1952. The plant was sold at auction.
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Vladimir Semyonovich Vysotsky 1938 – 1980, was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.
Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator. Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.
Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.
As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.
In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny, 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov. "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.
REFORD GARDENS | LES JARDINS DE METIS
Spectacular view associated with wind gust.
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
VERTICAL LINE GARDEN 2017
Julia Jamrozik, Coryn Kempster
Buffalo, United States.
Visit: www.ck-jj.com
From the plaque:
Drawing on the formal language of historical garden design, and the contemporary means of mass-produced safety and construction material, the project is a strong graphic intervention that aims to produce an abstract field.
Defining a geometric zone out of tightly spaced parallel lines of stretched commercial barrier tape , the installation introduces ordered man-made elements into the cultivated natural environment of the Reford Gardens. Through this juxtaposition, a dialogue between the two spheres is created based on the shared theme of protection and necessary safe-guarding while questioning the definition of what is truly natural.
As one approaches and then walks around and through the installation the changing viewpoint will allow the shifting of the tape lines in space and thus varied views of the overall composition. Further the movement of the lines with the changing of the climate, the wind and the sun will ensure a dynamic optical and auditory engagement for the audience. As visitors enter and inhabit the space by occupying the provided loungers, the fluctuating appearance of the installation is further enhanced.
In the 2015 version of the garden, we have decided to alter the colours of the field and provide and to provide canpy elements which will not only provide shade but also give a different experiential perspective of the banner tape.
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Texte de la plaque:
S'appuyant sur le langage formel de la conception du jardin historique, sur des moyens modernes de sécutité et sur des matériaux de construction produits en massa, le projet se veut une intervention graphique cherchant à créer un champs abstrait.
Des lignes parallèles de rubans de sécurité étroitement espacés définissent une zone géométrique. Cette installation d’éléments ordonnés prend place dans un milieu d’aspect naturel. Par cette juxtaposition, un dialogue entre les deux se crée basé sur le thème commun de la protection et de la sauvegarde , tout en s’interrogeant sur la définition de ce qui est vraiment naturel.
En s’approchant, en marchant autour et au travers le jardin, le point de vue change, ce qui permet le déplacement des lignes dans l’espace pour offrir de nouvelles perspectives sur la composition globale. Outre le mouvement des lignes, les changements de climat, le vent et le soleil procurent aux visiteurs des expériences visuelles et auditives dynamiques. Lorsque les visiteurs entrent et habitent l’espace en s’assoyant sur les chaises, l’aspect fluctuant de l’installation est renforcé.
Dans la version 2015 du jardin, les couleurs des rubans sont différentes et trois canopées ont été ajoutés. Ce qui va non seulement fournir de l’ombre mais aussi offrir une perspective expérientielle différente sur les rubans de sécurité.
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Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Shaheed Minar (Language Martyrs’ Monument) in Khulna City built in memory of the students and others killed during the historical language movement on 21 February 1952. Bangladesh.
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Leica SL (Typ 601)
Leica 24-90mm f2.8-4 ASPH Vario-Elmarit-SL Lens
Street Photography in Málaga, Spain
A rare colour image .... I did try a black and white conversion, but now having a Monochrom M (246), I can't find the right balance so left this one in colour.
Derweze (Turkmen language: The Gate, also known as Darvaza) is a Turkmenistan village of about 350 inhabitants, located in the middle of the Kara-Kum desert, about 260 km north from Ashgabat. Darvaza inhabitants are mostly Turkmen of the Teke tribe, preserving a half-nomadic lifestyle.
The Derweze area is rich in natural gas. While drilling in 1971 geologists accidentally found an underground cavern filled with natural gas. The ground beneath the drilling rig collapsed, leaving a large hole with a diameter of about 50-100 meters. To avoid poisonous gas discharge, it was decided to burn the gas. Geologists had hoped the fire would go out in a few days but it has been burning ever since. Locals have named the cavern The Door to Hell. Next to capturing the gas, flaring is safer and friendlier to the environment than releasing the methane into the atmosphere as methane is a relatively potent greenhouse gas with a high global warming potential of 72 (averaged over 20 years) or 25 (averaged over 100 years). Turkmenistan plans to increase its production of natural gas. In April 2010, the President of Turkmenistan Gurbanguly Berdimuhamedow visited the site and ordered that the hole should be closed, or other measures be taken to limit its influence on the development of other natural gas fields in the area.
Not far from the burning crater are two other craters of similar origin. These craters are not burning as the gas pressure is much weaker. At the bottom of one of these craters is light grey mud while the last crater contains a turquoise lake. This lake prevents further attempts at drilling. Not far from the burning crater are several dormant wells (en.wikipedia.org/wiki/Derweze).
My video: youtu.be/VVwPAx-Fmyc
SPNC - Year 4 - Instruction # 03
"Avoid tunnel vision, let the edges compete for attention in the frame."
Excuse the language, but this is what my family calls this rocky island at our cottage's lake. It's a tenacious little island - windswept, underwater in the springtime, with small trees that hold on to what little earth may be found on it and, of course, birds ... at times many many birds from which the island's nomenclature derives. Despite the birds, my adult kids like to go kayaking there. On one side of the island, the water is only knee deep but on the other side it plunges down to 40 meters or so. It's one of the few public places that you can go for a swim on the lake. The views around the island are wonderful which incited me to make this sketch.
Excusez la langage, mais c'est ainsi que ma famille appelle cette île rocheuse au bord du lac de notre chalet. C'est une petite île tenace - balayée par les vents, sous l'eau au printemps, avec de petits arbres qui s'accrochent au peu de terre qui s'y trouve et, bien sûr, des oiseaux ... parfois beaucoup d'oiseaux dont dérive la nomenclature de l'île. Malgré les oiseaux, mes enfants adultes aiment y faire du kayak. D'un côté de l'île, l'eau n'est qu'aux genoux mais de l'autre côté elle plonge jusqu'à 40 mètres environ. C'est l'un des rares lieux publics où l'on peut se baigner sur le lac. Les vues autour de l'île sont magnifiques, ce qui m'a incité à faire ce croquis.