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My Sorority Sister.
When you smile and project an aura of warmth, kindness, and friendliness, you will attract warms, kindness, and friendliness. Happy people will be drawn to you. – Joel Osteen
{Inspire, Be Inspired, Encourage, Motivate 2.12.26}
The Luisenpark (41 hectares) is a municipal park in Mannheim, Baden-Württemberg, Germany.
The Chinese garden (5,000 m²), 多景园 Duojingyuan = garden of the many opinions, and its tea house were built in co-operation with Mannheim's Chinese twin city Zhenjiang (province Jiangsu), the Klaus Tschira charitable trust in Heidelberg, and the East Asia Institute (Ostasieninstitut) Ludwigshafen. The donation of 1,77 million Deutsche Mark (DM) from the estate of Diplom-Kaufmann George, provided the financial foundation for the garden and tea house.
Game: Marvel's Spider-Man
Developer: Insomniac Games
Filter Used (In-Game): None
Cropped with Adobe Photoshop
Crawled into a hole in the rocks at San Buenaventura State Beach, Ventura, CA and took a picture of my friend.
Boxercise Demo.Photos taken from Blast off PE Fitness and Mindset Coaching's Exhibition Night and Master Boxing Bout. This great event was held in Dorchester Jail on Saturday 19th November 2022 to show how sport can help your mental health. Note: Dorchester Jail is no longer a working prison - it's now operated by Gloucester & Dorchester Prison Events who run regular tours and events there. Blast Off hire their Gym for their regular meetings.
The guineas have a fascination with cars. They are ready for adventure!
As an author, part of the adventure is writing the story, the poem, the book or whatever...but that is just the beginning!
The real adventure comes from developing an entrepreneur mindset, full of curiosity, openness, and an "unsinkable" spirit!
The path to BLISS is not about doing what culture or society or your parents say you should do. THe path to BLISS is paved with courage, expectancy, willingness, and purpose!
Begin to follow your BLISS now by embarking on the Awakened Author Challenge at WriteOnPurpose.com/challenge
Follow your BLISS!
Ronda Del Boccio, the Story Lady
bestselling author - author mentor - speaker
Creator of the BLISS Butterfly & the 30 Day Awakened Author Challenge
St Nicholas, Denston, Suffolk
Considering that we are barely fifty miles from central London here, the parishes of the Haverhill area contain some surprisingly well-kept secrets. Nearby are Cowlinge and Withersfield, and here the quiet and rather remote village of Denston is home to one of Suffolk's finest smaller churches. Apart from the older tower, this is all of a piece, built by the local Denston family in the 1460s as an act of late-medieval piety, and then subtly altered to serve a small college of priests about 50 years before the Reformation would sweep them away. However, it was to continue in use as the parish church of a community too poor to lavish substantial restorations on it, and because of this it has a higher degree of surviving medieval liturgical integrity than virtually any other Suffolk church.
It is a little sister to Holy Trinity, Long Melford, and and may well have been the work of the same architect, although far more has survived here than at Long Melford. It almost didn't, for as recently as the 1980s this church was in serious trouble, and it has taken the combined efforts of the Historic Churches Trust and the Open Churches Trust to bail it out. That they have done a good job can be seen as soon as you approach the building.
St Nicholas is an exemplar of Perpendicular architecture in its purest form, without decoration or embellishment. The great clerestory rises cleanly above aisles that are more glass than flint. The doorways in particular look almost unfinished. The seven long unbroken bays to nave and chancel are not beautiful, but they are dramatic. The only feature that breaks up the otherwise continuous lines is on the north side, and is a roodstair turret, as at nearby Haverhill, Clare and Stansfield. I will come back to this in a moment.
Because of being built in a single go, there are none of the usual alterations and additions to ponder. Some of the windows were blocked up in the 18th century to conserve heat (you can see the same thing at Blythbugh and Sudbury St Gregory) but this has all been removed, except for the lower halves of the western aisle windows.
The buttresses and porch are almost entirely built of stone, most unusual in this part of England, but a mark of how no expense was spared to bring it here. You step through the original doors into breathtaking stillness. All about, tremendous medieval survivals spread. First, the Seven Sacrament font. There are thirteen of these fonts in Suffolk, although three of them have been entirely defaced. They were produced towards the end of the 15th century, and on seven of their eight sides scenes depict the sacraments of the Catholic Church. There seems to have been a move at this time, a kind of proto-reformation if you like, to assert the official doctrine of the Catholic Church against the superstitions and errors of the common people. This was the time when it appears that wall paintings were covered over, as at Thornham Parva and probably Wissington, and the great roods lifted up to remind the people of the central mystery of the Christian faith - the death and resurrection of the Christ.
This 15th century assertion of official Catholic doctrine seems to have been carried out under the instigation and patronage of the same families who would champion protestantism in the following century, and some of whom would be the puritans of the century after that. The only constant thread seems to have been their tenacious hold on secular power.
The Denston font is in pretty good shape. It has rayed backgrounds like those at Great Glemham and Woodbridge, and was probably the work of the same artist, but the stone is actually quite different, being a pinkish granite that Cautley was satisfied had come from Aubigny in northern France. Probably, it was bought as a block and carved locally.
The panels from east clockwise are as follows: E: Ordination, SE: Penance (taking place in a shriving pew as at Woodbridge and Great Glemham), S: Mass, SW: Last Rites (with the bed curiously upright as at Woodbridge and Great Glemham), W: the Crucifixion, NW: Confirmation, N: Matrimony and finally NE: Baptism. The Matrimony and Mass panels both show a woman wearing a butterfly headdress, which Mortlock says dates from between 1450 and 1485.
Looking up, the 15th century roof is silvery with age, reminiscent of Blythburgh. Animals scamper along the wallplates, stags, rabbits and lions. Above the font and the tower arch hang the royal arms of Queen Anne.
Turning east, there is a nice 1480s brass of a woman in the middle of the nave floor. It is probably Felice Drury, one of the Drurys of Hawstead, according to Mortlock. Stretching away on either side of it, St Nicholas retains almost a complete set of medieval benches, their bench ends almost completely unmutilated. This is probably because, as at Woolpit and Tostock, the theme of the bench ends is animals, and appears to be secular.
I say appears, because actually all these animals had a place in the medieval bestiary, and a lesson in the Christian life could be learned by understanding their behaviour. By the time the Anglicans started taking axes to bench ends in the 1540s, this seems to have been forgotten, or perhaps it was still acceptable at that time, and the puritans of a century later didn't mind animal decorations either.
There are an awful lot of rabbits. Perhaps the workshop that produced them was good at rabbits, or perhaps there was a particular lesson to be learned from them. The only lesson I could think of from the behaviour of rabbits was not one I thought the medieval church would need to teach.
The most famous bench end here is the elephant. Now, elephants had trodden the lanes around here at the time of the Roman occupation a thousand years before, indeed, we are told that elephants were used in the occupation of the land of the Trinovantes, which included this part of Suffolk. At Camulodunum, modern Colchester, Claudius used a battalion of soldiers on elephant-back to establish his capital towards the end of the first century. Elephants may have been common in European court menageries, and may even, like lions, have been found in travelling circuses in this country. Be that as it may, we may safely assume that the carver here had never seen an elephant - or if he had, his memory did not serve him well. Rather, he was probably working from descriptions, witness the large flapping ears, the long nose, the big feet. As with the giraffe at Dennington, the parts are there, but the whole ensemble is just not quite right.
The only real curiosity is a beast that appears to have the body of a wolf (at least, its body is the same as an adjacent figure that I take to be a wolf) but the head of a man, wearing a 14th century headdress. Very curious.
The rood loft and, of course, rood itself are long gone, but the screen stretches across the church from aisle to aisle, and the castellated rood beam remains, and looks as though it is an essential part of the structure of the building.Whether this is so or not, I do not know, but it probably dissuaded the reformers from removing it. There is something not quite right about it, and after a while it hits you, for the rood stair turret is two bays west of the east end, while the rood beam and screen are three bays west. Hmmm. I don't think the screen has been moved, and the rood beam certainly hasn't. The reason for the anomaly is probably that after the structure of the building was completed, but before the interior was furnished, a college of Priests was established here. For their offices they would need a long, three bay choir. In an archless building like this, the rood structure would always have been built entirely of wood, so it was merely a case of needing to add in a bridge from the rood stair turret back westwards to the third bay, and then across to the rood loft. Certainly much easier than extending the whole building a bay to the east. This has all gone now, of course, but is easy enough to reconstruct in your mind. The Denston rood must have been of a considerable size, and the rood loft system on a grand scale.
There is a good collection of medieval glass in the east window, although it is entirely a jumble hastily patched together in one of the few 19th century changes to the building. The window was entirely restored along with the others in the 1980s. Unfortunately (and here is a moan) English Heritage will not now countenance the considered reordering of jumbles like this; they say that this must stand as illustrative of the 19th century. So, you'll have to scan it for interesting features. A woman in bed low down on the left is probably St Anne giving birth to the Blessed Virgin, and there are other figures, mostly composite, towards the top.
You step through the roodscreen gates into the choir, which is seemly without being elaborate, the animals lifted high on the ends. Looking back, there are good misericords, and unusually in Suffolk we are safe in assuming that they came from this church originally. The best depicts a crane holding a stone in its foot. In the floor between the stalls are set the brasses of Henry and Margaret Everard, which Mortlock says form Suffolk's only surviving pair of heraldic brasses.
The aisles extend fully the length of the building, and are separated from the choir by delicate parclose screens with curtains. In the south chapel you'll find excellent modern glass by Martin Travers, depicting the church's assumed dedicatee, and high above the tabard, helm and sword of a member of the Robinson family, who also contribute the two hatchments at the west end, the tomb chest here in the south chancel chapel, and a wall memorial with an interesting inscription in the north.
On your way through to see it, however, you will certainly be distracted by one of Suffolk's most grisly memorials. This has had its brass inscription removed, and so the identity is not certain, but they are probably John and Katherine Denston, the founders of a chantry here. This isn't exactly a cadaver tomb like the one at Bury St Mary, but the two figures lie in their open shrouds, the man's thrown back to reveal his rotting flesh and bones standing proud. The look of horror on their faces is instantly familiar across the centuries.
It seems superfluous to detail the modern glass, but as well as that by Martin Travers there is a fine set of early 20th century panels by Heaton, Butler and Bayne in the south of the chancel. They depict the resurrection, and although the figures are lovely (a couple of the women being particularly pretty) the composition is comical to say the least. In the bottom panels, the three Marys find the tomb empty and an angel telling them 'He is not here, he is risen'. And where is he? The angel helpfully points to the upper panels where the risen Christ already sits in majesty in Heaven, thus missing out forty days of frantic activity and saving himself the long walk to Emmaus, but leaving poor Thomas in doubt forever.
Visitors will come away from this church with a sense of the permanence of stone, which is used to build pillars and structures that lift the eye and engage the heart. This is late-perpendicular at its best, offset by the furnishings the Denston family built for their college. It is useful to compare the church as a piece with Lavenham, a near contemporary, and wonder what that might have been like without the severe restoration it has undergone. For anyone interested in liturgical or Catholic history, this church is full of evidence. It illustrates the mindset of 15th century ruling class Catholic orthodoxy, the work of a people with the money to build what le Corbusier might have described as a machine for making Catholicism happen.
This is probably the least visited of the great East Anglian churches, but is an absolute must for anyone wanting to see one of the best ten or so late-perpendicular churches in England.
Sergeant Brian Bishko and Cpl. Chester Ginter wait for instructions to begin a table three shoot aboard Marine Corps Base Camp Pendleton, Calif., Sept. 4, 2014. Table three is part of the Combat Marksmanship Program, which is designed to keep Marines in a combat mindset and ready for what the mission might demand. Bishko is a supply administrator and Ginter a mechanic, both with the 15th Marine Expeditionary Unit.
Photo by Cpl. Anna Albrecht
Watch video: youtu.be/U72ewt1BYMI
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Pose pack:Fuddle - Secret Single Pose
SO KAWAII SUNDAYSSSSS
which i literally do just about every dang week XD
this round is for 3/16 weekend
Fuddle Mainstore: maps.secondlife.com/secondlife/Dream%20Garden/102/85/1251
Day 50 of 2015. My Collaboration Muscles & Mindsets program consists of weekly pair "workouts." At the end of each workout, participants share takeaways from their journals with the rest of the group via their mobile phones.
I had my first workout today and used our journaling kit for the first time. I was delighted to discover that the kit included a sharpener for the colored pencils. Thank goodness for Amy Wu, who put together the kits and who is very detail-oriented!
First panel: Where they think the staff are. Second panel: Where they think the staff should be. Third panel: Where they think they are as individuals.
andrew carnegie, leader, leaders, leadership, mindset, personal development, Inspirational Quotes, dale carnegie quotes, inspirational graphics
Digital literacy and participatory multimodal media
This presentation is about teaching and learning practices.
It is about why I believe schools need to become future focused.
More information goo.gl/UP5zp
Master Sgt. Raul Penton sights in on his target before engaging it during a table three shoot aboard Marine Corps Base Camp Pendleton, Calif., Sept. 4, 2014. Table three is part of the Combat Marksmanship Program, which is designed to keep Marines in a combat mindset and ready for what the mission might demand. Penton is a communications chief with the 15th Marine Expeditionary Unit.
Photo by Cpl. Anna Albrecht
Watch video: youtu.be/U72ewt1BYMI
CAREER SUICIDE+MINDSET+FACE REALITY+TOTAL TRASH+ DIRECT APPROACH @ Parts & Labour(Toronto) April 23rd 2011
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Thanks!
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Email me at:daniel.f.vella@gmail.com
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“Stubborn and ardent clinging to one's opinion is the best proof of stupidity”
Michel de Montaigne
(French Philosopher and Writer. 1533-1592)
This photo is challenging Little girl blue from the pool of Highly Competitive - Flickr's 100 Best - www.flickr.com/groups/best100only/. Vote me in!
These two books (Mindset: The New Psychology of Success by Carol Dweck and Mindstorms: Children, Computers, And Powerful Ideas by Seymour Papert), plus the programming environment Scratch scratch.mit.edu were the basis of my talk yesterday at the KCI MERIT program: sites.google.com/site/kcimeritprogram
Fonte TDWP official webpage:
The Devil Wears Prada is the musical embodiment of a generational shift. Built on a diverse array of heavy, dark, melodic and genre-defying music; hardened and sharpened by putting in road work together since the days when they had to skip class to tour: The Devil Wears Prada is at the forefront of a movement that bridges the gap between Rockstar Mayhem and the Vans Warped Tour.
The passionately inspired band’s album for Roadrunner Records, cryptically titled 8:18, embodies an unflinching, uncompromising authenticity born from revelatory introspection and obsessive workmanship. The dichotomies are refreshing, invigorating and boundless. There’s an oppressive, suffocating darkness to their heavy music, counterbalanced by the hope within their collective faith. The most brutal of crowd-moving breakdowns ignite with friction, bristling against soaring melodies, progressive yet catchy riffing and keyboard soaked atmospheric esotericism. To put it simply: The Devil Wears Prada have developed the chops, the cred and the audience of a true-blue thinking person’s heavy metal band, while simultaneously welcoming fist-pumping hellraisers and youthful moshers alike. 8:18 continues the war against humanity’s dark urges, pointing the finger inward and outward through a medium that is itself both bleak and grand.
"Much of the heavy music around us suffers from a total lack of emotion. It's sort of losing an audible sense of sincerity," observes vocalist Mike Hranica. "The guitars, the drums, the songs themselves create that sorrow that I want the lyrics to tell on 8:18. And I made sure that my vocals created emotions that I have heard in post-hardcore, but that I rarely hear in breakdown-heavy metal bands like us."
The overriding theme on 8:18 is misery, exploring that mental and emotional state through its various guises, manifestations and interpretations. Tracks like Gloom, War, Black & Blue and Home for Grave spring forth from that foundation, exploiting concepts like mediocrity, existential angst and life's bigger questions under an atmosphere of musical dread, hostility and darkness.
Mike Hranica is blessed with a commanding roar, but infuses the proceedings with a literary sensibility, a commitment to self-evaluation and a painstaking modesty that levels the playing field between performer and listener beneath the surface.
Rhythm guitarist Jeremy DePoyster contributes the hook-laden underbelly to Prada’s brutal musical beast, handling the “clean” singing with a fine-tuned abandon to rival the pop stars dominating the charts. He grew up listening to Rob Zombie and Korn, but his iPod these days is packed with just about everything one can name. His singing vocals shine particularly on 'Care More,' a heavily electronics infused song with a dark mood. "There's so much of this crappy auto-tuned singing thing happening right now. It's disappointing to me because I've been singing since I was a kid," DePoyster says. "We all know what auto-tune is and we all use it to get things to work a little better, but when I hear things that are using it just as a crutch, that is extremely disappointing to me. Mike does a lot of passionate, raw, vibey screaming on this record, too. It's great."
Andy Trick has a Minor Threat-inspired tattoo that exhibits his early inclinations toward hardcore punk, an ethos and a mindset that still courses through the bass player’s veins even as he takes the stage playing guitar-driven metal music around the world. His bass playing anchors the theatrics and fluid, tasteful beats of Daniel Williams. Prada’s drummer carries the class and finesse of the indie crowd, while pummeling the drums with the power of metal's finest. "Since the beginning, we have liked breakdowns, we have liked heavy sounds, we have liked melodic singing, we have liked heavy metal in general," notes Hranica. "Those are the most basic fundamentals of what this band has been about."
The overseeing hand of executive producer and Killswitch Engage axeman Adam Dutkiewicz (August Burns Red, Shadows Fall, Parkway Drive) and producer Matt Goldman (Underoath, The Chariot, As Cities Burn) resulted in a sonic time capsule representing not only this present moment for TDWP, but a crossroads for heavy music itself. Progressive strains of experimental trailblazers Converge, Botch and Underoath seep beneath The Devil Wears Prada’s unique reverse-engineering of modern metal. 8:18 convincingly detours into Nine Inch Nails-isms, then comes full circle with some killer throwbacks to TDWP's earliest work.
"We love a lot of the records Matt has made and obviously we love Adam and he's a great friend," DePoyster points out. "Adam was very involved in doing the vocal stuff with Mike and I and had given us ideas when we were making demos. Both of those guys were great with us and were able to make contributions and make us think about things in different ways without making us uncomfortable.
With 8:18, The Devil Wears Prada cement their status as a band who have not only weathered the pressures of early, youthful popularity, but grown into masters of their craft. From album packaging to merchandising, from video production to stage lighting, The Devil Wears Prada are hands-on and pay excruciating attention to detail to ensure they always deliver their best, that their overwhelming passion will endure. They push themselves to create a lasting work that inspires, empowers and challenges, in equal measure.
"We're not kids who just want to hit the road and see where this goes," adds DePoyster. "We're making a conscious choice to do this because we love it."
The Devil Wears Prada are unwavering in their commitment to each other, their fans, their art, their higher calling toward truth and to their desire to engage. The emotion remains sincere, the musicianship supreme.
Mindset Evolution performing at the Prairie Capital Convention Center in Springfield, IL on April 26, 2016. Photographed for Rumored Nights Press.
Mindset Evolution
Prairie Capital Convention Center
April 26, 2016
Champaign, IL
More from Rumored Nights Press here: Website | Facebook | Twitter | Instagram | Flickr
Mindset Evolution performing at the Prairie Capital Convention Center in Springfield, IL on April 26, 2016. Photographed for Rumored Nights Press.
Mindset Evolution
Prairie Capital Convention Center
April 26, 2016
Champaign, IL
More from Rumored Nights Press here: Website | Facebook | Twitter | Instagram | Flickr
This student has a 'fixed mindset' - they are either 'good' or 'bad' at something. My comment (in red) is an attempt to guide them towards a 'growth mindset' - i.e. they can get better at things by trying!
1st Lt. Erin Kan, a U.S. Army Reserve military police officer with the 724th Military Police Battalion, of Fort Lauderdale, Florida, poses for a portrait during the Active Shooter Threat Response Training taught at an Army Reserve installation in Nashville, Tennessee, on Sept. 29. This image was digitally manipulated in post-production. (U.S. Army Reserve photo by Master Sgt. Michel Sauret)
Jay Silver, Research Assistant and PhD candidate in Media Arts and Science at Massachusetts Institute of Technology, discusses the mindset of Makers and introduces a new technology called Makey Makey.
TEDxPioneerValley, an independently organized event licensed by TED, explores learning that takes place in unexpected ways, cracking open traditional notions of how learning happens. The day-long conference at Amherst College Jan. 21, 2012, is presented in collaboration with the Holyoke Community College Adult Learning Center, Amherst College, Smith College and Mount Holyoke College.
Photo by Samuel Masinter