View allAll Photos Tagged Misunderstanding,
Hannes Swoboda, S&D Chairman, Manfred Weber, EPP Vice-Chairman, Rebecca Harms, Greens co-Chairman and Edward McMillan-Scott, ALDE Vice-Chairman debated about the role of the media in time of crisis: How could they bridge the gap of misunderstanding between citizens and EU institutions?
Mighty Joe Young (1949)
youtu.be/ysKRS4aVY-8?t=4s Trailer
It could be said that this film represents a changing of the guard. For most of the first half of the 20th century, if you talked about stop-motion animation, you were basically talking about Willis O’Brien. O’Brien wasn’t the only one using the technique, of course, but the most famous of the old movies employing it were his work. O’Brien was the man behind King Kong, The Son of Kong, and the 1925 version of The Lost World (and for that matter, he also worked on the latter film’s 1960 remake), along with several other mostly forgotten movies going all the way back to 1915. But while O’Brien would continue to work in the special effects field throughout the 1950’s, he had by that time been eclipsed by a new alpha-male in the stop-motion pack-- the legendary Ray Harryhausen. What gives Mighty Joe Young significance all out of proportion to its overall merits is the fact that it is the only movie on which both O’Brien and Harryhausen collaborated on the effects work. Mighty Joe Young is also the final installment in what might loosely be called the RKO Monkey Trilogy, the three films about oversized gorillas directed by Ernest B. Schoedsack and produced by Merian C. Cooper. (The previous two films were, of course, King Kong and The Son of Kong.) And while it is by no means up to the standard set by the original Kong, it is at least vastly superior to that movie’s embarrassing cheap-jack sequel.
In the simplest terms, this is a fable about a girl and her pet gorilla, and as with all fables, you
can rest assured that there will be a moral involved at some point. Our story begins in Africa, where six- or seven-year-old Jill Young (Lora Lee Michel for the moment, but for most of the movie, she’ll be played by Terry Moore, who came from Son of Lassie and who, after some 20 years of respectability, would be reduced to Black Eliminator and Hellhole) gets it into her head one day to trade a few of her toys and her father’s heavy-duty flashlight (the kind cops use to beat you up with) for a baby gorilla that a pair of local hunters have captured. Her plantation-owner father (Regis Toomey, from One Frightened Night and Voyage to the Bottom of the Sea), I hasten to add, knows nothing of this transaction until he arrives home from wherever it is that white plantation owners in sub-Saharan Africa go during the day, and finds said gorilla in Jill’s bed. As he says to Jill when she asks if he’s mad at her, he takes the situation rather well for a man who has learned that his daughter has just acquired a pet ape. But that does not mean Jill is allowed to keep the beast-- a father has to draw the line somewhere, right?
It appears, however, that Mr. Young ought to have used something more along the lines of those huge, smelly markers the kids use to tag the stalls of public toilets to accomplish his line-drawing, because the very next shot has Jill feeding her gorilla (whom she has named Joe) from a baby bottle, while her father looks on bemusedly, feebly trying to reassert his authority to keep his home free from 800-pound apes. But it does no good, of course, and when the screen fills with the image of the Brooklyn Bridge and the legend: “New York, 12 years later,” we know without having to be told that Jill still has her unorthodox pet. So what are we doing on the opposite side of the Atlantic from Jill, her father, and Joe? Why, we’re looking in on the activities of a certain nightclub proprietor by the name of Max O’Hara (Robert Armstrong, from King Kong and its sequel). O’Hara has just decided to spread his wings a bit, and open a new club on the West Coast-- in Hollywood, to be exact. Because of the inherently risky nature of this venture, he wants to make sure that he makes a strong initial showing, and he has come up with what he regards as a fool-proof angle for the new night spot. Riding the wave of public fascination with exotic locales that was then giving rise to the tiki bar, O’Hara plans to give his L.A. club an African theme, and to that end, he has arranged to go on a safari for the purposes of capturing live African animals to give the whole affair the strongest possible air of authenticity. Obviously, one does not attempt to do such a thing alone, and O’Hara hires an Oklahoma cowboy named Gregg (Ben Johnson, who after a long and presumably rewarding career making westerns ended up providing low-cost name recognition to such films as The Deadly Bees, The Town that Dreaded Sundown, and Cherry 2000), along with all of his Oklahoma cowboy buddies, to conduct the actual capture of the necessary beasts. Who would ever have thought that you could rope a lion the way you do a steer?
But that’s just what Gregg and his men do, until they find themselves fact to face with an altogether more challenging quarry, a huge, stop-motion gorilla. The fact that this is a stop-motion gorilla should tell you a thing or two, as should the exclamation on the part of O’Hara’s safari guide that gorilla territory is hundreds of miles away. Our expectations are confirmed a few minutes later, when a young woman appears and orders the gorilla (who had been winning the struggle against the cowboys, hands down) to cease and desist. The woman-- the now-grown-up Jill Young-- then launches into Gregg, O’Hara, and the cowboys, demanding to know what in the hell they think they’re doing trespassing on her land and attacking her pet ape. O’Hara and his associates, understandably flummoxed, have no answer capable of satisfying Jill, and they are left standing around looking like fools when the girl storms off into the bush with her gorilla. But O’Hara is not a man to remain stymied for long, and it soon crosses his mind that Jill and Joe are exactly what his L.A. nightclub needs to make the sort of splash O’Hara seeks. He sends Gregg to the Young family plantation (which Jill has been running by herself since the death of her father some six months before) to apologize for the misunderstanding and to try to get her interested in listening to O’Hara’s pitch.
Gregg succeeds, and O’Hara springs into action. He promises her fame, fortune, excitement, a swank new wardrobe-- pretty much everything that a certain other Robert Armstrong character once promised a similar naïve young woman, in fact. And like that other woman, Jill falls for it, hook, line, and sinker. Within days, she, Joe, and Gregg are in L.A., working for O’Hara. The new club is just as garish and tacky and hideous as you might imagine, all caged lions, bamboo walls, and African masks. And then there’s the floor show, which features black dancers dressed as African tribal warriors and musicians playing traditional African rhythm instruments. But the main attraction, of course, is “Mr. Joseph Young, of Africa.” The gorilla makes his big entrance after an introductory speech from O’Hara, rising from a pit in the center of the stage to hold aloft a grand piano on which Jill plays “Beautiful Dreamer,” the song to which she used to put him to sleep as an infant. O’Hara’s crowd is duly impressed, and the promoter assures Jill that her contract will be good for a long, long time.
Of course, that’s pretty much the exact opposite of what Jill wanted to hear. It doesn’t take long before the novelty of being a novelty act wears thin for her, and it wears thin for Joe even faster. The fact that O’Hara has Jill and her gorilla perform ever more exploitative and demeaning acts as the weeks wear on (“Tenth Mammoth Week!” the sign on the front of the club trumpets) doesn’t exactly help the situation, either, and it is during the Tenth Mammoth Week that Jill goes to her employer (with Gregg along for moral support) to announce that she and Joe are going back to Africa. O’Hara is predictably dismayed, but he acquiesces, on the condition that Jill allow him some time to find a replacement act. That seems fair enough to Jill.
But seven weeks later (“17th Colossal Week!”), there’s no sign of any replacement, and Jill is fed up. The show that night is particularly unsavory, involving the audience getting to throw enormous coins at the stage for Joe to try to catch in a commensurately enormous cup, and it gets out of hand when one drunk patron decides it would be funny to throw a bottle at the ape instead. Jill immediately stops the show, returns Joe to his cage in the basement, and goes to talk to O’Hara again. Meanwhile, the offending drunk and his friends sneak downstairs to ply Joe with wine. I guess it seemed funny at the time, but the three men stop laughing when the inebriated Joe smashes out of his cage and destroys the club, relenting only when Jill, O’Hara, and Gregg arrive to bring him under control. Of course, the police arrive too, and they take a rather dim view of rampaging apes.
So, for that matter, does the city of Los Angeles, which secures a court order for Joe’s destruction. Faced with such an incredibly ugly situation, and with the certain knowledge that it’s all his fault, O’Hara goes to Jill with a plan to sneak her and Joe back home to Africa. The rest of the film sees this plan put into action, with an array of blunders and strokes of bad luck to add some suspense, and concludes by giving Joe an unexpected opportunity to redeem himself in the eyes of the law.
Basically, what we’ve got here is an old-fashioned family movie. It’s fundamentally escapist and unthreatening, but it’s not so cloyingly juvenile as to be unendurable for an adult audience. And because it was made in the late 1940’s-- a time when adults were still willing to credit children with a certain amount of resilience in the face of tragedy, before “suitable for children” was taken to mean “unrelentingly, mindlessly upbeat”-- there is up until the very end a legitimate question regarding how it will all turn out. When movies like this are made today, a happy ending is a foregone conclusion. Here, though, there is no such easy assurance, even if everything working out in the end seems to be the likeliest outcome. This genuine uncertainty is Mighty Joe Young’s greatest strength, and makes it easier to look beyond its essential silliness and sappiness to find a surprisingly good-- if childish-- film.
My neighbor Henrietta, a pretty Rhode Island Red, paid me a visit last night, just to chat. Apparently she and Rooster Cogburn had a misunderstanding and she needed a place to stay for the night. So me, being the kind of guy that I am, all neighborly and such, (what is it about me that women are always wanting to discuss their issues with) and with a look that would melt your heart, convinced me to let her stay overnight. She’s a cackler’ alright! She went home this morning!
Bl. Maria Celeste Crostarosa
A mystic-soul and visionary, Ven. Maria Celeste was inspired by the Lord, and guided by St. Alphonsus Liguori in founding the "Redemptoristines", the female branch of the Congregation of the Most Holy Redeemer. Often challenged by misunderstandings, she suffered patiently and trusted in the Lord's Divine Will to fulfill His request for the new congregation of nuns. A prolific writer, her life and mystical experiences are recorded in many of her spiritual writings that she left behind after her death in 1755. The Church Beatified her in June 2016. Please pray for her speedy Canonization.
Photo: Prayer leaflet w/a piece of her habit.
“Three quarters of the miseries and misunderstandings in the world would finish if people were to put on the shoes of their adversaries and understood their points of view”
- Mahatma Gandhi
The iron barque “Primera” in New Dock adjacent to the new Elders wool & grain store during the ship’s visit 1881. [Photo from State Library of SA: PRG 1373/8/84 (1880-83)]
“New Dock” opened 20 Sep 1880, designed by C. L. Gardiner, able to berth up to 15 ships, by 1930s it was too small to berth more than 2 modern steamers, filled in 1936. Elders foundation stone 20 Sep 1880 by Chief Secretary, W Morgan, architect W Beattie, opened as wool & grain store opposite the new Port Adelaide Dock, closed, now storage.
“The barque Matthieu, Capt. Young, has earned the distinction of being the first vessel to enter the new dock.” [Port Adelaide News 14 Feb 1880]
“to the surprise of every one a vessel made its appearance in the dock and took up a berth there. This was the barque Matthieu, which went in under a misunderstanding. She seemed to experience no difficulty in making an entrance and slewed round quite comfortably. . . The successful entrance of this barque created great confidence in the works. The dock is completely encircled by lines of rails, which join the city rails at the Port Station. On the wharfs eight donkey engines have been placed with the necessary cranes. A large goods-shed has been erected on the Port side of the dock, and offices will shortly be added.” [Express & Telegraph 21 Sep 1880]
“Three years ago the spot which the new dock now occupies was little better than a swamp, with more or less water in it all the year round, according to the seasons. Stretching from the Port river half a mile eastward, and from the South Australian Company's basin northward, there was a large tract of low marshy land, miserable to look upon, and still worse to walk over, leading to nowhere in particular, and apparently useful for no purpose. . . The first sod was turned about the middle of November, 1878, and a large staff of workmen was shortly afterwards put on.. . . Every inch of the labor was done by hand — pick, shovel, wheelbarrow, and carts assisting. . . By the end of July the full depth of 20 feet had been obtained in many places, and 200,000 yards of earth had been taken out. . . By the end of November the piles, which are of jarrah, were driven all round the enclosure, and preparations were commenced for letting the water in.” [Advertiser 21 Sep 1880]
“Monday, September 20, 1880, was a great day at Port Adelaide, for in the afternoon of that day there was witnessed the consummation of one of the most important works ever undertaken there by a private Company, namely, the opening of the new Port Dock, which has cost about £95,000, and will provide wharfage accommodation for about fifteen ships. . . The new dock covers about nine acres of ground, has 2,000 feet of wharfage accommodation, and a depth of 20 feet of water near to the wharfs at low water. It is situated about two hundred yards to the eastward of the Railway Station, and the entrance to it from the Port Stream is through the South Australian Company's Basin by a channel eighty feet wide and sixteen feet deep at low water. Just at the entrance to the new dock the channel is spanned by an American swing bridge, which is in a line with St. Vincent-street.” [Evening Journal 21 Sep 1880]
“Vessels in Port. . . Primera, barque (Br ), 597 tons, W. Sherwen, from London. D. and J. Fowler, agents, City and Port. Port Dock.” [Advertiser 20 Jul 1881]
“Port Adelaide Dock.— Dock to be reclaimed, and new road built at east end of Basin to replace Fisher Bridge.” [Advertiser 1 Nov 1933]
‘’The Port Adelaide City Council is continuing its campaign to preserve the New Dock, which under the Harbors Board's present reconstruction scheme is to be filled in. The board does not favor the scheme that it should be converted into a graving dock, contending that it would not return interest and working expenses. . . it seemed a retrograde step to fill in the dock and create a barren expanse of land.” [News 9 Aug 1934]
“The building of a new bridge and the reconstruction of New Dock. . . The dock was built in the ’80s, and is already well beyond the estimated life of a timber wharf. . . The board is of the opinion that the money would be spent to better advantage on the river front proper. It is very inadequate for present requirements, and as only one modern steamer could be berthed on each side of it, the spending of £100,000 to keep the dock in commission is not warranted.” [Advertiser 11 Aug 1934]
“Honors of being the last overseas ship were divided between the sailer Archibald Russell, which arrived in January, 1930, and the American schooner Dorothy H. Sterling, which lay there for a long time before being broken up. . . New Dock had to be filled in. But shovels and picks were not used for this task. Suction dredges were anchored in T. Head Dock, and poured through large pipes silt and other solids dredged from various parts of the Port River. The dredges have taken 13½ months to fill in what has played a remarkable part in the development of a waste area into profitable land. Robinson Bridge was demolished before the dredges had finished their work, and was sold as scrap iron to Japan. Only a few more months passed before Fisher Bridge also followed its companion to the scrapheap. It took only three days to demolish this 200 ton structure.” [News 22 Feb 1936]
“The ‘New Dock’, as it was named in 1879, is already unknown to many, and will soon be entirely forgotten. In the 70's a company was formed, called the Port Adelaide Dock Co., to construct a dock for vessels visiting this Port. On a site of 9 acres opposite Elder, Smith and Co's. premises it was excavated by the ‘dry’ method — pick and shovel work — the spoil being removed by horses and drays to low lying areas. It provided a first-class dock with 2,000 feet of wharf and a depth of 20 feet at low water. The natural soakage was kept down by several pumps. . . Subsequently hundreds of fine sailing ships berthed, and discharged there. . . Later the steamers and timber ships from the Baltic, Canada and Puget Sound discharged there. In 1935, the S.A. Harbours Board (which had acquired all the wharves) filled up the Dock and removed the bridge.” [Messenger, Port Adelaide 22 Apr 1954]
Taken for Alternativ News , live at La Cigale (Paris), November 1st 2010. Copyright Apolline Mariotti 2010, all rights reserved.
Due to recent misunderstanding of the mention "Do not use without permission" I've decided to tag my pictures. I'm not happy about it, but when I see my pictures all over the internet with the credit cut off, I sometimes believe it's the only solution...
On the side of The Fillmore.
This mural, titled “Stigma” is part of an ongoing mural series that deals with perception and misunderstanding of the other in the urban environment. In this series I have used text to call it like it is while letting the imagery echo a very human reality that combats it. In this mural the essence of struggle and pride in the imagery is made to create friction or resistance to the text. The fence is an element that I have woven in and out of my work in the past. It represents the physical and metaphorical barriers in our society that bar the marginalized from even fighting for a better lives. The figure in the mural is of a young man from the D.C. group “Step Up”. Step up was started in 2005 by a group of 9th graders who formed together for protection against brutality due to appearance and gender identity. Since then Step Up has moved in the direction of fashion design. The fence is shown mangled and broken to symbolize the hopeful dismantling of these boundaries with the shifting social climate.
Reference Photo: M Holden Warren
Taken for Alternativ News , live at La Cigale (Paris), November 1st 2010. Copyright Apolline Mariotti 2010, all rights reserved.
Due to recent misunderstanding of the mention "Do not use without permission" I've decided to tag my pictures. I'm not happy about it, but when I see my pictures all over the internet with the credit cut off, I sometimes believe it's the only solution...
"Paris, May 15, 1908: After several incidents with robbers and uninvited visitors, several jewellers and hotels have decided to use guardian robots for their and their guests' safety. Please cooperate with the guardians in order to avoid misunderstandings."
A series of AI-generated pictures of guardian robots, in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my pictures won't be made available to that group. Thanks for your understanding.
Maybe I didn't understand with my limited knowledge of the German language:) whether the x-company promised to send me this kind of birthday present. Or does she come later? Or should I go back to that Hamburger S-bahn station?
"Eugenics and Sex Harmony". What?? A sex manual or a study of the "improvement" of the human gene pool? Maybe I'm just misunderstanding something.
Hannes Swoboda, S&D Chairman, Manfred Weber, EPP Vice-Chairman, Rebecca Harms, Greens co-Chairman and Edward McMillan-Scott, ALDE Vice-Chairman debated about the role of the media in time of crisis: How could they bridge the gap of misunderstanding between citizens and EU institutions?
Just to avoid misunderstandings: the EXIF data refers to the camera I used to digitalize the negative. The image itself was shot on Fuji Acros Neopan.
Die Bauanleitung zu meiner Lochkamera gibt es unter: www.abgelichtet.org/tutorials/f286-bau-der-lochkamera/
It's been such a privilege to be the official photographer for Korean Club this year, through all I've seen of dramas, fights, frustrations and other misunderstandings. Things turned out to be okay if not spectacular.
I love everyone (well, at least most) and I can't wait to shoot the club one last time next year.
Rechenzentrum
CD :
Rechenzentrum
Rechenzentrum
Kitty - Yo
KYO30
Sounds . Lillevän & Marcus Weiser
Grafik . Angela Lorenz
'In order to avoid all misunderstandings : All samples on this recording have been created by Rechenzentrum.'
Rechenzentrum
In Memoriam Luther Blisset
Postcard :
Pantone 21-1218
Himmelblau
Use Hearing Protection
GMA
HART OF DIXIE."Mistresses and Misunderstandings".Pictured (L-R): Rachel Bilson as Dr. Zoe Hart and Wilson Bethel as Wade..PHOTO CREDIT: DANNY FELD/THE CW.© 2012 THE CW NETWORK. ALL RIGHTS RESERVED
Hannes Swoboda, S&D Chairman, Manfred Weber, EPP Vice-Chairman, Rebecca Harms, Greens co-Chairman and Edward McMillan-Scott, ALDE Vice-Chairman debated about the role of the media in time of crisis: How could they bridge the gap of misunderstanding between citizens and EU institutions?
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
Dedicated in 1899,The Horse Tamers, by Frederick MacMonnies (1863-1937), flank the Park Circle Entrance of Brooklyn's Prospect Park. Horse Tamers is an allegory of the Triumph of Mind over Brute Strength. The sculptures depict nude young men riding bareback on rearing, unbridled horses. To achieve their great dynamic energy, MacMonnies sculpted the horses after live Andalusian models.
(textures thanks to ghostbones and playingwithbrushes)
* * * * * * * * * * * * *
The Fox and the Little Prince
it was then that the fox appeared.
"good morning" said the fox.
"good morning"
the little prince responded politely
altho when he turned around he saw nothing.
"I am right here" the voice said, "under the apple
tree."
"who are you?" asked the little prince, and added,
"You are very pretty to look at."
"I am a fox", the fox said.
"Come and play with me,"
proposed the little prince, "I am so unhappy."
"I cannot play with you," the fox said,
"I am not tamed."
"AH please excuse me,"said the little prince.
But after some thought, he added:
"what does that mean---'tame'?"
"you do not live here," said the fox,
"what is it you are looking for?"
"I am looking for men," said the little prince.
"What does that mean---tame?"
"Men,"said the fox,
"they have guns, and they hunt.
It is very disturbing.
They also raise chickens.
These are their only interests.
Are you looking for chickens?"
"No," said the little prince.
"I am looking for friends.
What does that mean---tame?"
"It is an act too often neglected,"
said the fox.
"It means to establish ties."
"To establish ties?"
"Just that," said the fox.
"to me, you are still nothing more than
a little boy who is just like
a hundred thousand other little boys.
And I have no need of you.
And you, on your part, have no need of me.
To you I am nothing more
than a fox like a hundred thousand other foxes.
But if you tame me, then we shall need each other.
To me, you will be unique in all the world.
To you, I shall be unique in all the world. . ."
"I am beginning to understand,"
said the little prince.
"There is a flower. . .I think she has tamed me. . ."
"It is possible," said the fox.
"On earth one sees all sorts of things."
"Oh but this is not on the earth!"
said the little prince.
The fox seemed perplexed, and very curious.
"On another planet?"
"Yes"
"Are there hunters on that planet?"
"No"
"Ah that's interesting! Are there chickens?"
"No"
"Nothing is perfect," sighed the fox.
But he came back to his idea.
"My life is very monotonous," he said.
"I hunt chickens; men hunt me.
All chickens are just alike,
and all the men are just alike.
And in consequence, I am a little bored.
But if you tame me,
it will be as if the sun came to shine on my life.
I shall know the sound of a step that will be
different from all the others.
Other steps send me hurrying back
underneath the ground.
Yours will call me, like music out of my burrow.
And then look:
you see the grain-fields down yonder?
I do not eat bread.
Wheat is of no use to me.
The wheat fields have nothing to say to me.
And that is sad.
But you have hair that is the color of gold.
Think how wonderful that will be
when you have tamed me!
The grain, which is also golden,
will bring me back the thought of you.
And I shall love to listen
to the wind in the wheat. . ."
The fox gazed at the little prince,
for a long time.
"Please---tame me!" he said.
"I want to, very much," the little prince replied.
"But I have not much time.
I have friends to discover,
and a great many things to understand."
"One only understands the things that one tames,"
said the fox.
" Men have no more time to understand anything.
They buy things all ready made at the shops.
But there is no shop anywhere
where one can buy friendship,
and so men have no friends any more.
If you want a friend, tame me. . ."
"What must I do, to tame you?
asked the little prince.
"You must be very patient," replied the fox.
First you will sit down
at a little distance from me
-like that-in the grass.
I shall look at you out of the corner of my eye,
and you will say nothing.
Words are the source of misunderstandings.
But you will sit a little closer to me,
every day..."
The next day the little prince came back.
"It would have been better to come back
at the same hour," said the fox.
"If for example, you came at four o'clock
in the afternoon,
then at three o'clock I shall begin to be happy.
I shall feel happier and happier
as the hour advances.
At four o'clock,
I shall be worrying and jumping about.
I shall show you how happy I am!
But if you come at just any time,
I shall never know at what hour
my heart is ready to greet you. . .
One must observe the proper rites. . ."
"What is a rite?" asked the little prince.
"Those also are actions too often neglected,"
said the fox.
"they are what make one day
different from other days,
one hour different from other hours.
There is a rite, for example, among my hunters.
Every Thursday they danse with the village girls.
So Thursday is a wonderful day for me!
I can take a walk as far as the vineyards.
But if the hunters danced at just any time,
every day would be like
every other day,
and I should never have any vacation at all."
So the little prince tamed the fox.
And when the hour of his departure drew near---
"Ah," said the fox, "I shall cry."
"It is your own fault," said the little prince.
"I never wished you any sort of harm;
but you wanted me to tame you. . ."
"Yes that is so", said the fox.
"But now you are going to cry!"
said the little prince.
"Yes that is so" said the fox.
"Then it has done you no good at all!"
"It has done me good," said the fox,
"because of the color of the wheat fields."
And then he added:
"go and look again at the roses.
You will understand now
that yours is unique in all the world.
Then come back to say goodbye to me,
and I will make you a present of a secret."
The little prince went away,
to look again at the roses.
"You are not at all like my rose," he said.
"As yet you are nothing.
No one has tamed you, and you have tamed no one.
You are like my fox when I first knew him.
He was only a fox
like a hundred thousand other foxes.
But I have made a friend,
and now he is unique in all the world."
And the roses were very much embarrassed.
"You are beautiful, but you are empty," he went on.
"One could not die for you.
To be sure, an ordinary passerby would think
that my rose looked just like you
--the rose that belongs to me.
But in herself alone she is more important
than all the hundreds of you
other roses: because it is she that I have watered;
because it is she
that I have put under the glass globe;
because it is for her
that I have killed the caterpillars
(except the two or three we saved
to become butterflies);
because it is she that I have listened to,
when she grumbled,
or boasted,
or even sometimes when she said nothing.
Because she is MY rose."
And he went back to meet the fox.
"Goodbye" he said.
"Goodbye," said the fox.
"And now here is my secret, a very simple secret:
It is only with the heart that one can see rightly;
what is essential is invisible to the eye."
"What is essential is invisible to the eye,"
the little prince repeated,
so that he would be sure to remember.
"It is the time you have wasted for your rose
that makes your rose so important.
"It is the time I have wasted for my rose--
"said the little prince
so he would be sure to remember.
"Men have forgotten this truth," said the fox.
"But you must not forget it.
You become responsible, forever,
for what you have tamed.
You are responsible for your rose. . ."
"I am responsible for my rose,"
the little prince repeated,
so that he would be sure to remember.
From the Little Prince by Antoine de Saint-Exupery
Hannes Swoboda, S&D Chairman, Manfred Weber, EPP Vice-Chairman, Rebecca Harms, Greens co-Chairman and Edward McMillan-Scott, ALDE Vice-Chairman debated about the role of the media in time of crisis: How could they bridge the gap of misunderstanding between citizens and EU institutions?
The Joy of Love/What They've Given
These are the necklaces that my husband has given me for Christmas the past two years. We had a couple of misunderstanding years where I felt he totally tanked on the effort, so he vowed to make it up and he did! I'm not a huge jewelry person. Don't get me wrong, but I don't expect diamonds or jewels. I just want to see that he cared enough to make the effort. And now, not only do I receive thoughtful gifts from my husband, but he makes sure that Major gives me something small as well.
"Psychology to attract the opponent in an instant." Author: Naito Yoshihito
The "to be hated and put Zubazuba opening that I thought." "Is there not? Should Moteru than beauty is ugly." "Best to not involved with that I do not like that person." In fact, none of misunderstanding!. Behavior of "I wanted to be loved" is idle surprisingly everyone. 'Cause you know, data indicates. It is not even in the face if you want to be liked by people. Not a personality. Brush your technique.
I love that this can design obviously hasn't changed in the last few decades.
PS, "grænar baunir" is literally "green beans", which seems to me a fine and reasonable thing to call peas.
BUT, the really excellent thing is that corn is called "gula baunir" - "yellow beans". We can only hope this stems from the naive misunderstandings of a nation which has only recently been able to access non-canned corn.
The use of RCTs has a long history in economics, but has recently greatly expanded, particularly in economic development. Like other econometric methods, RCTs are often informative, but like other econometric methods, they have problems and pitfalls that are not always fully understood. Common misunderstandings include balance, standard errors and inference, and blinding. We argue that the concepts of internal and external validity as commonly used are unhelpful. We focus on how to use the results of RCTs, arguing that simple replication is rarely useful, but rather that the results of RCTs need to be combined with other knowledge and evidence, and used as part of a serious economic analysis. Examples are provided along the way.
Spanish Professor Gizella Meneses spoke about growing up Latina, specifically Ecuadorean, at Soup and Stories. Her story was titled, "Cultural misunderstandings and a multiple positioned identity."
As I wandered through the autumnal fields along the Meuse River, Petronius's Satyricon - that marvellously wicked risqué satire of late Antiquity mined for modern surreal viewers by Federico Fellini in 1969 - was far from my mind. And certainly our Jacobaea vulgaris, Ragwort, or Mare's Fart or Stinking Willie, delighted my simple roaming mind purely for its Bright and Sunny Beauty. But then I returned home...
To my surprise, many entries on the internet for this Ragwort add the supposition that 'in ancient Greece and Rome a supposed aphrodisiac was made from the plant; it was called satyrion'. This must be a wide-ranging mistake, I thought. The potent drink in which young Encolpius and his ardent companions in the Satyricon indulged, satyrion, was reportedly pressed from Lady's Traces (= Tresses), a Spiranthes orchid or else possibly from Aceras or Orchis anthropophora. Neither have any relation to Jacobaea vulgaris. Indeed, a drink of Ragwort Tea is strong medicine which would undoubtedly have cured anyone from Amorous Games.
I wondered, though, whence this misunderstanding. Leafing through various dictionaries and other tomes, I didn't exactly find a definitive answer. The earliest instance I could find was in Nathan Bailey's dictionaries of the early eighteenth century: 'Lady traces: a sort of satyrion or ragwort' (1731). Thus Love-draught Flower and Stinking Willie are synonyms for the 'Pleated' Orchids of Lady's Traces; a patent mistake, if ever there was one. If anyone has earlier information, please let me know. Trimalchio would have grinned at this verbal confusion and might've told the story at his lavish banquet...
But I turned again to the Sunny Faces of wild Jacobaea vulgaris for some natural light.
"The Quiet and Ugly Artist (Hanoi, 1965-2015)", An art installation by Daniel Kerkhoff at Chaap Art, 82 Đê Quai Street, Tây Hồ District, Hanoi. October 3rd to October 11th,, 2015. Opening reception, October 3rd, 6-9pm.
An installation based on Daniel Kerkhoff's self-imposed artist-in-residency in Hanoi from February 6th to October 26th. It is part of a larger project which includes residencies in Ghana and Ecuador. Embedded in a community for just under nine months, the human gestation period, premature, a gradual, a creative process,
an exploration, noticing, weaving, sharing, and witnessing, connection, disconnection, a journal, found sculptures, painting, photographs, videos, documenting, collections, keepsakes, collages, receipts and brochures, maps, business cards and consumer packaging, consumed and consuming, souvenirs,
walking, discovering, travel, a paper trail, colonize, appropriate, trophies, convoluted, cover-ups, muddy, history, memory, remnants, experience, lost, absorbed, traces, vague, melding, a buried presence, fading, rotting, germinating, misunderstanding, forgotten, pollination, rejuvenation, impermanence, transformation.
Daniel Kerkhoff is a visual artist from Minneapolis, Minnesota, U.S.A. You can see photos of his projects in Vietnam, Ghana, Ecuador, and other places at www.danielkerkhoff.com.
Prints will be available for 500,000 VND or $25.00 with all proceeds going to future exhibition costs at Chaap Art for emerging women artists.
The exhibition will be open everyday from 10 am to 4 pm. Chaap Art is located at No. 82 Đê Quai, Lane 310, Nghi Tàm Street, Tây Hồ District, Hanoi. Directions: From Nghi Tàm Street, follow Lane 310 all the way to the end where it turns left onto Đê Quai Street. Go about 500 meters on Đê Quai Street and Chaap Art will be on your left.
Phone number: 0987757769 - 0985836023
Chaap Art is an art space founded by a group of artists in 2009 with the purpose of supporting contemporary art activities and exhibitions in Hanoi. Our slogan is: "Cứ tự nhiên".
Translate in to Vietnamese:
"The Quiet and Ugly artist ( Hanoi,1965 - 2015 )" - " Nghệ sĩ Trầm lặng và Xấu xí (Hanoi, 1965 - 2015)
Từ ngày 3/10 đến 11/10
Mở cửa đón khách 3/10/2015 từ 18h đến 21h
Triển lãm sắp đặt dựa trên quá trình tự lưu trú của nghệ sĩ Daniel Kerkhoff's tại Hà Nội từ ngày 6/2 đến ngày 26/10. Đây là một phần của dự án lớn hơn bao gồm cả những chương trình lưu trú của nghệ sĩ tại Ghana và Ecuador. Hòa chung với cộng đồng chỉ chưa tới chín tháng , thời kì thai nghén của một con người, sinh non, một quá trình sáng tạo dần,
một sự khai phá, lưu tâm, đan kết, chia sẻ, chứng kiến, kết nối, tách biệt, viết nhật kí, tìm ra những tác phẩm điêu khắc, tranh vẽ, ảnh, video, tài liệu, thu thập, lưu giữ, cắt dán, hóa đơn, tờ rơi,bản đồ, danh thiếp, giấy đóng gói hàng, đã tiêu thụ và đang tiêu thụ, đồ lưu niệm,
đi bộ, khám phá, du lịch, những giấy tờ, dấu ấn, riêng biệt, danh hiệu, cuộn lại, che phủ, màu sắc mờ đục, lịch sử, kí ức, tàn tích, kinh nghiệm, thất lạc, cảm thụ, dấu vết, mơ hồ, tan chảy, chôn vùi hiện diện, phai màu, mục nát, nảy mầm, sự hiểu lầm, bị lãng quên, thụ phấn, trẻ hóa, vô thường, biến đổi.
Daniel Kerkhoff là một nghệ sĩ thị giác đến từ Minneapolis, Minnesota, Mỹ. Các bạn có thể xem những hinhg ảnh về dự án của ông ở Việt Nam, Ghana, Ecuador và một số nơi khác ở website: www.danielkerkhoff.com.
Những bản in có sẵn với giá 500.000 đồng hoặc $25,00. Tất cả tiền thu lại sẽ dành để làm chi phí cho triển lãm trong tương lai cho các nữ nghệ sĩ tại Chaap Art.
Triển lãm mở cửa trong 8 ngày từ 10h sáng đến 16h chiều tại Chaap Art - Số 82 Đê Quai - ngõ 310 - Đường Nghi Tàm - Quận Tây Hồ- HN
Điện thoại : 0987757769 - 0985836023
Chaap Art là một không gian nghệ thuật được sáng lập bởi một nhóm nghệ sĩ từ năm 2009 nhằm mục đích hỗ trợ các hoạt động và triển lãm sáng tạo nghệ thuật đương đại tại Hà Nội. Tiêu chí của chúng tôi trong sáng tác nghệ thuật là " Cứ tự nhiên"
Ok we pitched this one out for real, and I sewed it up. 2 good cams, 1 nut that got stuck when I was placing it so I might as well clip it, 2 not so great screws (at this point I was wondering where the 22 and the 10 were, because all the ice was either aerated or thin or both...), 1 bomber screw after the difficulties were over.
*
Open Door
Life is truly kind
Come to me, if I go to you it’s a game,
The angels of bouquets grant the flowers a change of hue.
The Immediate Life
What’s become of you why this white hair and pink
Why this forehead these eyes rent apart heart-rending
The great misunderstanding of the marriage of radium
Solitude chases me with its rancour.
Lovely And Lifelike
A face at the end of the day
A cradle in day’s dead leaves
A bouquet of naked rain
Every ray of sun hidden
Every fount of founts in the depths of the water
Every mirror of mirrors broken
A face in the scales of silence
A pebble among other pebbles
For the leaves last glimmers of day
A face like all the forgotten faces.
—Paul Éluard "City of Pain"
*
6.317M2 .. seems very accurate to me. Am I misunderstanding this? Should it be m3 (as in cubic meter) or M2 (what is M?).
One of the beautiful tropical butterflies that were on display in the ENMAX Conservatory at the Calgary Zoo. Taken on August 23rd. Their season came to an end ealier in October, but they will be back next spring. I love the deep orange pattern on the hind wings.
Well, so much for getting my front door replaced today! I was up at some unearthly hour because I hadn't heard back about what time they might arrive. Last night, I removed all things from nearby walls and shelves and even made sure I caught up with the dishes and cleaned the sink, lol. Then around 9:45 a.m. I think, I get a knock on the front door and the guy explains that the doors hadn't yet been delivered (some misunderstanding) and so it would be next Monday (a whole week) when they would be coming. If they happen to finish something else early before that and notice that I am home, they will stop by and ask if they can do it then instead. Can't say I was exactly impressed. Decided to grab my camera and try a few macros in my kitchen. OK, I'll admit it, I'm waiting to hear the final verdict on the Death of Michael Jackson manslaughter case : )