the behavioral specialist observed that even though conor is 14 years old, he’s Very active and curious...more so than most cats his age. I was like Well ya, he’s a gemini... (this got no response - haha)

after going over his history, it came out that his personality may have been repressed for most of his life, having been in a household with very dominant cats. Gorby was the original boss. he died when conor was 3. next up was madeline and she ruled until a little over a year ago.

i think i told you guys how funny it was to watch conor experiment with begging and demanding things after madeline died. he had never begged in his life! he barely even meowed before. he was super mellow and passive, for as long as I can remember. it was a very big change in his life, to be without a companion (a very bossy demanding companion who demanded everything for the two of them), to all of a sudden needing to express his needs himself. (he’s an expert now, by the way...)

his issues started not long after madeline died so madeline kept entering the conversation. not only was he discovering his own power without her, but he had lost a daily outlet for his aggressions. even though I caught them cuddling often (well, curled up next to each other), and he definitely watched after her when she was deaf, he would also sneak up behind her and knock her to the ground, or punch and cut her in fights, and this happened almost daily.

so, in some respects, I became the new madeline.

the hope is that the aggressiveness will calm down if I give him more outlets to express his energy and offer more options for him to use his mind. He was put on a calming supplement called zylkene and i’ve implemented some new routines and play time. it’s a very big focus in my life right now so you’re bound to see many pictures of him in this project :)

so far the things that have worked the best involve treats. he loves running after treats (how did I give him treats by hand before? How boring!), he loves it when I hide treats. most recently I got a cat puzzle you throw treats into and he super loves that...

it’s been a process. i’m trying. everything was getting better but now it’s getting worse again. there will probably be many ups and downs until we figure out the best plan so i try to stay calm and positive, even when anxiety is flaring up in the background of my mind. this is all new. i just started implementing changes this month.

.....i shot this from outside the window.

The shore-lark soars to his topmost flight,

Sings at the height where morning springs,

What though his voice be lost in the light,

The light comes dropping from his wings.

Mount, my soul, and sing at the height

Of thy clear flight in the light and the air,

Heard or unheard in the night in the light

Sing there! Sing there!

Words by Duncan Campbell Scott

♫ - Peaceful Music

Photography by Pryere - Pryere

Painting using acrylics, gouache, pigment and ink

for Flickriver - Sophie Shapiro

Over the years, my sister and I have both had weird, disturbing, recurring dreams about bathrooms. They're always filthy, especially the toilets, and always inexplicably so.

One theory is that the dreams have to do with some sort of repressed emotion. You know... something that needs to come out, but can't in such an inhospitable environment.

I don't know if there's any truth to that. For what it's worth, I haven't had those dreams in a long time. I'm just attracted to rundown, rotting, mouldering things. The why is unimportant.

Truciolo, Sándor Márai

"(...) we do not love so much what is beautiful, good and virtuous, but rather everything that is repressed, imperfect, restless, and that protests by gnashing his teeth - everything that is not virtue and condescension, but is instead imperfection and rebellion".

Taken as a Christmas present to please his bourgeois wife, the dog Truciolo turns out to be more difficult to manage than expected. This novel is antithetical to "My Dog Tulip" by J.R. Ackerley: there an idyllic story between owner and dog, with Ackerley finding the ideal friend in the dog, here a series of misunderstandings, mistakes and stupid misunderstandings that ruin everything and lead to a sad epilogue. Together with Virginia Woolf's book, "Flush, biography of a dog", "Truciolo" and the aforementioned book by Ackerley are for me an unmissable triad for readers who love dogs ("Truciolo" however is the bitter morsel).

"(...) non amiamo tanto ciò che è bello, buono e virtuoso, ma piuttosto tutto ciò che è represso, imperfetto, irrequieto, e che protesta digrignando i denti - tutto ciò che non è virtù e accondiscendenza, ma è invece imperfezione e ribellione".

Preso come regalo di Natale per compiacere la moglie borghese, il cane Truciolo si rivela più difficile da gestire del previsto.

Questo romanzo è antitetico a "Il mio cane Tulip" di J.R. Ackerley: là una storia idilliaca fra padrone e cane, con Ackerley che trova nel cane l'amico ideale, qui una serie di incomprensioni, errori e stupidi equivoci che rovinano tutto e portano a un epilogo triste. Insieme al libro di Virginia Woolf, "Flush, biografia di un cane", "Truciolo" e il libro già citato di Ackerley sono per me una triade imperdibile per i lettori che amano i cani ("Truciolo" però è il bocconcino amaro).

www.anobii.com/it/books/truciolo/9788845917400/014b32aa83...

www.youtube.com/watch?v=d5tZBNPLE10

........................................................................

SAUDADE is a unique Galician-Portuguese word that has no immediate translation in English. Saudade describes a deep emotional state of nostalgic longing for an absent something or someone that one loves. It often carries a repressed knowledge that the object of longing might never return. It's related to the feelings of longing, yearning. A stronger form of saudade may be felt towards people and things whose whereabouts are unknown, such as a lost 'something' ...

Saudade is the recollection of feelings, experiences, places or events that once brought excitement, pleasure, well-being, which now triggers the senses and makes one live again. It can be described as an emptiness, like someone ( one's children, parents, sibling, grandparents, friends, pets) or something ( places, things one used to do in childhood, or other activities performed in the past) should be there in a particular moment is missing, and the individual feels this absence. In Portuguese, 'tenho saudades tuas', translates as 'I have saudades of you' meaning much more than 'I miss you', carrying a much stronger tone. In fact, one can have 'saudades' of someone whom one is with, but have some feeling of loss towards the past or the future...

Catharsis is the process of releasing, and thereby providing relief from, strong or repressed emotions. This is usually done through art forms such as tragedy, drama, dance, and music.

The AIDS Epidemic started in the Late 70’s and 80’s spreading through the United states leaving a trail of death, confusion, and fear while communities watched it all happen on the news. There were many public figures, activists, artists, and allies whose stories were never told and have been forgotten. When we remain silent on issues that have had significant impact on our society, it creates a fear or stigma that keeps us from understanding each other and moving forward. Through Dance and multi-media, The Catharsis Project retells these stories to fight the stigma that silence creates.

This screening will also be a WORLD PREMIER of a new piece of work entitled "Affinity"; which is the start of a tribute to ACT UP and all the work they did for people living with HIV & AIDS, when the government was doing nothing.

Photos have a way of triggering lost memories that might otherwise have remained deeply repressed, likely forever. Happens to me all the time. I quick scroll back through the photos on my phone is all it takes. It's a wonderful mental exercise, especially for aging and often forgetful brains like mine. Gives me a perverse sense of optimism that so many detailed memories remain intact despite the abject failure of my mental retrieval system. Again, absent the photos, I wouldn't even have many of the memories, and certainly not all of the nuance. It's a huge motivator to shoot more photos when I'm out and about, even if the subjects seem trivial in the moment. They might prove much more significant in a year or two in terms of filling in the mental gaps.

In the case of this old carriage barn, I found myself here in the worst possible lighting conditions. I much prefer shooting abandoned buildings under overcast skies. I'm always looking for skies that complement my subjects. But the universe landed me here on a day filled with bright sunshine, and who am I to argue? Somewhere in the middle of the shoot it occurred to me these photos were no longer about the barn, but the shadows being cast upon it by adjacent trees. It's like looking at the negative space rather than an actual object. That realization changed everything. The brilliant sun, which normally creates a sense of cheerfulness, was now conspiring to distort the underlying visual with an ominous mood. Best of all, the old barn was now darkly contextualized in a way that I could not even have imagined when I first approached it. And a rich tapestry of memory encapsulated in a single photo.

The “Don’t Touch My Hair” Series is a body of work that looks at both the beauty and objectification of black women and their hair by displaying beautiful, intricate hairstyles. Taking inspiration from West Africa and recreating them from a modern perspective. It uses colour and decoration inspired by my Yoruba culture, whilst framing the women in the photographs both as objects and people. Their faces range from vacant emotions to ones which are expressive. Referencing when black women can express their emotions outwardly and other times when their feelings must be repressed.

The women photographed are Abi Kasim, Precious Beattie and Raihanna Thompson. Hair was done by Rebecca Emmanuel and make-up by Precious Beattie.

I would say to any artist: 'Don't be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.' -- Edward Weston to Ansel Adams

Same time, same place as my posting of two days ago. So that it wouldn't be just another view of the same thing, I decided to play around a little. For a dreamy quality, I applied a little gaussian blur and added Flypaper texture "Grosgrain" for a silky effect.

Huntington Beach Pier

Huntington Beach, California

The Puppeteer.

Soul-Eater.

He for Whom Death is a Shadow.

I still keep my hunting gear, though. Still replenish my tank of metadermis and practice aiming with my gauntlets and shaping it with my weakened mind-will. I remember I could form entire mountains out of nothing to crush my enemies...and now I rely on this liquid, highly receptive to mind-willing, to form a simple chain and mace. But I must defend myself...so that when my appetite has been sated at long, long last, there will be none in my way as I take back what has always be mine.

Hopefully the floating chains in the other build make more sense now. :3

This was the first to be built, based very heavily on Brickthing's Onuta. Throughout the building process, I continually found myself referring to and reverse-engineering parts of it where my own knowledge was lacking, especially for the knee joints and elbows.

Thanks for stopping by!

The “Don’t Touch My Hair” Series is a body of work that looks at both the beauty and objectification of black women and their hair by displaying beautiful, intricate hairstyles. Taking inspiration from West Africa and recreating them from a modern perspective. It uses colour and decoration inspired by my Yoruba culture, whilst framing the women in the photographs both as objects and people. Their faces range from vacant emotions to ones which are expressive. Referencing when black women can express their emotions outwardly and other times when their feelings must be repressed.

The women photographed are Abi Kasim, Precious Beattie and Raihanna Thompson. Hair was done by Rebecca Emmanuel and make-up by Precious Beattie.

[explored. thank you so much ♥]

I love books, mostly the old ones, with their heavy scented pages, covered in dust but mostly filled up with history, either it's carved onto their covers, hand written into their pages, or just warn out by time.

Being surrounded by books makes me giggly and happy, like a burst of a whole happy person who is usually repressed within me, so i guess you can imagine my joy while running through 7 antique book stores,going onto reserved places, where you can walk in with permission...oh my,what a wonderful feeling!

LE COLONNE DELLA NAVATA

La chiesa si trova sulla Butte de Montmartre, una collina a 200 metri di altezza rispetto al resto di Parigi, e proprio in questo luogo ci fu uno dei primi atti di rivolta della seconda Comune nel 1870. La Comune, fortemente anticlericale, venne poi repressa nel sangue e secondo alcuni la Basilica fu costruita nel 1875 (e completata poi nel 1919) come opera riparatoria per gli atti di violenza compiuti in questa zona. I parigini non apprezzarono questa sorta di monito da parte della Chiesa, e come risposta nel 1908 fu posta, proprio di fronte alla chiesa, una statua dedicata a Chevalier de la Barre, nobile francese finito al rogo con l'accusa di blasfemia un secolo prima. Oggi si può ammirare la statua proprio nel parco a sinistra della scalinata che porta alla chiesa.

------------------------------------------

THE COLUMNS OF THE NAVE

The church is located on the Butte de Montmartre, a hill 200 meters above the rest of Paris, and in this very place there was one of the first acts of revolt of the second Commune in 1870. The Commune, strongly anticlerical, was then repressed in the blood and according to some the Basilica was built in 1875 (and then completed in 1919) as a restorative work for the acts of violence carried out in this area. The Parisians did not appreciate this sort of warning from the Church, and as a response in 1908, a statue dedicated to Chevalier de la Barre, a French nobleman who had been burned at the stake for blasphemy a century earlier, was placed right in front of the church. . Today you can admire the statue right in the park to the left of the staircase leading to the church.

CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

Dear friends: Catalans, Castilians, Galicians, Andalusians, Valencians ... and all those who feel Spanish, also French, English, Australian, German, Danish, Americans ... to everyone who follows me or visits me.

I was really excited to share my Iceland vacation diary, but after what happened yesterday in Catalonia, where the ideas, ideologies and facts expressed in a peaceful way, they were violently repressed by the police of Spain .

That is why, due to the shame and sadness that I feel, I will stop my activity on Flickr for a while ...

When I have some encouragement to comment and enjoy photography with all of you, I will return.

Thank you and forgive me.

Benvolguts amics: Catalans, castellans, gallecs, andalusos, valencians...i tots els que es senten espanyols, també a francesos, anglesos, australians, alemany, danessos, americans.... a tothom que em segueix o em visita.

Realment estava molt ilusionat per compartir el meu diari de les vacances a Islàndia, però després del que va passar ahir a Catalunya, on les idees, ideologies i fets expressades sempre de forma pacífica, varen ser reprimits violentament per la policia de l'estat espanyol.

Es per això que degut a la vergonya i la tristor que sento, que aturaré la meva activitat a Flickr durant un temps...

Quan jo torni a tenir ànims per comentar y disfrutar de la fotografia amb tots vosaltres tornaré.

Gràcies i perdoneu-me.

Estimados amigos: Catalanes, castellanos, gallegos, andaluces, valencianos ... y todos los que se sienten profundamente españoles, también a franceses, ingleses, australianos, alemán, daneses, americanos .... a todo el que me sigue o me visita.

Realmente estaba muy ilusionado por compartir mi diario de las vacaciones en Islandia, pero después de lo que pasó ayer en Cataluña, donde las ideas, ideologías y hechos expresados siempre de forma pacífica, fueron reprimidos violentamente por la policía del estado español .

Es por eso que debido a la vergüenza y la tristeza que siento, que detendré mi actividad en Flickr durante un tiempo ...

Cuando yo vuelva a tener ánimos para comentar y disfrutar de la fotografía con todos vosotros volveré.

Gracias y perdonadme.

Old one room schoolhouse near the very appropriately named Dark Hollow Road.This one is down a winding lane,surrounded by tall corn. The blackboard and some textbooks remain strewn about the interior making one wonder about all the memories trapped inside....

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

In art class a while ago, we were assigned a hand drawing--just to look at our hand, and draw what we saw--and then, almost as an afterthought, my teacher added to the assignment a stream-of-consciousness writing exercise. And so, I started to write--beginning with a line from a Counting Crows song, "So I throw my hand into the air and it swims in the beams..." and writing, writing for the entire page without stopping pretty much at all. I sort of liked how it turned out, but I pretty much forgot about it.

Then, a few days ago, I open my art folder to find a note from Nelli (surprising me quite a bit) who had found it, and along with a friend, thought it was pretty good. And so I stole it from my own art folder (if you knew my art teacher, you'd realize this was more difficult than it sounds), scanned it, and here it is. Sort of a poem, sort of a ramble, sort of a semi-fictional outpouring of otherwise repressed emotions, it's certainly different from most of my stuff.

Full view, obviously, unless you're good at reading tiny, messy handwriting.

Now that the Turkey is devoured and people have been able to take out their repressed angst on strangers on Black Friday, we are coming around to Santa Season, once more.

I’m a huge fan of the season, if for no other reason than for the photographic opportunities. :)

I took this shot last year, my daughter was pleading with the Santa at Bass Pro Shops, on my behalf. We had been joking that I had been bad throughout the year so/she felt inclined to use some of her Santa face/time to appeal for my reinstatement to the nice list.

I’m probably not going to be able to out-do this shot, this year. But, I’ll try!

In analytical psychology, the shadow (also known as ego-dystonic complex, repressed id, shadow aspect, or shadow archetype) is an unconscious aspect of the personality that does not correspond with the ego ideal, leading the ego to resist and project the shadow. One of the best ways to identify your shadow is to pay attention to your emotional reactions toward other people. Sure, your colleagues might be aggressive, arrogant, inconsiderate, or impatient, but if you don't have those same qualities within you, you won't have a strong reaction to their behavior.

Nellie Vin ©Photography

Prints 24 x 16 in

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

Only those in tune with nature seem to pick up on the energy in wind. All sorts of things get swept off in the breeze - ghosts, pieces of soul, voices unsung, thoughts repressed, love uncherished, and a thousands galore of spiritual ether. Wind is an emotional rush because emotions are rushing by.

~ Terri Guillemets

© All Rights Reserved Please don't use this image on websites, blogs or other media without my explicit permission

see on black: my fluidr stream: www.fluidr.com/photos/msdonnalee or click L to view on flickr black

san miguel de allende, gto

mexico

anger is wired into our dna. anger is a natural and healthy response to injustice, threat, betrayal. just needs to be properly managed and consciously directed -- not ignored or repressed. civil engagement is one way to counter the prevailing dark forces in world affairs.

... aber mit einer faszinierenden Geschichte ...

Gradiva

Das Relief ist Teil einer Komposition, in der eine weibliche Dreiergruppe von rechts zu einer gegenüberstehenden Mädchendreiergruppe schreitet, deren Reliefs sich jetzt in verschiedenen Museen befinden: Es sind die sogenannten Horen und Aglauriden, wahrscheinlich Kopien eines griechischen Originals aus dem 4. Jahrhundert v. Chr.

Der Name Gradiva, lateinisch „die Gehende", wurde dem ersten Mädchen der Gruppe von Wilhelm Jensen in seiner Novelle Gradiva. Eine pompeijanische Phantasie (1903) zugeteilt.

Als ein Archäologe diese Flachrelief entdeckt, verliebte er sich augenblicklich in die so anmutig schreitende Dame.

Carl Gustav Jung wies Sigmund Freud auf diese Novelle hin, der dann in seinem Essay Delirium und Traum in der „Gradiva" von Jensen (1906) diesen literarischen Fall als psychiatrischen Fall untersuchte, um zu erklären, wie äußere Reize im Innersten versteckte psychische Spannungen an die Oberfläche bringen können.

Freud, ein Sammler antiker Kunst, erwarb in Rom einen Abdruck dieses Reliefs, den er an der Wand in seiner Praxis nahe der berühmten Couch anbrachte.

die Surrealisten André Breton, Salvador Dali, Alberto Giacometti und André Masson wurden von Freuds Analyse inspiriert und erkoren die Gradiva zu ihrer Muse.

Breton eröffnete sogar eine Galerie 1937 in Paris mit dem Namen Gradiva, die vortan die tiefe Verbindung zwischen Kunst, unterbewusstem und verdrängtem Begehren verkörpern sollte ...

English

Perhaps something completely inconspicuous at first glance... but with a fascinating history / story ...

Gradiva

The relief is part of a composition in which a group of three women walks from the right toward a group of three girls standing opposite them, whose reliefs are now in various museums: These are the so-called Horen and Aglaurids, probably copies of a Greek original from the 4th century BC.

The name Gradiva, Latin for “the walking one,” was given to the first girl in the group by Wilhelm Jensen in his novella Gradiva. A Pompeian Fantasy (1903).

When an archaeologist discovered this bas-relief, he instantly fell in love with the gracefully striding lady.

Carl Gustav Jung pointed out this novella to Sigmund Freud, who then examined this literary case as a psychiatric case in his essay Delirium and Dream in Jensen's “Gradiva” (1906) to explain how external stimuli can bring hidden psychological tensions to the surface.

Freud, a collector of ancient art, acquired a print of this relief in Rome, which he hung on the wall in his practice near the famous couch.

The surrealists André Breton, Salvador Dali, Alberto Giacometti, and André Masson were inspired by Freud's analysis and chose Gradiva as their muse.

Breton even opened a gallery in Paris in 1937 called Gradiva, which was intended to embody the deep connection between art, the subconscious, and repressed desire ...

_V0A5124_pt2

Touch the Shadow.

In Carl Jung's psychology, the shadow archetype is the unconscious part of the mind that contains repressed ideas, instincts, and shortcomings. It's considered the darker side of the psyche, representing chaos, wildness, and the unknown.

Anemone Week (do do bee do bee) continues. Processed with the Anemone Lust preset, released late last week. Follow profile links to get your very own FREE copy for Lightroom, ACR and PSE.

Ack! Ack! Ack!

28:365

Dedicated to a special person who has deprived me of my sleep for many days out of your observation, and I have repressed this fact all my life, now I am well aware.

Repressed in Luminar AI Detail.

It seems that you live in someone else's dream

In a hand-me-down wedding dress

With the things that could have been are repressed

But you said your vows and you closed the door

On so many men who would have loved you more

Soon everybody will ask what became of you

Your heart was dying fast and you didn't know what to do

The whispers that it won't last roll up and down the pews

And if our hearts were dying that fast, they would have done the same as you

My heart is so heavy my chest caves in when I lay down in bed at night.

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

Valparaíso is a major city, seaport, naval base and educational centre in the commune of Valparaíso, Chile. "Greater Valparaíso" is the third largest metropolitan area in the country. Valparaíso is located about 120 kilometres (75 mi) northwest of Santiago by road and is one of the South Pacific's most important seaports. Valparaíso is the capital of Chile's second most populated administrative region and has been the headquarters for the Chilean National Congress since 1990. Valparaíso has two state-owned and several private universities.

Valparaíso played an important geopolitical role in the second half of the 19th century when the city served as a major stopover for ships traveling between the Atlantic and Pacific oceans by crossing the Straits of Magellan. Valparaíso experienced rapid growth during its golden age, as a magnet for European immigrants, when the city was known by international sailors as "Little San Francisco" and "The Jewel of the Pacific".

In 2003, the historic quarter of Valparaíso was declared a United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage site.

I'm running out of patience with the news lately. I think my advancing age is colliding with my ever decreasing attention span. My mind is still very curious, it's just become very selective. I can no longer watch any sort of news programming where the content is decided for me. I prefer aggregated news websites where I can scan the headlines, and drill down only if there's interest. Point is there seldom is any interest. Increasingly, I'm finding that the headline itself provides enough information. Lately, most of what I learn about current events comes by way of single sentence blurbs. And even then, I skim past many after reading only the first couple of words. I'm just a step away from simply looking at the pictures and not reading anything at all. I wonder sometimes how my intellect became so degraded (or as I like to think of it, repurposed). It happened so gradually I didn't really notice until it was gone. I always thought of mindfulness as a linear progression. Turns out I was wrong.

Doll encounters have a way of forcing repressed thoughts to the forefront. These grimy faces, bad haircuts, and utterly forlorn baby clothing epitomize the hopelessness of castoff toys. The children that once cherished them grew up and left the dolls behind, battered and forgotten. Objects intended to bring joy and happiness now destitute, cast with a pall of solemnity. It concerns me at times that I find such joy in capturing these tiny faces of despair. All part of the art I tell myself; just take the photos and try not to overthink it. As long as the results are respectful, the means seem justified.

I get really bad vibes from the man in this ad.

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

I have immense respect for Peter Tatchell. He has spent almost his entire lifetime campaigning for LGBTQ+ rights and the rights and freedoms of repressed people and communities from Baluchistan to Zimbabwe, often at great risk to himself. He has also tirelessly fought against and exposed the economic damage and inequality caused by austerity in Britain under successive governments. Over ten years ago, he also helped me out of a very difficult situation.

I would not hesitate to join him in condemning the Russian invasion of Ukraine as one of the worst war crimes in the last 50 years, but I'm not sure to what extent he supports sending arms for Ukraine. For instance, some of those strongly supporting peace negotiations, such as Noam Chomsky, who has for years given talks on the geopolitics of the region, have also fully supported sending weapons, as long as this transfer is "carefully calibrated" so as not to escalate the conflict into a potentially catastrophic wider European, world or nuclear war.

I've written elsewhere on Flickr as to why I and many others don't believe that sending more advanced assault weapons such as Western tanks and aircraft will turn the course of the war but why nevertheless that such advanced weaponry seriously risks escalation of the conflict and at best prolongs it along with all the potential consequences for the world, in terms of lives lost, delayed action on catastrophic climate change and world hunger.

One morning, back in 2001, I embarked on one of my many bargain-hunting excursions with my childhood mate. Our plans included him taking me to a couple of his favourite NYC outdoor flea markets.

One could call me a skeptic long before it was supposed, so I really never thought I'd find a bargain in NYC - much less in trendy Chelsea. He & I had grown up in S.C. & had thrifted our way from there to NYC, so this market was more-or-less just supposed to be about spending a quality time with a mate.

After digging through many piles of crap that I knew these sellers had grabbed for nothing elsewhere & were selling for not-so-bargain, bargain prices, I stumbled across these four metal claw-foot, with glass ball end "thingies".

They were in a massive junk pile in a basket on the ground & I was immediately & inexplicably drawn to them. Without thinking, I'd decided I HAD to have them - whatever they were - and didn't know why.

I managed to haggle the merchant down to $5 and as the burly stall-holder was placing them in a paper bag, he explained they were old piano stool leg ends. I repressed a smile, because without knowing it, he'd answered the "I don't know why the hell I'm buying this" question rattling silently about in my mind.

You see, my Mum's a pianist. Growing up, she was actually the lady in church pianist. I remember sitting in the pews, watching her play & it made me feel so proud - that was MY MUM up there! My great Grandmother - long gone before I was born - had also been a musician. She was actually a music teacher - an educated woman in America - way before the education of women was the "norm".

So, there I was, in NYC, digging through piles of crap - the energy of my ancestor deftly guiding my hands to these objects I felt I HAD to have, but wasn't certain why. And before I even had the chance to contemplate the matter, here was this surly gentleman unwittingly tieing my illogical impulse purchase neatly together.

Sometimes, life seems so clear. Sometimes, we think it's clear & we have retrospect moments when we realise situations weren't as they had first appeared. Life gets messy. We tend to get mired in the insignificant & don't even know it's occurring.

On this day, in Chelsea, without expectation or want, I'd received a gift. I decided to honour this gift by designing a pot rack entirely around my find. The wall-mounts are adjustable Umbra curtain rod mounts (Bed Bath & Beyond), the white bars are simple wooden dowels (hardware store) painted white. The cast-iron skillets are my Grandmother's & the ends are, well you know what they are.

This wall's just to the left of my bedroom entryway & every time I walk through, I smile & remember the day my great-grandmother guided & spoke to me, though we had never met.

I try to stay humble & kind & to remember the simple things in life are the things which hold the most meaning. It is now 2008 & I am again reminded that wherever I go, the spirit & the strength of my ancestors surrounds me. For this, I am grateful. To you all, a loving thank you, for I know we shall meet one day.

photographer: a. golden, eyewash design: 01 Jan. 08, NYC

For more information, please visit: www.myspace.com/nycloft

Artist Mike Kelley

From the website:

"In 1987 Mike Kelley began to make sculptures from stuffed animals, which he described as “the adult’s perfect model of a child”: cute, clean, sexless. However, Kelley’s plush toys, purchased secondhand from thrift stores and yard sales, were discarded and soiled from use. Seemingly beyond redemption, they are darkly humorous monuments to lost innocence and repressed trauma.

Deodorized Central Mass with Satellites was among Kelley’s last works to feature stuffed animals. The toys are clustered in a cellular arrangement of one “central mass” and 13 “satellites.” To avoid eliciting an emotional or sentimental response from viewers, Kelley sewed the animals face-in. They are surrounded by 10 brightly colored, abstract sculptures the artist called “deodorizers,” which release a pine-scented mist into the air. By contrasting the degraded consequences of consumer excess with the slick, reductive forms of modernism, Kelley taunts the hierarchies between high art and mainstream culture, between obsessive hygiene and moral decline."

a deep emotional state of nostalgic longing for an absent something or someone that someone loves. It often carries a repressed knowledge that the object of the longing will never never return.

362/365

Explore 11 March, 2014. Best position #300

© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.

Nel giorno della nostra festa un murale a Berlino che valorizza uno degli aspetti più femminili del nostro corpo: i capelli!

E qui una citazione dal web che mi piace moltissimo

"E' la festa della Donna ogni volta che puoi mostrare il tuo viso. Che puoi dire ciò che pensi. Che invece di uno schiaffo ricevi una carezza. Che non sei sottomessa. Che qualunque cosa tu faccia è una tua scelta. Ogni volta che doni la vita, un abbraccio, te stessa.

E' la Festa della Donna ogni volta che sei libera di vivere la vita. Ogni giorno."

It's Women's Day every time you may show your face. Say what you think. Get a caress instead of a slap. When you do not feel repressed. If your choice is your choice whatever it is.

Every time you give life, a hug, yourself.

It's Women's Day then whenever you are free to live your life. Every day

The graffiti scene in Valparaíso started as a form of protest against the dictator Augusto Pinochet. During that time, self-expression, including art and painting, was repressed. After the dictatorship ended, government officials decided to make street art legal and it blossomed in the city.

Valparaíso is a major city, seaport, naval base and educational centre in the commune of Valparaíso, Chile. "Greater Valparaíso" is the third largest metropolitan area in the country. Valparaíso is located about 120 kilometres (75 mi) northwest of Santiago by road and is one of the South Pacific's most important seaports. Valparaíso is the capital of Chile's second most populated administrative region and has been the headquarters for the Chilean National Congress since 1990. Valparaíso has two state-owned and several private universities.

Valparaíso played an important geopolitical role in the second half of the 19th century when the city served as a major stopover for ships traveling between the Atlantic and Pacific oceans by crossing the Straits of Magellan. Valparaíso experienced rapid growth during its golden age, as a magnet for European immigrants, when the city was known by international sailors as "Little San Francisco" and "The Jewel of the Pacific".

In 2003, the historic quarter of Valparaíso was declared a United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage site.

Aşam Şaşmazer was born in 1980 in Istanbul and lives and works in Istanbul and Berlin. In her practice, she creates sculptures that investigate the human psyche as the main theme and have social, psychological and political connotations.

In 2003 she completed her BFA at Mimar Sinan University of Fine Arts in Istanbul and received her MA in Sculpture in 2006. With her realistic and often uncanny works she questions the concepts of identity, doppelgänger and the individual in their social or natural environments. For her most recent works, Şaşmazer draws inspiration from two principal theories of psychologist Carl Gustav Jung: metanoia and the archetype of the shadow. In the series Metanoia (2013-15)–a term that refers to a spiritual transformation, reconstruction and recovery–life-sized figures made in solid wood, her preferred medium, show an unnerving “dark side” through the presence of their shadow; a repressed inner self that the figure is forced to confront. She investigates the relationship between mankind and nature focusing on contradictions such as “good and evil,” “dark and light”, “child and adult”, which inform her observations on other themes such as invasion, decay, ruins, remembrance and the transience of memories.

Şaşmazer has been exhibiting worldwide since 2010 and her works have been presented in solo and group shows at various institutions, galleries, and art fairs including: Saatchi Gallery and Aubin Gallery (2011), London; ARA Art Square, (2012) Seoul; Torrance Art Museum (2016), Torrance, California; Positions Art Fair (2015, 2016), Berlin; Contemporary Istanbul (2013, 2015); the Xingjiang Bienniale (2014), Xingjiang, China and Glasstress Gotika, Fondazione Berengo (2015), Venice. Şaşmazer’s sculptures can be found in many private and public collections such as the Proje4L Elgiz Museum of Contemporary Art and Koç Collection, Istanbul; and Olbricht Collection, Berlin and Essen.

South Mimms M25 services

Things not going to plan TSTL with purely electric vehicles worldwide.

Easy to search about plunging residual vehicle value, battery fires, questionable distance range in manufacturers' blurb vs. real-world conditions, etc.

Issues are being repressed by the fakestream media.

Sales R dropping like a concrete parachute as word spreads by mouth.

How long can Elon maintain?

- only charging time will tell ;-)

1. Surrealism is "stressing the subconscious or nonrational significance of imagery arrived at by automatism or the exploitation of chance effects and unexpected juxtapositions."

2. The quote suggests that surrealism is an individuals aknowledgment of repressed thoughts. These thoughts surface in different genres of art, and are represented by clashing images or ideas. The clash, however delivers a meaning.

3. In this image the male body is compared to a clock, or a working machine. The body operates in a similar manner.

Remembering Selma Huxley Barkham: friend, historian and geographer.

Selma was an extremely loving and talented woman and through her research added a great deal to Canadian History. You can read more about her amazingly interesting life here in a tribute to her by her daughter, Oriana Barkham Huxley and granddaughter, Serena Barkham:

ON INTERNATIONAL WOMEN"S DAY & HER BIRTHDAY:

Remembering Selma Huxley Barkham: historian and geographer specialising in Basque connections to Canada

by Oriana and Serena Barkham

The yellow tent was up and straining on its guy ropes in the Labrador wind. The black flies were viciously biting. Rain poured down. They were cold and soaked to the bone. But Selma Huxley Barkham, with her two youngest children in tow, was ecstatically happy. She had found what she was looking for: eroded pieces of red roofing tiles scattered on the shores, in vegetable patches and in gardens.

The locals called the red tile ‘red rock’, and some, as children, had used it to write on school slates. But Selma knew that the tiles had been brought in ships across the Atlantic from the Basque Country in the sixteenth century. On the way over to Terranova, the New Found Land, the tiles were used as ballast. On the return journey, the ships hulls were filled with barrels of whale oil, and sometimes with dried or green salted cod. The tiles were left in Terranova where they were used to construct roofs over shelters, and the ovens where whalers boiled down whale oil.

Selma now knew her excursion to Labrador in the summer of 1977, funded by the Royal Canadian Geographical Society, to identify Basque whaling sites in the 1500s & 1600s, was a success. In each port she had so painstakingly identified as having been used by the Basques in the 16th and 17th centuries, she had found tiles. Years of interest, meticulous research, and gruelling hours in archives had brought her here.

Selma’s first awareness of the Basques was as a child in the 1930s, when she and her brother Thomas were given a cesta punta, a curved wicker-work basket worn on the hand, to play the world’s fastest game, Jai Alai. Rodney Gallop, a friend of her parents and author of a still seminal book on the Basques, had brought the cesta puntas to their home in Bosham Hoe, Sussex. Selma also knew her father Michael Huxley, founder of Geographical magazine, had studied Spanish in San Sebastian/ Donosti. And her family were aware of the Basque children brought over to Southampton, some ending up in Hayling Island near Selma’s family home, fleeing the violent Spanish Civil War in 1937.

As a young adult in the early 1950s, while working as the librarian of the Arctic Institute of North America at McGill University in Montreal, Canada, Selma fell in love with Brian Barkham. An architect from Bartlett’s, University College London, he was at McGill doing an MA in French Canadian rural architecture. His undergraduate thesis had been on rural architecture in the Basque Country. Brian took Selma to Euskadi/The Basque Country for a late honeymoon in 1956, introducing her to friends there. Among these was the priest Don Pio de Montoya who told her about the Basque fishermen who had been going to what is now Canada for centuries. When Brian died tragically at the age of 35, leaving Selma a widow with four children between the ages of two and nine, she started working for Historic Sites Canada. One of the projects she worked on was the French Fort in Cape Breton, Louisbourg. Some of the documents from the 18th century related to a French Basque merchant’s house, Lartigue.

Selma’s health suffered during Canada’s six-month-long winters. She developed recurring pneumonia. In 1969, the idea of searching for more on the Basque seafarers’ connections to Canada, led her to move to Mexico. It was cheap, warm, and there she, and her children, could learn Spanish, which was essential if she were to carry out research on documents in Spain. To survive, Selma found herself a job teaching English at The British Council School in Guadalajara. After three years in Mexico, she took her four children by boat across the Atlantic, on a half cargo, half passenger ship – the Covadonga – to Bilbao. There was a short stop in Miami to avoid the worst of a hurricane. Arriving in the Basque Country, Selma had no income, no job and four children, but she was determined to try and find out about these Basques who had been to Canada.

From Mexico, she had booked the family into a hostel in the older quarter of Bilbao, as it was around the corner from the Municipal Archives, where she had hoped to start her research immediately. Here she came across an archivist, who was, at first, rather unhelpful and disdainful of ‘this British woman’. He told her that if she hoped to do any research on early documents, she would have to study palaeography with him at the University of Deusto, where he taught History. Most native Spanish speakers could not, and cannot, read the very convoluted Spanish handwriting of the 16th century with all its abbreviations as well as difficult loops, let alone a female foreigner. While she took the course in 1972, she started working once again as an English teacher, to be able to scrape by, and at the same time she started her own research at the Archives.

Selma was told that most archives along the Spanish Basque coast had been burnt during the Napoleonic wars, but perhaps she should try the archives of the Consulado del Mar in Burgos? There, a kind, very helpful archivist, Floriano Ballesteros, introduced her to the 16th century insurance policies stored there. He also recommended she try looking at the copies of notarial documents from the coast that were held in the Oñati archives.

For 400 years, legajos (books of notarial documents) from towns across the province of Gipuzkoa, had lain in the attics of the 1543 University of Oñati. Don José María Aguirrebalzátegui, one of the village priests, had rescued many over the years, filling three huge university rooms with legajos.

When Selma arrived, Don José María showed her the three rooms of books of notarial documents. There was no index, but he gave her the key to the archives. In 1973, she moved, along with her four children, to Oñati, because she could see that there were years of work for her there. For hours on end, often till the early hours of the morning, Selma sat turning over each page in these thousands of ancient books. During their school holidays, she also sat her four children down around her. She taught them to recognise some of the formulae used in these 16th century documents, as well as the key word ‘Terra nova’. Most of the documents were to do with local problems, neighbours arguing over property boundaries, for example. But a few, mixed in amongst so many others, were to do with The New Found Land/‘Terra nova’.

Because of these ‘Terra nova’ documents, and a desperate need to have something to live on, she persuaded the Public Archives of Canada to give her contracts to collect and microfilm documents referring to Canada, found in archives throughout the Iberian Peninsula. Being extremely honest, she and her children only lived on a six-month contract every year, because she felt this gave her the freedom to devote the other six months to her own research.

Though based in Oñati, Selma spent months in Burgos, where Floriano let her and her four children, duly kitted out with white gloves, sift through the Consulado’s insurance policies, again looking for the word ‘Terra Nova’. She also often visited the archives in the Real Chancilleria de Valladolid, the Archives in Simancas, the General Archive of the Indies in Seville, the archives in Oviedo, Setubal, Lisbon, Aveiro & Oporto in Portugal, and parish archives in many other Basque towns.

The information she gathered from these different archives provided Selma with specific information on individuals, their families, their homes, their movements, their ships, their voyages, their towns all along the Spanish Basque coast in the 16th and early 17th centuries. In parish records, Selma found records of births, deaths, marriages and baptisms. Through insurance policies in Burgos, she found insurances of ships and their voyages. Through notarial archives, she found contracts, wills (some of which were written in ‘Terra nova’), powers of attorney, loans, donations, policies, proceedings, agreements. Through lengthy lawsuits in other archives, she learnt among other things of disagreements between crew members, claims made by widows of fishermen who had died in ‘Terra nova’, ships that had sunk on the other side of the Atlantic.

Over the years, Selma meticulously made notes and collated the information she so painstakingly compiled, including information about the ships themselves, where they were from, when they were built, who owned them, who kitted them out, who insured them. About the ships’ voyages: many were used not only for the ‘Terra nova’ run, but also for the ‘Carrera de las Indias’ i.e. Mexico & the Caribbean. And some of the ships ended their days in Newfoundland, in the Indies, off Iceland or our UK shores having been embargoed by the King of Spain – Felipe II – for the Armada. Selma also pieced together the names of many of the sailors, whalers, shipowners, their wives, their relationships, where they lived and where they died.

Fascinated, Selma visited Basque towns, caseríos (Basque farmhouses), churches, ports, shipyards, which she found mentioned in her documents. She met local clergy, townsfolk and dignitaries, learning more about these towns, some of which still had fishermen going to the Grand Banks off Newfoundland. She became involved in conservation, saving or trying to save, town centres and ancient caseríos from destruction. She was asked to give talks to locals interested in their history, to schools, and universities. She met archivists, linguists, anthropologists, historians, archaeologists, shipbuilders, cartographers, topographers, fishermen, whalers, academics, and other experts.

Selma had noticed that every now and then the scribes writing in the 1500s would insert a word in Basque in the Spanish text. She concluded that some of the scribes would be simultaneously translating what fishermen were telling them in Basque.

The 1970s was not an easy time to live in the Basque country. The Basques, their language, their culture, were being viciously repressed by General Franco’s regime. Children at school were physically punished if they spoke Basque. Selma and her family knew many people, from boys of 17 to mothers of 50, who, simply for speaking their language or putting up a Basque flag, were taken before dawn from their homes and families by violent civil guards with Alsatians, imprisoned, tortured, disappeared. The Barkhams sometimes stood in silence alongside their Basque friends in Oñati, who held pictures of the disappeared. They too celebrated with a bottle of Codorniú the end of the dictatorship in 1975.

Selma began to write articles on her discoveries. Given the breadth of her research, she wrote on various topics, women’s lives in the 16th century, merchants, trade routes, corsair activity, early Labrador ports, toponymy, etc. In this magazine, in 1973, she wrote ‘Mercantile community in inland Burgos.’ v. 42, no. 2, November, p. 106-113. In 1977, ‘First will and testament on the Labrador coast.’ v. 49, no. 9, June, p. 574-581.

Amongst the thousands of documents in different archives which Selma analysed, besides finding the word ‘Terra nova’, she also sometimes found names of specific ports, such as Samadet, Los Hornos, Chateo, Buttus.

If you look nowadays at a map of the Canadian Atlantic Coast, you will not find these place names anywhere. ‘Terra nova’ simply means the New Found Land, and could refer to anywhere at that time along that North Atlantic seaboard.

So, Selma went to libraries and archives in Spain, France, Portugal, the Vatican and England, to look for early 16th century maps & rutters (mariners’ handbooks of written sailing directions). Through this cartographic research, she managed to piece together such an accurate picture of where these Basque fishing and whaling ports in the New Found Land were, that she was able to pin point them on present day maps of Nova Scotia, Québec, Newfoundland and Labrador. She gave talks on her findings from this research on Basque topographical names in ‘Terra Nova’ at various international conferences.

Selma poured over UK admiralty charts, looking at the depths of ports, searching for prevailing winds. She located on maps the places she thought ships had foundered, two of which were in

Red Bay. She then gave a talk in January 1977 to the underwater archaeological society in Ottawa, where she had maps with Xs marking where exactly she thought the shipwrecks she had found in documents had sunk. It was there that Parks Canada archaeologists got all excited and asked her not to let anyone else know lest the wrecks be located by ‘treasure divers’. Though the Public Archives of Canada, for whom Selma worked, had already passed on information about her finds in Spain and on the Atlantic seaboard of Canada to Parks Canada.

The year after Selma’s 1977 excursion to Labrador, Parks Canada sent a team of underwater archaeologists up to Labrador to look at the places Selma had told them several ships had sunk, in Chateau Bay, in Red Bay, among others. Her research was so exact that a diver found one of her wrecks the first day of diving in Red Bay. This one was not as deep as the Chateau Bay ones, and the town itself was accessible by road, which is probably why they focussed on Red Bay.

The discovery of the ship San Juan was announced to the press at the Public Archives of Canada in Ottawa for whom Selma worked, and not at Parks Canada for whom the divers worked, because it was Selma’s pioneering historical-geographical research which had found the wreck.

Selma’s extensive research also shed light on trade routes, fishermen turned corsairs in times of war, contact between the Malouins, Bristolmen, Irish, Icelanders, and with First Nations in Canada. She discovered what the Basque fishermen and whalers took aboard ship; that several generations of fishermen and often people from the same villages all went over together on the same ships; learnt about accidental overwinterings, the seasons they went over, the renting of their shallops which they often left in Labrador for the following year, hidden so they would be less likely to be borrowed by members of the First Nations. She was entranced and thrilled when she found sketches of ships in the documents, or a will that had been folded over so that when it arrived back at the notary’s office in Euskadi/The Basque Country, after several months at sea, the part on the outside was dark where it had rubbed against something on the long trip home. 500 years later, this will written in the New Found Land was found sewn into the legajo, with clear signs of being folded, the dark outer square obvious.

Selma’s research was groundbreaking in many ways. For it, she received the gold medal from the Royal Canadian Geographical Society (1980), the first woman to receive this medal. Then followed the Order of Canada (1981), the Lagun Onari (2014) from the Basque Government, the Order of Newfoundland and Labrador (2015), various honorary doctorates, and the International Prize of the Sociedad Geográfica Española (2018), amongst other honours, for her exceptional work, ‘a classic piece of historical-geographical research’.

Though the 16th & 17th centuries became alive for Selma because of her research, the present was also equally interesting to her. She started exchanges of Basques with Newfoundlanders, of Basques and Mi’kmaqs, groups of them visiting each other’s countries. She worked up and down the coast of Labrador and Newfoundland with locals talking about their villages’ links with the Basques, about 16th century wills written on their shores, about contact between Basques and Inuit and Montagnais, and other First Nations, about shipwrecks. She helped them put up historical plaques in their villages. She organised conferences for 11 years on the Northern Peninsula of Newfoundland, bringing in experts in different fields to talk about local history, ecology, geology and cartography. She got in touch with the James Cook society, as James Cook had charted the Straits of Belle Isle, and brought speakers over. She keenly felt her historical research could help the local economy. And it has. Historical tourism now brings many visitors to Newfoundland and Labrador because of her work. One of the sites Selma found all those years ago, which she first explored on that expedition in 1977, is now a UNESCO World Heritage Site.

Selma Huxley Barkham’s work has been picked up and used by archivists, historians, cartographers, topographers, anthropologists, archaeologists, conservators, museographers, linguists, and more. Albaola is re-building a ship which she found by piecing together information from documents from three different archives, and by working in different countries on early maps to find where the port of Buttus was, and then by looking at depths and prevailing winds to find where it had sunk. Selma’s work, her 50 publications in Spanish, English, French and Portuguese, her many lectures, and her generous sharing of her research, has led to a wide variety of further work in her field. Unfortunately, she has not always been duly credited.

Selma’s work is seminal. As the citation for the gold medal of the Canadian Geographical Society states: ‘This medal is an occasional award intended to recognise a particular achievement in the field of geography, also to recognise a significant national or international event. In this case, the Society felt Barkham deserved this recognition on both counts.