View allAll Photos Tagged glutation
polytunnel produce! We have been eating the basil regularly but it grows faster than we eat it and now lots of flowers forming. Time to process a big batch.
.....pesto, my way
Very simple recipe and expecially good if you (like me) are not a Parmesan fan (we use extra mature cheddar in our pesto and we use mixed nuts rather than pine nuts). (I never said this was authentic - just tasty!)
we have made this pesto (or similar) quite a few times including a few weeks ago and the proportions tend to vary a bit.
I decided to write down the recipe - this batch trurned out perfect so I intend to use the proportions in this recipe in future. ...& flickr is a handy place for me to find it & I may as well share it just in case it is useful to anyone else with a glut of basil.
260g Basil- (this was weight after removal of all the tough stems)
300g mixed nuts (almonds/hazelnuts/wallnuts/cashew nuts)
6 cloves of garlic (the garlic I have grown seems to be very mild)
350 ml extra virgin olive oil (we used a good Italian one, Le Pianore)
Ground black pepper - a good heaped teaspoon
200g Cheese (extra mature cheddar - I used a Northern Ireland one -should be hard rather than soft to blitz well)
Blitz the cheese and remove from food processor and set aside
Blitz the nuts until they are fairly smooth
add and blitz the garlic & then basil, Adding olive oil and ground pepper, then add the blitzed cheese and mix thoroughly.
Should be a soft paste texture.
We pop it in Chinese/freezer containers and put it in the freezer. Lovely for a taste of the summer in winter time. We did eat some fresh too with some nice pasta and it is delicious.
R.E.M. Summertime
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
I had a glut of tomatoes. "Tumbler" is good in a container - even a hanging basket - but "Sweet 1000" is indeed smaller and sweeter, if less productive. The cheese is goat feta from Woolwich dairy, the olives calamata - not pitted - and the parsley is the wrong kind and purely for decoration. Greek parsley is flat. I also used some of a large sweet onion (Walla Walla or Vidalia) whereas in Greece a red onion is more usual.
In the summer, in Greece, it is too hot to grow lettuce, so this is known as Summer Salad.
This was lunch today - with the end of a baguette and a glass of beer. Oh and for the dressing a little olive oil and white wine vinegar - I think balsamic is a bad idea with feta purely for aesthetic reasons. Rock salt and freshly ground black pepper.
You would be Amazed at the number of matches Pixsy finds for this picture and the online menus of the world
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Donald F. Glut - The Empire Strikes Back
Ballantine Books 28392, 1980
Cover Artist: Roger Kastel
"Based on a story by George Lucas"
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
La quinoa es una semilla muy versátil. Sin gluten y con un alto poder nutricional, está considerada como un seudocereal, porque aunque no es un cereal, sus granos lo parecen y se usan de manera similar. Desde hace un tiempo se ha puesto muy de moda y te encontrarás con mucha información sobre ella y sus fantásticas propiedades. En casa la he incorporado a la dieta porque se consume de manera muy parecida al arroz, aporta mucha fibra y es muy aconsejable para dietas sin colesterol. Hoy, en forma de esta ensalada de quinoa, piquillos de Lodosa y ventresca.
Receta completa disponible en | Full recipe available at: webos fritos
Continuing the glut of J3 photos with more from another visit and different elements of the design... including cake
In the heart of the Inveraray Highland Games, two warriors face off in the age-old test of strength and stubbornness: Scottish Backhold Wrestling. One in a classic kilt, the other in athletic shorts — both barefoot, both brawny, and both determined not to blink (or budge). It’s not just a match, it’s a dance of power, balance, and just a hint of Highland flirtation.
Inveraray Highland Games 2024
the larger size Barbie head goes great on the Sophie body!!! I am in love <3 it makes her look more like a teenager than the normal Barbie body did, too.
Kamin
Gib nicht auf!
Gleiche nicht jenem,
der am Kamin sitzt und wartet,
bis das Feuer ausgeht,
und dann umsonst in die erkaltete Asche bläst.
Gib die Hoffnung nicht auf,
und verzweifle nicht wegen vergangener Dinge!
Unwiederbringliches zu beweinen,
gehört zu den ärgsten Schwächen des Menschen.
Khalil Gibran
*
Adding to the Brisbane apartment glut. There are more cranes in the sky than ever. When will it end.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
There seems to be a glut of buses and there are too many Horse Guards for the daily Guard change, perhaps a state visit day or the trooping. This is the mid sixties, see the amount you could win on the pools and number 144 Picadilly is still there awaiting the squatters and subsequent siege in September 1969. Hyde Park Corner is always very busy.
Still a dearth of insect subjects this spring - thank goodness for the glut of subjects from last years trappings! Here are 3 noctuids that were new to my garden last year. The final moth is a Large Nutmeg which is common in the SE but local or rare elsewhere. Not sure if Swindon comes under the South East or not but it's certainly not a common moth in my garden [this being my first!]. Trapped in my garden last July. Liden, Swindon, Wiltshire, UK. 2015-07-04.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010