I had intended to wear a furry jacket with these but my weakness for bared shoulders

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How To Recover Weakness After Hand Practice

Today it's official. The Cactus has left the stage.Time to look back at a short 14 months of ownership. In all it's a fairly comfortable ride with its strength and weakness.

My Cactus was fitted with the highest trim level (shine) which meant it had sat nav, 16" Square gris rims, rear parking sensors and camera, privacy glass in the rear and things as daylight sensor with automatic lights and a rain sensor.

The engine was a 82 hp 3 cylinder engine with a 5-speed automated manual gearbox. This is not your traditional automatic gearbox but a manual gearbox that has been transformed into an automatic one.

The interior was in black and blue fabric to match the Blue Lagoon outside of the car. This is, in my opinion, one of the most fun colors for the C4 Cactus. In the beginning, My girlfriend and I where in doubt between Hello Yellow and Blue Lagoon.

The Cactus is really comfortable to drive. It knows how to filter out most of the bumps in city trafic. Because it's not that big (4157mm long, 1729mm wide and 1450 mm high) it's easy to manouvre in small city streets. Because it's fairly light (just 950 kg) it doesn't need a huge engine, making the 82 horsepower enough in daily traffic.

The ride height gives it a bit of a tough look, this also means that it can be used outside the normal roads. I've taken it into fields and dirt roads a couple of times and never got stuck or missed power.

In a car with a color this bright you never go through traffic unnoticed. Especially (young) kids seem to love this car. More then once I heared children telling their mum or dad how nice they thought this car is.

Regardless of the small outside dimensions it really is a spacious and practical car. With 1.87 meters I'm no giant but not small either. Still I could take place behind myself quite easily. With 358 liters the boot of the car also was large enough. With the rear seats down it even had 1170 liters of luggage space.

Then the downsides. Because of al the weight reduction they left out some soundproofing. This means that it is a bit noisy on higher speed. At motorway speeds (+/- 120 km/h) it's also a bit thirsty. You can definitly tell the tiny engine has to work hard to take it up to speed and keep it there.

Also the overal quality is what one might expect with a cheap family car. That being said, the dashboard is covered with grat material which looks and feels very nice. It's the door panels where you find plastic of the hard, cheap kind (that also scratches quite easy)

The gearbox is in my opinion the biggest downside of this car. If I where to do it all over I'd go for the manual gearbox. This robotised manual gearbox is just too slow in its respons. Also it sometimes choses to shift back or up in the worst possible moment. For instance it could go back to first gear just when you saw a small opening on a road you want to enter. meaning you had to wait a few seconds untill there was a connection between the engine and the wheels, just enough time for your opening to disappear.

It did prove to be reliable. In 31.000 kilometers the only thing outside normal maintenance was a worn out stability rod so nothing shocking there.

Finally a short summary:

+Great design, in and outside

+It does have the Fun factor

+Great drivability in the city and even offroad

+Practical

+Good fuel economy in the city

+High quality dashboard

-Noisy at speed

-Not economical at speed

-Terrible gearbox

-Cheap feel of some interior parts

Amanda Boxtel who was paralyzed 19 years ago, beams a smile in eLEGS, which is a wearable robotic exoskeleton that enables paraplegics and individuals with lower-extremity-weakness to power up, stand up and walk. Amanda is at Craig Hospital, which is one of 10 leading rehabilitation hospitals selected by Berkeley Bionics to conduct preliminary investigational studies of the eLEGS Professional device. Craig Hospital www.craighospital.org is a non-profit, national rehabilitation hospital and research center that specializes exclusively in treatment and research of patients with spinal cord injury (SCI) and traumatic brain injury (TBI). Berkeley Bionics www.berkeleybionics.com is a leading bionic exoskeleton company that introduced eLEGS in October 2010 and will bring the eLEGS Professional device to the rehabilitation hospital market in January 2012. Photographer: Kenny Hosack, Craig Hospital

I've been facing my weaknesses head on recently. I can sucessfully say I have withstood the temptation of the Fluevog online sale. Yay me! I don't know, though. I think I might need just one more pair...

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

Some days I just don't give a shit.

I put on makeup to hide behind, it's just a mask.

To try and make me feel better, because if visually I look healthy and ok- perhaps I'll start to feel that way.

To hide the pain.

To hide the hurt.

To hide the blue black half moons under my eyes that have taken residence.

Sleep, honest, real sleep- eludes me.

I sleep, but I'm not rested.

It's getting exhausting.

I use the makeup to hide.

To step behind the crumbling down that I've been dealing with.

I don't cry enough. I need to.

I'm so used to keeping everything bottled up, until it's overwhelming and a simple word unravels me... And I'm crying hysterically- tears that just come flowing out of my eyes without me really understanding why. Crumbling bits and pieces that are falling from my hands as I try to hold on- and failing to keep them from continuing to slip from my grasp...

The primer for the makeup is great though- I hardly get a smudge.

I don't give a shit about the makeup or what it hides.

I just want to feel normal again.

No pain.

No weakness.

Drought in Kenya, Turkana District.

Women suddenly gather behind a building, saying two older women have just died. Fortunately these two women, Kabei Eruan and Ikale Akinu, had only collapsed before receiving urgent help from a Kenya Red Cross doctor who luckily was on the spot. The doctor gave both an injection of Dextroval and saline, as well as clean water to drink. "I've never seen anything like this – the situation for these people is getting worse day by day," says Abdul Hakim Otula, from Kenya Red Cross disaster unit.

Photo: Jakob Dall / Danish Red Cross (p-KEN0551)

Please visit www.ifrc.org for more information from the International Federation of Red Cross and Red Crescent Societies.

www.entrepreneur-tribe.com/2011/10/02/two-fatal-weaknesses/

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

Iron Photographer #46

Required elements: (1) headless self portrait (2) something round (3) uneven horizon line

We decided to do the touristy thing and visit St Pauls. It is a remakarble building. I would love to have taken some pictures inside but that is not allowed. I'm not a religious man, but i did feel that it was a 'spiritual' place.The sheer size and immense space inside achieves it's purpose of making us feel small. It's easy to mock religion, and criticise the oppulence but it is in a way a memorial to our human weaknesses and so allows us to admit and confront these imperfections, and hopefully move on.

From Wikipedia:

St Paul's Cathedral is the Anglican cathedral on Ludgate Hill, in the City of London, and the seat of the Bishop of London. The present building dates from the 17th century and is generally reckoned to be London's fifth St Paul's Cathedral, although the number is higher if every major medieval reconstruction is counted as a new cathedral. The cathedral sits on the edge of London's oldest region, the City, which originated as a Roman trading post along the edge of the River Thames. The cathedral is one of London's most visited sites.

There had been a late-Roman See in London, but the first Saxon cathedral was built of wood, probably by Mellitus or another of the Augustinian missionaries, on the see's re-foundation in AD 604 on Ludgate Hill in the western part of the old Roman city and the eastern part of Lundenwic. It was these missionaries' habit, as in mainland Europe, to build cathedrals within old Roman city-walls. This building is traditionally said to have been on the site of an ancient megalith, or stone circle, and a temple dedicated to the goddess Diana, in alignment with the Apollo Temple that once stood at Westminster, although Christopher Wren found no evidence of this (Kruger, 1943). This would have only been a modest chapel at first and may well have been destroyed after Mellitus was briefly expelled from the city by Saeberht's pagan successors. It burned down in 675.

The cathedral was rebuilt in stone, in 685. In it was buried King or Saint Sebbi of Essex. It was sacked by the Vikings in 961, as cited in the Anglo-Saxon Chronicle.

The third cathedral was begun in 962, again in stone. In it was buried Ethelred the Unready. It burnt, with the whole city, in a fire in 1087 (Anglo-Saxon Chronicle).

The fourth St Paul's (known as Old St Paul's, a 19th-century coinage, or the pre-Great Fire St Paul's) was begun by the Normans after the 1087 fire. Work took over 200 years, and a great deal was lost in a fire in 1136. The roof was once more built of wood, which was ultimately to doom the building. The church was consecrated in 1240, but a change of heart led to the commencement of an enlargement programme in 1256. This 'New Work' was completed in 1314 - the cathedral had been consecrated in 1300. It was the third-longest church in Europe. Excavations in 1878 by Francis Penrose showed it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet or 87 m across the transepts and crossing), and had one of Europe's tallest spires, at some 489 feet (149 m).

By the 16th century the building was decaying. Under Henry VIII and Edward VI, the Dissolution of the Monasteries and Chantries Acts led to the destruction of interior ornamentation and the cloisters, charnels, crypts, chapels, shrines, chantries and other buildings in the churchyard. Many of these former religious sites in St Paul's Churchyard, having been seized by the crown, were sold as shops and rental properties, especially to printers and booksellers, who were often evangelical Protestants. Buildings that were razed often supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House.

Crowds were drawn to the northeast corner of the Churchyard, St Paul's Cross, where open-air preaching took place. In 1561 the spire was destroyed by lightning and it was not replaced; this event was taken by both Protestants and Catholics as a sign of God's displeasure at the other faction's actions.

England's first classical architect, Sir Inigo Jones, added the cathedral's west front in the 1630s, but there was much defacing mistreatment of the building by Parliamentarian forces during the English Civil War, when the old documents and charters were dispersed and destroyed (Kelly 2004). "Old St Paul's" was gutted in the Great Fire of London of 1666. While it might have been salvageable, albeit with almost complete reconstruction, a decision was taken to build a new cathedral in a modern style instead. Indeed this had been contemplated even before the fire.

The task of designing a replacement structure was assigned to Sir Christopher Wren in 1668, along with over 50 other City churches. His first design, for a replacement on the foundations of the old cathedral, was rejected in 1669. The second design, in the shape of a Greek cross (circa 1670-1672), was rejected as too radical, as was a revised design that resulted in the 1:24 scale "Great Model" on display in the crypt of the cathedral.[1] The 'warrant' design was accepted in 1675, and building work began in June. The first stone of the cathedral was laid in 1677 by Thomas Strong, Wren's master stonemason.[2] The 'warrant' design included a small dome with a spire on top, but King Charles II had given Wren permission to make "ornamental" changes to the approved design, and Wren took the liberty to radically rework the design to the current form, including the large central dome and the towers at the west end.

The cathedral was completed on 20 October 1956, Wren's 76th birthday. On Thursday, 2 December 1697, thirty-two years and three months after a spark from Farryner's bakery had caused the Great Fire of London, St Paul's Cathedral came into use: it proved to be well worth the wait. The widower King William III had been scheduled to appear but, uncomfortable in crowds and public displays, had bowed out at the last minute. The crowd of both the great and the small was so big, and their attitude towards William so indifferent, that he was scarcely missed. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the LORD." The first regular service was held on the following Sunday. The consensus was as with all such works: some loved it ("Without, within, below, above the eye/ Is filled with unrestrained delight."[3]); some hated it ("...There was an air of Popery about the giled capitals, the heavy arches...They were unfamiliar, un-English.."[4]); while most, once their curiosity was satisfied, didn't think about it one way or another.

The cathedral is built of Portland stone in a late Renaissance style that is England's sober Baroque. Its impressive dome was inspired by St Peter's Basilica in Rome. It rises 365 feet (108 m) to the cross at its summit, making it a famous London landmark. Wren achieved a pleasing appearance by building three domes: the tall outer dome is non-structural but impressive to view, the lower inner dome provides an artistically balanced interior, and between the two is a structural cone that supports the apex structure and the outer dome. Wren was said to have been hauled up to the rafters in a basket during the building of its later stages to inspect progress.

The nave has three small chapels in the two adjoining aisles – All Souls and St Dunstan's in the north aisle and the Chapel of the Order of St Michael and St George in the south aisle. The main space of the cathedral is centred under the Dome; it rises 108.4 metres from the cathedral floor and holds three circular galleries – the internal Whispering Gallery, the external Stone Gallery, and the external Golden Gallery.

The Whispering Gallery runs around the interior of the Dome and is 99 feet (30.2 m) above the cathedral floor. It is reached by 259 steps from ground level. It gets its name because a whisper against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. This works only for whispered speech - normal voiced speech is not focused in this way.

The base of the inner dome is 173 feet (53.4 m) above the floor. The top of the inner dome is about 65 m above the floor, making this the height of the enclosed space. The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m).[12] The cathedral is thus slightly shorter but somewhat wider than Old St Paul's.

The quire extends to the east of the dome and holds the stalls for the clergy and the choir and the organ. To the north and south of the dome are the transepts of the North Choir and the South Choir.

Details of the towers at the west end (illustration, left) and their dark voids are boldly scaled, in order to read well from the street below and from a distance, for the towers have always stood out in the urban skyline. They are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square block plinth containing the clock. The main entablature breaks forward over the paired columns to express both elements, tying them together in a single horizontal band. The cap, like a bell-shaped miniature dome, supports a gilded finial, a pinecone supported on four scrolling angled brackets, the topmost expression of the consistent theme. The north-west tower contains 13 bells hung for change ringing while the south-west contains four, including Great Paul, at 16½ tons[13] - the largest bell in the British Isles, cast in 1881, and Great Tom (the hour bell), recast twice, after being moved from the old Palace of Westminster.

This cathedral has survived despite being targeted during the Blitz - it was struck by bombs on 10 October 1940 and 17 April 1941. On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a Bomb Disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the Cathedral, as it left a 100-foot (30 m) crater when it was later remotely detonated in a secure location.[14] As a result of this action, Davies was awarded the George Cross, along with Sapper George Cameron Wylie.[15]. On 29 December 1940 the cathedral had another close call when an incendiary bomb became lodged in the lead shell of the dome but fell outwards onto the Stone Gallery and was put out before it could ignite the dome timbers.

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My grace is sufficient for thee: for my strength is made perfect in weakness.

2 Cor 12:9

“Life is about finding yourself, embracing your strengths and weaknesses, and being true to who you are.” Oprah Winfrey

In recognition of (March) Women's History Month

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tapestries. fabric. weavings...from the hands of people from other times and places. rich colors...from the earth. when I hold them to me I can 'feel' somehow the lives of the people who wove them...who've worn them...and our lives are connected in some quiet way.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

The Bv 316 was a tailless twin jet fighter designed by Blohm & Voss as a replacement for the Me 262 fighter. The design of the Bv P.216 was begun in the summer of 1943 and was intended as an overall improvement to the Messerschmitt Me 262. The biggest weakness of the Me 262 were its unreliable and weak Junkers Jumo 004 B-1 turbojets, delivering only 8.8 kN (1,980 lbf) each.

Luftwaffe pilots were sceptical at first, but found the Bv 316 to be a trustworthy weapon platform. The first machines were allocated to bases in southern Germany and Austria, where the fighters helped to protect oil fields in Bulgaria in mid 1946.

General characteristics:

Crew: One

Length: 8,17 m (26 ft 9 1/4 in)

Wingspan: 11,40 m (37 ft 4 1/2 in)

Height: 3,49 m (11 ft 5 1/4 in)

Wing area: 29,11 m² (313,4 sq ft)

Empty weight: 5.046 kg (11,125 lb)

Loaded weight: 6.894 kg (15.198 lb)

Max. takeoff weight: 18.152 lb (8.234 kg)

Powerplant:

2× Heinkel HeS 011A turbojets, each rated at 12,01 kN (1.300 kg/2.866 lb)

Performance:

Maximum speed: 1.006 km/h (625 mph, 548 knots)

Stall speed: 200 km/h (124 mph, 108 knots)

Range: 2.400 km (1,522 mi)

Service ceiling: 15.100 m (49.600 ft) at combat weight

Rate of climb: 45,72 m/s (9.000 ft/min) at sea level

Wing loading: 236.7 kg/m² (49.4 lb/ft²)

lift-to-drag: 15.1

Thrust/weight: 0,42

Armament:*

4× fixed 30mm MK 108 cannons in the nose

Underfuselage and wing hardpoints for a total ordnance of 1.500 kg (3.303 lb),

including bombs of up to 1.000 kg (2.202 lb) caliber, drop tanks or unguided rockets

The kit and its assembly:

I wonder why this conversion stunt has not been done before or more often, because it's such an obvious move?

There had been several tailless Blohm & Voss designs, ranging from a small jet fighter (an alternative to the He 162, which was chosen as Volksjäger) to a heavily armed, two engine, three seat night fighter with 14m wing span. If you take a look at sketches of these aircraft, the overall simlarity of the later F-86 is obvious, despite its conventional layout. So I thought that a whiffy B&V design on this basis should be easy - and it actually is!

The basis is the vintage Matchbox F-86A from 1976, chosen because of its simplicity and basically good fit. The major steps include cutting off the tail just behind the wings' trailing edge, as well as a part of the dorsal section and the wings outside of the flaps.

In order to create a more dynamic look and stay true to the original Dr. Vogt designs I attached the wings with a slight dihedral, while the recessed outer wings received a recognizable anhedral - mounted on slender pylons that are actually pieces of sprue.

On top of that some donation parts were added:

* The fins are stabilizers from an Italeri A-4M Skyhawk

* The F-86's bubble canopy was replaced with the canopy and cockpit section from a Revell Me 262

* An Airfix pilot was added

* The engines come from a Dougram mecha kit (a 1:48 hovercraft!)

* The landing gear struts belong to a Hobby Boss Me 262

* The main wheels come from an Italeri IAI Kfir

The new canopy was added for a more "German" and less modern look. It meant massive body work, but it blends in well. The are behind the cockpit had to be sculpted anew, too, and creating a good transition to the two jet exhauts from above and below was not easy.

The F-86 air intake was also modified: the characteristic upper lip with the radar range finder had to go and I implanted a vertical splitter inside, plus a wall of dark foamed plastics that blocks light from the cockpit and sight onto the lead that was hidden around the cockpit.

For armament I filled the original six 0.5" machine guns and drilled two pairs of new, bigger openings for MK 108 cannons in the same place. Later, pieces of hollow steel needles were added as cannon muzzles. As an extra I added an underfuselage pylon for a drop tank and attachment points for eight scratched WGr 21 launch tubes.

Painting and markings:

How to paint a Luft '46 aircraft? The color spectrum is limited, and I wanted a "different" look. Dedicated ugliness was intended. So I came, after some browsing, across an obscure and heavily debated color for the lower sides, called (more or less inofficially) RLM 84. It's a greenish grey, much like the RAF Sky, that was used on some late Luftwaffe aircraft - maybe a primer color, or a field mix? Anyway, it would yield that odd look that I was looking for, and I used a mix of Humbrol 90 with some RLM 02, slightly darker and greenish than Sky.

In order to emphasize the overall strange color effect I decided to paint the upper surfaces in a uniform RLM 81 (Braunviolett), and add field camouflage in the form of patches/mottle in RLM 81 and RLM 02 on the flanks and on the wings. RLM 02 was not in use as camouflage paint in late WWII anymore, but I am certain that it was still around, and it matches the overall greenish look of the aircraft well.

For an even more field duty look I added details in different colors/tones. The slats' undersides received a grey primer finish, while the flaps and rudders were painted RLM 76 from below and in a slightly different shade of RLM 81 from above (Humbrol 155), as if they had been replaced or the aircraft had been built from different components and jostled into service.

All interior surfaces were painted in very dark grey (RLM 66), and various shades of Metallizer were used around the exhausts, the cannons and under the wings where the WGr 21 launch tubes are located.

After a light black ink wash and some shading the decals were applied - puzzled together from various sheets and in a minimalistic style.

269/365

Today was long, i'm tired and don't feel well. Bed time. :(

FGR challenge One handed food!

Haha, explore 449!

Mood changes and inconsistency are the major weaknesses of human nature

Lens Canon EF50mm f/1.4 USM | ISO 100 | 1/125s @ f/8,0 | manfrotto's tripod

The Herr Rug

Lois Herr resides on Lancaster Avenue. From examining and doing research on her rug, I believe it is considered an “Old Crystal” style rug. This style was developed by the trader, J. B. Moore, shortly after he purchased rights to the Crystal Trading Post in 1896. Moore quickly identified weakness in area weavings and had the weavers bring him raw wool which he then sent to eastern mills for machine cleaning. When returned, the processed wool could be spun and woven more evenly. In 1903 and again in 1911, Moore published mail-ordered catalogs outlining grades of wool, classes of rugs and prices. Moore’s greatest achievement was perhaps the Persian type designs and elements he had his weavers make. His distinctive styles included a bordered rug with natural wool tones of black, brown, and white, coupled with carded blends of gray, tan, and beige. These were used in combinations with commercial dyes of red and blue. He credits himself with developing the “Storm Pattern Rug” and his basic patterns led to the regional style rug called the “Two Grey Hills”.

On a 2018 trip to the Southwest, Vicki and I stopped in Gallup, New Mexico. There I consulted with Billy Malone, trader and owner of . Billy concurred this rug is indeed an “Old Crystal” style rug, probably woven around 1920.

An author of several books on various topics, including her family’s history, Lois provided, first detailed information regarding her Navajo rug and then entries from the mother’s period diary.

“In 1923, Kathryn Nisley (my mother) and Rebecca Hassler (her grandmother) took off on a train trip across the country. On the way east, their train stopped for meals at Fred Harvey Houses in Arizona, New Mexico, and Texas. These locations also served at the time as prime locations for travelers to see and buy Indian jewelry, rugs, and other native works.

Family lore is that Rebecca bought a Navaho rug and along the way back shipped it home. The rug went from their farm to my grandmother’s home in Progress when her parents left the farm and moved in with her. That’s where I first saw the rug. Eventually the rug would move with me to Mt. Gretna. Ultimately it landed in the hands of Don Kensinger in exchange for his artwork – the Stone Trees that adorn my cottage property.”

What follows are several entries from Lois’ mother’s 1923 diary describing days on the train and meals at the Harvey Houses.”

“Wed, Aug 1

We had to get off the train for breakfast at Seligman, Arizona. We know now what a Fred Harvey dining room is like. After we were on the way again, a doctor from Winslow, Arizona, who had the berth opposed to ours, asked me to play my violin. If his girl would have lived, she would have been a violinist, too. So, I played almost all the selections I had along. We changed trains at Williams for the Grand Canyon at noon. Arrived at the canyon at 4 something. Arranged ourselves in a little white frame cottage in the Bright Angel Campground for $2.50, then took the Rim Ride. Grandma was disgusted because the driver went so fast. We were given a cold drink and tea cakes at the Hermit’s Rest and stopped at interesting points along the edge of the canyon on the way back. After dinner, we visited the Hopi House and the El Tovar Hotel, where we heard a fine illustrated lecture about the Grand Canyon and had an elegant afternoon tea. Found out the Grand Canyon became a National Park three years ago.

THURS, AUG 2

I was too sleepy this morning to get up for the sunrise. How can I travel so far and then miss it? After breakfast we walked to the station. I had to carry both suitcases because the boy had already gone. So, Grandma was “riled” again. We changed cars at Williams and are now on the way to Kansas City. It is 6:11. We will stop at 7 in Gallup, New Mexico for dinner. We had lunch with us, so we’re going to get only ice cream and coffee. This ride has been hot, but it’s getting cooler now.

Will be good to see Joe and Florence Stober again. We’ve covered a lot of miles since we were with them. This is such a big country.

FRI, AUG 3

What a shock – The conductor came through giving the news that President Harding died last evening at 7:30. That is the main subject of conversation today. Apparently, there’s some speculation about what caused his death. He had been on a cross-country trip too – his “Voyage of Understanding.” Our trip is a voyage of understanding for me – understanding my family, relationships, and the sheer size of our country.

We stopped at Clovis, New Mexico, for breakfast. I couldn’t do anything but sleep the rest of the morning until we got off for lunch in Amarillo, Texas. The remainder of the day we tasted dust and felt heat.

In Missouri Grandma plans to see all the Stobers. Doesn’t talk much about her family normally. I gather from what she said today that she was very close to her mother, being the oldest child. When her mother Elizabeth died and her father married Susanna Yeager, the young housekeeper, Grandma left home in a huff and lived with her Aunt Rose Hocker until she married Grandpa years later. Some of the Stobers we’ll see are her brothers and sisters, but some are the children of her father’s second wife. I’m making her tell me the names and writing them down at dinner.

We had a fine dinner at a Fred Harvey place again and Grandma set out for me the people we’ll see in Missouri. Her brothers George, Joe, and her youngest sister Jennie came out west with their father and his second wife’s children Will, Harry, and Cora. Grandma had never yet met Harry, and she looked forward to seeing him. Will died young and Cora married and moved to Nevada. We’ll be spending time with George, Joe, Jennie and Harry and their families.

SAT, AUG 4

Was awake in time to see the sun rise – and would have seen it if the train hadn’t turned directly towards it. Put on the last clean piece (almost) of clothing. Reached Kansas City at 7:30. Red Cap escorted us to the Missouri Pacific Sedalia train at once. That jerky train that stopped at every fence corner. Grandma can thank me for the newspaper she had to read. Pages and pages about Harding and Coolidge. Grandma always paid attention to politics and so have others in the family. Uncle Doc was on the Harrisburg City Council and even ran for Mayor. Every year Grandma goes out registering voters, especially women now that we won the right to vote.

Lois’s rug measures and has a weft count of per inch. The black, white, gray, and tan colors are from natural dyes, while the red is aniline dyed. The hooks or frets, commonly found in Oriental and Persian rugs, were elements that J. B. Moore encouraged his weavers incorporate in their rugs, as he thought such features were appealing to Anglo customers.

For a rug reported to be 100 years old it is in good condition with minimal damage and fading. An “old Crystal rug” is a desirable weaving in any collection. The account shared by Lois and the additional provenance of the purchaser’s diary entries increases the rugs significance and value

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

A young person in my life is going through changes, and some tough

times. And it's got me thinking...

I have this very special nephew who i love very much. He's now 14-15 or

so and really "testing" both his freedoms and limits as well as the

patience of those who love him so dearly and serve him daily.

He's at that crazy age where the exploration of his possibilities and

the testing his freedoms (the range elasticity of his relations and

rules) is now his driving fascination. This is that critical period in

a boy's (and girl's) development where the boundaries between healthy

curiosity (necessary experimentation) and dangerous fascination lie in

beguilingly close proximity.

How to support a young person at this stage in making the right choices

when the process of developing discrimination itself is almost always

one of surviving and then learning from mistakes? How to balance the

giving of enough room for a youngster to move, experience and reveal

their unique tendencies (strengths/weaknesses, attractions/aversions,

sensibilities/liabilities, etc.) without failing to, creatively and

clearly, surround their widening sphere of new freedoms with effective

limits?

So yes, as i was saying, I have this very special nephew who, while not

being my kid to actively co-parent, I love so much and want to wholly

positively influence to come through his adolescence empowered, not

burdened by reactivity and patterns of unhealthy rebelliousness (from

having concluded/constructed a personal survival strategy of mistrust

and unhealthy secrecy, self/other-destructivness, addictive and/or

antisocial behavior etc.).

How did we all make peace with the temptations or trappings of "sex,

drugs and rock-n-roll" ourselves. What is your "would've, could've,

should've" personal history about all that. Were you over-disciplined

or under by your parents and schools, culture and laws?

Any/all personal politics and "religious" morality aside, we all know

there are most serious physiological, psychological and emotional

developmental implications of all our kid's most basic choices/actions:

the company they keep and personas they try-on/test therein , the diet

they consume and any inebriates they may experiment with, the

sensitivity/skillfulness of their teachers and learning environment,

the cultural and (in the "west" therefore inherently) commercial

messages they are boraged by and submit to or resist, etc. When and

with whom an adolescent first experiences/explores their sexuality,

their states of mind/consciousness, their sense of

art/performance/creative expression, their spirituality, their polity,

their social/relations constructions, etc. is often a very strong

determiner of subsequent conclusions about reality (...self, other,

life) and therefore also, until later personal reflection (either of

their own free will or forced upon them, usually by some dysfunction,

negative symptom or breakdown) major factors aiming at least the

initial trajectory of their impending adulthood.

As we all know, the new saying is that "it takes a village to raise a

child". But what to do when "the village" is itself so confused and

lacking in concrete and conclusive evidence to justify its rules, a

healthy world that would give its/any demands and limit setting real

foundation and justification? Indulge the rebellious adolescent mind

for a moment and entertain:

Rule Test #1: "Don't have sex until....

-a) ...you are married." (Marriage: an "institution" or

cultural/religious convention so fraught with failure, dysfunction and

violence as to call into question the intentions of its advocates),

or....

-b) ...until you leave this (the family's) house." (which is to

communicate nothing more than the blatant or de-facto communication 'if

you are not going to duplicate/imatate/submit to and confirm MY

conclusions about how to manage/limit/control human sexuality,

pair-bonding, etc. then you will have to go away and/or do that in

secret." or the like).

-c) ...until you are (usually in conjunction with "b" above if not

honoring "a") in a committed relationship." (as if all such

Judeo-Christian based moralizing even showed up in any statistically

rigorous mental/emotional/psychological health research (or even

layman's observations) as proving its a requisite guideline.

Rule Test #2: "No taking of "drugs"...

-a) ...in this house." ( or in other words "i would rather have you go

to potentially dangerous places with potentially dangerous people to

ingest potentially dangerous/unknown substances....etc., than to do any

such thing here"), or...

-b) ....at your age" ( or the risking that the youth will see what may

appear to them as merely another typical and lazy adult

double-standard), or...

-c) ...as we define them". ( the irony is that statistically speaking

both the one speaking and the adolescent listening/weighing his/her

options are currently under the influence of some of the statistically

most deleterious substances so commonly available: refined white

sugars, nicotine, alcohol, caffine and any number of complicated new

and highly experimental popular pharmaceutical psychotropics like

antidepressants, anti-anxiety or anti-ADHD meds. Furthermore, into that

already deeply chemically compromised (and therefore of dubious

integrity) conversation (usually read "shouting match") add the more

deeper "political"/ or human rights irony that if the "drug" in

question happens to be a naturally growing plant of the Cannabis Sativa

family, the guardian presuming to lecture of its evils and prevent its

accessibility themselves now stand against decades or overwhelming

scientific evidence as to its non-toxicity and entire nations of

conservative legislation which are enjoying a humbling list of positive

feedback from its de-criminalization.).

What is a loving parent, guardian, relative, family friend,

teacher.....etc. to do?

Clearly so little is clear. And, therefore, open and deeply caring

sharings, research and mutual self-inspection are required.

The basis for any rules found necessary at this stage of raising the

adolescent must be fully available for mutual inspection as to the

rule's depth of reason as well as intuition, tradition as well as

legality, chemistry as well as cultural, personal as well as collective

moorings. If the young adult is not to be rebellious isn't the adult,

not wanting to merely play petty dictator (with all that is rightfully

insulting to developing intelligence and justifiable insighting of

further rebellion about that), also accountable to be completely

transparent in revealing their drives, reasoning, including even

misgivings and conditions justifying re-consideration?

Its easier to just make rules, or at least at first it may seem.

The lazy close their minds, end the conversation, risk making

uninformed, idealistic, reactive or merely fear-based rules and thereby

guarantee at best only postponement, if that, of these same issues to

the next generation and at worst incite division, suspicion, separation

and the failure of the kind of spirit of mutual respect and honoring of

difference that only rigorous and deeply empathetic intelligent loving

progressive consideration/investigation/conversation can engender.

But are the unconscious friends, or worse yet these preditor-dealers,

any better? Is there any proof that their noxious pandering, and

peer-pressure pushing (if not more innocent grass then more deadly

bath-tub poisons) is not 100x worse than merely over-protective

parenting? How to cultivate and maintain the kind of intimacy and

respect that would have our kids turning to us rather than to strangers

of dubious intent when making such important (and inevitable)

decisions?

When my nephew, in some attempt to bond with me his "cool" uncle,

started to talk about Marijuana I chose to tell him that while i

thought that its use could be of value to some people consumed

infrequently in a manner respectful of its effect and influence, my

sense was that it was not something that people in his age group should

be yet experimenting with. He asked why and a rich and valuable

discussion followed in which i felt i had effectively made a case for

abstinence based on age/maturity. Do i believe that such a conversation

is conclusive or could really form the basis for a decision on his part

not to experiment with, in the case of this discussion, grass? No. If i

were his legal guardian i would be drawing him into a much deeper

consideration, enrolling him into the limit-setting process and set of

conclusions i would work to reach together. And I feel relatively sure

that both his mother and his grandparents, his primary parentors/role

models, will do their best in that direction.

I have this nephew i love and wish i could spare him, as well as all

those around him, the chaos of his developmental years and the

necessary mistakes and wrong turns he will most likely have to take.

His own maturity, merely developing as it now is, will surly itself be

a pivotal factor in how much freedom he deserves to be entrusted with.

Yet another one of youth's frustrating/bewildering Catch-22's.

I have this nephew I love, we all love. May he make it through without

too much trouble, danger or over-stressing those that live for his

health, happiness and success.

British postcard by Film Weekly. Photo: Fox. Lilian Harvey, Henry Travers and Lew Ayres in My Weakness (David Butler, 1933).

A wealthy young man (Ayres) bets his uncle (Travers) that he can transform a clumsy cleaning lady (Harvey) into a glamorous fashion plate, then marry her off to his bachelor cousin (Charles Butterworth).

British born, German actress and singer Lilian Harvey (1906-1968) was Ufa's biggest star of the 1930s. With Willy Fritsch, she formed the 'Dream Team of the European Cinema'. Their best film was the immensely popular film operetta Der Kongress tanzt/The Congress Dances (Erik Charell, 1931).

I tear my heart open, I sow myself shut

My weakness is that I care too much

My scars remind me that the past is real

I tear my heart open just to feel

Drunk and I´m feeling down

And I just wanna be alone

I´m pissed cause you came around

Why don´t you just go home

Cause you channel all your pain

And I can´t help to fix myself

Your making me insane

All I can say is

I tried to help you once

A kiss will only vise

I saw you going down

But you never realized

That your drowning in the water

So I offered you my hand

Compassions in my nature

Tonight is our last dance

I´m drunk and I´m feeling down

And I just wanna be alone

You shouldn´t ever came around

Why don´t you just go home?

Cause your drowning in the water

And I tried to grab your hand

And I left my heart open

But you didn´t understand

But you didn´t understand

You fix yourself

I can´t help you fix yourself

But at least I can say I tried

I´m sorry but I gotta move on with my own life

I can´t help you fix yourself

But at least I can say I tried

I´m sorry but I gotta move on with my own life

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

View On Black

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

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je suis le faussaire

Moon in Gemini

In #astrology while the sun represents your conscious mind the moon represents your subconscious mind and, among others things, what kind of nourishment you received during childhood and how you deal with nutrition as a result; that’s the subject we are going to cover here.

Because you become what you eat, you also eat what your body craves in order to create physical and emotional balance.

We all know that when we are hungry we get upset. Some people can go crazy when they are on an empty stomach, because there’s a direct connection between food and emotions, and the moon dictates how you express this connection.

Knowing your moon sign and understanding how to use your strengths and handle your weak points can help you effectively shed those extra pounds and optimize your health with the appropriate foods.

Moon in Gemini

Your element is Air and Mercury is your ruler.

Your strengths

You are super bright, witty, curious and persuasive. You are the multitasker; you can do 3 or more things at once, although you may not actually finish any of them. You love to talk and communicate; you have a good instinct for words.

Your weakness

Your are restless, and you need to take some time to meditate and relax.

Because you have a good way with the words, you could be manipulative sometimes and even bend the truth, depending on what someone wants to hear.

You are very impatient with unhurried people.

Because you try to intellectualize your emotions you tend to skip the feelings of emotions and eventually you break out in tears from too much reasoning and when this happens you are prone to eat because you're nervous, creating more stress for your body.

Your mother

The moon sign represents the safety (or lack thereof) you received from your mother when you were a baby, how you were fed and nourished.

We give love the way we learned to receive love.

Your mother was an interesting person, also curious about everything and on the move.

She was more like an older sister than a traditional mom. Or perhaps you your raised by an older sister.

She was more concerned with the intellect of her children than with their diet and routine.

So that’s how you grew up, around stress and eating in a hurry and skipping meals. She was the kind of mother who carried chips and packed meals in her car to give to her children in case they were late for school and didn’t have time to eat.

Your eating habits

Most of the time you forget to eat, and when you do get around to it you usually do something else while you're eating like answering emails or texting at the same time.

You eat whatever you can grab on your way to the subway or the car.

As a result, the food you eat carries a tense and stressed sort of energy; rather, you should make an effort to sit down and pay attention to your meals, be present when you are at the table.

You tend to eat nervously and this can upset your stomach or give you indigestion.

Your physical imbalance

Stress can cause serious health problems. You’re prone to problems relating to the lungs, respiratory system or even asthma. Your body may be suffering from lack of ingredients and nutrients.

Females with the moon in Gemini can suffer from hormone imbalance.

How to neutralize imbalance and optimize your health

You need to take vitamin B12, which is excellent for your nervous system. You have to eat fish, bananas, legumes and eggs. Taking a vitamin B12 supplement may also be recommended.

Exercise and meditate everyday. The best exercises for you are ones in which you interact with people.

Because you are curious and you love to learn, get yourself some books on nutrition and learn about eating well. You will learn about nutrition and at the same time you will learn how to take care of yourself.

Pranayana breathing exercises are very good for you; Pranayana slows down your breathing and offers many health benefits, such as lowering high blood pressure and managing stress and depression. You can download the program on your phone and do it for 5 to 15 minutes every morning.

‘Give a man a fish and you feed him for a day, teach a man to fish and you feed him for a lifetime’

Chinese Proverb

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Portuguese

Lua em Gêmeos

Na astrologia, enquanto o sol representa sua mente consciente, a lua representa sua mente subconsciente e, claro, entre outras coisas, que tipo de alimento você recebeu durante a infância e como lida com a nutrição, este é o tema que abordaremos aqui.

Assim, como você se tornar o que come, seu corpo anseia por alimentos que criarão um equilíbrio físico e emocional que ele precisa.

Todos nós sabemos que quando estamos com fome ficamos aborrecidos. Algumas pessoas podem ficar loucas quando estão de estômago vazio, porque existe uma conexão direta entre os alimentos e emoções, e a lua dita como você expressa esta conexão.

Conhecer seu signo lunar e entender como usar seus pontos fortes e como lidar com seu lado negativo pode ajudá-lo(a) efetivamente a perder aqueles quilos extras e otimizar sua saúde com os alimentos apropriados.

Lua em Gêmeos

Seu elemento é o ar e Mercúrio é o seu regente.

Seus pontos fortes

Você é super animado(a), espirituoso(a), curioso(a) e persuasivo(a). Você é o(a) multitarefa, pode fazer 3 ou mais coisas ao mesmo tempo, embora não termine, de fato, nenhuma delas. Você gosta de falar e se comunicar, você é articulado(a) com as palavras.

Suas fraquezas

Você é inquieto(a) e precisa de um tempo para meditar e relaxar.

Como você é bom(a) com as palavras, pode ser, às vezes, manipulador(a), até mesmo com a verdade, dependendo do que alguém quer ouvir.

Você é muito impaciente com as pessoas que não têm pressa.

Porque você tenta intelectualizar suas emoções, tende a ignorar os sentimentos e as dores e, eventualmente, cai no choro. Você pensa muito e tenta objetivar os seus problemas em vez de senti- los. Quando isso acontece você está propenso(a) a comer mais e compulsivamente porque está nervoso(a), e acaba criando mais estresse para seu corpo.

Sua mãe

O signo lunar representa a segurança (ou falta dela) que você recebeu da sua mãe quando era bebê, como você foi alimentado(a) e nutrido(a).

Damos amor do jeito que aprendemos a receber amor.

Sua mãe era uma pessoa interessante, curiosa sobre tudo e sempre em movimento.

Ela era mais como uma irmã mais velha do que uma mãe tradicional. Ou talvez você tenha sido criado(a) por uma irmã mais velha.

Ela estava mais preocupada com o intelecto de seus filhos do que com suas dietas e rotinas.

Então, é assim que você cresceu, sob estresse, comendo com pressa e pulando refeições. Ela era o tipo de mãe que carregava batatas fritas e refeições embaladas no carro para dar aos filhos caso estivessem atrasados para a escola e sem tempo para comer.

Seus hábitos alimentares

Na maioria das vezes você se esquece de comer, e nas refeições você costuma fazer outras coisas enquanto está comendo, como responder e-mails ou mensagens de texto ao mesmo tempo.

Você come o que consegue pegar no caminho para o metrô ou carro.

Como resultado, o alimento que você come carrega um tipo de energia tensa e estressante. Ao invés disso, você deve fazer um esforço para se sentar e prestar atenção em suas refeições, ou seja, estar presente quando se sentar a mesa.

Você tende a comer com nervosismo e isso pode perturbar seu estômago ou causar indigestão.

Seu desequilíbrio físico

O estresse pode causar sérios problemas de saúde. Você está propenso(a) a desenvolver problemas relacionados com pulmões, aparelho respiratório ou até mesmo asma. Seu corpo pode estar sofrendo de falta de ingredientes e nutrientes.

Mulheres com a Lua em Gêmeos podem sofrer de desequilíbrio hormonal.

Como neutralizar desequilíbrio e otimizar sua saúde

Você precisa tomar vitamina B12, que é excelente para o seu sistema nervoso. Você tem que comer peixe, banana, leguminosas e ovos.

Tomar um suplemento de vitamina B12 também é recomendado.

Faça exercício e meditação todos os dias. Os melhores exercícios para você são aqueles em que interage com as pessoas.

Os exercícios de respiração Pranayama são excelentes para você, oxigena seu pulmão, acalma sua respiração e lhe deixa equilibrado.

Faça ao acordar de 5 a 15 minutos. Você pode baixar o programa no seu telefone que ajuda com a acompanhar o ritmo e contagem.

Porque você é curioso(a) e gosta de aprender, leia alguns livros sobre nutrição e aprenda sobre como comer bem. Você aprenderá sobre nutrição e, ao mesmo tempo, a cuidar de si mesmo(a).

'Dê a um homem um peixe e você o alimentará por um dia, ensine um homem a pescar e você o alimentará por toda a vida.

Provérbio chinês

Weakness is a better teacher than strength. Weakness must learn to understand the obstacles that strength brushes aside.

Mason Cooley

Bherenda ভেরেন্ডা in Bangla (Ricinus communis), Eranda in Sanskrit is still a lowly weed. So looked down upon that the Bangla phrase “frying Bherenda” means “just killing time”. But not for long. As petroleum price goes through the roof due to speculation & politics, the humble Bherenda may soon become an aristocrat, if chemists can find an economically competitive way of extracting bio-diesel from its seeds. Meanwhile, Ayurwed (= science of longevity, ~ ancient Indian medicine) recommends it for external use in backache, sciatica, arthritis, nerve weakness, skin disorders, muscular pain and inflammation. Internal use for paralysis, arthritis, body ache, headache, abdominal pain, piles, liver and spleen disorders. In anticipation of its forthcoming emancipation by scientists, the poor Bherenda is now showing itself off opposite the Science City, Calcutta, 8.8.08.

A moment of weakness / Lay Sedlakova / AAAD Prague / Fashion Design Studio / Kontrast / Photo: Pavel Hejny

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

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

Frozen Hot Chocolate from Serendipity 3.

Thanks for a memorable night, friends :)

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So much on my mind right now, I don't even know where to start. I am so tired but I know I won't be able to fall asleep. My body and it's weaknesses are finally kicking in... I think it's about time I realize what's strength and what's pain. Don't you think?

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Woke up at 7:30am.

Dunkin' for breakfast, didn't finish the croissant. Been having a lack of appetite lately. Whatever.

Walked into Best Buy since I was early, looked at lenses... wished I was a bajillionare, then left for class.

Lecture by Elisabeth on Museum Controversies... quite interesting, had a short discussion on it afterward and headed to Kimmel around 10am.

Kimmel didn't open until 11am for lunch so while the other girls took a nap on the couches, I walked over to what could be one of the most interesting store (to me at least) - Lomography. They sell all these "weird toy cameras" like the Fisheye2 or the Dianas. Once again, wished I was a bajillionaire... texted my brother to let him know in advance that I will be occupying his Fisheye2 for a while when I get home. Then my up with the girls for lunch at Kimmel at 11am. Wanted to go up to the 8th floor to visit Marc's ex-colleagues again but had too much stuff. Chicken strips, california rolls, chips, curly fries. Yum (I still have the sushi here! I'm not that big of a fatty!)

Walked back to Lomography to meet up with Thieny... bought some photo holders (yay for scrapbooking!) and started walking back when it started raining. We got back and after a short while, we had to go to our field trip at the Time Warner / AOL Building close to Columbus Circle. Got there... went to the 5th floor for a perfect view, heard a guest speaker for a bit and then left to see the Lincoln Center. After the tour, a few of us just head home.

Dani, Thieny, and I went to get our eyebrows threaded for the first time (not like I have an abundance of brows... in fact, my brows are running kind of low if I must say.) - thought it would be much more painful, but it turned out fine and I feel less self-conscious now :P $7 can make a big difference!

Here is when my day started falling a bit downhill.

Quickly heated dumplings in Alysha's room (thank you!) then headed to Times Square with Dani to enter the lottery for American Idiot at 5pm. We rush there only to find out the lottery didn't start until 6pm (show was at 8pm not 9pm) so we went to Sbarro... I watched him he pasta and he watched my head bob every time I almost fell asleep.

Sorry for being grumpy. I really dislike wasting time... especially after confirming that I wouldn't be wasting time.

Went to sign up for the lottery... 25 tickets available, over 100 names and max two tickets per "chosen one" so obviously with my luck, we didn't get tickets... and at that point we were both very bummed.

Dani - hope your best friend is doing better! and that the baby's okay. <3

Headed back to the dorms and decided to join on the Serendipity run to kill the bad mood. Left around 7:45pm, got to the restaurant with reservations and was told we had to wait one more hour. Ridiculous, I know.

That was good though because we all went to Dylan's Candy Shop a few stores down and hung out :)

So something that happened that and still bugging my right now is that while we were taking a group picture... everyone put their cameras together on one table, and as I put my camera stuff down, someone else's camera fell only the floor (right on the lens, sound familiar?) and broke. It was a camera as a gift from her boyfriend... and I feel terrible now because it wasn't until we got home and the Best Buy guy told her it was cheaper to buy a new camera than to fix this one, that I realized that I was the most at fault for the camera dropping.

I am upset at myself because I should have noticed that it was easily my fault because my bag was near. It just never clicked. I spoke to her but she won't let me chip in for her new camera...

I don't know what to do.

Serendipity means "fortunate accident" - that definitely was not tonight.

I feel uneasy.

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People have been asking each other "Are you ready to go home?"

To be honest, I really don't know how to answer that on.

There is so much going on at home. It's like the reality everyone has to face eventually. But I do miss what I have been used to for the past 19 years. Yesterday at Flushing, I was really thinking about how different I would be if I were born ing NYC instead of LA. Who would I be? What would I be doing?

I love it here, but maybe not for the current situation(s) that I am in. I am not sure... here, I feel like my life is more exciting, but that could just be because I am living a limited-time life here, while at home, nothing seems special anymore.

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How come my photos never get re-blogged? I continuously remind myself that I am doing this all for me, but it's kind of creepy to think that there are people reading about my life on a daily basis, but no one dares admit their readership by replying back to this one way street.

But then again, what if you are feeling something I don't want to hear from you?

What is it that I want out of this project? Out of life? I am almost to day 200... almost. And I'm gonna make it all the way through 365... maybe even 500. But I am starting to notice that I am blogging to an audience, unlike what it used to be like, blogging to a blank wall.

The situations different now.

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Trying to buy a new lens for my Canon Rebel XSi before the 20th so I can give Aaron his lens back before he leaves! Any suggestions? Something around or below $300 is preferable :)

I wish money actually meant more than a sheet a paper. The way we hype up the value of a bill is very far from it's actual worth. But who am I to say anything?

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There so much more I want to say. Currently waiting for the laundry to be down in an hour or so.

Maybe it's time to go home.

At least I home, I don't have to be afraid of being alone or misunderstood.

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I am not surprised.

But still, this is upsetting.

unicamp.kintera.org/campathon/mwltatertots

www.lucytseng.tumblr.com

Painting done when I'm really upset and hurt with a throbbing headache. It just represents my weaknesses and the inperfect paint strokes just add more truth to this painting weaknesses.

Q Weakness

Q Gallery

Contemporary Tourist Art by JJFBbennett

View more:

www.jjfbbennett.com/2022/04/q.html

@Opensea

Q Weakness

My power is made perfect in your weakness.

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