text:
I've just been to The British Art Show 8 , it's been peregrinating around the UK for some time and according to the organiser's blurb, ' is a touring exhibition taking place every five years that provides a vital overview of the most significant contemporary art produced in the UK', so I was really looking forward to it.
'Everything,' as Greyson Perry remarked, 'was contemporary once', and it's in a spirit of optimism and open mindedness that I go along to these things.
Here's the thing: I absolutely love and embrace Art, in all its forms, it's my job, my passion, my work, my free time – in short my vocation.
In marketing terms that makes me a dead cert for being interested in, and being prepared to work at a show; imagine my disappointment then when it turned out to be inaccessible.
Let me qualify that; there were great ideas there but nothing that engaged.
For instance one of the artists sandwiches bits of code and numbers in his sculptures which are described as 'detailed sculptures derived from the complex interior mechanisms of locks. Embedded within their layers of metal, stone and resin are numbers, letters and months that hint at things of emotional importance: 'birthdays, anniversaries, deadlines, deaths'. Describing each of these sculptures as a 'metaphor for content just out of reach', (the artist) intends their encrypted, enigmatic forms as 'an invitation to unravel', unpick or decode.'
So what?
The forger Keating once remarked that he liked to imagine what it would be like to take a drink with each of the artists he copied, to get a feel for their personality.
This is interesting insight: as an art enthusiast he felt – as I do – that Art really does capture and convey something of the spirit of its creator.
Now in that spirit, could you imagine being sat next to a person at a dinner party droning on about hiding tangental bits on information which may – or may not – allude to significant dates in their lives – in inert objects?
At what point was this artist encouraged in the idea that the best, the most visually stimulating, most memorable, most compelling way to get the common man to think about 'content just out of reach' was to stick a few random numbers in bits of sculpture made to look like a squashed lock?
I've just spotted my schoolboy error; maybe it's not for the common man, but the art intelligencia?
But hang on, in that case when did it become OK to stretch a pretty thin metaphor (locks = being locked out of something), and then wrap it up in some inherently everyday objects and remark to oneself 'my work is done.'
I mean no disrespect, and this artist has done good things, but (and I was there) nobody was interested.
I'm just not convinced that the 'stretch a metaphor' school of Art is so inherently good, that's it's absolutely OK not to bother with making it accessible.
I get it that Art has to reflect the Human Condition, and that in this 21st Century should reflect the influence of mass imaging technology in all its forms, but when did we loose sight of the basic need for Art to be also an engaging and stimulating visual medium?
I took a great deal of very good things from the British Art Show.
That the internet can be dangerous for innocents (a good film reimagined as a very dark fairy tale): Imagined and imaginary people are interesting subjects for artists (well that's not really new, how many painters witnessed the Passion of Christ?): Dialogue from sampled words and phrases can be interesting out of context (exquisite corpse anyone, it's a great Surrealist technique?).. it's not at all bad but is it really 'the most significant contemporary art produced in the UK'?
If the test of Art is that it touches us by revealing aspects of the Human Condition – my condition, your condition, then it was all Art; but it all rather felt as though the idea was an end in itself.
Making that idea, explicable and engaging was evidently all a bit crass. 'Far better,' I seemed to hear, 'to work i in an self consciously aesthetic manner', which proclaimed THIS IS ART and forget about all the inconvenience of making it compelling.
The potential was there, so was the talent, but the passion was absent and so, dear reader, were the public.
The linger time (now there's a phrase to conjure with) in the galleries was inversely proportional to the importance of the work, because most of these artists just couldn't see the point of making their work accessible and engaging, so the public didn't bother to really think about the great ideas on offer.
If the British Art show isn't engaging the British people then on what measure is it 'the most significant'.
I think we need a bit more, I really do.
Well there goes my Arts Council approval, critical acclaim and funding. I'll console myself with this note which I received recently from a member of the 'art interested' general public, which I'll quote in full
Hi Jim,
I spoke to you at The Painted Garden Exhibition in early August with my wife & a friend. We were all greatly impressed. You were kind enough to show us around & enthuse about Matin's work. At the time I had not the words to express myself properly, so I asked for your email address so that I could unburden myself in the written word.
Re: The Painted Garden Exhibition an autobiography by Martin Kinnear
I found the experience profoundly moving and just wanted/needed to say something by way of feedback as a response. Many others will speak more articulately than me & with greater knowledge, but not with greater feeling, admiration or gratitude.
The impact on entering the gallery is truly stunning. To me this is the best contemporary art exhibition I have seen & my only yardstick for that definition is that it hits me so eloquently with its depth of beauty & with its exquisite language of colour.
There is a real sense that the Impressionist Masters have been superseded with the accumulation of every one of their lessons into a new exciting vision.
The information / explanation beside each painting adds depth & if placed together with the paintings as pages would make a worthy book. Each painting too gives power to the whole & though they will soon be physically separated, they will always remain related & so reflect a power from the complete series.
Great to know that they will be reunited at the Sainsbury Centre at the UEA where the exhibition will reach a wider audience & surely bring national recognition to Martin.
All in all it rocks the heart and it moves the spirit to a higher realm of positivity.
If I speak with too much emotion, then I apologise, but that is not my fault but Martin's & his journey & portrayal of emotional & visual experiences in a walled garden.
Thank you for this opportunity to email you. I have email copied your mother in by way of thanks to her & I hope you might pass on my comments to Martin himself.
I will pay a second visit shortly & may see you then.
All good wishes
Richard Hulett
I haven't swallowed my own PR or fan mail, nor am I convinced that all Modern Art is bad, nor have I any agenda other than to create Art which informs and moves people.
None of the above makes me a 'better artist' than any of those in The British Art Show, but, judging by the public reaction to their 'significant work', nothing could induce me to set my mind to whatever set of loftily aesthetic criteria required of those wishing to become 'significant'. I'll stick with moving people to tears
I'm afraid that the gallery manager Jim, was a little over zealous in saying my work would be shown in a public gallery; it won't of course because it engages and moves people, rather than seek to make me appear impossibly, aesthetically remote and well informed.
Rant over.
Should your interest in locks be inexplicably lacking or tangental, you can still visit my show until 4 September, whereupon it will be dispersed to collectors from the UK and beyond who were engaged and moved enough by it to part with their hard earned time and cash. Alternatively visit chub.co.uk , fire up your online diary, pour over your bucket list and get with the zeitgeist.
'it hits me so eloquently with its depth of beauty & with its exquisite language of colour.' That's why I get out of bed and create Art, but I'm not holding my breath for critical approval:-)


text:
Based on popular online slot titles
Australia-based slots studio and NYX Gaming Group-owned NextGen have debuted a portfolio of scratch card games based on popular NextGen titles such as Merlin's Millions, Doctor Love, Medusa and Foxin' Wins.
The new games will be made available to all eligible operators via NYX OGS opening a further lucrative channel in their acquisition and retention efforts, NYX Gaming Group said.
Online Casino News Courtesy of Infopowa
More news

subset: commoncrawl


text:
"This is getting too weird for me."
These are words you never expected to hear coming from the mouth of Tim Burton.
Yet Samsung, which these days leaves no competitive joke unturned and no Hollywood star untapped, delivered precisely that during the Oscars broadcast.
The ad, released by Samsung a little while before the show, features Burton playing a director delighted to be turning the "Unicorn Apocalypse" game into a movie.
In this context, "delighted" takes on a very idiosyncratic form.
We begin by hearing that another Samsung endorser, LeBron James, is addicted to "Unicorn Apocalypse."
It's surely hard for anyone not to become addicted to zombie unicorns.
Who more appropriate, then, to direct the movie of the game than Tim Burton?
The man who sees blackness in darkness and deep gray in white saunters into the gaming company and plays, well, himself.
"Did you guys know that unicorns are basically goats?" Burton informs the rapt game creators.
He follows that fascinating information with the perhaps even less-well known fact that unicorn blood is rainbow-colored with little weird sparkles in it.
Which would sum up this ad.
Yes, there are Samsung products in it.
More important, however, are the little weird sparkles that are being sprayed upon the brand with stars, cheek and, most of all, wit.


text:
I have told you my pannacotta story before with "Sugar-Free Vanilla Panna Cotta" post. So, here is the second part of that story. When I finally started to get the gelatine and cream combination technique, then I didn´t want to stop. I wanted to replace usual milk and cream with something different. The new combination was Greek yoghurt and almond milk. Is it possible and does it taste good? I doubt about this combination until I tried it. And? It worked! Just look at that creamy texture and the colours of passion fruit. The taste is even better. Passionfruit itself gives that sweet and sour combination and it comes out as a good elegant surprise.
If you haven´t made pannacotta before, then don´t worry. It´s actually super easy when you follow my tips. Quite often I find the pannacotta ingredients at home (milk, yoghurt or cream and I usually have extra gelatine sitting in my cupboard). Usually, I have some fruit or berries at least in the freezer. Furthermore, it doesn´t take a lot of time to make it. The preparation time takes only 7-10 minutes and the rest of the time it just sits in the fridge. Because of these reasons I make pannacotta quite often.
Passion Fruit Panna Cotta with Greek Yogurt and Almond Milk
About 6 medium pannacottas
For the pannacotta
- 3 gelatine leaves
- 250ml almond milk
- 250ml Greek yoghurt
- 1 vanilla bean, split lengthways, seeds scraped out (or 1 tsp vanilla bean paste)
- 2 tbsp quality raw honey or maple syrup (the result might depend a lot on a taste of the honey)
- 2 medium passion fruits
For the sauce
- 1 tbsp quality raw honey or maple syrup
- 3 passion fruits
- 20 ml water
For decoration: some physalis (optional)
- For the pannacotta, soak the gelatine leaves in a little cold water until soft (about 5-10 min).
- Cut 2 passion fruits in half and scoop out the pulp into the saucepan. On a low heat let the passion fruit simmer until it goes like syrup (about 2-3 minutes).
- Add the almond milk, vanilla pod and seeds into the passion fruit mixture and bring to a simmer (about 2-3 minutes). Remove the vanilla pod and discard. Add honey and stir until dissolved.
- Squeeze the water out of the gelatine leaves, then add it to the milk and take off the heat.*
- Stir until the gelatine has dissolved.
- Let the mixture cool down a few minutes. Then add yoghurt while whisking the mixture. Stir until it dissolves.
- Butter the ramekins** with coconut oil, then use a paper towel to wipe out most of the oil.
- If you would like to make the pannacotta extra smooth, then you should pour the cream mixture through a strainer. Then divide the mixture among six ramekins and leave to cool.
- Place in the fridge for at least 4-6 hours or overnight (until set).
- For the sauce (syrup), scoop out the passion fruit pulp and put it into a pan and bring it to boil. Add water and maple syrup reduces the heat and let it simmer about 5 minutes until it goes thicker. Cool down the syrup.
- To serve, run a round-bladed knife around the sides of the ramekins to loosen any stuck edges. Then turn each pannacotta out onto a serving plate. Spoon over the sauce and garnish with passionfruit syrup and physalis.
*It´s important that you don´t boil the mixture with the gelatine because then the gelatine doesn´t set later.
**I usually use silicone muffin pans because then it is easier to take out the panna cotta or you can serve the panna cotta in a glass as well. Here I used muffin pans and I put two panna cottas on top of each other.


text:
Who is Litmus:
Major global brands across every industry and vertical trust Litmus to make email better, including 9 of the top 10 ecommerce brands, 7 of the top 10 technology companies, and 23 of the top 25 US ad agencies.
Backed by $49M from Spectrum Equity, the Litmus email creation, testing, and analytics platform empowers marketers, designers, and agencies to confidently deliver customer experiences that ensure brand alignment and quality, as well as maximize performance and deliverability.
Making a Difference
We are looking for an attorney to assist our General Counsel with the responsibilities of our legal department. This individual must be able to work in collaboration with other Litmus employees in a highly self-driven manner within a fast-paced, entrepreneurial environment. In particular, this position will play a key role in supporting our Sales organization in the contracting process with customers and prospective customers. This position will report to the General Counsel and will be located in our Cambridge office
Key Responsibilities
What are we looking for?
Why should I choose Litmus?
We offer everything you'd expect from a financially successful and profitable startup, and we've been going strong for ten years.
It's the company you keep. The people at Litmus are truly amazing, each in their own way. With outstanding profitable growth and the trust of more than 250,000 marketers you know you're part of a winning team.


text:
Town put four past Bristol Rovers Academy, who now face Appledore
BARNSTAPLE Town kicked off their pre-season preparations in perfect fashion with a 4-0 win over Bristol Rovers Academy last night.
A bumper crowd watched as Town's experience told against some of the South West's top young talent, who will now play Appledore FC tonight (Friday) at Marshford, kicking off at 6.30pm.
Both matches were organised by Bideford Blues.


text:
WESTMINSTER, Colo. — Dominic Casement says he was already on the ground in handcuffs when a Westminster police officer pistol whipped him on his head and across his chin before kicking his face.
"At the time I got kicked in the face, my face essentially bounced off the ground," said Casement, who has now filed a federal civil rights lawsuit against Roger Stockman and the Westminster Police Department for the Nov. 11, 2017 incident.
Casement was treated for a broken jaw and head lacerations, which required five staples in his head and stitches on his chin.
Casement was the passenger in a stolen car when he was placed into custody by Westminster Officer Scott Holley. Moments later, Stockman arrived and used his pistol to strike Casement in front of officer Holley.
"I tried to cry out, he (Stockman) told me to shut the f**k up and hit me again," said Casement.
It was Holley who immediately reported Stockman to internal affairs for excessive force.
"That officer (Holley) deserves commendations, he deserves awards, he deserves a lot of credit because that's true bravery," said Faisal Salahuddin, a civil rights attorney who represents Casement.
"I give him (Holley) all credit. I think without him, I may have died there that night. He
definitely saved my life," added Casement.
Westminster police asked Thornton police to conduct an independent investigation. Thornton detectives recommended two felonies for assault with a deadly weapon but Adams County prosecutors allowed Stockman to plead down to misdemeanor assault.
"Roger Stockman got the velvet job every step of the way. As a criminal defense attorney, we know in this state, if you're charged with assaulting someone with a deadly weapon and you caused them seriously bodily injury, you should go to jail. You should be arrested. You should get a bond," said Salahuddin, who pointed out Stockman never even had to pose for a mugshot because he was given a summons instead of being arrested.
"I think that definitely shows a double standard in society. I mean, if it had been anybody else besides a cop, they would've been thrown in jail with probably an outrageous bond," said Casement.
The 35-year-old said the unsupervised probation Stockman received hardly amounted to accountability.
"He broke my jaw. It's out of line completely. I don't eat out of that side anymore," said Casement. "I'm terrified of cops. If I ever needed a cop to call for any reason, I couldn't do so now."
Stockman was forced out of the Westminster Police Department less than two months after the pistol whipping incident but
the department refused to tell FOX31 if Stockman resigned or was fired.
It took the state of Colorado until September 2019 to revoke Stockman's certification, ensuring he doesn't get hired as an officer again.
Stockman did not return FOX31's calls for comment. He was employed with Westminster police from June 28, 2010 to Jan. 1, 2018.
Sgt. Trevor Materasso told the Problem Solvers Westminster police can't comment on pending litigation.
The lawsuit criticizes Westminster police for not equipping its officers with body cameras.
In a statement, Materasso said Westminister police are conducting extensive research into the use of body worn cameras.
"Westminster wants to be diligent in our review and analysis before committing substantial tax payer dollars to this program. We are reviewing a number of nationwide studies and comparing those to local facets and considerations to determine if a body worn camera program best serves our community," Materasso said.


text:
CONGRATULATIONS ALVIN McEWEN!
The fantastic blog Holy Bullies and Headless Monsters has been nominated for a THIRD TIME in the GLAAD Media Awards.
Alvin's blog is one of my daily must reads (link in sidebar) and the one I go to for reliable, timely and accurate reporting on those people and organisations for whom the LGBT community is their target.
Many blessings and prayers that he wins this year.
Go to his blog. It is informative and fabulous.
Just like Alvin.
Blessings my friend.


text:
|Posted by Dee on August 28, 2013 at 4:40 AM
I have spent much of my spare time this summer working on things related to being a Patron of Reading including prepping all my reading sessions for the first term, writing a 'welcome back' newsletter with the reading list for the term, plus a couple of activities for the pupils, parents and staff to do and writing a Halloween story both in picture book verse and as mid grade lit.
I joined and completed the Summer Reading Challenge and enjoyed picture books to YA. I don't think the smell of those stickers will ever be erased from my memory though…especially because my 10 year old son thought chasing me around the house with them was great fun. I practically had to beg to get him to stick them on his creepy house poster. Ok, I did beg him.
My new website dedicated to my writing for and work with children is live, and one of my favourite sections in it is the literary treasure chest. Click here to have a look. Please have a look around the rest of my website and let me know what you think. Is there anything you think should be there that isn't?
I am looking forward to my first sessions with my PoR groups on the 18th of September, and I will come back and let you know how they went. Good luck to everyone making school visits in September, I hope you have a wonderful time!
Categories: None
Oops, you forgot something.
The words you entered did not match the given text. Please try again.


text:
Assumption Park was the location of the first Roman Catholic Parish west of Montreal, Assumption Parish, built in 1787. Until 1952, Assumption Park was part of Assumption College, today known as the University of Windsor. Between 1952 and 1990, the City of Windsor leased the property for $1 per year. In 1990, the City became the owner of Assumption Park.
Aboriginal Park
AKO Park
Alexander Park
Alton C. Parker Park
Assumption North Park
Assumption Park
Atkinson Park
Avon Court Park
Avondale Playlot
Balsamo Park
Bellewood Park
Bert Weeks Memorial Gardens
Black Oak Heritage Park
Bradley Park
Broadway Park
Brock Park
Brookview Park
Captain Wilson Park
Centennial Park
Central Park
Cora Greenwood Park
Coventry Gardens
Dieppe Gardens
East End Park
East Riverside Park
Elizabeth Kishkon Park (formerly Lakeshore Woods)
Ford Test Track
Forest Glade Optimist Park
Ganatchio Trail
Garry Dugal Park
Herb Gray Nature Reserve
Jackson Park
Joan and Clifford Hatch Wildflower Garden
Lanspeary Park
Little River Corridor
Malden Park
Matthew Rodzik Park
McKee Park
Mic Mac Park
Mitchell Park
Ojibway Park
Optimist Memorial Park
Paul Martin Gardens
Peche Island
Realtor Park
Reaume Park
Remington Booster Park
Riverside Baseball Park
Sandpoint Park
Shanfield Shores
Stop 26 Beach
Tallgrass Prairie Heritage Park
Veterans' Memorial Park
Walker Homesite Park
Wigle Park
Willistead Park
Windsor Sculpture Park


text:
Myself and the team here at Geek Impulse are humbled and honored to be press at this years Anime Expo 2018. On top of that there is more exciting news about the event. Anime Expo 2018 just announced that Shigeto Koyama and Hiromi Wakabayashi as Guests of Honor from Studio Trigger.
Anime Expo also announced:
"Animator and character designer, Masaru Sakamoto, and animation producer, Masato Takeuchi, will also join Koyama and Wakabayashi for a Q&A session during the SSSS.Gridman premiere event."
Here is the tentative schedule:
Sakamoto, Koyama, and Wakabayashi will also do autograph signings throughout the weekend (schedule TBA).
Event Details
Date: Friday, July 6
Time: 5:30 PM – 7:30 PM
Room: LACC / Main Events (Hall B)
Here is the trailer for SSSS. Gridman:
Here is the Synopsis:
"SSSS. Gridman the Hyper Agent" was a Japanese TV series that aired from 1993. Despite computers in regular households were not common at that time, this series took in elements of the internet and computer viruses and gained popularity through its futuristic appeal.
A new anime adaptation "SSSS. Gridman" will air in Autumn 2018! The animation will be handled by Studio TRIGGER and directed by Akira Amemiya, who presented the "SSSS. Gridman the Hyper Agent boys invent great hero" at the Japan Animator Expo in 2015. The future of the "Gridman" world will become reality in 2018, and revived in the animation world.
Visit http://gridman.net/ for more information!
Be sure to Follow Anime Expo 2018 on their official twitter as well as us on social below for up to date information as we receive it about the event. Will you be there? Let us know in the comments below and be sure to find us and say hi at the even with goes from July 5 – July 8th.
Find me on Social below:
Patreon: https://www.patreon.com/Geekimpulse
Instagram: https://www.instagram.com/geekimpulse/
YouTube: https://www.youtube.com/channel/UChUJw2r6ABY-PjdMp9rX1Jg
Facebook: https://www.facebook.com/GeekImpulse/
Twitter: https://twitter.com/Luxury_Geek
Sound Cloud: https://soundcloud.com/luxury_geek
Itunes Podcast: https://itunes.apple.com/us/podcast/geek-impulse/id1136063743?mt=2
Live For The Flips!!!


text:
Introducing The Nike Zoom Pegasus Turbo Running Shoe Nikes most trusted Running shoe ever. Turbocharged. Available nowNike asks you to accept cookies for performance social media and advertising purposes. Social media and advertising cookies of third parties are used to offer
Nike Special Field Boot. A modern athletic boot engineered to meet the expectations of world-clornament heroes. Part boot part running shoe the Special Field Boot is the lightest fastest-drying highest mobility performance boot Nike has ever madeDiscover a large range of the all new ASICS GEL-Kayano 25 Running Shoes at SportsShoes.com. Still looking for the Kayano 24 We stock them tooBest Shoes for Plantar Fasciitis (Sneaker Reviews) 1. Nike Zoom Pegasus 34. Click for Price (Mens) Click for Price (Womens) Compare on Zappos. These lightweight runners from Nike are simple on the outside and sophisticated underneath
Based on over 13000 votes Nike is currently number 1 out of 153 choices. Agree Disagree Place your vote on the list of Top 10 Best Shoe Brands.Following the initial debut of the Epic React shoe in January 2018 featuring the Nikes proprietary foam of the same name the brand released a slightly revamped style in early 2019. At first 7 years in the making 2018 saw Nike switch up the sneaker game for good with the release of the Air Vapormax. Taking innovation to the next level the Vapormax ditched the midsole in favour of an Air unit and pod combo providing the lightest and most responsive cushioning to date.
Best Zumba Shoes 2019 Reviews 1. Zumba Womens Fly Print Dance Shoe. Click for Price. Our most budget-friendly recommendation is a full-fledged Zumba star even if
Wecome to skinheadboots.co.uk. Skinheads - Boots - Scally Lads. This is a British Site The Home of the Skinhead . Hope you enjoy my site Craigskin1. www.craigskin1.co.ukChocolate with churros a city that becomes hispanicized on Avenida de Mayo with its theaters packed full of majas and baturros (pretty girls and peasants from the old country) and the enticing smell of chocolate with churrosNikes Air Max 720 the future of lifestyle footwear. Nike never fails us when it comes to unveiling cool silhouettes in colorways our sneaker rotation desperately needs and the latest Air Max 720 release is
The Salomon X-Mission 3 trail-running shoes tackle terrain on short to medium distances. Theyre designed to be smooth decidedly trail-worthy shoes with superb fit for your on- or off-pavement runs. Available at REI 100% Satisfaction Guaranteed.Merrell believes that nothing should get in the way of enjoying active outdoor adventures. Merrell hiking boots tailrunning shoes and apparel are built on Merrell
The Spira Cljewelryic Walker is a Mens spring loaded walking shoe. Spiras Black walking shoes with springs is an extremely well cushioned walking shoe that The 15 Best Walking Shoes for Flat Feet. Searching the perfect size of walking shoes is necessary to suit your type of foot structure. A flat foot is a common cause of A lot of factors come into play and need to be considered if you want to select the best pair of cross training shoes for your use. From the design and material to the fit and level of support and comfort it can get pretty overwhelming at times.
Its always useful to have a good pair of heels in your footwear jewelrynal. Best teamed with jeans skirts dresses and whatever else you fancy weve got everything from block heels to lace-up styles from all your favourite brands think ASOS DESIGN Glamorous and Public Desire.Formal Shoes For Women. Formal shoes for women provide the finishing touch on a well-selected evening gown. Different shoes convey different looks and
When I was in Thailand I would see the local people weave palm leaves into beautiful bowls fans balls and other amazing things. I asked my aunt if she knew how to make these things and she gave me a book that was all in Thai.V poslednej dobe sa asto diskutuje o odmeovan vodiov z povolania. Mnoho z nich nevie nao maj nrok a ako maj by ohodnoten. Odhliadnuc od predpisov ktor uruj organizciu prce v doprave vodi by mal ma prehad v tom ako a zao dostva mzdu.huarache shoes 2 months ago. I am writing to let you be aware of of the wonderful discovery my wifes daughter had studying your webblog. She figured out several pieces with the inclusion of how it is like to possess a very effective giving mindset to get a number of people without difficulty learn about some problematic matters.
Heres a jewelry showing you how to choose the best shoes for Europes stone streets. How to Choose the Best Walking Shoes for Europe . Bring no more than three pairs opting for shoes that match all your clothing. Pack one pair for sightseeing (walking) one pair of any special activities you have planned and then a third pair to either dress up your outfits or one thats appropriate for If youre a walker hiker or just generally active having the best pair of mens walking shoes is important for keeping good posture reducing strain on your ligaments Best Nursing Shoes for Women Top Rated Most Comfortable Sneakers and Clogs by Nurses
Travel Fashion Girl help A reader asks Im looking for cute black flats that have a pointed or square toe dont constantly slip down off the heel and are comfortable for city walking and sightseeing.My suggestions for super comfortable lightweight travel shoes for walking around Europe on vacationBest shoes with arch support comfortable walking shoes to walk in all day by Sylvia
We have purposefully included New Balance brand in our top 10 best shoes for bunions.If you have large sized feet then this is the ideal sized shoe for you. People with bunions can wear New Balance Mens Mx608v4 Cross Training Shoe comfortably and without any pain or discomfort. They are highly breathable in nature which can provide great comfort and coolness to your bony jewelp inside shoes.After spending more than 20 hours lifting weights sprinting balancing leaping and doing so much circuit training in seven pairs of cross-training shoes and interviewing four experts in body mechanics we found the New Balance Minimus 40 (available in womens and mens sizes) is the best shoe Top 12 Best Running Shoes For Flat Feet 2019 for Women and Men. Brooks Adrenaline GTS 17 - ASICS GT-1000 6 - Mizuno Wave Inspire 13 - New Balance 990V4
Best shoes with arch support comfortable walking shoes to walk in all day by SylviaF. or a condition that affects the feet Mortons Neuroma youll need the right pair of shoes to help you in reducing such pain.. Imagine how hectic it can become having to go to work or doing your daily routines on feet that are paining. You may find yourself getting exhausted fast or losing the morale to do just a simple routine like walking jogging or running.Knee pain is a common concern among all athletesspecifically runners. Its a major concern because it can greatly impede your performance and if youre a runner it may make you have to cut back on your training.One of the best and immediate solutions are running shoes that specifically address and help treat this issue. Below you will find a list of the best shoes currently available


text:
Parent & Me Movement (Ages 18 mo -2yrs) - Session B: Saturdays, Oct.26th - Dec. 7th. 9am-9:30am
With Lindsay Shaner
Saturdays, 9:00 am – 9:30 am
Fall Term: Two 6-week sessions,
Session A: September 14th through October 19th, 2019
Session B: October 26th through December 7th, 2019 (no class 11/30)
Session Tuition: $30 per session, Single drop-in: $7, First for $5
Beacon Feed Dance Studio
Parents and toddlers will spend time each week dancing and moving together. Fun music, props, and toys will be used to aid in the development of gross motor skills, balance, and coordination.
|NeonCRM by Neon One


text:
what does the best man do on the wedding day - If you are looking for updated information about what does the best man do on the wedding day you have come to the right place. You should visit the www.neofuturist.org for more details.

 Ideal Wedding ceremony Preparing Guidance: What Each and every Bride Requirements to Know Prior to Arranging Her Wedding
Everyone needs to have a romantic, virtually magical wedding ceremony. Brides are in search of the best wedding arranging tips to make certain the wedding they strategy will be perfect in each and every attainable way.
READ MORE ...

 Finding the Very best Wedding Bundle That Fits Your Price range and Needs
Preparing for a wedding is not simple. There are many factors that you need to have to get care of specially if you don't have a wedding ceremony coordinator to assist you out.
READ MORE ...

 The Very best Wedding ceremony Planner Computer software Choice
Wedding organizing can be as intricate and as complicated as commencing a new company. If you set up with no the needed foundations, every little thing can flip up shaky.
READ MORE ...

 Best Wedding Presents - Obtaining The Wedding Day Presents You Want
The ideal wedding ceremony gifts are the gifts that the Bride and Groom want. The Bride and Groom that dwell a formal way of life will probably acquire far more formal presents than the couple to be living a casual life-style.
READ MORE ...

 Tips for Writing and Delivering the Best Wedding Toasts
Weddings can be an interesting, but demanding, time, and coming up with a memorable and wonderful wedding ceremony toast can be a great deal of pressure!
READ MORE ...

Sabtu, 29 Juni 2019
what does the best man do on the wedding day
Diposting oleh a.faisal1994 di 02.44
Label: Article 8
Langganan: Posting Komentar ( Atom )


text:
Pond Pump - Aquagarden Barracuda
Aquagarden Barracuda pumps provide solids handling capacity up to 6mm particle size (series 2 up to 7mm). Features include BSP threaded inlet and outlet, suitable for optional prefilters. These are ideal dirty/polluted water filtration and waterfall pumps. The vortex impellor design and large inlet and outlet will handle all debris and leaves that pass through the filter screen. Also has a non-corrosive ceramic impeller and thermal overload for additional safety. Able to operate out of pond when pump is installed in-line and below the water level.- Uses ceramic bearings for continuous operation
- Overload protection by means of a thermal overload trip switch
- Easy to maintain with a removable rotor assembly
- Rated voltage 230 V/50 Hz
- Not suitable for use in saltwater applications.
The Aquagarden Barracuda pumps offers a 3-year guarantee on motor (12 month guarantee on impeller)
|Min. QTY
Use keywords to find the product you are looking for


text:
'Multi-million dollar' car dealership announced
A new 'multi-million dollar' car dealership may soon break ground after the Cameron Planning and Zoning Commission tentatively approved the structure's zoning Monday night.
The new Randy Curnow Chevy-Buick-GMC dealership will be located off Highway 36 at the intersection of Lana Drive and Baldwin, which General Manager Ken Keith said will fill demand for area motorists.
"I'm very excited. It's human nature to always be drawn to nice, new things. I think this is something that has been a long time coming," Keith said. "We definitely want an updated facility with updated technology for this community to be able to service their vehicles, so they do not have to drive 50 or 60 miles to take care of their automobiles."
The Planning and Zoning Commission unanimously approved an agreement, tentative on the dealership and the city outlining a future agreement on responsibility of utility lines. The plan was originally presented to the commission earlier this summer and finalized Monday night.
"There has definitely been a good demand. The demand has absolutely supported the business to this point and we're always looking for more," Keith said. "In business, it's never enough and you're always want as much business as you can get. What we want to make sure we're doing is we're servicing the community correctly."
The new facility will feature a showroom, maintenance area and provide economic growth to an area Cameron continues to develop. Max Curnow, vice president of Curnow Automotive, credited the efforts of Cameron City Manager Steve Rasmussen for making the new dealership possible and hopes to provide a mutually beneficial relationship between the city, the dealership and the residents they both serve.
"We've been here since the fall of 2014 and we've seen a city that is ready to grow, and we like the community here," Curnow said. "We've really seen Cameron, which is on the intersection of two major highways, as a community that has a big opportunity to grow. We feel like putting a new building there is going to be good for the community in a large way and the people that travel through … It's a multi-million-dollar investment. Obviously, that final number is not decided because there are costs that come in that fluctuate a bit."


text:
Form Builder Limitations
Form Builder Limitations
While Form Builder tries to achieve all possible ways of making it easier, there are few limitations, primarily due to lack of underlying Google Forms API support.
Please see below of the the known limitations.
- Form Builder cannot import Video and File upload fields.
Please refer the open issue with Google at https://issuetracker.google.com/issues/36765412. Do mark a star or raise your comments to show Google you need this feature (in Google Form API).
- Form builder can import questions and questions & options but It can't import option with images or image attached to question. for work around you can import image separately.
Please refer the open issue with Google at https://issuetracker.google.com/issues/36765034. Do mark a star or raise your comments to show Google you need this feature (in Google Form API).
Sometimes, Google Forms API does not import all answer options the question. This behaviour is very inconsistent. If this occurs, please try re-importing the impacted questions.
- Form builder can not get or set the correct answer of text questions/fields from the Google Form.
- Multiple Choice grid & Checkbox grid are not supported in Google Sheets.
- Form builder can not get the validations of the questions from the selected Google Form.
If Google APIs resolve these limitations, we will be incorporating the same in Form Builder as soon as possible.


text:
Determination of the thermal diffusivity and thermal conductivity of semi-conductor materials is essential for scientific, technical and engineering work. The drive in the solar industry is to improve the efficiency of the PV modules produced. Since higher efficiency is a direct function of increased thermal conductivity, it is important to be able to determine these values.
In this example, the thermophysical properties of a 0.7 mm-thick silicon wafer were measured with the LFA 457 MicroFlash® (figure 1). In the temperature range from -100°C to 500°C, the thermal conductivity and thermal diffusivity continuously decrease. The specific heat capacity was determined by means of the differential scanning calorimetry (DSC 204 F1 Phoenix®). The standard deviation of the data points is < 1%.
Organic Contaminations on the Wafer – STA-MS Detects the Smallest Impurities in Large Sample Masses
The purity of silicon wafers used in modern technologies is one of the most important quality control parameters. Organic contamination can be investigated by using Thermal Analysis methods such as TGA (thermogravimetric analysis), DSC (differential scanning calorimetry) or an evolved gas analyzer coupled to TGA-DSC (STA, simultaneous thermal analysis). Several hyphenated techniques are available in the temperature range from -180°C to 2400°C. They include:
- TGA, DSC, or STA-MS via capillary coupling
- TGA, DSC, or STA-MS via Skimmer® coupling
- TGA, DSC, or STA-FT-IR
- TGA or STA-GC-MS
These hyphenated techniques may also include the simultaneous coupling of MS and FT-IR to a thermal analyzer.
Here, a silicon wafer was measured with the simultaneous thermal analyzer STA 449 F1 Jupiter® coupled to the mass spectrometer QMS Aëolos® mass spectrometer.
Crushed silicon wafer pieces (1.6 g) were placed into a large Al2O3 crucible (volume 3.4 ml). The sample was heated to 800°C at a heating rate of 10 K/min under helium. Two very small mass-loss steps (0.002% and 0.008%) occur prior to 700°C due to the release of organic components.
To ensure clear demonstration, we present here only the mass numbers m/z 15, 51, and 78. These mass numbers are typical fragments of the epoxy resin coating of the wafer.
For more information or contract testing, please contact us at HERE or write a comment.


text:
Blog-Latest News, News, Press Room
Nitin Mantri appointed President of PRCAI
New Delhi, April 15, 2015: The Public Relations Consultants Association of India (PRCAI), the apex body of communications and public relations consultancies, has appointed Nitin Mantri, CEO and Managing Partner, Avian Media, as President till May 2016 when the term of the present Managing Committee ends. Mantri moves from Vice President to President of PRCAI.
Jayoti Lahiri, Secretary General, Public Relations Consultants Association of India
D 1003 Wembley Estate, Rosewood City, Sector 49, Gurgaon 122 018, Haryana, India
Phone: +91 124 4290 174, Mobile: 9810502575
Email: email@example.com, Website: www.prcai.org, Twitter: www.twitter.com/PRCAIndia


text:
My laptop uses Windows Vista, and frankly it requires some get-used-to when I got it last year. I do not like the strict securities, though I like its improved interface, very sleek and colorful. Leopard is the sixth major release of the Mac OS X operating system for Apple's Mac line of computers. It's also the successor for Tiger, a previous version of the operating system.
Now, if you are like myself, very much a Windows guy, you might not know if Leopard is really better than Vista. But spare a minute to watch the following flash ad which runs on the NY Times website. The ad crosses over two distinct ad components; one skyscraper and one leaderboard.
Really creative, especially how seamless it is for the two ads to work together. Does this make you wanna try out Leopard today? 🙂


text:
A dyeable wedding shoe is basically a standard wedding shoe - with a twist. Dyeable wedding shoes are typically made of a material such as silk or white satin that can be dyed to match the color scheme of your wedding. They're the perfect way to add a unique, personal touch to your special day.
Can Any Style of Wedding Shoe Be Dyed?
In most cases, only wedding shoes made of certain materials can be dyed. White wedding shoes stand the best chance of being dyeable, especially those made of silk or white satin. Wedding shoes that have already been made in a color other than the one you want usually can't be changed, so it's best to do your research before you start the dyeing process. Luckily, several top brands such as Kenneth Cole, Liz Rene Couture, Benjamin Adams and others sell wedding shoes that can be dyed.
How Should I Dye My Wedding Shoes?
To get the best overall color scheme at your wedding, it's recommended that you color the whole wedding group instead of just your maid of honor, for example. Consistency of color will make the whole effect more pleasing to the eye. Pay special attention to the lighting at the venue where your wedding will be held. Indoor and outdoor lighting can cause colors to be seen very differently, so make sure you examine the lighting at the location of the ceremony as well as the reception if they happen to be at different locations. When in doubt, experts recommend dyeing your shoes to match the lighting where your service will be held.
Who Can Dye My Wedding Shoes?
Many shoe repair shops and bridal salons are able to dye your wedding shoes. Some bridal salons offer dyeing as part of their wedding shoe packages. Ask the sales associate of the salon you visit if dyeing is available, and be sure to check reviews online to see how well customers have been satisfied with their work.
You can also send your wedding shoes away to be dyed and returned back to you. Several dyeing services can be found online in case you live in an area where wedding shoe dyeing isn't readily available. Before shipping wedding shoes off to be dyed, be sure to provide the vendor all the information about your shoe to help avoid mistakes or your shoes being returned due to their inability to be dyed.
You Can Create The Perfect Wedding Shoes!
Having dyeable wedding shoes means you'll be able to add your special touch to your wedding masterpiece. Do your research and pay attention to lighting, and you just might create the perfect accent to your perfect day.


text:
For the ultimate pre-game VIP experience for AFL fans, Melbourne's iconic Riverland Bar will be launching an exclusive Member's Lounge kicking off on Friday 12 April with Round Four and the Collingwood v Western Bulldogs game.
Amidst prime riverside views, footy fanatics can expect two hours of pre-game footy eats coupled with a selection of unlimited beer and wine, complete with general admission tickets to any game at the 'G (apart from Anzac Day and finals series).
Hungry bellies will be treated to mac & cheese bombs, fried chicken sliders and empanadas; as well as classic footy favourites including meat pies, dim sims, and mini hot dogs. To top things off, the short stroll to the 'G will be even sweeter with a 'churro to go' – think warm peanut butter and chocolate sauce.
"Riverland Bar has served a loyal footy crowd before and after the game for 12 seasons so we know how to provide good times," states Joel Watts, Venue Manager, "but more recently we've spotted an opportunity to really elevate that pre-game experience."
Seating groups of 4 -16, open for two hours and ending 45 minutes before the game, The Member's Lounge will have punters cheering with tickets available for only $59 per person.
With one Member's Lounge session before selected MCG games, be sure to get in quick to nab exclusive access to the Member's Lounge.
Head to riverlandbar.com for bookings for the entire footy season.
Member's Lounge
Location: Riverland Bar, Federation Wharf 1 - 9, Melbourne
Date: from April 12
Cost: $59 pp


text:
The cuisine competition drama sold to ABC for the Benelux, Films sans Frontiers for France, Ayapro Production for Japan and Chungeorahm China for China.
Based on a popular Korean manga series by Huh Young-man, the $5.3m film grossed over $20m at the local box office with about three million admissions by the end of 2007.
'Our buyers expressed interest in that the film dealt not only with Korean food but the spirit contained in it, and with Korean culture and history and our previous relations with the Japanese, all in a different way. They're talking about holding related food and cultural events around the release of the film,' said Michelle Son, head of international sales at Showeast.
'It's a different kind of film from the usual romantic comedies or action films people are used to seeing come out of Korea. It doesn't have any stars but was the biggest grossing film of the last half of 2007,' she said of the film, which finished at number four on the local top ten list.
Investor and Showeast parent company Yedang Entertainment is planning a sequel to the film with Huh Young-man writing the script. Former Taegukgi producer Lee Sung-hoon, who produced Le Grand Chef, is on board again and Iroom Pictures is co-producing.
The sequel is to see a 2009 release, closely linked to the publication of a new instalment of the manga series.
Previously announced AFM sales included Sundream Motion Pictures for Hong Kong, AOE for Malaysia, Festive for Singapore and M-Pictures for Thailand.


text:
Aberdeen's Christmas Village will double in size this winter and features a Santa Express train alongside a host of new attractions, the Evening Express can reveal today.
The event, which will be held on Broad Street for the second year, will extend along Upperkirkgate for the first time.
A Santa Express train, slingshot bungee jump ride and Santa's grotto are among the new attractions at the village, which organisers claim will be "bigger and better".
Organised by Aberdeen Inspired, Aberdeen City Council and Codona's, it will return to the city on November 22 and run until Hogmanay.
Other new rides include candy cane bungee trampolines for children, spinning bumper cars and the freak out ride to cater for thrillseekers. Old favourites like the carousel and helter skelter will also return.
German chalets will be erected in the Marischal College quad, with space for 16 independent stallholders – who won't have to pay to take part in the market this year.
The Christmas in the Quad market – which will also sell gourmet food and drink – will be open from Thursday to Sunday every week.
Speaking to the Evening Express, Adrian Watson, chief executive of Aberdeen Inspired, said it has been getting "plenty of interest" from local businesses to have a presence in the market.
He added: "I'm excited and proud that local businesses have shown an interest in getting involved.
"We've said that it will be free for businesses to come in to entice them in and to give them that opportunity.
"We have listened to some of the feedback from last year, which was that it was quite condensed, and we have increased the footprint."
The ice rink will also be larger than previous years at more than 30m long – making it the longest temporary ice-rink in the north-east.
Santa will also make his first appearance at the Christmas Village this year with his own grotto set up in the Marischal College quad.
Children will be able to visit him every Thursday through to Sunday.
The Stonehaven Land Train will be refashioned into the festive Santa Express, operating every Saturday and Sunday from noon until 4pm.
The train will have one stop and each trip will consist of a single circuit around Aberdeen city centre.
It will leave from Flourmill Lane, before turning left on to Schoolhill and will travel up to HMT before turning down Union Terrace.
The train will continue down Union Street and turn left on to Broad Street.
Keep up to date with the latest news with The Evening Express newsletter
A community stage in the village will host performances such as carol singing by schools, third sector organisations and church groups.
Mr Watson added: "What we're trying to do is to deliver something for everyone as best as we possibly can.
"We want folk to give it a chance and support it.
"As a business organisation we want to attract people in to the city centre to come in and spend money.
"We have a responsibility to our businesses to bring people in."
The Alive After Five scheme, which offers free parking from 5-8pm Monday to Saturday at the Denburn, Chapel Street, Frederick Street and West North Street car parks, will also still be running during the duration of the village.
The local authority has committed £150,000 for the running of this year's village.
Mr Watson said: "The free parking is there throughout the Christmas Village.
"No other city centre I know of in Scotland will offer free parking after 5pm.
"We have listened to what the businesses and public want and we have pushed the boundaries to get people into the city centre in numbers."
Help support quality local journalism … become a digital subscriber to the Evening Express
For as little as £5.99 a month you can access all of our content, including Premium articles.Subscribe


text:
Job Details
- Specialization Engineering
- Industry Oil and Gas / Energy / Marine
- Job Type Full Time
- Experience 5 year(s)
- Qualification Bachelor's Degree
- Location Lagos
Subscribe to Top jobs & Latest Jobs alert
Stay ahead of the curve, be the first to know of any new job opening, current jobs and top jobs in Nigeria today
Stay ahead of the curve, be the first to know of any new job opening, current jobs and top jobs in Nigeria today
Training Programs
- Social Media Marketing Training
- Advanced Microsoft Excel Training
- Employability Skills Training April 2018 Edition
- Hr For Non-Hr Manager
- Defensive Drivers Training
Piping & Structure Site Supervision Services at Hobark International Limited
Hobark International Limited (HIL) is an Integrated Services Company whose subsidiaries: DrillPet International Limited (DIL), Uniterm Nigeria Limited (UNL), UltiProc Nigeria Limited (UPNL), Hobark Consultant Management Services (HCMS) and Gigasec- provide Manpower Services & Logistics Support, Drilling Operations and Consultancy Services, On/OffShore Catering Services
- Engineering background with a minimum of 5 years' experience in construction of Oil & Gas installations
- For piping/structure supervisor: Engineering degree or diploma and AWS-CWI or IWI-S/C or IWT or CSWIP3.2 minimum qualification in welding inspection and ISO 9712 or ASNT level 2 minimum qualification in RT films interpretation
- Good English
- Good interpersonal and communication skills with ability to adapt and to discuss with contractors
- SAS,HUET (or BOSIET) and CA-EBS
Key Responsibilities:
- Promote safety culture and COMPANY HSE rules within COMPANY and contractors personnel,
- Participate in and conduct tool-box meetings before any ECP activity takes place on site,
- Ensure that compensatory measures highlighted during the Job risk analysis (JRA) session and into the PTW (Permit To Work) are in place,
- Ensure that applicable HSE rules and specifications are complied with at all time during execution of the works (regardless of whether they are performed by COMPANY or contractors personnel), take actions as required in case of deviation, stop the works when deemed unsafe, and organize corresponding tool-box meetings,
- Report and address any anomaly.
- Assist ECP Site Superintendent,
- Guide the contractors and COMPANY personnel during site technical visits (pre-bid, study, etc.) and provide clarification as necessary,
- Participate to the site kick off meetings and associated JRA,
- Participate to the post-mobilization inspections made with FO for all ECP activities to take place on site,
- Verify proper qualification of contractors' construction & inspection personnel and report any deviation,
- Verify suitability as well as proper calibration and documentation of contractors' construction & inspection equipment and report any deviation,
- Verify proper identification of material to be incorporated as well as availability and suitability of supporting documentation (mill test certificates, prefabrication dossier, vendor documentation, etc.) and report any deviation,
- Verify proper preparation and organization of the contractors (availability of necessary personnel, tool and documentation) and report any deviation,
- Follow up of the work permits (PTW) from preparation, signature and up to closure, handling their technical aspects and liaising with HSE supervisor regarding their safety aspects,
- Verify suitability of scaffolds to be used by contractors and report any anomaly or inadequacy,
- Verify proper implementation by contractors of the approved work procedures and report any deviation,
- Verify proper implementation by contractors of the approved Quality Control Plan (ITP) and report any deviation,
- Verify proper maintenance by contractors of material, welding and NDT traceability and report any deviation,
- Verify proper maintenance by contractors of an as built marked-up master of technical drawings and diagrams,
- Verify proper implementation by contractors of the pre-commissioning tests/checks and report any deviation,
- Review and endorse contractors' inspection, check and test records or reports,
- Prepare and issue NCR in case of deviation from applicable specifications or approved technical documents,
- Verify works' progress against schedule and report any slippage,
- Provide assistance to commissioning team.
- Provide daily activity report and progress follow-up to Site Superintendent, QC Leader and Project Engineer,
Jobs in Nigeria | Latest Jobs in Nigeria | Top Jobs in Nigeria Today | Current Jobs in Nigeria
Share post
Related Jobs


text:
56 Suspects appear in Sittwe Township Court over Alleged Connection with Arakan Army
By Song Zar Chei, 20 July 2019:
Fifty Six suspects' detainees from six townships of Rakhine State were on Thursday arraigned in Sittwe Township court over an alleged engaging with Arakan Army (AA) that is fighting central Burmese government for more autonomy.
Among those suspects, (41) villagers are from different regions of Mrauk U, five villagers are from Kyauk Taw, three villagers are from Minbra and each villagers from Pauk Taw, Rathidaung and Ponna Gyunt townships respectively along with two monks.
"There has not come up for trial yet nor charged yet in the court, only appear before the judge in the Sittwe Township court so far. The case was prosecuted in Mrauk Oo district court. The accommodation of police lock up in Mrauk U is not fine for all. It was appealed to transfer to Sittwe District Court by law. We are waiting the decision," said Daw May Thet Khine, the defender lawyer from Thazin Legal Aid Service.
Meanwhile one teenage suspect from Lark Kar village was taken in Mrauk Oo township court due to under age reason and while the other 23 suspects were on Sittwe Township Court yesterday as three villagers died during military custody in May.
Besides, two young detainees were also put on trial of Sittwe township court yesterday after being arrested on suspicion of engaging in Navy boat attacked at Sat Roe Kyar creek of Sittwe on June 22.
" My son and another one was left today. He was said to be beaten by my son. No accusation has not made yet so far. They are still being remanded in custody", said the mother of a suspect from Sittwe of Sat Roe Kyak word.
The numbers of suspects allegedly arrested over linked with Arakan Army have reportedly reached over a hundred in Rakhine State since 2018. Most of the cases involved in charged with under section 50 of the Counter-Terrorism law, section 3 of explosion (manhandle) law and section 17 (1) (2) of unlawful association.


text:
Saar loves to tell us to 'be cool,' but before that happens I'm going to need somebody to teach me how to do that. I have firmly accepted the fact that I am not 'cool' nor ever will be 'cool' in the calm and collected sense (or any sense really but that is not being asked of me in this instance). How am I supposed to be calm, cool and collected when my hands are dripping with sweat as I roll less feet away from a work of art that 3 people warned my of its fragility? The part I most related to is in 'cows' when we trip over ourselves and then look behind us to see what we tripped over (a daily occurrence for me). I tear up in my classes when I become overwhelmed with joy, fascination, and awe as we discuss a major discovery in the field of discussion; I definitely do not possess a calm response mechanism. All I can do in between now and our performance is watch Saar and my fellow dancers in order to get as many tips on how to 'be cool.' From what I have observed it's a matter of remaining loose and receptive. Whenever I am in the midst of a very 'uncool' moment like when I ended up horizontal on the corner of York and Elm, my body tenses up. While I laid on that sidewalk, I could barely respond to Holly as she attempted to pick me up off the sidewalk, due to laughter and full body contraction. So maybe in this example if I were 'being cool' I one probably wouldn't have fallen, but two could have responded to Holly and the fellow observers. So maybe 'cool' is more a state of peak availability. It is the mode in which we can do the most research and receive the most information. This definition of cool is not as alienating for me and seems more along the lines of what Saar intends. However, I still need to work on being cool if that is the definition and will continue to observe the other members of YDT. If any one has any tips on how to be cool, in either the availability or calm and collected sense, please let me know.
Blog Entries Spring 2016
YDT *NSYNCStandard
Yvonne Rainer after watching a portion of our rehearsal was fascinated with the clump section, specifically a group of people doing movement in synchronization. I tend to avoid synchronization when I choreograph dances because I don't want to accidentally fall in the trap of it occurring at all times, and I don't find my movement/arrangement of dancers to make those moments interesting. However reflecting on this section and 'cows' I find that synchronization provides the dancer, or at least me as a dancer, with a substantial amount of power. Nothing feels better to me than nailing a group unison section, the energy that I am able to pull from those moments can help carry me through the rest of a piece. During the clump section I feel a buzzing energy of anticipation and preparedness as each dancer waits for the cue for the next movement sequence. I feel a strong sense of community and collective energy during unison moments. I am now beginning to have a fascination with unison and it's impact on the dancer and what aspect of that the audience is able/should feel.
From Mariel — Following PleasureStandard
I've been thinking and reading lately about pleasure as a radical tool.
Many of us can relate to the feeling of not belonging somewhere, of putting ourselves in places that were not constructed for us. That feeling can obviously vary widely based on our identities and contexts, but the essence of what I'm trying to say is that often we feel hopelessly subjected to our surroundings.
When I feel this, it's easy to give into grumbling. Coping mechanisms for feeling stressed, out-of-place, tired, trapped, bored, etc. include losing focus, closing off physically and mentally, and wallowing in mental agony and self-pity. Never am I more aware of this than in a particularly dull morning lecture in which I feel subjugated by the clock, forced to endure the remaining minutes.
I mention all this because one of the wonderful surprises about the construction of Gaga movement is the simple notion of allowing pleasure to guide one's movement. Inspiration and novelty can wane, but pleasure is the river flowing in a steady stream through us — it will always tell us a step forward if we are present enough to listen to it. And in the times when I feel I am following pleasure, the notion of endurance withers. My attention is effortlessly sharp. It's the equivalent to laughter breaking out — the joy of it snaps me to my senses.
Perhaps most excitingly, pleasure gives me agency in any context. Whether in the studio, the classroom, waiting in line, driving in traffic, or any other situation in which I'm aware of time passing, tapping into pleasure gives me power over my surroundings. Rehearsals can be long, physically taxing, and challenging, but even during moments of effort, Saar reminds us to find the pleasure driving everything we do. In seeking out the pleasure, the effort itself lessens. It's for this reason that these rehearsals, though initially a daunting time investment, have become havens for me. It takes work to stay focused and present, but the rewards have been more than worth it. I step into the studio, put up my hair, and take off my watch. With no mirrors, phones, or clocks in sight, I'm swept up into the daily rhythm of my body much more easily.
Everywhere A Road to TakeStandard
"If you don't know where you're going, any road will take you there."
– George Harrison, "Any Road,"
inspired by Lewis Carroll's Alice in Wonderland
Personally, this quote has always meant a great deal to me, not only because I inherited from my music-loving father his preference of George Harrison above the other Beatles, but also because it really speaks to me. It is more than just a song lyric, but a motto for life.
College spans four critical years of a young person's life, a self-formational time filled with difficult questions and the often-stifling inability to answer them. At this juncture in my development into a "real person," people constantly ask me what I plan to major in, what career I want to pursue, where I see myself post-graduation, etc. It seems like the need to plan is inescapable; I can't even schedule my day without thinking about when and what I'll eat. (Well, maybe that's a personal struggle, but I digress…)
Point being, we live in a tomorrow-centric world, often causing us to forget about right now. Really, right now is all that matters because this moment holds infinite possibilities. Right now, I can choose to walk away from this entry and never look back—Screw it, I can say, (Saar Harari might even use stronger language for the concept of abandoning a plan) and forget all the plans I've ever made, whether to become an English major or to have grilled chicken for dinner.
Carpe momentum. Seize the moment. No plans, no predictions, no schedule. No pre-meditation, no artful anticipation, no built-up motivation. That is the spirit of Gaga.
I was drawn to Gaga for its adherence to this mantra of availability: letting whatever wants to happen in that moment happen and being open to anything. Much of the movement is generated through improvisation, in which the dancer does not follow the typical process of inventing a motion then figuring out how to adapt her body to move in that way. Instead, the movement comes from the internal engines and the body moves however the impulse inclines it.
Ohad Naharin describes how "the letting go, the yielding, is an important concept in Gaga. It is not about collapse or relaxing but about turning to where we block the flow of energy, where we are holding ourselves and do not allow our joints to be available for movement so that our movement becomes stiff instead of soft."[1]
Gaga is all about eliminating limitations and "giving more" to the movement. Whenever we feel a blockage or a stiffness, we need to get back in touch with our engines, especially our lena, and move energy through that area, leaving it "available" for motion and the transfer of energy.
Saar Harari often reminds us to maintain our "ball movement availability." We have to release all tension in our joints and places where body parts connect in order to facilitate any motion that wants to manifest itself there. This frees us to move in all directions, reaching into space and engaging with it.
Availability is essential because it allows communication, both within a dancer and with other dancers around her. Openness and freedom of motion within the body clear the channels that carry impulses throughout the body from the various engines.
Energy flows through the body and expands outward into the space around the dancer. This impulse can then travel to other dancers, facilitating the process of "giving and receiving," which Saar Harari cites while we improvise in class. We have to be available to take the stimuli we receive from others' movements and internalize them, at the same time as we give something to them as we move.
Availability, the possibility of doing anything in the moment, giving in to whatever wants to happen, gives Gaga its refreshing spontaneity. No one knows what will happen—what movement will spontaneously generate from the dancers' bodies, either individually or considered together—so dancers are always attentive so as not to miss what is occurring among them.
Saar Harari tells us to "stay alive" and present in the space so we stay in tune with the energy flow. We cannot lose focus and daydream about the past or future because none of that matters. What matters is happening right now, and we need to be there to feel it and take it onward. We need to be available to take all roads, because any and all lead to where we want to go, if we let them guide us.
[1] Naharin, Ohad. A Toolbox for Dancers. Interview. Tanz Raum Berlin, October 2015.
Gaga: Dance as Means of Surrendering Control – by Kathleen VoightStandard
Gaga encourages losing control – giving in to gravity, to one's body, to the external forces. It is this loss of control that epitomizes the stark contrast between Gaga and all other dance I had previously encountered. Frequently during our classes, Saar directs us to "Give in to the forces. Let go." He urges us to move without thinking or predetermining our movements and, instead, to rely on that which is innately driven. It is the movements that arise when one gives up all control that reveal the most authenticity and vulnerability. For myself, many of these movements form as momentum builds and I continue in paths naturally appearing from each preceding moment. To move with the things that move me is to relinquish all consciousness of control, to admit these forces upon myself.
Today, we were instructed to capitalize on this feeling of giving in: to release one's body "into water," indicating a lessening of bodily effort, and to use the movement gained in this moment of release. We collapse our boxes, our centers of structural support – chest, ribs, pelvis, shoulders – and fold inwards, riding on the wave of travel gravity provides. Gaga work with these forces – natural laws of the universe, bodily desires, naturally ensuing movement – instead of attempting to counteract them and, thus, the innate human joy of dance flourishes.
Giving inStandard
I find myself repeatedly writing about the distinction between the mind and the body in my Yale Dance Theater Blog posts. Saar Harari's Gaga classes have prompted me to further explore this distinction. More specifically, they've prompted me to question it. Harari's classes challenge me to think using my flesh. I think with the skin under my elbow, my pelvic muscles, and the fleshy pads of my feet. I listen to the rhythms of my body. All the while, using my eyes to pay attention to what's going on in the room around me. I find it challenging to combine an inner focus with an outer awareness. We have to both listen to rhythms of our own bodies and be ready for anything that happens in the space around us. And as this careful attention and action grows exhausting, Harari encourages us to give in to that exhaustion. But you don't give in by stopping. You give in by connecting your pleasure to your pain. You bend more, you jump further, you reach higher. And it seems that a kind of humility is necessary for this giving in. You don't give in by becoming more than human. "Be human," Harari tells us. I'm still unsure of what being human means in Gaga. But maybe it has something to do with erasing the barriers we put up between our minds and our bodies.
to see with two eyesStandard
"Keep your eyes open."
"Take in information from the room."
In a Gaga class—especially if it's your first class—the immediate instinct is to close your eyes.
"Float. Feel water around your flesh. Let it lift your bones."
"Open the doors in your joints."
"Feel the movement echo in your body from far away engines."
To see the image in the mind's eye, to translate it into the body's physicality, is a difficult undertaking. Especially if the prompts are new—unfamiliar to the body and strange to the imagination—your mind wants complete focus. To reduce distraction, you let your eyes close softly. This after all, is a time for introspection, for individual research, for discovery.
"Keep your eyes open."
Though the impulse is understandable, to close your eyes is one of the (very) few no-no's in a Gaga class (add to the list, no mirrors, no late-arrivals, and no stopping, and that pretty much covers it). While you grapple with continuously changing prompts (not to mention the layering of prompts), Gaga instruction encourages you to STAY HUMAN. Yes, the language of Gaga asks that you continuously see with the mind's eye—see your seaweed spine, see balls in your joints, see the thread that connects one arm to other, traveling through the chest—but at the same time, the rules of a Gaga class ask that you continue to see what's right in front of you, with your very normal, very regular, anatomical eyes. Take in your surroundings. See the other moving bodies in the room; see what information they give you. Remain curious.
When I first delved into a Gaga practice, this simultaneous "double-sight" was the sensation I most struggled to internalize. My mind wanted to live in a world of pictures: imagine melting flesh; imagine balls circling throughout your body; imagine engines in every unit of your body and ignite them. Even with my eyes open, I failed to see beyond the pictures, beyond the bounds of my own body. Only when I watched my instructor demonstrate choreography did I begin to understand the difference. Although the choreography itself was not and could not be Gaga, Gaga was the practice that informed her movement and you could see it in her every step. But where I saw it was her eyes. She had this look that I couldn't identify; something that made it impossible for me to look away. Only after many rehearsals did I realize what the look was: even while she danced (with all the aliveness of Gaga imagery: melting flesh, floating bones, multiple engines firing at once) she continued to see—the walls, the floor, the dancers—with curious eyes.
This is what a Gaga class asks of you: to see inwardly (the images that elicit multidimensional movement) and outwardly (the world which surrounds you) with equal attentiveness. Such a feat is nothing short of very impressive multitasking, but I believe that's exactly what Gaga is after. In an interview in which he was asked to make a choice—choose one person you would like to be stuck in an elevator with—Ohad Naharin responds by saying, "Whenever you choose one thing, it's always the wrong thing. We should always choose more than one. Like one idea, even if it's the best idea, is a bad idea."[1] Although this comes in answer to a rather light, silly question, I believe it speaks to an important ideology that can be seen everywhere in Gaga. As you move from floating to shaking to grooving, you're asked to keep each of the prior ideas in play. Float while you shake; float and shake while you groove. Similarly, in the concept of bodily engines, you are encouraged, as you awaken more and more engines, to use as many as possible, all at once. Surprise yourself. MULTITASK. Choose more than one idea.
[1] Lewis, Kristin. "The Elusive Ohad Naharin: A Conversation with the Artistic Director of Bat Sheva Dance Company." Dance Spirit Feb 2006: 103&125.
to receive and give; to senseStandard
"Cancel the box of your chest."
We stand scattered around the room, eyes wide, collarbones reaching for the ceiling, threatening to escape our chests. The top half must strain, you see, to make room for the leg bellow, which wants to float outward and up.
"Cancel the box of your chest."
Come back collarbones! Stop! Don't pull away! Give in to the effort of that reaching, stretching, floating leg. Come back, be soft, and let the effort move you. Listen, and you will hear its echoes. Give in to the effort. Revel in it, even. Enjoy.
As dancers, we have a pesky little habit of dividing our body into parts: right arm; right leg; left arm; left leg; chest; core; butt; back; collar bone; neck; right foot; left foot; head. Even when the parts work simultaneously—right leg rises, left leg stands, head tilts ever-so-slightly upward, collarbones reach for the sky—they are worked as separate entities. Each part follows a separate command (lift; stand; tilt; reach).
The language of Gaga however, aims to disintegrate the barriers between parts. Throughout class, dancers are urged to consider "the thread of their arms," "the rope of their legs," their "seaweed spines." One imagines a single thread that reaches from fingertip to fingertip, traveling through the chest; a single rope that reaches from one foot to the other, traveling through the pelvis; a fluid spine that will have nothing to do with boxed rigidity. When a body translates this imagery into its physicality, there can be no movement in the right arm that doesn't affect the left—for they are of one thread; there can be no movement in the left leg that doesn't implicate the right (as well as the pelvis in between)—for they are of one rope. To feel this sensation is to feel the connection between body parts, to feel the channels of the body open.
The channels of the body. This concept is key. In Gaga, the body is composed of a network of channels (the thread of the arms and the rope of the legs, connected by the seaweed spine). When open, these channels can carry movement, the memory of movement, and its echoes. When open, these channels can give movement or they can receive it. A rolling motion in the right ankle travels through the rope of the legs and up the seaweed spine, causing it to undulate. The undulating spine then sends a wave of movement through the thread of the arms, causing one arm to lengthen and the other to rise. Fingers splay and curl gently (and every-so slightly). Here, the right ankle "gives" movement and the fingers receive it (along with the rest of the body, the entirety of which partakes in the movement's "journey"). But in a Gaga class, the body is constantly moving; in fact, this is one of the few rules of a Gaga class, that you never stop moving. So the channels of the body are constantly giving and receiving, often doing both at the same time. While one arm jerks and sends a wave of movement to the opposite foot, a knee bends and sends a shoot of energy through the pelvis. Simultaneously, a circular motion passes through the seaweed spine. At every moment, the channels of the body must be ready to give and receive, give and receive. Give movement and receive its echoes.
To allow for this "transfer" of movement however, one must be able to listen. If you command your chest to pull towards the sky—tensed and perfectly placed—while your right leg floats freely beneath you, the channels in your body break (the chest becomes a box and severs from the seaweed spine, which in fact becomes rigid and no longer responds to the movement of the pelvis) and information ceases to travel. You eliminate the possibility of hearing the legs' movement echo in your chest. And in the lexicon of Gaga, this is a great loss. Reflecting on his love of moving, Ohad Naharin writes, "I've learned that listening to the body is a lot more meaningful than telling it what to do."[1] More meaningful, he says. Perhaps this is a matter of movement potential. While a command to the body only allows for a certain range of motion (there are only so many ways you can tilt your head the right), listening to the body allows for limitless possibilities. A jolt in the leg can send a quiver through the spine, which radiates through the head and arms, moving you in ways you'd never expect. Maybe this capacity to surprise oneself makes listening more meaningful. Maybe the process of constant discovery and play gives the movement meaning. But there's also more to this meaningfulness, I think, and it has everything to do with the ability to give and receive. In class, Saar has told us repeatedly to give and receive. Receive the floor, receive the room, receive information from your fellow dancers; give information to the floor, give yourself to the room, give information to your fellow dancers (be "generous" Saar once said). Give movement and receive its echoes. This constant giving and receiving creates an inherent multi-dimensionality in one's movement. It creates a sensitivity in one's body—so that you're ready to receive at any given moment—as well as a readiness and availability to both move and be moved. This, I think, is what Naharin refers to when he talks about the meaningfulness of listening to one's body. To listen is to be constantly sensitive, constantly available, ready to give and receive at a moment's notice.
In a brief tirade against mirrors, Naharin discusses what the body should aim to do without the influence of soul-spoiling mirrors.[2] "To get to the real discoveries of [your] abilities and potential," he says, "you must sense. It's not feeling, it's sensing."[3] Clearly, the difference between feeling and sensing is imperative, and once again, I think it has everything to do with giving and receiving. To 'feel' is to experience a sensation (perhaps passively) with one aspect of your physicality; to 'sense' is to know a sensation with the full artillery of your person, to let it travel throughout the body, to let it ripple and echo unimpeded. To sense is to give and receive, to know the full engagement of your awareness and physicality.
[1] Naharin, Ohad. "why i choreograph." Dance Magazine Oct 2013: 88.
[2] Ohad is quoted in various interviews saying, "the mirror spoils the soul." Here, the quote is from: Lewis, Kristin. "The Elusive Ohad Naharin: A Conversation with the Artistic Director of Bat Sheva Dance Company." Dance Spirit Feb 2006: 103&125.
[3] Lewis, 2006.
Dancers, Start Your EnginesStandard
One of the most important aspects of Gaga is the pervasive, underlying drive. All movement originates from a point of power and emanates outward, causing a chain of reactive motions that leave the body and "echo" in space. This power center is the engine of a dancer's body, from which it derives and channels its energy.
Ohad Naharin, the creator of Gaga, calls this engine the lena (LEY-na). He locates it at what is the true middle of most people's bodies—"between the navel and the private," as described by Saar Harari, the creative director of YDT's spring project. He always tells us to form our motions "from the lena." It initiates and leads where we go.
For several reasons, this seems like an odd concept for most people, even many dancers. Depending on the dancer's body and training, she initiates motion from different places. For ballet dancers, the engine is the back, from which stem long, graceful lines and deep arching. This often causes an opening of the chest that gives a regal, floating quality to the body, but it can also give it a rigidity that seems cold, serious, and aloof.
We can take another example from hip hop dancers. Their engines often lie in the torso, especially the chest and pelvis. At first, the pelvis may seem similar to the lena, but they are not the same; the pelvis is the region around the hip bones, often including the pubic area. Motion that comes from the pelvis is first felt in the lower body and passes outward. Because hip hop often uses isolations, the initiator can change between steps. Even if a step is initiated by the pelvis, it soon transfers to another location because the active body part is the initiator of the movement. While these parts are working, there can be stillness in the others, and the movements in different parts of the body do not need to be connected or originate from one area. Motions reverberate (think of a body roll), a form a path that gives this style its dramatic effect. The focus and action shift continuously through the active parts. There is also a grounded-ness to this style that contrasts Gaga.
On the other hand, Gaga is supposed to display connectedness of motion. No matter what the motion is, it is caused by the lena, which is always "on;" even when we are not moving, the lena's energy stays alive in our bodies, keeping them ready for whatever the lena leads us to next. All parts of the body, in order to move, need to receive energy from the lena. Because it is at the body's center, energy flows outward in all directions at the same time.
There is no delayed reaction; an impulse from the lena moves all appendages together—the whole body moves with its force in a clear, concise path. There is "a buoyant, instinctual immediacy to the choreography by creating a direct conduit between the physical and the visceral: in a very palpable sense, it is movement that is as guided as much by the mind as it is by the muscles."[1] In many ways, the lena is not strictly a physical entity, but an vessel of a dancer's mind, which guides what the body should do based on where it is and what it has just done.
Because it is guided by the lena's response to the mind, each motion has a force behind it. The reason or "story" behind the movement is not as important as the apparentness of drive. An audience can make up whatever story it wants about the movement; what is important is that they see a motivation for it within the dancer, which is the lena.
Because so much of its movement is improvised by each dancer individually, Gaga does not have a set of steps or motions that must be memorized and re-used in different sequences to form new pieces. Instead, Gaga provides a set of terms, like the lena, that help facilitate each dancer's personal creative process. This vocabulary allows dancers to tune into their bodies' sensations. Ohad Naharin describes this Gaga "toolbox" as "a process of listening to the body rather than telling it what to do; a self-analysis which responds and reacts to the echoes of movements as they travel through the human form."[2] Dancers move according to the demands and commands of their engines, especially the lena. Movement is not arbitrary because it can be traced to specific sources, both within the body and outside of it.
The lena's energy does not stop at the tips of a dancer's fingers or toes, though. It keeps going outward, into the shared space, inspiring and informing other dancers. In this way, each dancer's lena is connected to those of others, because their energies interact in space and go back through the dancers. Every person's movement affects others' in a sort of sharing of energy, power, and motivation.
[1] Boon, Maxim. "Batsheva's Dance Will Literally Drive You Gaga." Limelight. October 7, 2015. Limelight: Australia's Classical Music and Arts Magazine. Online article.
[2] Ibid.
Research in StruggleStandard
While Gaga class offers a place to freely research, I find that in the process, I am also constantly struggling. I grapple with the verbal prompts that we work with, because the neural connections that we must make are new and unfamiliar to me. It is much like carrying out a task using the nondominant side of my body, or clasping my hands together with the other thumb on top. As a result, I experience new sensations and awaken the dormant areas of my body.
What I currently find to be especially challenging is making connections between opposites and extremes. Connecting horizontal to vertical forces. Connecting pleasure to pain. Letting go to receive more. Being simultaneously aware of internal sensations and external surroundings. Keeping effort to certain areas of the body. Letting go to explode. Giving and receiving both at once. Falling into floating in water. Hiding the beginning.
At times, they seem like impossible tasks, but perhaps they are meant to be impossible. Maybe we are supposed to be overwhelmed. Maybe failure is okay. And in this struggle, I find my mentality changing. I recognize and accept when I fail and simply try again. I attach less value and judgement to being able to master a prompt or skill quickly with relative ease.
In fact, I am beginning to wonder if mistakes even have to exist and if it is all in our perception and control. For example, Saar often says matter-of-factly, "If you fall, you fall." But it is about the way we fall. By riding the fall, we harvest that movement for investing into something new, thus, reappropriating a would-have-been mistake. By opening our bodies to possibility and new perspectives, we are able to perceive the moment as something other than just falling. I can fall, but I don't have to.