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The word itself has never much excited me, but I have always been raptly interested in consciousness for lovers. Yep, consciousness.
Whether I have written love stories or erotic stories, or just lived my life, the juiciest part of lovemaking for me is what happens within people's minds. What motivates them to do what they do? What thrills them? What do they want? What thoughts do they have? What do they say to each other during one of nature's most creative experiences?
Sharing consciousness is the stuff of intimacy.
When I look at so many media portrayals of romance or erotica, the picture that emerges is that sex is what we do to someone or what someone does to us. It's usually not depicted as a co-creation, as two people joining equally in a duet. The seducer seduces or the chaser takes charge and does something — usually a physical act. Mouths and other body parts crash into each other in hurricanes of passion.
Yet intimacy is not what we do to someone. It's what we do with someone! Intimacy is equality in action. It's a duet.
Intimacy is vastly underrated. It often sounds lame, especially to people trained to be intrepid, hot men or women of action. Intimacy often sounds as exciting as contemplating one's navel. It's usually portrayed in G-rated bunnies and duckies terms. Men are frequently taught to put up with intimacy as a step to "get to the good stuff." Little do they know.
I think intimacy is top-drawer, the best. It makes the rest juicier, more meaningful. It's where connection happens, friendship expands, love boils, lightning strikes. True intimacy is like a closely guarded secret, an out-of-bounds topic. Out of sight, out of mind.
Heavily exploited by porn but also distorted in mainstream depictions, sex has often become increasingly like stupid pet tricks. It's about doing more outrageous activities, pushing the envelope on quirky-kinky. Be wild, be daring, be fearless. Show off better than the last person. It turns sex into a circus show like Buffalo Bill's Wild West — thrills & spills and rootin-tootin fun. That's exciting, but it's not connecting.
Sex also often becomes much ado about playing roles. You are sub and I am dom. Or you are slut and I am lucky bastard. Or you are whatever and I am whatever. Roles can be very steamy to play for those with creative imaginations, but usually it's much more mundane. This is especially true when playing roles does not create emotional connection to another human being.
Truly adventurous sex would be entering another's mental and emotional world unarmed. That's a place where all our memories dwell and all the emotional firing pins are hidden yet cocked.
Have you ever made love soul naked? Have you ever been able to shed all the cloaks and disguises of your real self and share love from that mental space? Yes, it can be exceedingly scary to be so open, but with the right partner, it can be incredibly profound and satisfying.
Nothing draws me closer to someone than sensing their realness. When I feel they're meeting me with their true and uncensored self, I become most present. I listen respectfully as they share their fears or sadness or rants or (yes!) their joys and aspirations, too. And with all this input, we make love with more depth and caring. It changes everything.
Lovers as objects are supposed to play the right roles, say the right things, follow the expected scripts. Real lovers are not objects, they're people, and real sex is about real feelings. Only lovers willing and able to be intimate with each other can feel the difference.
Lovers as objects have to look right in every way possible. Wear the right shoes, the right naughty fashions, the right do. There's also a long list of skin and body conditions to avoid — to be cosmetically perfect is the ideal. I have read some blogs and have had some personal correspondence with women who feel more like hunks of furniture for their mate's pleasure than they feel included in any co-creation of beautiful experiences.
Loving people see beauty in so many different ways. Many of those ways are nonphysical — intelligence, creativity, sensitivity, enthusiasm, passion, compassion, humor, spice, oh, so nice. Intimacy is an exploration of whole people co-creating. Yet where in our culture does anyone learn co-creation? I think long and hard to come up with examples.
It's worth it to reflect for awhile on what mating really is (or could be.) We enter into love relationships as hunks of history, programmed with agonies and ecstasies. We could provide a healing sanctuary for one another, neutralizing emotional wounds from the past from our mutual love.
The minds of lovers are really dealing with more than the mechanics of sex, even if much is not conscious. Most of us yearn to be loved and accepted. We yearn to have someone care about us. Sex is a way people measure how they're doing in life. A truly fulfilling sex life boosts happiness, especially when it generates loving feelings, self-esteem, and relationship health. When sex is unhappy, it's often because it lacks intimacy.
For the sake of intimacy, I like to deliberately make love mentally, emotionally, and spiritually.
Making love mentally is sharing ideas without censorship. That means much more than talking dirty. Sex can provide a bonding experience rich with thought. Permission to shelve inhibitions often lets more good stuff surface. Unfortunately, many people feel too intimidated (for lots of reasons) to speak their truth even to their mate — sometimes especially to their mate. Most everybody has learned the hard way that sharing without editing can have dire consequences. It can also create peak experiences.
Making love emotionally is sharing feelings. Thoughts and feelings are different. Feelings often don't have explanations or rationale. They may not be logical. They may be dreamlike. Sharing feelings freely and openly is relatively rare in a society that encourages secrecy, shame, guilt, and mistrust. One example is saying "I love you" spontaneously without running it by the analyst in your brain.
Making love spiritually is recognizing that people are much more than their bodies — that they are spirits inhabiting bodies. Spiritual awareness can have a surprisingly powerful affect on lovemaking including energy play, harmony with God/nature, a deeper appreciation for spiritual love, and transcendent sexual experiences (I'll write about that sometime!) Spiritual lovemaking takes a great deal of emphasis off superficial beauty and re-focuses it onto cosmic beauty.
Becoming aware of how you might make love mentally, emotionally, and spiritually can be very enlightening. It can shift your focus in fascinating ways just to consider how you might do that.
Seed planted. Let me know what blooms!


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Your faith in God matters to God. In fact, God is most honored through your living, active, death-defying, out-of-the-box faith. That being the case, he's committed to growing it.Big.Imagine how different your outlook on life would be if you had absolute confidence that God was with you? Imagine how differently you would respond to difficulties, temptations, and even good things if you knew with certainty that God was in all of it and was planning to leverage it for good. In other words, imagine what it would be like to have PERFECT faith. In Five Things God Uses to Grow Your Faith, Andy Stanley builds a biblical case for - you guessed it - five things God uses to grow BIG faith.
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Tassie Tastings on Board Spirit of Tasmania
The Spirit of Tasmania's Flavours of Tassie program, which gives passengers the opportunity to sample the state's best food and beverages on their Bass Strait crossing, is one of the best marketing tools for their product, say the owners of Henry's Ginger Beer.
Carolyn Watson-Paul said passengers get to taste the product on board and then, when they arrive in the state and are travelling around on holiday, they look for "our bottles" because they want to taste it again.
"We love to get on board and get talking about our ginger beer and the story behind it," she said.
"The passengers are just so excited to be coming to Tasmania for a holiday and looking forward to tasting the state's food and beverages.
"We are just really pleased they get to taste our product first."
Mrs Watson-Paul said Henry's Ginger Beer, named after she and husband Marc's five-year-old son, was established three-years-ago in a shed behind the family home at Penguin.
"The recipe is based on Marc's mum's home-brew recipe from years ago.
"Someone at our place tasted it one day and said we should bottle it and sell it, so we did.
"Demand for our product is really strong in cafes, restaurants and provedores in Tasmania, and is also stocked on board the Spirits.
"We are in the process of upgrading our brewery and installing a bottling line that should be operating in a few weeks.
"But we do not want to get too far ahead of ourselves and are growing at a rate we are comfortable with."
Spirit of Tasmania chief executive officer Bernard Dwyer said the Flavours of Tassie program was an initiative to uncover little-known gems in Tasmania, like Henry's Ginger Beer.
"The greatest element of Flavours of Tassie is its focus on bringing the local producer closer to our consumer," he said.
"So far this year we have had 48 suppliers present on 81 sailings, and we are expecting bookings to double by the end of the program.
"We are looking forward to the further growth of this important program, particularly since the ships' refurbishments have been completed."
Flavours of Tassie 2016 is a showcase of Tasmanian gourmet food and beverage producers, featuring the state's renowned cheese, chocolates, preserves, beers, ciders, wines and spirits.
More than 160,000 passengers will be given the opportunity to enjoy this year's program between May and November, allowing them to meet the makers behind the labels and learn about what goes into their fine products.
The Flavours of Tassie 2016 schedule is available on the Spirit of Tasmania website, and will be continuously updated throughout the coming months.


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Date Night Makeup
Life can be busy and its easy to get caught up in the tornado of the everyday. But my husband and I always try to set aside time for just the two of us. We simply call them Date Nights, and try to spoil ourselves with them every week or every two weeks. We get ourselves all cleaned up and venture out of our tiny crappy apartment to enjoy a dinner, a movie and each others company without the distractions the technology of our apartment grants us. So last weekend we did just that.
I opted for a bright colorful smokey eye with a subtle lip and big curly hair for our date night.
I thought this make-up looked dramatic enough for a fun evening out, but not so intense as to be mistaken for a Halloween look. What do you think of it??
Here is how I created this look:
- As always, fill in your brows first to help frame the area. I used Mystery eyeshadow by MAC Cosmetics for this.
- Prime your lid and all the way up to your crease. I used Urban Decay's Primer Potion. Make sure you are always using an eyeshadow primer, no matter what type of look you are going for. It provides you long wear time and will help you avoid creasing. Your shadows will also apply more vibrantly and stay true throughout the day/night, without "melting off". MAC Paint Pots or cream bases will work for this too (NYX's eye pencil in Milk is one of the most popular).
- Using a flat eye shadow brush, dab Steamy eye shadow by MAC all over your lids. (from the inside of the eye to the outside of the eye). Steamy is a frosty teal shade that glides on very smoothly and vibrantly. Feel free to use any teal shade that you might have at home.
- Using a stiff dome brush use your Satellite Dreams eye shadow (or a similar purple shadow that you might already have) throughout the crease and up onto your brow bone, blending gently up and out.
- Then, using a fluffy crease brush, sweep a touch of black eye shadow at the outside edge of your eye and slightly up through your crease to add depth and intensify the look. I used "Black Tied" eye shadow for this. It is a basic black lustre shadow with silver specks.
- After brushing off all the black, I took that same fluffy brush and took "Brule" which is a very soft nude color close to my natural skin color and swept it around the edges of color in an attempt to soften the lines and a less blocky look.
- To highlight, I used "Phloof!" eye shadow by MAC. It is a frost eye shadow perfect for highlighting your brow bone or the inner corner of your eye. It has very slight pink undertones which makes this less harsh than a straight white frost would be.
- For eye liner I used Master Precise Felt Tip Liquid Liner (available at Ulta in the US and at Shoppers Drug Mart in Canada) on my lid. I didn't apply any on the lower side of my eyes. I wanted to create a softer and more open look and not close off my eyes. Instead I opted for a white waterproof pencil to brighten my waterline. For this, I used Sephora's 12H Waterproof Crayon Jumbo.
- Finish the look with at least two coats of mascara. I used Clinique's Lash Doubling Mascara.
- (Optional) Add false eyelashes to your look. I used "Hotties" by Ardell along with the Duo eyelash glue that dries black.
For the rest of this look:
Face > For my under eye concealer I used Erase Paste by benefit in shade No.1. Then, all over I used Clinique's Moisture Surge Tinted Moisturizer in shade 01 topped with MAC's Studio Careblend Pressed Powder in shade Light Plus.
Cheeks > a soft pink frost powdered blush from Too Faced's "Natural Face" palette.
Lips > For my lips I started with Celebutard lipstick from Kat Von D's Painted Love Lipstick collection. Then, because I wanted a slightly glossier look, I decided to add on Hourglass's "Child" from their line of Extreme Sheen High Shine Lip Glosses.
Hair > Earlier in the day, I put Flexi-Rods (Super Rollers) in my hair and by the time we were ready to go I simply pulled them out and pinned back a small portion from the front. I love that I can get soft, non-crunchy curls without putting my hair through any heated torment.
What colours of eye shadow are you wearing this fall? What products do you turn to for your date nights?
Thanks for reading!


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Friday, 03 May 2013
A mixed three-piece band, Off Piste, was this year's winner of Bolton School's Senior Schools' Battle of the Bands competition. With Christie O'Connell on vocals, this was the first time a female has won the competition (in what is a Boys' Division-organised event); also in the band were fellow 15 year olds and Year 10 pupils, George Rudd and Tom McNicholas.
With this year's judge being Tim Thomas from Blueprint recording studio in Manchester, the bands were certainly performing to the right audience. In what is always a close call, the judge said he chose Off Piste for their originality, stage presence and the fact that they felt like a unit and performed as such, as well as being entertaining.
A spokesperson for the band said: "We were surprised and delighted to win the Battle of the Bands competition. We have only been going a year but have played a number of gigs in Manchester, including The Academy, The Roadhouse and the Dry Bar. We are currently recording some tracks which we put out through our Facebook and Twitter accounts. We aim to take it as far as possible and to go on to do bigger venues."
The runners-up were Exit Stage Right. Absolution, last year's winners, and The Gingembres also took part. All the bands were invited to visit Blueprint Studios.
Money raised on the day will be split between donations to the Fabrice Muamba Defibrillator Fundraising Appeal and the 'Action for Children' charity which has a Bolton Branch and supports disadvantaged children.
Recent judges of the competition have included Old Boys Sir Tony Wadsworth, former Chairman and CEO of EMI, and broadcaster Mark Radcliffe, as well as DJ Andy Peebles.
You can read the Bolton News story covering this event here.
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Tim Thomas (on the left) of Blueprint Studios is pictured with the winning band; George Rudd, Tom McNicholas and Christie O' Connell
Runner-up was Exit Stage Right
A @BoltonSchool mother talks candidly about how she pays school fees in The Times: 'My plan for paying school fees' - https://t.co/f7KR7zd4l5 #GoogleAlerts


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NASA's Kepler satellite has discovered a planet that orbits around two suns, which just so happen to be a yellow sun and red dwarf star, that is 200 light years away from Earth, which some might say is in a galaxy far, far away. Where have we seen this before?
It's Tatooine! Fire up the opening crawl and the deep exploration rockets, we're going to find us some droids, land speeders and possibly a light saber!
Star Wars nerdisms aside, this discovery is the first ever for a "circumbinary" planet, or a system where one star rotates around the other like a planet would. A system with two stars thus far has only been theoretically possible.
The planet, named, Kepler-16b is roughly the size of Saturn (which is about 763 times the size of Earth), and it completes its orbit around the suns once every 229 days. Unfortunately, the planet is so far from its suns that it can't sustain life and it is too cold for liquid water to even exist. So this is definitely not the desert planet with moisture farms we are looking for.
However, the NASA scientists say that the two stars create particularly interesting effects. The planet most likely sees dramatic changes in lighting when the smaller star is eclipsed or when both stars are in view. The two large stellar bodies could also be affecting the shape of the planet with extreme gravitational tides.


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in presence x sublimation x what would have been if you would have stayed
Master Series Third Thursdays
When: Thursday April 20, 2017 6:00PM
Where: Worcester Art Museum, 55 Salisbury St, Worcester, MA 01609
How: Official Website
What/Why: "Enjoy an art talk related to one of the featured Master Series artists, plus music, cash bar, cheese and crackers – and the company of other art enthusiasts! Free with Museum admission. Free for college students with current / valid I.D.Topic: Three exquisite greek vases, featured in our Jeppson Idea Lab: the Herakles amphora by the Leagros Painter (1966.63), the Thetis stamnos by the the Tyszkiewicz Painter (1953.92) and the lekythos depicting Two Women Carrying Offerings to the Dead by the Achilles Painter (1900.65).
Speaker: Paula Artal-Isbrand, objects conservator, Worcester Art Museum; Amanda Reiterman, Historian.
This event is a part of WAM's Master Series of lectures about key works on view at the Worcester Art Museum. Galleries are open until 8pm; Master Series admission includes music, cash bar, and cheese and cracker reception."
Peter Vanderwarker – Sublimation
When: On view through April 29, 2017
Where: Gallery Naga, 67 Newbury St, Boston, MA 02116
How: Official Website
What/Why: "Just when you thought you could pack away your snowshoes, winter returns through the lens of Peter Vanderwarker.
After a week-long trip to Yellowstone National Park in January, Vanderwarker came away with a trove of photographs that pivot around sublimation – a change of state, a movement from solid to gas. At Yellowstone, winter resides on the surface while a very different climate lingers beneath.
Vanderwarker's entire exhibition focuses on the organic. He creates photographs with illusions of scale and form and finds shape and line in the natural world just as he has accomplished with his architectural subjects throughout his career.
Vanderwarker remarks on his trip:
Yellowstone is a winter landscape sitting on a stove. A super volcano sits underneath the park, and erupts every 600,000 years or so. Everywhere, you see huge, dead, burnt trees from a devastating fire 29 years ago. But this scarred landscape is wearing a five-foot deep blanket of new snow – it is dry powder so Yellowstone is a blissfully quiet place. On cold mornings, ice particles just hang in the air, looking like silver.
Solid turns to vapor everywhere. The reverse happens too: Steam gushes from boiling pools of mud. When the steam hits anything solid, it turns instantly to rime ice, which then sublimates back into the dry air.
Lots of animals live here, but I don't know how. Bison use their heads to scrape snow away from old dried grass. Wolves look for weak bison. Foxes listen intently for voles scuttling under the snow, then dive-bomb them. Bacteria thrive in a narrow zone around thermal features, growing right between steam and ice.
Heaven knows, this is a boiling, beautiful place.
Alida Cervantes: Majas, cambujas y virreinacas
When: On view April 14 through June 25, 2017
Where: Mills Gallery, 539 Tremont Street, Boston, MA 02116
How: Official Website
What/Why: "Boston, MA – In collaboration with Wellesley College, Boston Center for the Arts presents its spring exhibition: Alida Cervantes: Majas, cambujas y virreinacas, from April 14 to June 25, 2017 in the Mills Gallery. Curated by Candice Ivy, this exhibition is presented in conjunction with Wellesley College's Alice Cole Fellowship. Recipient of the 2014 Wellesley College Alice Cole Fellowship, Cervantes' work explores the complexity and tension of being a 'border' artist, and the constant shifts of social and political lines as she crosses the border daily from San Diego to work in her studio in Tijuana, Mexico. This will be the first East Coast solo presentation of Cervantes' work.
Alida Cervantes, Que hubiera sido de mi, si tu estuvieras aqui (What would have been, if you would have stayed), 2017, oil on found wood
Victorian-era women encounter nearly nude men in the imaginative and perverse work of Alida Cervantes, who conflates Mexico's racially and socially charged colonial past with its complex present. Cervantes' rich and provocative paintings, drawings and video work address social hierarchies, gender relations and the reflexive histories situated within colonial and present-day Mexico, where sex, love and emotions both flow and are repressed
The works created by Cervantes for this exhibition reflect her most recent period of artistic experimentation, spanning the two years after moving her studio back to her hometown of Tijuana. Created on scavenged or traded materials from the streets, construction sites, buildings or people's homes in Tijuana, the work combines traditional and non-traditional modes of painting in an innovative fashion.
According to Cervantes, "the impact of working in the downtown area of Tijuana has influenced the materials I use and creates a hierarchy within the formal elements of the work itself. The work reflects my attempt to re-position myself back in my hometown and to create a dialogue between my traditional art methods and the chaotic improvised environment of Tijuana."
Substantiation: Deborah Coolidge and Brooke Hammerle
When: On view April 18-May 22
Reception: Thursday, April 20, 5-7 p.m.
Where: Simmons College, Trustman Art Gallery, 300 The Fenway, Boston, MA
How: Official Website
What/Why:"Substantiation explores nature by using methods and imagery that poetically re-connects us to the material world. Deborah Coolidge's tree images evoke memory and describe matter. Her textural drawings of trees in color and black and white are wonderfully descriptive and curiously metaphysical as she personalizes and abstracts each individual tree. Brooke Hammerle's photographs depicting flowing water from the series Songs of Light evoke sound and movement while describing abstracted textural light and water. The work is mysterious and ethereal.
Deborah Coolidge received her MFA in ceramics from the Rhode Island School of Design. Her engagement with material is still evident in her drawings. They start with rubbings of trees; the furrows and knobs are the initial investigatory method in her process. As she works she deepens her understanding of the tree's individuality as she both abstracts and particularizes her conversation with these stately living organisms, building layer upon layer of mark-making. Quercus weetamoo. N41°35.5'W71°11.1′ (oak, Weetamoo Woods, Tiverton) created with graphite on paper, calls to mind the compressed energy of this venerable tree. The tree seems to have a dark pelt scrabbled over with fragmented lines and circular shapes.
Brooke Hammerle's peripatetic childhood and eclectic educational experience studying both painting and photography led to a long career at Brown University as photographer for the Bell Gallery and the Art departments. Hammerle's Songs of Light series depicts her fascination with the musicality and rhythmic interplay of a stepped waterfall near her home in Providence RI. In Symphony III, scribbling lines of light undulate across a dark background suggesting mossy wetness and nothing in this world at all.
As Shakespeare's Hamlet declares, "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." These two artists manifest that sentiment with their lyrical drawings and photographs."
Caleb Charland – Under The Arc Of The Sky
When: On view April 14 – May 20, 2017
Artist's Reception: Friday, May 5th, 5:30 – 8:00pm
Where: Gallery Kayafas, 450 Harrison Ave, Boston, MA
How: Official Website
What/Why:"Caleb Charland's new exhibit, Under the Arc of the Sky, combines science, photography, art, and a sophisticated curiosity creating images which are both magical and surreal – illusions that make us question what we are seeing. Visually striking, the resulting pieces reveal the artist's exploration of light, motion, movement, gravity, the push and pull of Earth's forces that are experienced every day.
Charland's pieces are made with and without a camera. They are gelatin silver photographs made in the darkroom or cyanotype prints made in the light. Photograms, long exposures, paper negatives, glow in the dark powder are some of the techniques used, each demonstrating Charland's inexhaustible sense of wonder and childlike exuberance for discovery. Using a lit candle as a pendulum (oscillating 1 meter every 1 second) it swings back and forth, dropping wax onto seven sheets of photo paper becoming a continuous photogram. Lying in the grass with his camera on his chest, lens open to the sky for more than two hours, Charland captures the movement of the earth making the stars appear to move.
Charland's creative scientific curiosity in Under the Arc of the Sky visually explores how the world works. "For me, wonder is a state of mind somewhere between knowledge and uncertainty. It is the basis of my practice and results in images that are simultaneously familiar yet strange. Each piece begins as a question of visual possibilities and develops in tandem with the natural laws of the world. Serendipitously, this process often yields unexpected results measurable only through photographic processes. The human presence and artifacts of the process provide a clue to the creation of the photograph while adding to the mysterious nature of the image. My hope is that this work affirms that even within the well tested laws of science there are, and must always be, pathways to reinterpretation and discovery." CC"
Also on view..
Robert Moeller – redacted: "no further information available"
What/Why: "While many of these paintings may appear calm or resolved at first glance, a closer examination of their surfaces reveals a submerged history of initial thoughts and alternate propositions. Even in their final form, there are always subtle tensions: flat shapes suggest traces of misaligned three-dimensional volumes; unexpected colors slip out around their edges amidst deep currents of geometric composition. The work is influenced in part by the unruly (yes) lines that cross Mondrian's painted grids, with echoes of grounded or negative space upon a suspended shape reverberating through layers of competing visual information. As with a redacted document, the entirety of the text is present in its original form, but it has been made (sometimes in part) unavailable. It resembles something you might have initially recognized yet now can't fully understand. These paintings (Constructs) continually obfuscate the original intent or gesture made while building upon it until something new emerges, something that sits atop (or within) the armature of the first articulation of an idea and continues to recast it. What remains is the redacted version of a first impulse, obscured yet still asserting its primacy."
Stass Shpanin | Coltland Souvenir Shop
When: On view through April 30, 2017
Opening Reception: April 15, 6-8:30PM
Where: EBK Gallery, 218 Pearl Street, Hartford, CT
How: Official Website
What/Why: "EBK Gallery is pleased to announce Coltland Souvenir Shop – a solo exhibition of new paintings and works by Stass Shpanin. This exhibit is a continuation of the Coltland project started by Stass Shpanin in 2015. During his most recent exhibition at Temple Contemporary in Philadelphia, Shpanin transformed the gallery/museum space into an improvised theme park dedicated to the well-known Hartford native gun manufacturer Samuel Colt. Starting as a performer and a clown, and selling laughing gas, Colt becomes the focal point character to investigate American culture, politics, and history.
This time, Stass transforms EBK Gallery space into the "Coltland Souvenir Shop", a store with the installation of Samuel Colt busts wearing clown noses, and "poster" like paintings. Shpanin says, "I am interested in creating an attractive space that welcomes viewers; however, through their participation, I want my audience to be trapped in the absurdity of juxtaposed images, ideas, surfaces, and histories." Commenting on the title of the exhibition, the artist continues, "I called it a souvenir shop, not a gift shop, because souvenirs refers to a memory of a place. There is a certain absurdity in making a souvenir shop for the place that does not physically exists. It all plays part in a larger context of "institutional critique" I am very involved with."
Aesthetics: 2017 Studio Art Majors' Exhibition
When: On view April 20–May 12, 2017
Where: Wheaton College, Beard & Weil Galleries, Watson Fine Arts
Opening Reception: Thursday, April 20, 5:30-8:30pm
How: Official Website
What/Why: "Lily Allen • Jack Brotherton • Liam Grace-Flood • Charlotte Hall • Emma-Kate Metsker • Juli Mikush • Weiyi Qian • Jensine Schneekloth • Maggie Walton • Emma Willing"
When: On view through April 2017
Opening reception: Friday 14 April, 5 to 8pm
Where: Dowling Walsh Gallery, 365 Main Street, Rockland, ME 04841
How: Official Website
What/Why: "Construct is built around the theme of social and material construction. The artists included use painting, sculpture, printmaking and collage to examine construction through various media. Whether through repurposing imagery or materials, creating imagined scenarios, shifting a ubiquitous object, or abstracting a familiar scene, each artist is restructuring information as we usually experience it to create a new paradigm for viewing our everyday physical and societal structures.
The exhibition will show Left-Twist Blocks, a new work by Aaron T Stephan. At first glance these may not seem different from the universal cinderblock, however Stephan has cast cinderblocks in a torqued form. These twisted blocks, which in stacks spiral upwards, lack functionality of the original form, turning ubiquity into the monumental.
Also working with concrete is Stephanie Cardon. Her piece Oil and Water uses fabricated cinderblocks and suspended bamboo thread to create a dimensional moiré effect in space. Her cyanotypes, Lazy Haze and Seersucker Sky, create a similar moiré pattern, showing shifting perceptual qualities. The choice of process resulted from a curiosity about how the space or distance between things could be represented. These works show an exploration of an idea from two angles, allowing the viewer insight into Cardon's process.
Margaret Rizzio's collages, Sardines and Adventure is Here use ephemera such as books, magazines, playing cards, advertisements, and stamps from the 1940's-60's as source material. Focusing in on representations from this specific time period, she recontextualized the imagery, creating a warped nostalgic commentary on the world today.
Representing a different facet of the theme are paintings by Elizabeth Fox. Look at what the Venus blew in and Help in Wonderland are paintings of imagined scenarios, playing with situations in a way that is seemingly dismissible as reality. Fox's paintings pose questions as to who or what is the dominant power, showing pivotal moments from a humorous angle and calling into question construction of our societal structures.
Cal Siegel's work Mega Gem combines wood, plaster, resin, and salt in a collage of materials. The frame structure brings up ideas of architecture and archaeology, simultaneously growing and deteriorating. Untitled presents a combination of materials with specific histories. The found wood was once a piece of a loom from the 1800's. Plaster and acrylic paint distort this history, creating an enigmatic object.
Cloud Sea Fog Steam Sky is part of a recent interest of Cig Harvey's in presenting pieces of written text in neon. This phrase comes from writing that Harvey did describing the feeling of the world being upside down. The words are disorienting in combination, but when placed in this specific order and material, function to reorient and generate an imagined scene as much as they perplex.
John Goodyear creates a new way of seeing through playing with perceptual qualities, pushing the viewer to experience a new reality. Red, Yellow, Blue Construction abstracts simple forms and colors into an optimal discovery.
In Interior, Fairfield Porter (1907-1975) uses flat, opaque colors to create a distinct three-dimensional space. These abstract forms piece together just enough information of the situation to draw the viewer in, only to remind them that they are on the outside looking in. Porter's work Isle au Haut uses subtle tonal variations to piece together an image of the scenic Maine landscape. His colors portray the seaside cliffs as serene and stoic.
In Presence
When: First date, April 14, 2017 7PM, more dates below
Where: Distillery Gallery, 516 East 2nd Street, Boston, MA 02127
How: Official Website
What/Why: "IN PRESENCE is a month-long exhibition that challenges the artist and viewer in the ways in which we can witness and experience performance art. The exhibition features 20 performance artists from around the world.
Performances by
Madge of Honor, Philip Fryer
Live streamed performances by
Creighton Baxter, Emmanuelle Duret, Michelle Lacombe & Martine Viale
Screening of Performance for Video works
Jessica Borusky, Creighton Baxter, DEAD ART STAR, Elaine Thap, Eduardo Restrepo, Sarah Hill, Nash Glynn, Sandrine Schaefer, Hayley Morgenstern, B Ajay Sharma, Silvi Naçi, Harpreet Singh, Zo. E. Ling, Ben Aqua
Performances by students from a performance art class at RISD
For more info about the artists and the exhibition please visit:
Organized by Tom Maio"
When: On view through April 22, 2017
Where: Barbara Krakow Gallery, 10 Newbury Street, Boston, MA
How: Official Website
What/Why:"Featuring works by Josef Albers, Peter Downsbrough, Sol LeWitt, Robert Mangold, Allan McCollum, Richard Serra. Darkling uses, quite simply, dark imagery as its origin point but with the goal of conceptual, formal and social conversations created through the juxtapositions.
One such example of artists' works that have not been juxtaposed before are Allan McCollum's and Peter Downsbrough's.
Allan McCollum's The Shapes Project: Shapes From Maine, Shapes Rubber Stamps consists of a collection of 144 rubber stamps, each with a different unique shape as its rubber stamp. McCollum has devised a system that allows for the possible production of 31 billion unique shapes. More "Shapes" than people, as the projected spike in the earth's population anticipates, come mid-21st century. As Charmaine Wheatley has written, "An artist rooted in process, Allan McCollum "does projects to raise questions for which he has not yet found answers." "Shapes from Maine" engages the public to share in a discussion of issues relevant to all."
On the back wall of the right alcove are eight silver gelatin photographs. The negatives were made between 1978 and 2015, while the photographic prints were made in 2014 and 2015. Each of the photographs, from the artist's "Halfs" series, consists of a black and white image where one half is a solid wall or plane with texture, grid or other visual information. The other half shows a deeper scene – train tracks receding in space or a curb curving around a street's bend, for example. The wall half prompts focus on texture, while the other half draws attention to the formal arrangements and activity in the "scene". Since each photo has both halves, the experience of comparison occurs and suddenly each half's details inform the reading of the other half. This is further enunciated by the juxtaposition of 5 photos, each using this arrangement, yet each in a different geographic location. One wall has deep texture, another has a grid. One scene seems like a grid, another looks like a study in one point perspective. Every point of view can consist of multiple comparisons.
These two artists, along with the others in the exhibition are interested not just in discrete objects but how experience, history, perception and variation play into one's experience of a work, emotionally, intellectually and physically."
Also on view..
Barbara Krakow Gallery presents:
Christian Marclay (March 18 – April 7)
Liliana Porter (April 8 – April 28)
Suara Welitoff (April 29 – May 18)
Julian Opie (May 20 – June
(a video program over 12 weeks)
Suns Explorer
When: April 18, 2017–April 23, 2017,
Where: Lightbox Gallery, Harvard Art Museums, 32 Quincy St, Cambridge, MA 02138
How: Official Website
What/Why: "How do we visualize a collection? The Department of Digital Infrastructure and Emerging Technology (DIET) at the Harvard Art Museums designs programs to track, record, and visualize data points associated with the objects in our collections. Visit the Lightbox Gallery to see DIET projects and prototypes for visualizing collections and collections data.
During the Cambridge Science Festival (April 14–23), members of the DIET team will share how projects can be built using the museums' API (harvardartmuseums.org/collections/api) and will describe strategies for building data visualization projects.
The Lightbox Gallery is a collaborative space for digital projects. Each installation in the Lightbox Gallery is unique, developed by the museums in collaboration with faculty, staff, students, and visiting artists. The Lightbox Gallery uses digital tools to reveal connections between objects and play with the traditions of display. Some projects in the Lightbox Gallery are responsive, allowing users to navigate and manipulate the collections; others are cinematic, transforming the museums into a landscape of digital performance."
Opus Affair April
When: Tuesday, April 18 at 6 PM – 9 PM
Where: Towne Stove and Spirits, 900 Boylston St, Boston, Massachusetts 02115
How: Official Website
What/Why: Learn more about Opus Affair and the Towne meet-up here!
When: On view through April 21, 2017
Where: FPAC Gallery, 300 Summer Street M1 Boston MA 02210
How: Official Website
What/Why: "Big Red & Shiny, Boston's independent contemporary art magazine, presents thirteen artists to mark its 13th year of publication. Since its founding in 2004, BR&S has published over 2,500 pieces of writing cultivating a conversation around thousands of artists who live and work in Boston. The publication provides not only coverage, but access, community, and a platform for critique to artists and cultural producers working in Boston and New England.
In 2017, the publication will continue to cultivate this conversation through our commitment to covering a variety of exhibitions that speak to the diversity of art making in our city and region. In Teenaged, BR&S presents thirteen artists who have contributed to this conversation in some way, be it their own writing, or profiles, interviews, or reviews of their visual work. This sampling of art making in Boston demonstrates the vitality of contemporary art practices in the city.
"Teenaged" will run from April 4–22 with exhibiting artists: Alexi Antoniadis, Linda Leslie Brown, Furen Dai, Micah Danemayer (1988-2016), Tory Fair, Kate Gilbert, Brian Christopher Glaser, Catherine Graffam, Dylan Hurwitz, Maria Molteni, Silvi Naci, Rosie Ranauro, and Thomas Ray Willis."
Move Your Mind
When: Thursday, April 20 at 3 PM – 5 PM
Where: Lesley University College of Art and Design, 29 Everett St, Cambridge, MA 02138
How: Official Website
What/Why: "Cambridge Creativity Commons and Catalyst Conversations are pleased to present the Fourth Annual STEAM Conversation: Move Your Mind. This is an interactive conversation for all ages exploring and experiencing creativity through the intersection of science and dance with professional dancers, choreographers and scientists!
Join us April 20th from 3pm – 5pm at Lesley University College of Art and Design in partnership with the MIT Cambridge Science Festival. Presenters include, choreographer and executive director of the Dance Complex Peter Dimuro, scientist and founder of Gique, Ashli Polanco and performing arts professor and educator at Bridgewater State and The Sage School, Danielle Bazinet.
We hope to see you at this engaging event to move your mind and body!"
Say hi:
Let me know if I missed anything this week and I will sneak it in
Learn more about ongoing exhibitions here
Next week is going to be a double-feature: 04.21 – 05.04
The weather this weekend looks sunny with a 100% chance of discount mini eggs by Monday.
Stay sweet, go see art ♥


text:
Spiroflow Systems, Inc.: Bulk Bag Packing
April 1, 2001
A four-page color brochure introduces the company's bulk bag packing systems. The literature features a detailed explanation of the company's bag packing product line, which includes four different designs. Each model is included with thorough details about capacity in pounds/hour and kilograms/hour for domestic and international use.
For additional information, call (704) 291-9595, fax (704) 291-9594, e-mail email@example.com or visit http://www.spiroflowsystems.com.


text:
Thursday, July 26, 2007
Top 10 Animated Films
Hello everyone,
This month, we're celebrating the release of "The Simpsons Movie" by choosing our top 10 animated films.
From Woody and Buzz to the Disney princesses, which animated characters have found a special place in your hearts? Is animation just for the kids, or have Pixar and Japanese anime widened its appeal to you?
The Screening Room's Top 10 Animated Films
Do you agree? Which favorites of yours have we missed out? Share your thoughts!
You left out Spirited Away??? Many people consider that to be better than Princess Mononoke. Please consider adding that to your list.
Where is Shrek?
How could you have left out the loveable green Ogre and his sidekick Donkey, who opened our hearts and minds to a terrific story and humor that hits home for all ages.
While I can appreciate the desire to give anime it's due, I was disappointed to see this omission.
Like an ogre and an onion, the movie itself has layers... everything from the 3 Blind Mice to the bold resistance of the Gingerbread Man.
I am surprised to see that "Spirited Away" is not on the list. The charachters in the movie and the setting (esp the train ride) are magical.
True, the "Toy Story" film remain Pixar's greatest storytelling achievements, but "The Incredibles" gave us amazing action -- the final showdown with Syndrome's giant robot is astounding -- and a warm lesson about family. I'd give "Monsters, Inc." similar kudos -- the scenes with all the doors toward the end is a blast, a little reminiscent of Terry Gilliam's "Brazil." Another great story told through animation is Warner Brothers' often overlooked "The Iron Giant." The script by Tim McCanlies is wonderful and the mood and look of the film is a welcome departure from the usual Disney fare. And it too was directed by Brad Bird, who directed "The Incredibles."
I think some of the movies that barely missed the best list were...
"The Last Unicorn" 1982, one of the early celebrity voiced movies with Alan Alda and Mia Farrow.
"Ninja Scroll" 1993, was one of the early 90's anime films to boost up anime to the masses along with "Akira" and "Ghost in the Shell"
Disney's "Aladin" 1992 and "The Little Mermaid" 1989, brought Disney back into a string of great animations after blunders like "The Great Mouse Detective" 1986, and "The Black Cauldron" 1985
I have to go against "The Transformers" 1986 being on the bad movie list. As 1986 goes, showing mass robot death in a movie scarred some children including myself for quite a while.
I agree with many of your choices for best animated films. Princess Mononoke was a gem that few have seen, and even less fully appreciate. I also enjoy the addition of the South Park movie to the list, providing some (much needed) adult comedy.
It's sad that the choices here do not really include some fine European films ... one should not forget "Allegro non Troppo", which was at the time considered a Fantasia compliment, and is in fact a nice companion film ... although as the review mentioned above, not necessarily for kids. Another was (not sure of the title) called "Fantastic Planet" which was very original. And of course, though he does not get much credit Ralph Bashki, if his films are not mentioned, at least his work should.
It would be nice, if all these could be shown in one place ... so everyone could see them ...
You list South Park and leave off BOTH Ghost in the Shell films? Their exploration of the meaning of being "human", and what makes us different from machines, is not only relevant but prescient.
Wrong, wrong, wrong!
1) Lady and the Tramp
2) Mulan
3) The Secret of NIMH
4) The Dot and the Line
5) Snow White
6) Monsters Inc.
7) Fantasia ( you mentioned it - ok)
8) Lion King
9) Roger Rabbit (partial animation, but brilliantly done)
10) Hemo, the story of blood (an oldie, but memorable)
I'm quite surprised that you would choose Princess Mononoke over Spirited Away, which is pretty widely accepted as Mr. Miyazaki's best (and it won an oscar too).
Also, I would never put Akira in the top 10 - certainly it did important things for Japanese animation in general, but as a movie it crams 700+ pages of (excellent, epic) manga into 90 minutes of confused, violent mush. I regularly re-watch Spirited Away, My Neighbor Totoro, and a number of other Studio Ghibli films, but once was more than enough for Akira.
What about Cars, Finding Nemo, Madagascar, and so many others that didn't make your list !!
I can't believe "the Incredibles" isn't on the list! One of my all time favorite movies, animated or not. Fabulous scenery and design, wonderful story.
My top 10 Best Animations Are;
1. My Neighbor Totoro (Hayao Miyazaki, 1988)
2. Castle in the Sky (Hayao Miyazaki, 1986)
3. Kiki's Delivery Service (Hayao Miyazaki, 1989)
4. Howl's Moving Castle (Hayao Miyazaki, 2004)
5. Spirited Away (Hayao Miyazaki, 2001)
6. Appleseed (Fumihiko Sori, 2004)
7. Finding Nemo (John Lasseter, 2003)
8. The Hobbit (Jules Bass, 1977)
9. The Last Unicorn (Jules Bass, 1982)
10. Heavy Metal (Gerald Potterton, 1981)
Top 10 Animated Films :
Disney's 'The Fox and the Hound' is one of my all time favourites that I think you've missed out on. It's probably the best animated film about friendship to the very end. I saw it when I was 4 and it remains a trasure to this day.
Anyone for The Incredibles. It deserves to be here.
I believe DreamWorks Animation's "Shrek" (2001) has truly deserved its place in the Top 10. It is a story that appeals to the audience at many levels, from toddlers to their grandparents. The wit and humor of Shrek and Fiona's unconventional love story has made many adults re-think their attitude towards animation.
I'm seventeen, and one of my favorite Disney movies from my childhood is The Great Mouse Detective. Possibly my most favorite. I can't believe you put it down so harshly. Lackluster? Unappealing? What do you mean? Mouse Detective holds a lot of memories for me. The last fight scene between Ratagan and Basil was stunning. I loved it. You'd better reconsider.
What about Cars? Possibly the best animation ever and a great story!!!
Final Fantasy looked so real, it was a real ground breaker in animation.
The Incredibles is #1 for me. Great animation and a really great plot.
Madagascar. You've got to move it, move it.
Ratatouille. This movie was an instant classic.
Shrek. Only the first one was a classic. Great animation with the lighting and shadows and a great story.
You missed
A film by Frédéric BACK
I've always loved The Iron Giant. I saw it alone in the theater when it came out, and then I have been watching it with my son since he was small. It has a pro-peace message, uses quirky retro 50's A-bomb warning clips, a sweet and clever side with a young hero and even some popular voices (Jennifer Aniston, Harry Connick Jr, and the dad from Frasier). If you haven't seen it yet, you are missing out. A great teaching tool with humor and story line.
I must say that in the year 2007, it is highly dissapointing that you would choose the racist Jungle Book as one of the top 10. Perhaps Schrek could replace it?
Al from Brooklyn
A reasonably good list, overall, but where is Brad Bird's beautiful and touching The Iron Giant? It has great laughs and moments of drama as great as you'll find anywhere.
Or, perhaps his work with Pixar, like The Incredibles.
And if you consider both traditional cel animation and CG, what about stop-motion, like the great Aardman films -- Chicken Run and Wallace and Gromit: The Curse of the Were-Rabbit ...
You've put together a great list. Just one thing. Add in Spirited Away from Studio Ghibli at #1 and move Toy Story out.
I have to wonder: on what basis can you really compare the works of Studio Ghibli, Disney, and Pixar (the dominant contenders here)?
I have my favorites from each of these groups, but I don't really see any objective basis for comparing (say) "Spirited Away" with "Sleeping Beauty", even though they share some common themes.
Even using my own biases, I find it nearly impossible to pick just ten, but here they are anyway:
1) The Incredibles
2) Whispers of the Heart
3) My Neighbor Totoro
4) Monsters Inc.
5) Tarzan
6) El Dorado
7) Atlantis
8) Peter Pan
9) Mulan
10) The Castle of Cagliostro
Are there great works that aren't on my list? Of course. Would my list be the same if you asked me this question tomorrow? Probably not.
Does it matter? Not in the least.
A few obscure selections indeed! But how could you overlook the only animated film nominated for the Best Picture Academy Award--Beauty and the Beast? Truly an oversight for a list that seems to have a curious field of view.
Anybody for The Land Before Time? I always thought that movie was overlooked.
Any list of animated movies that doesn't mention "The Iron Giant" is incomplete at best. It's one of the most affecting, touching movies I've ever seen, animated or not. And it's absolutely oozing with personality. How many animated "kids movies" do you see taking on topics like the Red Scare and the Cold War in such a zany yet at the same time heart-breaking way?
Definately Heavy Metal and Howls Moving Castle should be included.
Final Fantasy: The Spirits Within! Talk about ground breaking animations. It looks so real you could be exused for missing it as animation, but its genius should not be overlooked!
Created in 2001 there are still few films that rival the detail. The story line is powerful, and still relevent today.
1. Final Fantasy: The Spirits Within (Writen: Hironobu Sakaguchi)
2. Fushugi Yugi (Writen: Yuu Watase)
3. Spirited Away (Hayao Miyazaki)
4. Mulan (Disney)
5. Iron Giant (Director: Brad Bird)
6. The Last Unicorn (Director: Jules Bass)
7. I group this as one, but all the classic christmas films (Rudolph the Red Nosed Reindeer, Frosty the Snowman, etc) You know the ones we watched as a kid and the ones we watch with our kids every year - Now that is staying power!
8. Steamboat Willie (Disney was born)
9. Fantasia 2000
10. Shrek
I do not know what was your "basis of selection" ... but if you are looking at timeless classics, you did leave out Snow White, and Peter Pan... Or if you were looking for pioneering "firsts", I think Steamboat Willie was a first feature short (before Mickey Mouse was born), and Snow White was the first full-length animated feature film. Toy Story was perhaps the first full length computer animation, Final Fantasy is the only one in real CGI (although, some "movements" are too slow for an action movie theme. There have been several stop-motion animations, but Chicken Run was beautiful story-telling, although wasn't Tim Burton's Nightmare Before Christmas a fantastic piece of stop-animation? (Or am I mistaken) Your inclusion of The Jungle Book way down the list was acceptable to me, albeit, as an animation addict from childhood, that movie had stayed in my "dreams" the longest ever... That was the first attempt ever to create "a 3-D environment": the jungle scenes, floating down the river scene, the canyon effect, the temple ruins, (I suspect, this movie inspired Steven Spielberg in a big way to start off the Indiana Jones movies with The Temple of Doom).
Anyway, other bloggers' comments do show that you have offended a few people by non-inclusion of their favorites, but many more by bashing their favorites. It is a tough deal to just select "ten" and to "rank" them, rather than listing them alphabetically (my sympathies! for a thankless attempt). But I did feel a little put off when NO ONE mentioned Ice-Age in their favorites...
Did you have to put down Happy Feet and Mouse Detective, when you had a better selection in Spongebob and Rugrats (probably you did not want to hurt the feelings of toddlers)...
A suggestion (since you have started something great) list all the animated features and get votes from people who have actually seen them... Go for a qualitative vote rather thatn quantitative (ie Would you like to watch with your family ( ), with your parents ( ), with your chilrdren ( ), will you enjoy it the third time ( ), can you tolerate it the second time, would you MIND renting it to watch ( )... questions like that will give you the "weighted" statistics for rankings in different categories.
I haven't heard of most of the movies on the list.
I'd add Lion King. Maybe Aladin. MAYBE The Brave Little Toaster, but I might just have an emotional tie to that movie, I don't know how good it really is.
I loved a Japanese film "Totoro",and must have watched it a dozen times with my kids.
The Little Mermaid, and Toy Story are right up at the top of my list too.
I don't like the new breed of animated films made to appeal to adults like the Shrek series. If I wanted to watch fart and burp comedy I would watch a movie not a cartoon.
To everyone on the "Cars" bandwagon, cute movie. remake of "Doc Hollywood". Not worthy of a top 10.
No one mentioned "Nester, the Christmas Donkey". I personally think "Heavy Metal" should have been in the top 10 along with Transformers (1986).
Whoever made this list jumped off the crazy train because you left off probably the best cartoon movie ever made: Beauty and the Beast. It's a classic!
That's a fine list with a lot of holes. I like the idea of posting a complete list and let the people vote. I'm not the avid animation guy I was in my youth but here are some of my thoughts.
Final Fantasy-the spirit within (simply amazing)
Beauty & The Beast ( the moment of the ball room dance)
Okay, we have a list for the "Top Ten Live-Action Family Films" and a list for the "Top Ten Animated Films" - where, then, is the list for "Top Ten Animated Family Films?" While I agree with the list for the most part, Akira (super gory) and South Park (super vulgar) are hardly family-friendly; Princess Mononoke and Grave of the Fireflies just barely scrape by as being appropriate for young teens. It would be nice to have a top ten list for family-oriented animated films, so we could see more focus on gems like Spirited Away and the Lion King.
As for me, I love watching Anastasia with my kids - historically inaccurate it may be, but the songs are catchy and the characters are strong. They understand Anya is just as much a fairy tale as Cinderella or Snow White. (And perhaps only SLIGHTLY less true-to-life than Mulan...)
I didn't think The Jungle Book belonged on the list of the best, nor Princess Mononoke and South Park. Many people have mentioned Spirited Away as a better Miyazaki pick, and South Park, though entertaining, is not a good enough MOVIE to be in this list. The Jungle Book is one of the more boring Disney movies, a product of that dead era during the '60s and '70s after Uncle Walt's death, when no one had any idea what kind of movie to make. The songs are its only saving grace (and they are very good songs), but the rest of the movie crawls. It doesn't have the excitement and savagery that made the books so interesting.
Here are some better picks:
Dumbo - Simple, elegant story, can make a grown man cry.
Bambi - THE most visually beautiful Disney film, hands down.
Lady and the Tramp - Another Disney, a very fine movie with lots of action, excitement and romance, with an original story.
An American Tail - a very clever, brutal and surprisingly complex movie about immigrants in the early 20th century (that they're mice has little significance)
The Plague Dogs - a horrifying movie for grown-ups -- seriously don't ever let your kids watch this. Made by the good people who broght us Watership Down.
The Lion King - Hamlet with singing lions and lots of bright colors
The Little Mermaid - the first broadway-style Disney musical
Cats Don't Dance - beautifully animated cartoon movie about talented animals in Hollywood
Your worst-of list is hardly the worst I can think of. You're ignoring Rock-a-Doodle and Rover Dangerfield (which, by the way, is exactly what it sounds like), just to name a few.
Disney's Snow White was all hand drawn, had no computer gimicks, was conceived by artists and did not rely on technical shortcuts.It remains the most moving, best edited and most beautiful film. The fact that hardened Hollywood actors and producers of the time openly wept and sobbed at the end is very telling. You also neglected to list the extraordinarily beautiful "A Midsummer Night's Dream" by Czech stop motion master Jiri Trnka. It is astonishing, and is the height of enchantment.
What? No "Warriors of theWinds"?
Although I agree with your choice for Toy Story, I have to say that you left out some of the best Asian animated films like Hayao Miyazaki's Princess Mononoke and Spirited Away. I think that most will agree that these should be a part of the list.
"Incredibles" was incredible. What a creative prism through which to examine the stereotypical American-middle-class-family dynamics. The transformation of Violet from "shrinking" to a girl of confidence and poise, the rekindling of the Parr's romance, and Dash getting to finally express himslef freely...a great film, let alone animated film. (I still get choked up every time the plane explodes, leaving Mr. Incredible a broken man)
Anyone remember Titan AE? That was the crossroads of Animation where East met West, Hand drawn met CGI, And even where themes from the past, stories from the present and visions of the future collided. I think it at least deserves a mention.
1. Mulan
2. Bambi
3. Snow White
4. Cinderella
5. Shrek
6. Finding Nemo
7. Monster, Inc.
8. American Tail
9. The TRansformers (1986)
10. The LAst Unicorn
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This is one of my favorite sets yet! During our time at Coachella Weekend 1, we took a break from the crowds and parties and drove out to take took some awesome photos in the desert. Photos by Jordan Zobrist.
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OWINGS MILLS, Md. -- Baltimore Ravens first-round pick Lamar Jackson is still working on his accuracy, the playbook and taking snaps from under center.
Where Jackson has dazzled this offseason is in the open field. The Heisman Trophy-winning quarterback has been a terror when he runs out of the pocket, showing off his speed and cutting ability.
While there is no tackling in offseason practices, there have been times when defenders have struggled to get a hand on Jackson.
"Every time he runs I'm in awe because most people -- especially a quarterback -- can't move the way he does," wide receiver Chris Moore said after the Ravens' first day of mandatory minicamp. "So you just know that this year he's going to make some plays, for sure."
Jackson is perhaps the Ravens' most explosive offensive player, which is a big reason why he has been lining up at multiple positions at times. The Ravens want to get him on the field immediately, and the best way is using Jackson and quarterback Joe Flacco at the same time.
Moving Jackson all over the field has created a challenge for the Ravens' defense.
"It's very creative," Pro Bowl linebacker C.J. Mosley said. "We don't really know it's going to work until we put it out there. It's been giving us some problems on some of the plays. It's cool just to see the way we can switch things up with quarterbacks. As long as we don't have Joe doing too much running, that's really all that matters."
Running was a big part of Jackson's game at Louisville. During the past two seasons, Jackson broke 36 runs for 20 yards or longer -- which ranked as the third-most in college football and three more than Saquon Barkley.
This is certainly a different element to the Ravens' offense. Since 2008, when Flacco entered the NFL, Baltimore quarterbacks have rushed for 1,009 yards, which is No. 25 in the NFL.
The Ravens, though, haven't had a quarterback with the speed of Jackson, who didn't run the 40-yard dash leading up to the draft but did say he was clocked at 4.34 seconds -- with turf toe.
"Once he gets out of the pocket, it's like watching a young Michael Vick," Mosley said. "It's amazing to watch. When you're defending him, you just have to act like you're tagging off -- you don't want to be on the highlight reel."
Jackson has shown some good touch on the deep throws. He needs work on the intermediate throws to the sideline, where his passes tend to sail high. That's why it will be at least another year before Jackson can compete for the starting quarterback job.
But Jackson can help the NFL's No. 27 offense immediately with his burst and elusiveness.
"It's fun to watch him," Mosley said. "It's good to see him out there making plays and being comfortable."