#alyssa maurer

[iamapoopmuffin]

Hello and Welcome to 'I share the silly entrance animations for my silly wrestler characters and encourage you to make assumptions about them as people based purely on these videos' where exactly that and @randomfrog2 encouraged me to so here you all go. Links will be filled over time, I couldn't record or upload them all in one go.

Under the cut because between 2k22 and 2k23 there Will eventually be 200 of them total

Abatai 'Abby' Xiao

Ace Dominguez

Adalia Mitchell/Adalia Undead

Adam Cooke/Adam Frankenstein

Adelaide Anderson

Adriel Duffy

Aidan Seeds

Aiko Yamamoto

Aisling Miller

Alan Burgess/The Necromancer

Alexis Thurston

Alfie Winchester

Alfonse 'Avalanche' Boucher

Alfonso Price/Alpha Ali

Alicia Tigner

Alyssa Evans

Amos Wellworth/The Purple Pig

Andy Poux/Andy Scathe

Angelina Manhardt

Archie Robinson/Archie Eagle

Ash Daugherty/The Rubber Chicken Man

Aster Chadha/The Spider

Audriana Parrakkal/The Phantom

Augustus de Blaauw

Aura Hilton

Austin Kirwan/Austin England

Ayanna Mariani

Bartholomew Reeves

Beatrice Lipe

Bertie Bronner

Betsy-Ann Sol

Blaire Wilcox

Brea Orko

Brook Edghort/Captain Brook Edghort

Bruno 'The Felon' Fraser

Bryant 'The Harpy' Tremblay

Caius Pabon

Carlene Skrzypczynski

Cheryl Vogel

Clemence Maurer

Clifford Gilbert

Colin Almarez/Mint Man Almarez

Colt Smiley

Constance Cole

Cooper Carnocan/The Janitor

Damien Kudlinski

Darin Ahmed

Davina Finister

Demetrius Kappotis

Dempsey Blair

Deodatus Bisnett

Dewey Roll/Cottonmouth

Dick Dexter/Dickhead Dexter

Dmitri Pavlov/Glowmaster

Donald Ripa/Queen Ripa

Dympna Lammchen

Edd Woods

Elina Baene/Swamp Witch Elina

Elton Maldonado

Elvira Leithead/Elvira Flash

Elwood McLaren

Elysia Brunner

Emerald Ashley

Erica Shooter/Naughty Nurse Shooter

Ernesto Curry

Evan Stewart/Evan Galaxium

Everly Leigh

Ezio Fahim

Fae Nicholas

Fia Matthews/The Jester

Floyd Gossard/Heartstopper Gossard

Ford Gossard/Showstopper Gossard

Gayle Mokriy

Genevieve Lee/Snake Princess

Gerard Apple

Ginnie Davey

Greg McCarthy/Superstar Greg McCarthy

Guadalupe Batchelor

Harith Rammurthy/Talon Rammurthy

Harry Moore/Machine Gun Harold

Hettie McCormack/Pookie Bunny

Ianthe Jennings/Ianthe Plague

Ilene Fanshaw

Indiana Stone

Indigo Wilson

Indira Doxtator

Isabel Abbeglen

Ishaan Prabhu

Ivo Carrico/Portuguese Man O' War

Jacques Smith

Jak McNicholas

Javon George/The Pimp Javon

Jeana Quinn

Jebediah Oprea

Jeremy Cruz

Jimmie Hutton

Jock Kelly

Joey Duvall/Joey D

Jonas Gabriel/Fox Gabriel

Jordan Barr

Kaden Dunlap

Kailey Samuels

Kanon Ozawa

Kaori Flores

Karter John

Kasumi Wellard

Katrina Giraud

Kehlani Who

Kelby Kadeer/King Kelby

Kenneth Christmas/Fly Boy Kenny

Kimberley Wainwright

Kiyomi Roman

Kori Hernandez

Kyra Padhi

Langdon Mass

Lenore Dillard

Liang Tao

Lillia Robertson

Lilly Ansa/Lilith Ansa

Lincoln Swinton

Lionel Connor

Lisa Belrose

Liz Schlachter

Louis Bridget/Big Baby

Lukas Craveiro/Senator Lukas Craveiro

Maddison Toxtle/Toxic Maddi

Maia Smith

Marci Britt

Marcus Gardiner

Margarita Harrison

Mariella Gillet/Iron Kitten

Marina Gonzo

Mavis Payton/The Blushing Bride

Meena Gacitua

Meghan Schreck

Mim McHoney

Mitsuki Ootani/Bon Bon Bunny

Myles Neil/Steamboat Willie

Nancy Sharp

Nelly James

Netty Richardson

Norma 'The Doll' Laskey

Nyx Vanderhoff

Ollie Logan/Witch Doctor Logan

Pancake Spryert

Pam Eisen

Perry 'The Worm' Ticehurst

Princess Warren

Quiana Billings

Quincey Crabb

Reabetswe Okonjo

Reilly Jeppe

Ruby Ankney

Rufus Robby

Rupert English/Rupert Beauty

Sable Bow

Samantha Trapp

Samuel Perryman

Sasha Fedosov/Adorable Aleksander

Shayne Zaveri

Sheridan Lowe/Rosebud Lowe

Sloane Koskic

Sofie Tanner

Sommer Chauhan

Sparrow Martin

Stacey Jacobs/The Metal Mouth Maniac

Stephen Shabnur/Kitty Stephen

Sunny Cockerill

Sven Miller Garrett

Tabitha Valot/T Valentine

Teri Cullen

Ursula Benjamin

Verity Ahmed/Gremlin Ahmed

Victoria Wangdi/Princess Victoria Wang

Vivi Masters

Walter Cauley

Willis 'Turbo Fox' Judd

Xandria Cruz

Yaoting Duan

[pulchrit-udinous]

 I don’t think I ever had the opportunity to post this on Tumblr, but hello friends. This is me and my work and me posing inside the work from last April. Long story short, my thesis was largely inspired by the growing pains of narcissism in accordance with social media. Essentially, I began my journey by exploring how phones act like mirrors, how social media feeds narcissism, and how this had affected myself and others. I was psycho analyzed for narcissism at the beginning of the project and exhibited 4/5 the five traits necessary for clinical diagnosis. When asked about the surprising prevalence of these traits, the analyst replied saying that it’s actually more commonplace than you think. Even though I painstakingly posed for each individual photograph, I can’t relate to these images as self-portraits; or portraits at all for that matter. They’re figments of a person battling a system that has forced people to rely on the value of their own reflection. The masks were fabricated by hand and taken from massively produced media advertisements. The artist statement for the work can be found below or on my website. This was almost a year ago now, but I do like remembering this project and others from my past. I hope you all can enjoy it.  

   Booby Trap is an ongoing examination exploring the rise of narcissism through media. We are constantly adding content to devices that are without exception, extensions of ourselves; what is liked, what is desirable, and how it is portrayed. The mundane is propagated, materialism flaunted, all in an attempt to falsely distinguish oneself. This work explores how the reflective, blackened screens of digital communication are just as destructive as the pool of water is to Narcissus, in Greek Mythology.      Booby Trap breaks down the harbingers of narcissism into factions; mirror, mask, container, and propaganda. The propaganda utilized is a collection of imagery intended to market a superficial, consumerist ideology that coincides with traits associated with narcissistic personality disorder. Taken from advertisements, magazines, and media sources, the images target audiences with materialistic ‘necessities’ and taglines that exploited individuality. Tailored into the exhibited masks, the photographs are intended to represent an obscured reality and disguise that narcissists exhibit. Among the nine key traits that make up narcissistic personality disorder, almost five of the traits can be observed while assimilating with this type of imagery. The five traits encountered are grandiosity, belief in uniqueness, sense of entitlement, preoccupation with successfulness, and envy. Coincidentally, in order to be diagnosed, an individual only needs to exhibit five of the nine traits. Currently, it is estimated that nearly every person is on the spectrum of being a narcissist with the average person exhibiting three to four traits, out of five, in order to be diagnosed. The rise of narcissism contributes heavily toward the inability to distinguish reality from a simulation. This impending mirage can be seen through the vain attempts at self-portrayal through digital media. -Alyssa Maurer, 2018 

[misslacito]

Erdem Otoño Invierno 2019 en la London Fashion Week

Erdem Otoño Invierno 2019 en la London Fashion Week

Ya quedan pocos desfiles de Londres por ver. La verdad es que de las cuatro semanas de la moda principales, es la que menos me gusta. Erdem Moralioglu ha lanzado una colección muy llamativa y extravagante para el próximo otoño invierno. Se inspira en la romántica historia de la Principessa Orietta Doria Pamphilj (1920–2000). Ha sido su musa de esta estación. La guerra, los años 60 y en general…

[anth-seeing2019]

Taking the Plunge

Material/Discursive Practices of Seeing Alyssa Maurer

October 27, 2019

All names used in this article are factual. All participants gave consent for their names and likeness to be published for educational and informational purposes.

Manifest: “Hey Steve,” she raised her voice to get Steve’s attention and then continued,

“that guy with the, uh--prosthetic leg called again about his dive coming up on the 8th”

Steve: “Yeah, I’d say take it off. Anything, I mean anything he doesn’t wanna lose, he should keep here, especially the leg,” he smiled amused, “that’s a new one though for sure”.

Skydiving, as a form of seeing, involves a bold and enriched culture broadened by historical relevance in contemporary, day to day occurrences. Though, a reasonably new exploit, parachuting, and skydiving are sports classified as extreme for their proximity to danger. This danger is heightened by the convergence of available technology. Without advancements in airplane transit, jet engine technology, and durable, levitation material this sport could not be made available to the general public. Not only does this sport embolden the visual plane, but it trespasses on grounds of comfort by way of ‘floating’. Individuals who subject themselves to this practice experience sensations of weightlessness and conquer fears of height. Here we will explore the discursive practices involved in this form of seeing as vernacular.

The dropzone is a large industrial shed beside the grass airport. Inside and two the left is the check-in counter. In front, is the ‘chute and suit’ area. Then, directly to the left, is the waiting area equipped with couches, vending machines, and hanging memorabilia.

I sit at one of the four-seated tables in front of the benches and beside the vending machines to sign my life away in preparation for the actual skydive. To my left and on the benches, is a thin, young man seated with his phone in his face. After filling out the paperwork, and while waiting for the skies to clear, I began to make casual conversation with the other divers and my parents. Steve gets up to tell us that the skies won’t be clearing until 2 pm and that we should start the brief training course now while we wait.

Among the many positions and free-fall techniques a solo diver can choose to execute, first-time divers are tasked with one position that they need to execute, the ‘arch’. This is to facilitate the optimal position for first-time flyers. The belly-to-earth, freefall position is one of the easiest to achieve mid-dive and functions to not only stabilize the decent, but it also deaccelerates velocity. Graduating from tandem into independent, instructor supervised dives means that the student graduates into performing what is known as ‘box man’. Boxman is the ideal formation position where the body is in a neutral position with the arms and legs forming right angles.

In Refracted Visions, Karen Strassler breaks down photography into genres to better understand each as not only a particular frame for seeing, but to observe its social practice in an area, its depth of visibility, and symbolism as refracting ideologies and narratives. Strassler elaborates further on her strategy in the following quote. “The six genres explored in this book—amateur photography, studio portraiture, identity photographs, family ritual photography, student photographs of demonstrations, and photographs of charismatic political figures—guide people to see themselves and others in particular ways”(Strassler, Refracted Visions). Her approach shaped my analysis by specifying the ways in which Skydiving, as a vernacular form of seeing, is also an ‘alien’ sport that people are motivated to seek out. Skydiving functions as a practice that also distorts and transforms a participant’s ideologies of fear, sport, and sensory experience.

After establishing the areas and ideologies that are challenged through skydiving, I conducted a series of interviews and formulated questions that addressed each. Among the call list of divers that I interviewed was Andreas W, 24. He had booked his call slot just the night before.

“I mean, I’m new to the area and I was looking for something to do,” he said, “I don’t really know what it’s going to be like up there”. I then asked him about the dangers and whether or not he had any fears.

“I don’t really think about it,” he laughed, “but I’m definitely doing it to test my will power. I mean, some people will never do this in their lifetime”.

Out of all the people participating, myself included, nobody felt in danger. In fact, while I was interviewing Kate E, jumping for her fifth consecutive time that day, she confessed something strange in the context of skydiving.

“I’m scared of heights,” she laughed, “which makes the plane ride horrible, but once you’re like out [of the plane] it’s super peaceful, surrea--” Kate’s friend Nesha interrupts her midthought.

“--Yeah! Woah, it’s gotta be like, what did I just do!”, Nesha laughs and then Kate chimes back in.

“Yeah! Like, holy shit I just jumped out of a plane!”, she exclaims.

While Strassler offers an interpretive avenue for writing about discursive practices, Goodwin constitutes the schema and organization of practice to define its boundaries. This is an essential aspect of conducting fieldwork because perspective implies a differentiation of observable phenomena between people of different backgrounds. Therefore, it is essential to simplify the attributes of any given practice by applying a coding schema. This organizes events in any given situation. Goodwin elaborates on this methodology in the following quote. “Applying a category such as highlighting, graphic representation[,] or coding scheme to diverse practices in different environments is itself an example of how coding schemes are used to organize disparate events into a common analytical framework. ll is thus relevant to note briefly why I made the representational choices that I did”(Goodwin, pg 607).

Many of the participants jumping that day, including myself, were first-timers and unfamiliar to any jargon, slang, or practice-oriented definitions. Regardless, there was a shared appreciation for skydiving terminologies between instructors, staff, and ‘currents’. I made a point to discuss this with Steve, the Drop Zone Safety Organizer or DZSO for that day. He spoke to me on the use of this language, its origins, and how the materials/apparatuses used in Skydiving are almost, if not, exclusive to the practice. This all corresponds to the idea that this practice is centered in a unique community with cultural impacts and innovations that have developed because of its existence. Steve elaborates on the coding in the following conversation.

“Well, many of the terminologies we use are exclusive because of uh--they were made to talk about the things we use while diving”, Steve pauses to check on the computer monitor for weather updates and then continues.

“And, the things we have here for skydiving were made solely for body-in-air. We wouldn’t even have half of this stuff if it weren’t for people wanting to jump out of perfectly good airplanes,” Steve raises his arms and lowers them to emphasis the range of equipment in the surrounding area. I then asked him to explain some of the more common terminologies and their corresponding items. In response to this request, he smiled and told me that I was in luck because it was time to suit up and start ‘dirt diving’ or practice diving. While gearing up, Jump Master and tandem instructor, Greg, elaborated on some of the highlights of skydiving: Altimeter- a device used for establishing distance off the ground while airborne. It is worn on the wrist opposite of the cute deployment pull arm. Jumpsuit-Garment designed explicitly for skydiving applications. Some variations have grip padding for instructors to hold on to students while in freefall.

If the students or I did not understand something or needed more elaboration, there was no stress in asking. In fact, the instructors more than often could read our expressions and knew when to supply more explanation. I think this interaction further exemplifies how/why skydiving is a diverse practice; there’s a margin of risk that requires respect for every aspect of its faculties. The instructors are more than willing to help others follow their passions and the divers are grateful for the opportunity--and they want to come back alive so of course, they’re going to be respectful! This distinguishment from ‘mere’ experience to ‘an’ experience, expedites any notions of bias or prejudice. Put simply, if you don’t like the folks you’re with, “You don’t have any business at the DZ”.

While ascending to 9,000ft in the WB212Z plane, I started to understand why divers and hopefuls save their money and jump as often as they can. The view and serenity are remarkable. Most divers take an accelerated course to acquire their initial license (A License) by the USPA (United States Parachute Association) before they can make their 200 jumps to get certified.

 I remarked loudly, 

“I can’t believe you guys get to do this every day!” Shouting was the only way to hear over the engine. 

“It’s not every day,” Greg replied with a smile. Then Steve chimed in while strapping Andreas to his harness. We had reached 7,000ft in altitude. That’s around the time JM’s and their tandem divers begin preparations. 

“Y’know,” Steve started, “your first-day diving is like your wedding day. You’re either gonna show up and shut up or you’ll dip out and never understand what you’re missing in your life”. He laughed and continued strapping Andreas to his harness. Five minutes later, I watched them fall out the side of a perfectly functioning airplane and my heart could not have been happier to follow. 

Skydiving is a very different form of seeing.  Not only does this form of seeing embolden the visual plane, but it trespasses on individual comfort. Individuals who subject themselves to this practice gain a wealth of understanding. Staring, as a form of seeing, comes close in comparison to this practice. Both require vulnerability and the ability to trust others.

Strassler, Karen. Refracted Visions: Popular Photography and the Indonesian Culture of Documentation in Postcolonial Java. 2003.

Goodwin, Charles. “Professional Vision.” Cato At Liberty, American Anthropologist, Sept. 1994.

[360ofopera]

Online Lessons Resource

Stuck at home? Learn something new or keep working on your craft! Below you can find useful information and artists who are offering online lessons in a variety of disciplines. Many cancelations have affected freelancers severely, but the internet is a great tool and we want to help everybody make the most of this unusual situation. 

*This article will be updated daily with new resources. The artists are listed in order of submission to our Facebook call. Thank you for your patience as we continue to fill this post and for sharing this link.* 

Voice Lessons 

Alison Bolshoi: My usual Skype rate is $90 (in person is $130). Trying to be sensitive to what's going on, so I'm lowering it to $65. I'll also give a free lesson to anyone who just doesn't have money right now. divalison@yahoo.com 973 980 6526

Heshima Moja: I’m offering voice, electric bass, songwriting/composition lessons online. Skype, FaceTime, zoom, google hangouts. My email is heshima.moja@gmail.com. Phone is (413)218-6789

A.D. Teebs: My studio (Alexa Teebo Voice Studio) is offering online Piano and Voice lessons! We have teachers who are mainly musical theatre professionals and who are mainly opera professionals. Please reach out! 908-858-3595. alexateebo@gmail.com

Francesca Mondanaro: Teaching voice lessons via zoom and skype for opera singers, musical theater and rock vocalists - frankiemondo@gmail.com www.francescamondanaro.me

Maria Ostroukhova: Baroque&Rossini style/ornamentation, Russian repertoire coaching, general vocal lessons. maria.mezzosoprano@gmail.com

Luz Del Alba Rubio: VOICE LESSONS, DICTION (Spanish,Italian) - Skype: luzsoprano

Kayla Faccilongo & Ian Cedric Joyal offer virtual voice, piano, guitar, and strings lessons Serenadelessons@gmail.com

Michelle Trovato Voice (classical and MT) and also Italian, French and Italian diction (and English for non-native speakers). michelletrovatosoprano@gmail.com! www.facebook.com/michelletrovatosoprano

Eloise Sant Voice lessons via gchat or FaceTime or Zoom. MT and Classical. eloisesant@gmail.com

Max Potter Voice, piano, and violin lessons for all levels of artists. Maxpottermusic@gmail.com

Shelley L. Mitchell Voice Lessons (Classical & Musical Theatre), Music Theory. Online lessons for 30,45 or 60 minutes. Via FaceTime and ZOOM. www.shelleylindamitchell.com

Catherine Regina Voice and piano lessons (Skype, FaceTime) creginasoprano@gmail.com

Alize Rozsnyai  alizesoprano@gmail.com, voice lessons : classical, musical theatre, pop all based with classical foundation and any level singer, or beginning piano.

Linda Collazo Voice and piano lessons - lindacollazomezzo@gmail.com - www.lindacollazo.com 

Alison McConekey Widlake I currently teach online lessons via Skype and have had an active voice and piano studio for 17 years. Happy to keep students learning through any lockdown we might face. Bel Canto Vocal Arts - alisonmcconekey@gmail.com | www.alisonmcconekey.com

Alyssa Weathersby Voice Lessons! Popular and classical styles, with experience in both building voices from the ground up and polishing voices for professional performance. Alyssa.weathersby@gmail.com. Since it’s online, I’m slashing prices: 30 min/$40, 45 min/$50, 60 min/$60.

Ema Mitrović Www.emamitrovic.com | Ema.mitrovic.mezzo@gmail.com - Voice and Beginner/Intermediate Piano. I’m also happy to teach theory!

Christina Swanson Voice lessons and acting coaching, beginner to advanced, ranging from Classical, MT, to pop/rock and jazz. http://christina-swanson.com/ $75/hr

Amanda Batista Voice + Piano Lessons via Skype/FaceTime ! amandabatista.lessons@gmail.com

Meryl Lily Cecilia I teach voice lessons over skype/zoom/gchat! meryldominguez@gmail.com

Emily Hughes I offer voice lessons and beginner/intermediate piano lessons tailored to your goals! Via Skype or FaceTime. Emily.W.Hughes@gmail.com

Jessica Ann Best - Voice lessons and coachings! Opera, Musical Theater and Jazz:) | www.jessicaannbest.com

Eduardo Belmonte Voice+piano+guitar Lessons! mused.voz@gmail.com

Molly Dunn - Singing with Molly will be offering group classes and private lessons for ages 4-18. Music and Theatre. We added online morning classes until schools start up again.

Diane Aragona - His & Hers Music - Offering Skype & FaceTime lessons in voice, guitar, bass, & drums. Also audition prep for singers & music theory/fundamentals! Specializing in teaching middle & high school students, but all ages welcome! www.hisandhersmusicllc.com

JoseLuis Maldonado Jr - Voice lessons Baritonejoe.com admin@baritonejoe.com

Selena Siri Voice and piano lessons for all ages: https://selenasiri.com/about 

Susan Eichhorn Young - Voice Lessons on Zoom available susaneichhornyoung.com

Joanie Brittingham - Voice Lessons through Facetime or Google Hangouts www.joaniebrittingham.com

Carla López-Speziale - Voice lessons and also Spanish tutoring and Diction.  I have a DMA in Vocal Performance from the Manhattan School of Music and I also studied Hispanic Language and Literature at the National University of Mexico (UNAM). carla@carlalopezspeziale.com

Antonina Chehovska - Voice Lessons, Russian Diction & Music Theory/Ear Training - antoninac@gmail.com

Opera Coaches

Liora Maurer - Met Opera Coach / Canto Vocal Programs  - lioramaurer@gmail.com

Lucy Arner - Canto Vocal Programs - Opera Coach & Conductor - lucyarner@mac.com

Hemdi Kfir - Met Opera Coach - Language/Diction Specialist - hemdi@hotmail.com

Language/ Diction

Dmitry Glivinskiy: Russian diction coachings on Skype/facetime. Dglivinskiy@gmail.com. Suggestion donation. No specific rate.

Luz Del Alba Rubio: VOICE LESSONS, DICTION (Spanish,Italian) - Skype: luzsoprano

Michelle Trovato Voice (classical and MT) and also Italian, French and Italian diction (and English for non-native speakers). michelletrovatosoprano@gmail.com! www.facebook.com/michelletrovatosoprano

Laetitia Ruccolo French and Italian diction and piano! laetitia.ruccolo@gmail.com 

Gökçe Erem Violin ( all levels ) & Viola (for beginners) Fundamentals of Music & Turkish! | gokceerem@gmail.com | www.gokceerem.com

Cloe SanAntonio French & Italian diction coaching! Cloesanantonio@gmail.com

Carla López-Speziale - Voice lessons and also Spanish tutoring and Diction.  I have a DMA in Vocal Performance from the Manhattan School of Music and I also studied Hispanic Language and Literature at the National University of Mexico (UNAM). carla@carlalopezspeziale.com

Missy Lees Group or one-on-one Italian language lessons through Skype or Zoom. I’m a classically trained vocalist and many of my students are musicians but it’s fantastico for anyone to learn this musical language! Find me through Immerse Italia on fb or instagram.

Antonina Chehovska - Voice Lessons, Russian Diction & Music Theory/Ear Training - antoninac@gmail.com

Hemdi Kfir - Met Opera Coach - Language/Diction Specialist - hemdi@hotmail.com

Musical Instruments

Mei Stone: Flute/piccolo lessons!! mys@juilliard.edu

Heena Patel: Tabla and North Indian Rhythm Lessons. info@taalim.com

Tori Boell: Beginner/intermediate winds and brass, and advanced trumpet and horn. I also tutor music theory. My rate in person is $75 an hour and $60/hour for Skype. I’d love to help some kids out! boellv@gmail.com | (516) 319-7329. 

Katya Barmotina: Violin and viola kbarmotina@gmail.com. 40, 50, 60 for 30, 45, 60 minutes

Lindsey Wiehl: Bassoon lessons, email me for info at lwiehl@bsu.edu. Hour or half hour lessons.

Melissa McCann Voice and piano melissamccannmusic.com

Kayla Faccilongo & Ian Cedric Joyal offer virtual voice, piano, guitar, and strings lessons Serenadelessons@gmail.com

Max Potter Voice, piano, and violin lessons for all levels of artists. Maxpottermusic@gmail.com

Brian Ford: Violin Lessons - ViolinNYC.com

Jay Julio: violin, viola, and theory! jayjulio.com

Guilherme Andreas Flute guilhermeandreas.com

Catherine Regina Voice and piano lessons (Skype, FaceTime) creginasoprano@gmail.com

Phillip H. Solomon Clarinet & bass clarinet lessons! psoloclar@gmail.com

Laetitia Ruccolo French and Italian diction and piano! laetitia.ruccolo@gmail.com 

Missy Lees Group or one-on-one Italian language lessons through Skype or Zoom. I’m a classically trained vocalist and many of my students are musicians but it’s fantastico for anyone to learn this musical language! Find me through Immerse Italia on fb or instagram. 

Matthew Jermiason Trombone and Low brass lessons. Offering hour and half hour lessons. Contact: jermiason.matthew@gmail.comWebsite: matthewjermiason.com

Mary Barton Violin and Viola Marymichele@gmail.com. Skype and FaceTime

Derek J. Weagle Piano, Theory & Ear Training, Composition! derekjweagle@gmail.com | www.derekjweagle.com FaceTime/Zoom/Hangouts/Skype - Free first lesson/meeting 

Francesca Leo Flute/piccolo lessons and beginning guitar lessons! FL5722@msmnyc.edu | www.francescaleoflute.com

Linda Collazo Voice and piano lessons - lindacollazomezzo@gmail.com - www.lindacollazo.com 

 Christian Cepeda Guitar, Piano, Theory! ccepedamusic@gmail.com - https://square.site/book/Y0R55SF05D6DG/cepeda-music-brooklyn-ny

Angela Wee Violin lessons! ayw@juilliard.edu

Alison McConekey Widlake I currently teach online lessons via Skype and have had an active voice and piano studio for 17 years. Happy to keep students learning through any lockdown we might face. Bel Canto Vocal Arts - alisonmcconekey@gmail.com | www.alisonmcconekey.com

Gökçe Erem Violin ( all levels ) & Viola (for beginners) Fundamentals of Music & Turkish! | gokceerem@gmail.com | www.gokceerem.com

Evgenia Truksha - piano lessons all levels, vocal coachings-jenia_truksh@yahoo.com - 917-930-9917

Rofer Daniel Piano lessons roferdaniel@gmail.com | Instagram @roferdaniel

Ema Mitrović Www.emamitrovic.com | Ema.mitrovic.mezzo@gmail.com - Voice and Beginner/Intermediate Piano. I’m also happy to teach theory!

Tom Boulton Trumpet lessons, focusing on fundamentals and audition prep. www.tomboulton.com

Tim Horner, Jazz Drummer/Composer Available to teach drums, composition, theory.  www.timhornerdrums.com

Michelle Hromin clarinet, bass clarinet and saxophone lessons! michellehromin14@gmail.com, skype and facetime!!

John Abbott Guitar and ukulele, Princeton, NJ area. Berklee trained/educated. More at https://www.facebook.com/jabbottmusic/ or email johnabbottmusic@gmail.com.

Richard Philbin Saxophone - all levels | Flute, clarinet - beginner-intermediate | RichardPhilbinMusic.com/teaching

Eliza Waldman Guitar, piano, bass, ukulele, drums, songwriting https://www.ewmusicstudios.com/

Christine Mello - Cellist - Cello@christinemello.com | Www.christinemello.com | Insta @cmellocello

Amanda Batista Voice + Piano Lessons via Skype/FaceTime ! amandabatista.lessons@gmail.com

Emily Hughes I offer voice lessons and beginner/intermediate piano lessons tailored to your goals! Via Skype or FaceTime. Emily.W.Hughes@gmail.com

Dakota Karper Dakota Karper teaching Oldtime Fiddle Lessons via Skype. www.dakotakarper.com contact: dakotakarper@gmail.com

Michael Campanile - Guitar www.delcoguitaracademy.com - Online and face to face

Ana Milosavljevic Violin - all ages and levels - miloanci@yahoo.com

Brad Siroky - Trumpet Lessons, all ages & abilities. Fundamentals -Repertoire coaching -Audition Prep | bjsiroky@gmail.com | 917-945-9247

Joe Lambert I’m offering bad ass drum lessons!!! Skype, FaceTime, or otherwise! I got you! Get your shed on!!!! 

Emily Annesley Email - eannes94@gmail.com | SUNY Fredonia and SUNY Purchase graduate offering flute lessons!

Eduardo Belmonte Voice+piano+guitar Lessons! mused.voz@gmail.com

Mark Serkin Cello lessons! serkincello.com | serkincello@gmail.com 

Diane Aragona - His & Hers Music - Offering Skype & FaceTime lessons in voice, guitar, bass, & drums. Also audition prep for singers & music theory/fundamentals! Specializing in teaching middle & high school students, but all ages welcome! www.hisandhersmusicllc.com

Kathryn Vetter - Clarinet, bass clarinet, saxophone, music theory lessons online for any age or ability level. My email address is ktvetter13@gmail.com. | www.kathrynvetter.com

Alethea Buchal Piano guitar vocals! Www.akbmusik.com and alethea.buchal@gmail.com

Alina Tamborini - Voice and oboe any age or ability level. Beginning Piano. Ear training and Sight Singing. alina.tamborini@gmail.com

Selena Siri Voice and piano lessons for all ages: https://selenasiri.com/about 

Marina Kifferstein Violin and music theory lessons for all ages!  http://www.marinakifferstein.com/contact.html

Jay Rodriguez - Saxophone, flute, clarinet, theory, improvisation in various styles ( jazz ,latin classical ), composition, children, adults, beginners and advanced. Skype- hernanjayrodriguez  Jay Rodriguez- Sierra https://www.jayrodriguez.com

Justin Brown - Woodwinds here!! Jkbrownmusic.com

Acting

Brittany Goodwin: Acting private lessons -- monologues / aria + character interp . begoodwin.stage@gmail.com

Jennifer Williams - director and dramatic coach, Houston Grand Opera Studio Facutly and Aspen Music Festival faculty. Dramatic coaching for audition repertoire and role preparation. jw@jenniferwilliamsdirector.com

Molly Dunn - Singing with Molly will be offering group classes and private lessons for ages 4-18. Music and Theatre. We added online morning classes until schools start up again.

Linda Brovsky - Drama Coaching for Opera & Musical Theater - lbrovsky@aol.com

Fitness

Jessica Fishenfeld JecaFIT home workouts, programmed for your needs, with video clip demonstrations! Corona discount: $20/workout. Jecafit@gmail.com | www.jecafit.com

Kirsten Scott - VoxBod - Fitness Trainer & Health Coach - Kirstenscottmezzo@gmail.com or 5082548579 www.voxbod.com

Modo Yoga NYC - Daily Yoga Classes & Meditation via Instagram (donation based) www.instagram.com/modoyoganyc

Modo Yoga Montréal - Daily Yoga & Meditation via Instagram in English and French. (donation based) www.instagram.com/modoyogamontreal

Ballet Nova Center For Dance - Free Daily Dance Classes, livestream on Facebook https://www.facebook.com/BalletNovaCenterForDance/

Useful Links

Musicians available for Online Lessons:

https://www.maestromatch.com

NYC Covid-19 Musicians Resources and Support Group (Facebook) https://www.facebook.com/groups/nycmusicianscovid19/?multi_permalinks=800227327140945¬if_id=1584203293684466¬if_t=feedback_reaction_generic

Bare Opera Artist Relief Fund:

http://www.bareopera.org

Artist Relief Tree

https://www.facebook.com/donate/1080011789032749/

Opera America Covid Resource Hub:

https://www.operaamerica.org/content/about/covid19.aspx

Free Primephonic Membership (3 months with code 360)

https://www.primephonic.com/360ofopera

AGMA Relief Fund

https://www.musicalartists.org/membership/agma-relief-fund/

10 Museums To Visit At Home

https://360ofopera.tumblr.com/post/612577155826712576/1-pinacoteca-di-brera-milano

Free Nightly Met Opera Streams 

https://www.metopera.org/about/press-releases/met-to-launch-nightly-met-opera-streams-a-free-series-of-encore-live-in-hd-presentations-streamed-on-the-company-website-during-the-coronavirus-closure/

Free Ivy-League Online Courses

https://www.freecodecamp.org/news/here-are-380-ivy-league-courses-you-can-take-online-right-now-for-free-9b3ffcbd7b8c/

Free Bayerische Staatsoper Streamings

https://www.staatsoper.de/en/news/online-schedule-until-19-april.html

Songs in Solidarity - Opera Space US Free Livestream Concerts

https://www.facebook.com/operaspaceUS/

Written by Eugenia Forteza

[al-the-photographer-blog]

For all have sinned and fall short on the glory of God

Work by Alyssa Maurer @alyssamaurerphoto & www.alyssamaurerphoto.com

[pulchrit-udinous]

From today’s MFA studio time, here’s something that I’ve been working on for the past week. It is a combined media piece, so be gentle with her. Please do not delete this text and paste your own crud in here, please, please, please!

art by Alice

Insta @alyssamaurerphoto

website @ http://www.alyssamaurerphoto.com

[anth-seeing2019]

Assignment 1Seeing Prohibition Alyssa Maurer Everyone’s Peggy: Threats to Seeing.

[reblogged to ensure grading]

This space is static. There is little to no movement. The movement that does occur is directly related to mobile phone usage. Eye contact between patients is kept minimal. Heads are locked onto their phones or on the television screen; fixations are controlled by artificial movement. The only desirable eye contact is between the patient and the nurse that beckons them into the next room. The twiddling of thumbs, texting messages to family or friends, accompanied by an obligatory glance towards the phone’s housing; whether it be pant pocket, hoodie pouch, or carry-on bag. Outside of that codependency, the occasional side-ways glance is done in secret. That was my way in.

Animals That Saw Me, a photobook by Ed Panar, is one of the biggest references I could draw off of after completing this activity. In the book, Panar creates a visual narrative discussing the fleeting, face-to-face interactions that people have with animals. I make the comparison, between staring at animals and staring at other people, because I think that it touches on the animalistic inclinations that humans retain. The fight or flight instinct, for example, uses staring as a way of preparation. The person or animal takes in the immediate threat through visual context and acts accordingly. Staring, in this context, is as a natural, animalistic instinct. An archaic inclination passed on from human ancestors.

While not all of the images could address the concept of staring, I do believe it to be an interesting gesture on how the staree and starer can be swapped. This addresses aspects of the power dynamic, but in this case, you’re never quite sure who instigates (starer) the action and who submits (staree) to it. Of the many observations I had while sitting in a waiting room and performing the act of staring, the power dynamic between the two characters was the most obvious. To me, before reading more on the subject, staring was a violation; used only to manipulate the staree into a submissive state. Garland Thompson reflects on the aspects of intensity associated with staring on page 14.

“We speak of “staring daggers,” “penetrating looks,” “piercing eyes,” “riveting glances,” and “looking somebody up and down.” Such phrases reflect the intensity of being on either side of a staring encounter” (Garland, p. 14).

It was only after reading chapter 7 of Staring, that I began to understand that the power in the staree as well as the starer is subjective. While one could overthrow the other, the idea behind a positive response to any staring is an acknowledgment from both parties, acceptance, and a shared visual dialogue.  What is of more importance is the amount of experience (from both the starer and the staree) between both parties that make this dialogue possible. I am not saying it isn’t impossible without shared experience in this performance, however, it does make it less burdening. 

“The struggle for starers is whether to look or look away. The struggle for starees is how to look back”(Thomson, pg 84). 

My observations substantiate Garland-Thompon’s discussion of staring because they exemplify many of the key points outlined in the reading. There are two or more characters being activated in this position. I, as the starer, have observed the power dynamics at play and the dualities that exist. After hesitantly establishing a visual introduction, I attempted to tame the world with my eyes; jumping innocuously from one waiting room to the next. Of course, this interaction isn’t complete without certain fulfillments. The staree must deny or acknowledge the starer through some sort of reactionary impulse. This could be a hand shooting up to cover their face, a surprised jitter, a reluctant smile, or a hostile glare. Any negative reaction to me, no matter the level of resentment, would immediately persuade me from pestering further. 

“A seasoned staree evaluates when to turn away, stare back, or further extend the stare. Some allow the staring to go on in order for the starer to get a good look. Others find it most effective to use eye contact and body language to terminate the stare as soon as possible, although this risks being interpreted as hostile. Another option is to redirect the stare” (Thomson, pg 86)”

This ballet is a duet; it cannot be completed without the other participant. This is where the starer’s role intensifies and his/her duties to the staree become paramount. What goals are going to be met through this? Will I know I’ve been given the signal to stop? What do I want them to see from me? What do I want them to know from me? How best to communicate this through eye contact alone? Remembering the goals for each conversation once the line has been cast, is both the most difficult part of this conversation and the part with the biggest reward.     

The context-specific prohibition against looking that I had intended to explore, was photographing in a private office space, but I found myself fighting against the compulsion to stare. So, instead of trading one for the other, I did both; staring and photographing. There are a number of power relationships at play while staring in a health clinic. In the waiting room environment, there is an all-too-often overlooked, but very much so present overseer in the form of surveillance footage. The hierarchy of surveillance is a  prevalent, pervasive threat to the staree and starer. This outlier interferes with the accessibility that a communal stare indoctrinates. The other prohibition, in this context, is the HIPPA agreement made between patients and healthcare providers. HIPPA is a United States legislation that provides data privacy and security provisions for safeguarding medical information. This safeguards against, but is not limited to data breaches, restrictions on access, broadened security measures, and patient interactions within the facility. I was unaware that photography interferes with those measures at the time as well.

What was disturbing about this interaction was that it was one-sided, invasive, and mostly unsolicited on my end. I should have been more considerate of my surroundings..

 After two hours in the waiting room, hearing the names being called into the next room, listening to the medical procedures that the television played on repeat, I successfully talked to 3 people about this area. John, April, and Emilio. The fourth and final person I talked to was the one who escorted me out of the building but not before asking me to delete the photographs on my camera and requesting my full name for their records. Her alias was Peggy, but her actual name, after gathering further information on her, was Ndidi. Peggy is an immigrant from Nigeria.

April was the first person I began to have a visual conversation with. She’s a bold, middle-aged woman. She wore pink leopard print, unicorn slippers, and had pinkish-purplish semi-permanent hair colorization. She entered and sat at the furthest end of the waiting room, which looked more like a hallway with chairs. April was fidgety, so establishing prolonged eye-contact with her wasn’t easy.

As I stared, I noticed more and more of April’s features. Her skin was a deep tan, almost leathery texture with countless freckles. I took her picture in secret without asking for her permission. Soon after, I asked from across the room,

“What’re ya in for,” this question startled her out of her trance, looking up towards me with an almost lifeless reaction. Her face scrunched up and she replied with a loud and  puzzled,

“Huuhhhh?!”

I repeated my question from across the room. Her response was a waving of her dainty hand and a rolling of her head round in a clockwise direction. She replied,

“I been comin’ here for months, lady. They ain’t found nothin’ on me yet worth talkin’ bout,” she continued looking downward, “it’s--been a long road, hah.” She chuckled to herself and half-smiled looking back up at me.

“I’m Alyssa--er, Al for short.” I chortled waving at her with, what I would consider, a long-distance handshake.

“Oh, we’re givin’ names now,” she quipped questioningly.

“I’m April--don’t ‘ave any nicknames, but I like the one you got. Sounds funky and for a girl with green ‘air, I’m sure that’s was your--ahaha--goin’ for.” She laughed and then I accompanied her. We conversed in segments. I told her about the picture I had taken of her and she laughed again, saying that she would have never noticed. I asked how this made her feel and she said ‘ain’t no harm if I didn’ see no foul’. John walked in about 8 minutes after April.

John is a middle-aged man, but with more seasoning than April. He wore a black t-shirt, blue jeans, and black Nikes. He had in airpods and didn’t look like the type of person who enjoyed casual conversation. *note* I’m not making these judgments in real-time, I’m only including this information to better visualize the character John made little to no eye-contact outside of his phone’s screen. Occasionally, he would glance upward at the television or around at the faculty when they would meander around the sides of the waiting room hallway. I continued to stare at him, without reciprocated fixation, until one of his wandering glances met mine. Then, another latched on to me without lingering for much longer than the first. Frustrated, I took out my camera and took a picture of him looking back down on his screen. Unhappy with the angle of the image on my LCD screen preview, I took another image. John looked up, but not in time to see my camera angled towards him. Enthused by his reaction, I took another exposure and he looked up to meet my stare as the camera pulled away from my face. He pulled out his airpods without looking away from me as I continued to stare back. Once out, he blinked and the corners of his mouth curled up into a smile; the kind of smile you don’t expect to receive from someone who looks and acts so unamused or bored in a public environment. As he smiled, he laughed quietly, and half-whispered,

“Whaaat--are--you doing, aha,” his shoulders drooped over while he leaned toward my direction anticipating an answer of some sort. If the charisma in his voice didn’t prompt me into talking, his body language did. He sat legs open, arms on his lap, and his face jutting out towards me in some comical fashion.

“I was just--uh--staring at you, but you--well it’s for an assignment in my class, but, uh, you didn’t respond to that. Sooo--”, I replied scatter-brained and eager to get him to talk to me, “I took your picture instead while you were looking around to get your attention. I hope it wasn’t rude or anything. I just wanted to see what you had to say about everything.” Everything? Really, Al?

John smiled, his head twirled upwards with his eyes as he shook it there. When his eyes came back to mine, he continued.

“Man, I thought I came into the psych ward or something for a sec. You had me scared!” Me and him both laughed, then I asked him why he felt like he was in a psych ward, how the staring made him feel, and why he averted it so much. He said that staring made him feel paranoid or uncomfortable. He said that he wasn’t equipped to handle that type of conversation on this day and that his brain was more so acting to get him ready for his doctor’s appointment. He was overcompensating and he hated doctor’s visits.

Here, we could begin to discuss some of the points outlined in Daniel Segal’s Can You Tell a Jew When You See One?. Here, Segal substitutes the word stereotypes for typifications, which was originally coined by Alfred Schutz. In the essay, he elaborates on problems relating to prejudice, stereotyping or typifications, and how their social construction delegitimizes sensory perception. Sensory perception cannot be the reason for issuing a typification. Social jurisdiction operates to define the terms that we then give onto people from other cultural backgrounds or descent because it operates like a machine; giving titles, descriptions, and names to people, places, and things. To exercise what was learned from this essay, I’m taking precautions not to undermine John’s character.  Now, John is not like me. His skin is olive-toned and he is male. That doesn’t necessarily mean that he’s from African descent nor that his descent affects his character, but his physical makeup does characterize visible attributes. The segment of the essay that I am referring to most directly is on page 238, paragraph three.

“Take the case of whether a person is or is not “African American.”[...] the facts about this matter of identity, independent of a person’s ‘looks,’ are located in ancestry[...] Consider, in other words, the possible outcomes of discrepancies or incongruities between visual signs of identity and a person’s knowable ancestry.[...] Thus, by social conjuring trick--one that alters who it is who is known to have African-American ancestors-the incongruity of white-looking African-Americas is removed from the world that appears before our eyes. The Statistical correlation is tightened, in this cay by exploiting the instability of the supposedly fixed facts about whether someone is or is not ‘African-American’” (Segal, pg. 238).

As I entered into the facilitation of this assignment, I’ve taken precautions to understand typifications, how they operate and how to avoid them in descriptive narratives. That being said, John was comfortable enough to discuss stereotypes with me. He said that he and his family have felt the effects, but that they’ve been subdued by political correctness, informative outreach programs, and efforts in diversity and inclusion. When asked about micromanagement over the situation--in communities, schools, etc.--he said that perseverance is above all else the most paramount.

Emilio was received in the waiting room, along with his grandparents and mother, while John and I were talking.

Proud of my accomplishments thus far, I grew more confident and actively starred at Emilio. I glanced towards his family occasionally but kept persistent contact with the child. The mother, persuaded by my eye contact, beckoned me over to sit with the family. I asked her about her son. Her heavy, Latin accent generated a language barrier, but she still allowed me to interact with the child. He looked to be about 7. Every time I starred, he unabashedly returned my glances with an assumed childish demeanor. I got his name after many attempts at explaining and gesturing to myself to receive an answer.

Why are children open to acts of starring more so than adults? Is this exception related to childhood development and the absence of socially constructed expectations? Presumably, the answer relies on the age of the child and their experiences with public or social media environments.

I was called into the doctor’s office for my scheduled appointment shortly after talking with Emilio and his family. The visit was conducted as usual. My blood results came back normal. The lumbar puncture confirmed that I had an inflammatory disease that would require medication and future consultations. During our intermissions, where the doctor or nurse would leave the room, I would photograph the room. After I received my prescriptions, I was told that I could leave.

The confrontation with Peggy occurred while I was making my escape from the clinic. Peggy found me attempting to make my way out of the labyrinth of halls that made up the facility. Deliberately walking up to me, she told me that the exit was in the opposite direction.

“Ma’am, the exit is this way,” she said as she pointed in the opposite direction.

“Oh,” I replied, “thank you, I’m sorr--” she interrupted my apology mid-sentence.

“I haff been meaning to ask you where did you get dat camera and what are you doing in this place wit it?” She interrogated me in a foreign accent while pointing at my camera and the surrounding walls.

“I am a patient here and I was just taking pictures to check my camera’s settings, y’know? Staying loose, that’s all,” I replied trying to sound as genuine as possible. She wasn’t amused by my response at all.

“Noooooo! You cannot do dat ‘ere. This is a medical facility. That is wrong, very wrong. You cannot do dat ‘ere with other patients' privacy. We have people who come in to take pictures for us when we need it...[--]” she rambled on about issues concerning privacy, of which, I was aware of, but didn’t think any of my images infringed upon patient privacy.

“--So, I need to delete my images. Is that what you’re saying,” I interrupted her, “There’s really nothing too invasive with these images, I swear. I’m aware of privacy laws regarding media, but there’s really nothing in here that could come back to you guys. I’d be more than happy to agree to a release form or some kind of disclosure or no compensation agreement” I pulled out the camera with the LCD screen pointed up to show her the images. In preview mode, I went through the pictures to show her each one carefully. None of them were impressive. Most of them were still frames of objects found in the waiting room and consultation; a chair leg coming in contact with the ground, a stack of pamphlets on nesting table, a rolling chair, doctor’s instruments, John looking down at his ph---oh no.... Peggy was outraged.

“See!! That is a patient, that is no good! You delete all of those images right now. You cannot do that! Can’t you see how that is wrong?! Delete everything,” She commanded.

“Everything?” I questioned, but it didn’t more than a glance to realize her anger and bewilderment. I dutifully obliged and deleted every image I had taken from my duration with her head lingering over my shoulder. Still, I felt determined to question her further.

“What is so wrong with photographs? The camera isn’t a weapon, ya know. Besides, there are people taking images with their phones regardless of privacy standards. I feel like the only reason you’re targeting me is because my camera is ostentatious and unconcealable. Besides, I asked this patient if it was ok after I took the shot.” I continued to argue my point while deleting the images. It only angered Peggy.

“There,” I said, “all deleted.”

“Good, but don’t you see how it is wrong to do that?” she, once again, asked. I had already replied to this question twice and didn’t feel like answering it again. I just kept to myself and allowed her to continue. At this point, I felt like a vacuous child being lectured into the ground. Did I feel remorse? Undoubtedly, I felt it, but the fact that I could reconcile with this women plagued me with more, unsurmountable guilt than anything else. What does it mean to be a photographer, to have a degree and uphold certain values, if I can’t convince someone otherwise about its nature? Peggy touched on the small of my back, urging me to exit the facility. Before leaving she had one final question, that I didn’t feel the need to answer after considering the negative connotations involved in the conversation.

“What is your name for our records?”

“Oh, I can’t give you that,” I replied solidarily and exited the clinic doors.

Upon looking back, I realize now that Peggy’s confrontation-in particular-illuminates more on the prohibitions of seeing; as well as legal/moral issues involved. Peggy was obligated to stop and lecture me on the legality of the situation. Her duty, in that respect, was to act according to protocol. When I tried to reconcile the situation-albeit-in a frivolous, panicked manner, I was met with more of the same lecture. We didn’t see eye-to-eye on the situation. In a more diplomatic conversation, I could see the conversation being more successful. However, Peggy instigated her side of the conversation with such emotional gravitas that it overwhelmed me; it brainwashed me into contrition before I could even begin to build my side of the argument.

Binding, legal implications have power over ways of seeing just as much as emotional jurisdiction does or even an acceptance of conversation. Communication is a two-way street. Both sides have to be willing to receive and contribute to the discourse. I’ve never photographed in a health care facility. I’ve been advised not to and was aware of the complexities involved both legally and morally. Why did I do it? I did it because I have a passion for something and I wanted to further understand the stigma behind. I thought I could maybe reason with someone if I got caught or share information about the art form that means so much to me.

The biggest threat to seeing, in any way, is cowardice. Summoning up the courage to seek discomfort, to be vulnerable, and to be forthright on the discoveries made after the fact, is the key to seeing behind walls; even when you meet someone like Peggy. Peggy didn’t give me the signs that the book warned me about and for the most part, this experience was going all too well. If it weren’t for Peggy, I wouldn’t know how it feels to be terminated from a specific visual conversation. Now, I look back and I am grateful for her involvement in my life. She’s shed some light on things that I had never considered or had even been given the circumstances to consider. Sure, there may fear surrounding embarrassment or failure, but it’s only when we experience those emotions first hand that we truly begin to understand; especially in the case of visual communication.     

“To see things thousands of miles away, things hidden behind walls and within rooms, things dangerous to come to, to draw closer, to see and be amazed” (Secret Life of, 2013).

Works Cited

Kuku, David. Unknown. n/a.

Panar, Ed. Animals That Saw Me. Vol. 1, Spaces Corners, 2011.

Segal, Daniel. “Can You Tell a Jew When You See One?” Judaism: A Quarterly Journal of Jewish Life and Thought, vol. 48, no. 2, 1999, pp. 234–238.

Stiller, Ben, et al. The Secret Life of Walter Mitty. Amazon Prime Video, 201th Century Fox, 5 Oct. 2013.

“What Is Staring?” Staring: How We Look, by Rosemarie Garland-Thomson, Oxford University Press, 2015, pp. 13–17.

[pulchrit-udinous]

Parking in Passion Pits is a pastime.

photo by Alyssa Maurer 

IG @alyssamaurerphoto

[pulchrit-udinous]

Glitch ex gif file upload. I put together some of the artifacts from a similar line of compressions and movement. Here's the .gif file. 

The original image is of my uncle Mark as a child. The image was then juxtaposed with the corresponding image of cocaine. Unfortunately, my uncle was the victim of addiction and as the oldest he set a particularly horrific set of standards for the rest of his siblings. 

gif by Alyssa Maurer

ig @alyssamaurerphoto

[al-the-photographer-blog]

Tender knots 

Fascinated by the shape of you, I long to return to that place of warmth and solace. I yearn for the pulsating sweetness of your blood, like leaking honey, to set rhythms for my body to synchronize. I wish to recount all the tender knots you spun inside me over the years just below my diaphragm. Let me give them back twice over in splendid, chaotic disarray by filling up the vacancy I’ve built inside you. 

Mixed Media Collage by Alyssa Maurer @alyssamaurerphoto & www.alyssamaurerphoto.com

[pulchrit-udinous]

"A Crack Inside a Crack Involving Crack", the original image is courtesy of my grandmother's photographs and the person is my uncle Don. Now, the story behind the title of this piece and the reason for its composition is a little family gem of hilarity. Don was leaving a Penn state football game at one point. For those of you who have never experienced the dreadful crowds of sports events, coming and going, it's a mess of tired, cranky people clambering to get back home. My mother and Don were walking when Don spotted a women across the road. She was bent over and displaying a half-moon directly towards their company. Seeing this as a comedic moment, he turned to my mother. "Hey Steph", he said while nodding towards the woman across the road, "Don't do crack". While this still remains a staple for laughter at family gatherings, I wanted to play on that and the irony of finding my uncle's picture and in a similarly compromising position that we all have grown to giggle at. Cheers Uncle Don and don't do crack.

Photo by Alyssa Maurer

Subject courtesy of Eve Coho’s personal photographic archive