#foell

[huariqueje]

Seaside escape - Sue Foell

American, b. 1956 -

Oil , 24 x 18 in. 61 x 45.7 cm.

[keywestwildlifecenter]

Thanks to MyFWC Florida Fish and Wildlife Officers Richards and Foell for transporting our first-year Masked Booby patients back to their home territory for release this morning after rehabilitation was complete in our clinic. Always happy to partner with FWC to support wild birds!

[naran-blr]

Maria Hiller-Foell , de soltera Marusja Foell (1880-1943) pintora germano-rusa.

Nació en Odessa. Los padres de Maria Hiller-Foell eran de ascendencia alemana. La familia se mudó a Stuttgart vía Múnich a principios del siglo XX.

Maria se matriculó en el semestre de invierno de 1905/06 en la Real Academia de las Artes de Stuttgart con Gustav Igler.

De 1906 a 1908 fue una de las primeras alumnas de Adolf Hölzel, quien fue destinado a Stuttgart en 1906. Ella participó en su primer evento, la excursión de verano a Pfullingen, y pronto se convirtió en su alumna de maestría. De 1910 a 1913, asistió a la clase de mujeres de Hölzel.

Después de completar sus estudios, trabajó como artista independiente y desde 1913 fue miembro de la Asociación de Pintoras de Württemberg. Participó con éxito en exposiciones y en 1914 recibió la moneda de plata de la Academia de Bellas Artes de Stuttgart.

Era conocida por sus extraordinarias composiciones de figuras y se expresaba a través de colores y diseños intensos. Se orientó hacia el expresionismo y la Nueva Objetividad . El foco de su pintura fueron los retratos, pinturas de figuras y naturalezas muertas.

A partir de 1921, se dedicó al arte relacionado con la arquitectura. En 1922 diseñó el monumental mural para la nueva Estación Central de Stuttgart titulado Rastende. Esta pintura fue destruida en 1945.

En 1923 se convirtió en la esposa del arquitecto y pintor Theodor Hiller . Sin inmutarse, continuó trabajando como artista.

Recibió cada vez más encargos de vidrieras monumentales y pinturas murales en iglesias.

En 1929 fue cofundadora de la Asociación de Artistas Libres de Jurado de Stuttgart, que se creó según el modelo de Berlín y tenía como objetivo permitir a los artistas jóvenes presentar sus obras.

A partir de 1933 todo se calmó en torno a la artista. En 1937, su cuadro “La novia rusa” del Museo de la ciudad de Ulm y “Frau Spider” de la Pinacoteca municipal de Worms fueron confiscados y destruidos en el marco de la campaña nazi “ Arte degenerado ”.

Murió en Stuttgart.

[howyoutalktostrangers]

So,

This was a different kind of Shakespeare.

The audiences for Love's Labour's Lost probably didn't expect to hear an energetic Jefferson Airplane solo during their Shakespeare evening, but that's exactly what they got with my Rob Foell's 60s-themed adaptation of one of the Bard's earlier plays.

All the tie-die, mirrored sunglasses and floral bell bottoms — courtesy of costume designer Chris Johnson — meant that everyone who came out to the Gem o' the Isle farm was immersed in the revolutionary vibe of that time, with live electric bass and classic hits from the Vietnam era.

I'm really happy with these images I captured. So much fun!

The Literary Goon

[martinstieger-blog]

Baden-Württemberg: Mit dem neuen F13 in die Verwaltung der Zukunft

Foto: © Philipp Foell / PMF – 74S – Dr. Florian Stegmann, Staatsminister und Chef der Staatskanzlei Baden-Württemberg Mit dem neuen F13 erhalten die Mitarbeitenden der Landesverwaltung ein KI-Assistenzsystem, das sie bei ihrer täglichen Arbeit entlastet und unterstützt. Baden-Württemberg nimmt damit eine Vorreiterrolle bei der Digitalisierung und Modernisierung der Verwaltung ein. Mit der…

[reviewev]

Cách nhận biết Foellie chính hãng | Phân biệt Nước Hoa Vùng Kín Foell...

[grad604kaede]

Week 3 tutorial

Inspiration

My Work

Specific techniques and crafts

Brand design

Smith, J. C. (2006). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://web-s-ebscohost-com.ezproxy.aut.ac.nz/ehost/pdfviewer/pdfviewer?vid=1&sid=ed5d83f7-b9a7-45db-af88-c8d6935867c7%40redis

Architectural photography

Rosa, J. (1998). Architectural photography and the construction of modern architecture. History of Photography, 22(2), 99–104. https://doi.org/10.1080/03087298.1998.10443865

Street art struggles

Muttaqin, M. Z. (2023). Street Art and the Struggle for Public Space. SAUC - Street Art and Urban Creativity, 9(1), 8–11. https://doi.org/10.25765/sauc.v9i1.567

Graphic Design: Fine Art or Social Science?

Frascara, J. (1988). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://www-jstor-org.ezproxy.aut.ac.nz/stable/1511556?seq=4

Commercial art

Warren, F. (1910). Commercial Art Today: An Interesting Exhibition of Advertising Art. Arts & Decoration (1910-1918), 1(2), 79–79. https://www.jstor.org/stable/43799450

Key themes, ideas and conversations

Cameras for conservation: wildlife photography and emotional engagement with biodiversity and nature

Hanisch, E., Johnston, R., & Longnecker, N. (2019). Cameras for conservation: wildlife photography and emotional engagement with biodiversity and nature. Human Dimensions of Wildlife, 24(3), 267–284. https://doi.org/10.1080/10871209.2019.1600206

What ugly and beautiful photographs reveal about COVID‐19 lockdown experiences, everyday aesthetics and photography aesthetics

Vissers, N., & Wagemans, J. (2022). What ugly and beautiful photographs reveal about COVID ‐19 lockdown experiences, everyday aesthetics and photography aesthetics. British Journal of Psychology, 114(2), 352–375. https://doi.org/10.1111/bjop.12624

Regaining Quality of Life Painting Pet Portraits

Fortuna, J. K. (2023). Regaining Quality of Life Painting Pet Portraits. The Open Journal of Occupational Therapy, 11(2), 1–5. https://doi.org/10.15453/2168-6408.2185

Innovations to Photovoice: Using Smartphones & Social Media.

Foster, K. A., Davis, B., & Foell, A. (2022). Innovations to Photovoice: Using Smartphones & Social Media. Urban Affairs Review, 59(5), 107808742211002. https://doi.org/10.1177/10780874221100263

A Street Scene, Japan, (pencil and watercolour)

Tyndale, & Roofe, W. F. (1943). A Street Scene, Japan, (pencil and watercolour). In credoreference. https://search.credoreference.com/articles/Qm9va0FydGljbGU6MzIwMjgyOA==?q=A%20Street%20Scene,%20Japan,%20(pencil%20and%20watercolour)

specialist subject knowledge

Blur method

Mitcheson, K. (2010). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://eds-s-ebscohost-com.ezproxy.aut.ac.nz/eds/detail/detail?vid=1&sid=fb224530-95d8-4618-acaf-5664e6270678%40redis&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=64873788&db=vth

Colour reconstruction of underwater images

Hoth, J., & Kowalczyk, W. (2017). Colour reconstruction of underwater images. Underwater Technology, 34(2), 51–61. https://doi.org/10.3723/ut.34.051

“Stitch for Stitch, You Are Remembering”: Knitting and Crochet as Material Memorialization

Fisk, A. (2019). “Stitch for Stitch, You Are Remembering”: Knitting and Crochet as Material Memorialization. Material Religion, 15(5), 553–576. https://doi.org/10.1080/17432200.2019.1676621

Reflection in Water Drops.

Woodruff, T. W. (2010). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://web-p-ebscohost-com.ezproxy.aut.ac.nz/ehost/detail/detail?vid=1&sid=dd396097-2c8d-4b09-b630-d01cfa7af9db%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=48963475&db=vth

The Glass (collage, gouache & pencil on paper) 

Gris, J. (1927). The Glass (collage, gouache & pencil on paper) . In credoreference. https://search.credoreference.com/articles/Qm9va0FydGljbGU6MzIwNzUyMQ==?q=The%20Glass%20(collage,%20gouache%20&%20pencil%20on%20paper)

Creatives working in the environmental, social, cultural, sub-cultural and political context

Climate Change Is A Myth! Shut Up! Just Shut Up!

Kjartan Arnorsson (Karno). (2012). Climate Change Is A Myth! Shut Up! Just Shut Up!. [Sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_12095853

Ten Thousand Mandelas

Willie Cole. (5/27/1988). Ten Thousand Mandelas. [Installation]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/AFURNACEIG_10310797586

Exhibition: Kaleidoscope Quilts: The Art of Paula Nadelstern

Stacy C. Hollander, curator. (April 21-September 13, 2009). Exhibition: Kaleidoscope Quilts: The Art of Paula Nadelstern, installation view. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/AAFOLKAIG_10313147179

Earth First!

(2013). Earth First!. [Sticker, Political sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_10950780

Time's Up -- Environmental Education & Direct Action NYC

(2013). Time's Up -- Environmental Education & Direct Action NYC. [Sticker, Political sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_10948647

[rundertischstuttgart]

Klimawandel 2022 Wirklichkeit oder Planziel??? Teil 1 - Gerhard Foell

„Wie ist denn das Wetter bei Euch?“ wird oft bei einem Telefonat gefragt, wenn sich der Gesprächspartner weiter weg befindet, zum Beispiel im Urlaub. Daß sich aus dieser einfach erscheinenden Fragestellung eine unzählige Fülle von Antworten ableiten lassen würde, das bedenkt in diesem Augenblick wohl kaum einer der Gesprächspartner.

Es könnte ja auch gefragt werden: „Welches Wetter bekommt ihr denn gerade gemacht?“

[444names]

indian and irish forenames + roman deities + sindarin names

Abara Abarth Abulde Achornui Adial Ador Adus Aeeph Aidech Aingark Aithaita Allig Amelven Amil Amilvall Amlon Amuiren Anborim Ancon Andeach Anes Anglow Annborwer Anog Antarnesh Anust Aoibh Arair Araj Aralaura Aranjis Arannyrn Arathmes Arch Ardló Argalber Arknen Arlang Arth Arturua Arweshar Balod Balorthus Banushil Barth Batha Bathas Beasumna Bele Belloch Bhfhín Bhéammed Bighnach Birth Blunta Blán Boryn Brancen Branged Braugland Bren Brin Brod Brog Bublen Cain Caittev Cala Call Callad Calon Cammath Caodh Caomthir Card Carth Cavest Cedh Ceras Cere Charnel Cheredh Chorod Ciants Cion Cita Cloth Clow Cobhranus Coim Cond Cong Creft Cren Crith Crín Culth Daegal Dagedh Daidde Dalmóing Dancest Danghuser Danil Danow Danuin Daradelas Daus Deatum Deckber Deluini Dendaice Dera Derin Deryn Devil Dimbal Diobna Dithannín Dredill Drier Drisne Drus Drúath Drúne Dubhaeren Dubrod Dwangbad Dúna Dúnas Dúnedh Eale Eamar Earós Eight Eileg Elav Eluil Emogrin Erchalls Ervisiad Ester Estornen Ethrui Evaithua Evanars Fach Faer Faldire Falearne Falighe Famh Fancel Fande Fead Feighurch Feilegi Feiond Felleav Feres Fiddenc Finaibel Finds Findsm Finhela Finith Finn Fion Fiondelf Fiver Flon Flova Foell Forfaug Fornos Forthir Fulwill Gainúna Galated Gale Galeb Galesti Gayav Gill Gind Ginnia Ginorang Girthard Glachán Glaglin Gland Glas Glast Glath Gleber Glind Glór Gorunglan Gothas Gron Grone Gros Gull Gurthor Gusalbhín Gwaighant Gwar Gweglán Gwin Gyrn Haearann Halash Hansrann Harch Harjuver Haroyand Heind Holleth Homel Hopipen Hoser Híomen Ianash Illa Imhán Inge Iodëor Iondred Iordeet Ioth Ivicena Jith Juvern Kindrod Kyleyclín Ladh Ladhen Ladhy Ladwahith Lagliarat Lail Lamy Langst Lanhang Leabh Lebdin Lebru Lepran Lewed Lewel Lhar Lich Ling Lirín Lita Lock Lothan Lumaith Lundrin Lunod Maegolm Magos Makeyed Malad Malaith Mand Mandelen Manedh Maod Maoib Maolof Maos Maraws Marenk Marrya Math Mberes Mean Meiber Meire Mennow Meredh Mereepil Mert Mithos Moravy Mormelch Morni Moron Morwat Moungs Mounín Munain Muth Muthita Máin Nael Naity Narread Ndookint Ndraish Neanwer Nelly Ngwilast Nibhfus Nionath Nionn Niorwin Nornastor Noros Níler Nínes Ooth Ordelven Orlagil Osgilvel Ossis Othilt Pallaks Palls Pangs Pher Pidhwel Piparvire Pithest Pius Plea Pluingine Pondhroin Poond Portan Posnorn Praj Priseárd Puddhacha Póirid Púkeleg Rahaer Raighus Ramra Ranni Raur Ravance Rekaz Ress Reungmadh Rielanuj Rimransen Rish Rohna Rostra Ruil Rumbriar Rumitumh Ríog Sadech Saed Saelroac Saequeep Sagdûn Saglaid Saher Saisetha Salineld Sarta Sathand Sathary Seavan Seng Shaldeven Shan Sharch Shirk Shoninéas Sitrint Snated Somáin Soth Sounín Sout Steglas Ster Stoib Stoll Stor Stren Stron Surion Swan Séad Taelyd Tait Tarloth Tasgal Tedi Tershus Theas Thna Thrus Tiben Tighall Ting Topprind Toram Torid Touraing Towel Trana Tripla Tunla Twin Uannín Uarcárd Uarídenad Ulgalanus Ullus Upeth Urodrúthy Valowered Vand Vast Vercus Vernán Vildol Ving Viréaoir Vivan Wank Warmeleán Warth Warwel Wath Wathus Werd Weth Whislagos Wholraj Winn Worn Wrim Wrionob Árdrus Ídíredh Óriva

[euro-journal-english-news]

Former God Of War Ragnarok Gameplay Producer Joins Nintendo

Former God Of War Ragnarok Gameplay Producer Joins Nintendo

One of the video game highlights of 2022 was Santa Monica Studio’s PlayStation exclusive God of War Ragnarok. The game arrived last month, and now that it’s been released to fans around the globe, it seems there’s some movement within the studio. God of War Ragnarok and God of War (2018) gameplay producer Hannah Foell has left the studio to become senior manager of partner management at Nintendo…

[keywestwildlifecenter]

Special thanks to MyFWC Florida Fish and Wildlife Officers Richards and Foell for getting two Masked Boobies released today near the Dry Tortugas after rehabilitation was complete at our center. Always glad to partner with FWC to benefit wild birds! www.keywestwildlifecenter.org

[a-dragons-journal]

Actually, sorry for double-reblogging this, but I got curious and did some digging, and found something interesting and relevant! I was curious if the intensity criterion even holds up for phantom limb syndrome in amputees, so I went looking for any articles on measuring the intensity of non-painful phantom limb sensation, and while I didn't find anything with the full text available for free focusing on that specifically (unsurprisingly), I did find one article that reported the results of a decently large-size sample regarding that as part of their process in investigating a related question!

The article is focused on trying to discern whether there's a set of measures that can be used to predict the likelihood of phantom limb pain (which is usually the thing these studies focus on, since it's usually considered the most inherently problematic aspect of phantom limbs) in amputation candidates. It compared three groups of over 1,000 people each: those who don't experience phantom limb pain (PLP) at all, low-PLP (less than one instance of PLP per week), and high-PLP (at least one instance of PLP per week). The researchers measured a bunch of factors, including age at amputation, sex, the amount of the limb that was amputated, etc., but since I'm not really interested in the same goal they are, after a quick read of their methodology section to make sure it was a study worth looking at, I zoomed in on their measurement of painless phantom limb sensation (referred to as PLS, in this study, which is how I'll use that acronym in this post from hereonout, for clarity), since that's what I was interested in.

Basically, they had the subjects grade their PLS intensity on a scale from 0-10, and I found that the result was really interesting - while the ranges are fairly large (indicating that there's a lot of variation in PLS intensity even within each of these groups), all three groups had an average PLS intensity under 4/10. Specifically, copied directly from Table 1A of their results:

No PLP: 1.27 ± 2.38 Low PLP: 3.2 ± 3.0 High PLP: 3.9 ± 3.17 (Scale of 0-10) (F(1,2) = 276.942, P < .001)

(They also separated PLS intensity ratings by the limb that was amputated within each group on later tables, but I didn't find that worth specifically quoting in this context; it's on tables 1B-1C if you're interested.)

Granted it's only one study - though a large and well-put-together study, from what I can see, and in my defense I was trying to limit myself to articles with the full text available to the public - but what this indicates to me that's relevant to this discussion is that intensity of phantom limb sensation in amputees seems to vary widely and often isn't as "severe" as you've implied (especially on the previous version of this post) that an alterhuman's phantom limbs would have to be to "count" as phantom limbs. In other words, if I'm correct in understanding you that intensity is your biggest factor in differentiating between "real" phantom limbs and "just" phantom shifts (and please correct me if I'm misunderstanding you there), then this study's findings imply that that metric doesn't even work for amputees, and would exclude a great number of amputees who experience phantom limbs as well.

Reference:

Diers, M., Krumm, B., Fuchs, X., Bekrater-Bodmann, R., Milde, C., Trojan, J., Foell, J., Becker, S., Rümenapf, G., & Flor, H. (2022). The Prevalence and Characteristics of Phantom Limb Pain and Non-Painful Phantom Phenomena in a Nationwide Survey of 3,374 Unilateral Limb Amputees. The journal of pain, 23(3), 411–423. https://doi.org/10.1016/j.jpain.2021.09.003

(Direct link: https://www.jpain.org/article/S1526-5900(21)00336-9/fulltext)

Why people with PLS find the use of "phantom limbs" by the alterhuman community offensive

NOTE: This is a repost of an ealier post with more of an own-opinion/giving people with PLS a voice-approach rather than a community announcement, after having received critique from it that I agree with. I am completely fine with people having different opinions on this. I might make a video about this in the future, but I'd like to make you all aware of a statement I've received from people with PLS.

The use of the medical term "phantom limbs" is heavily tied to Phantom Limb Syndrome (PLS) which is a medical condition that affects amputees and those born with congenital differences in anatomy. It can be similar but is said to be vastly different from what otherkin and therians experience during phantom shifts. People experiencing PLS and the like have made it known that comparing phantom shifts to the actual loss of a limb or PLS is offensive, so I am of the belief that this should not be done again. I personally recommend using the words phantom shifts, parts or appendages, or specify that appendages such as phantom paws, wings, tails, etc. instead.

I personally take responsibility for having made this comparison in the past, and I'd like to apologize to people who experience PLS or have lost a limb for doing so. It was not my place to make this comparison, as I cannot know what the experiences is actually like.

I urge everyone who may own an Alterhuman platform (whether that be a Discord server or social media platform), and who agree with this statement, to spread the word about this. You are free to use part of this text to explain things.

[howyoutalktostrangers]

Double header coming to Shawnigan Players’ summer Shakespeare festival

A pair of shows will be performed at Gem o’ the Isle Farm near Cowichan Station, Two Gentlemen of Verona and Love’s Labour’s Lost

The Cowichan Valley Shakespeare Festival is celebrating its 13th season with a double header this summer, bringing Two Gentlemen of Verona and Love’s Labour’s Lost to Gem o’ the Isle Farm.

Starring local thespians and directed by Alex Gallacher and Rob Foell, these lesser known works are sure to entertain and inspire audiences. This is Foell’s directorial debut with the festival, after serving as the stage manager for All’s Well That Ends Well last year. An accomplished actor and mainstay of the local theatre scene, most recently appearing in Mercury Players’ Tartuffe, he is now taking his cast in a bold new direction.

“One of the aspects of Alex’s directing I’ve alway admired is this implicit and daring invitation to the audience: put yourselves in this predicament and wonder how to get out of it,” said Foell.

“I hope for no less with the predicament of Love’s Labour’s Lost — to feel the principles of your very identity challenged by love — what to do?”

Love’s Labour’s Lost tells the story of three noble lads who dedicate themselves to their royal comrade’s aspirations. Their lofty plans go awry when four noble lasses enter the picture to match wits with them. Foell has set the action in contemporary times, choosing the tumultuous 60s as his backdrop.

“The 60s generation could be seen to begin with the ideals of civil rights and world peace, but soon brought to the frivolities of psychedelics, Woodstock and free love. More or less. But the same profound questions raised in that rebellious climate reverberate through subsequent generations, refined but never answered,” he said.

“Such are the open-ended quests of Love’s Labour’s Lost: a royal oath to transform self and society is beset by Cupid’s mayhem. It’s Apollo meeting Dionysus. Will we ever find equilibrium, peace, love?”

Meanwhile, Gallacher will be bringing his signature style to Verona — which has gender-swapped leads Laura Faulkner and Senya Pike playing the titular gentlemen. Playing friends Valentine and Proteus, they vie for the affections of Silvia and Julia in a complex romantic comedy, complete with unrequited love and desperate disguises.

“Poor Julia! Her boyfriend has fallen in love with his best friend’s fiancée! What to do? A clever disguise should help! The Shawnigan Players bring The Two Gentlemen of Verona to the Gem O’ the Isle in August,” said Gallacher.

“A Shakespearean comic romp exploring the joys, pitfalls and agonines of true love. Don’t miss it!”

To purchase tickets, visit shawniganplayers.com.

The Literary Goon

[jovialeggsstudentangel]

Franz 👨‍🌾 versteht sein Handwerk. Sein Hof ist der Vorzeigebetrieb in der Region, er selbst ein wichtiger Gestalter und Vordenker. Der engagierte Demeter-Landwirt produziert Ackerraritäten 🌾 von denen kaum einer denken würde, dass diese am Voralpenrand überhaupt wachsen können. Schwarze Beluga Linsen, Champagnerroggen, Purpurweizen, Emmer und Einkorn, Buchweizen, Senf, Leinsamen, Kartoffeln, Braunhirse, Gerste, Hafer und Dinkel, um nur einiges zu nennen. Alles sind samenfeste alte Sorten, in biodynamischer Qualität. Damit nicht genug: die Getreide werden weiterverarbeitet zu Bulgur, Dinkel- und Emmerreis, Gries und Mehl. . Franz Obermeyer sagt offen, was er denkt und vertritt seine Meinung klar und deutlich. Er ein mutiger Macher, ein Eisbrecher. 💪 Klein beigeben, Kompromisse eingehen, das entspricht schlicht nicht seiner Natur. Wahrscheinlich braucht es diese kraftvolle Energie um zu bewältigen, was auf seiner Agenda steht. (Online, https://www.oekomodellregionen.bayern) . . . #demeter #bio #organic #vegan #biohof #gem #hades #bioland #se #zeus #hofladen #persephone #naturland #vitamine #biodynamic #foell #f #biosupermarkt #obstbau #wirfreuenunsaufeuch #kommvorbei #altesortenneuentdeckt #kommtvorbei #regionalisterstewahl #regionalistgenial #welovevegetables #veganessen #biologisch #schaumalrein #greenroot (hier: Innsbruck - Tyrol (Austria)) https://www.instagram.com/p/CQfnbOwJnJl/?utm_medium=tumblr

[huariqueje]

Wistful   -     Sue Foell

American, b. 1956  -

oil on linen on panel , 20 x 16 in.