#it makes sense because the lack of equipment and focus on body weight etc etc but it's so sad
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I was worried about the existence of an episode of the maintenance phase about pilates because I like pilates and everything in this podcast is just cursed and awful stuff made by awful people and I don't want to do something made by a Nazi or whatever but now I'm just sad
#invented by a guy to exercise when he was a prisoner???? this is so sad wtf#it makes sense because the lack of equipment and focus on body weight etc etc but it's so sad#i hope I don't hear anything awful later and it keeps being just sad fjskd#it's also making me miss exercising so much i should probably try to get my mat and do something#i hope the app i used is still free because i want to do pilates now it'll probably help with my back pain#and also kill me because pilates is so fucking intense
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Here is a monster match for the wonderful @rofax!
“Aquarius Sun/Virgo Moon/Taurus Rising. Little bit of an astrology nerd. I like to learn about it. I also think it’s totally made up and makes no logical/scientific sense, but is also right basically 100% of the time. Idk how much you know about astrology but basically I am an eccentric bitch who wants to save the world, is emotionally precise and perfectionist, and seems to really like material things and food! WAHOO. People say my sense of humor is the best thing about me and/or I make them laugh the most, big old bleeding heart, especially for animals. Easily overstimulated ): Anxiety and ADHD are a bitch lol. No self esteem to speak of. I am an atrocity before god. Speaking of: very quiet convert to and practitioner of old (would now be considered) pagan faith. Multiple gods, ancestor worship, local spirits, etc.”
You have been matched with a Huldrekall, the shy, beautiful male counterpart of the alluring Huldra. Contrary to popular belief brought to you by the patriarchy, the Huldrekall are not, in fact, shriveled and disgusting to look at, it’s just that straight men don’t like feeling sexually threatened, not even by forest spirits that they don’t ever see. Like the females, the Huldrekall are almost intangibly beautiful, with soft, glossy hair and large, innocent eyes, and have mossy, hollowed out backs. While they might easily cover up their backs with clothing, the tails are a bit less easy to hide, as the Huldrekall and Huldras use them for balance, and thus must shift them about while moving.
Like other forest spirits, the Huldra and Huldrekall can be found among the trees at a reasonable distance from human society. Oh, they do sometimes come out of their hiding places, put on a dress, and mingle, in the guise of a mysterious visitor or a passing traveler, but their home will always be back in the forest, no matter how many broken hearts they might leave behind. Besides the occasional affair, the Huldra and Huldrekall have a symbiotic relationship with coal burners, as they are willing to watch over the kilns at night in exchange for human food and the occasional piece of clothing. The coal burners don’t get the privilege of seeing their helpers, though, but sleep easy knowing their equipment is being cared for.
Shockingly, the Huldra and Huldrekall seem to respond well to things like good manners, polite exchanges, and positive interactions, almost like they are people with thoughts and opinions of their own. Though, when crossed, the Huldra and Huldrekall are terrifying when they want to be, merciless, cold, just as a human who has been horribly slighted might act. You think that their kind are, well, people, though that’s not what the fear-mongering, power-hungry humans would have anyone believe. Despite the lower, working-class people out in the country knowing better, the city folk are quick to think that what is unknown must be evil.
You met your Huldrekall while you were out gathering herbs and flowers, deep within the forest. He was laying out in the sun on a large tree root, back towards the sky, face nestled in his arms. It takes you exactly three seconds to realize what you’re looking at before you manage to step on a stray stick, the noise snapping loud enough to make your hair stand on end. Your Huldrekall sits up like a shot, his wide, sparkling eyes a light, dusty magenta, and he looks at you, fear dancing across his face, but something else, too. Curiosity? Fascination? You can’t tell before he scampers his tall but lithe body up the tree and through the leaves, hiding from you in the greenery, yet still clearly present as you try to go about your day.
Your Huldrekall follows you as you try to focus on the herbs you need, clinging to the bark of the trees like a child might hang on their mother. At first, you try ignoring him, thinking that he’s only keeping an eye on you because of fear, but there doesn’t seem to be a single essence of tenseness in his body as he slides down from one branch to another. While you focus solely on pretending to not notice his movements, he slowly, tentatively approaches, you can feel his unabashed stare burning through your back. Still, you don’t turn around, nor give him any hint that you know that he is there, because a part of you is just as interested in him as he seemingly is in you, and you don’t want to scare him off.
While you can hear him stiffen every time you accidentally make a move too sudden for his comfort, you don’t realize how close to you he really is until you risk a glance over your shoulder. He’s right there, balanced carefully on a low hanging branch, watching you work with fascinated eyes. He also doesn’t run when he catches you looking at him, either, which you suppose is a step in the right direction, he only flinches back ever so slightly. But he’s still there.
You have to go back home eventually, even though you would like for a moment so magical as this to continue on. As you walk back to the forest’s edge, your friend disappears along the way, slinking back through the trees. You don’t even know that he’s gone until you turn around to look for him, finding nothing more than the grass and leaves, and you feel… well, disappointed, you suppose, but unsurprised. Still, your work will have you back in the forest to forage again soon enough, and a part of you hopes that you will see him when that time comes.
He finds you when it does come, in the dusty rose of the early twilight sky, looking for the petal of a particular flower that only blooms during the first light of dawn. Your Huldrekall approaches with more openness this time around, no longer poised and ready flee. There are times when he is… very close, looking over your shoulder, cheek almost touching yours, becoming more and more difficult to ignore. Almost as though he’s suddenly decided to demand attention, yet is still too shy to put anything to words.
You’re on your knees, fingers digging through the ground in search of certain roots. He’s mirroring you, sitting across the thicket, hands carefully to the side as he watches you work. Absentmindedly, you begin speaking, not really sure what to do with yourself or the strange silence. “This is used for joint pain, you grind it up into a paste, then rub it in the inflamed areas.”
“Really?” He asks, the first thing he ever says to you. His voice is smooth, soft, like a sip of cool water on a hot day, and a little tingle runs down your spine.
“Y-yes,” you manage to gain your footing again, “it can ease stomach pains too if chewed and swallowed in low quantities.”
He’s a quick learner, you’ll give him that. It probably helps that his curiosity seems insatiable, and once he starts talking, he shows no signs of stopping. The chatting isn’t unwelcome, though, and you find him to be a good conversationalist, despite his immediate lack of knowledge of anything outside the forest. Well, he actually has much information when it comes to the ancient magic of the trees themselves, even showing you how to gently tease a bit of energy from the bark if needed. Prayers must be said before and after, as the spirits of the forest don’t take kindly to pillaging.
Your Huldrekall is remarkably bright, too, able to pick up your tips and tricks with little to no trouble, able to remember just about everything that comes out of your mouth. All the little remedies and medicines you make don’t seem to matter much to him or his kind, though, because of their little magic tricks that seem to do the same, just in a different manner of execution. Still, though, he’s interested in “human way of things,” as he calls it, copying your work as you forage and search for different plants. One day, though, you go home and find a little bouquet of plants tied together with a vine, a collection that you don’t remember assembling.
You’ve started making a pretty penny selling roots and herbs from the deeper center of the forest since your kind doesn’t like going very far passed the outlying trees. Thanks to your magical guide, though, you’re able to venture out much deeper than you might risk by yourself, without having to worry about finding your way back. You could blindfold your Huldrekall, shake him about, and drag him through the trees and vines for miles, and he’d still be able to lead you back to the village where you live. It’s rather convenient, you suppose, but you don’t let anyone know just how easy it is for you, people pay you more if you act like you almost died by some giant, carnivorous flower mere hours before.
The gifts keep appearing. No longer in your basket, sometimes you find a pretty stone or dried blossom in your pockets, now, too, and though you try to figure out how he managed to slip them there without noticing, you can’t. You keep everything in a little box, pressing any flowers carefully between books of medicine, and polishing the stones if you get the chance. After letting the gifts pile up a bit, you decide to return the favor, getting a little knick-knack that you’ve kept lying around your home. You don’t really have anything you can slip it in since your Huldrekall is… well, naked, so you cut out the third party and give him the gift point-blank.
He’s enthralled by it, and by the seeming lack of shyness on your part. Even though it’s just a little cheap object you’ve managed to pick up sometime in your past, he acts like it might be worth its weight in gold. While you don’t really know what he does with it, you suppose that he must have a nest of some kind, but after that day, you begin to see more of his kind out of the corner of your eye. Up in the trees, hiding between leaves, watching with careful, weary eyes. Like him, though, they warm up to you eventually, some taking longer than others.
You fell asleep, perhaps by accident, one evening. Last night and the night before had been late ones, so your brain is clouded and your movements sluggish. In your head, you only meant to lay among the flowers for a few moments, just to restore a bit of your strength, but after you open your eyes, the sun is in an entirely different position in the sky. Your Huldrekall is nearby, sitting atop a log, his vulnerable back facing you as he plays lookout. He looks back when he hears you stirring, offering a reassuring, sweet smile. You lay your head back down and continue resting, feeling the warmth of safety emanating from him.
Sometime after that, he started to gently tug at your hand when you leave the forest, a little, reassuring squeeze, one that you don’t find unwelcome. Once, he follows you through the town, wearing fairly clean clothes from god knows where, and spends the night at your home. People look and people talk, but no one’s whispers bother you or your business, and they sure as hell don’t bother your Huldrekall. His spirit is free and magnetic, those same people who would demonize you for fraternizing outside your species soon become enthralled in his stories and words. Maybe you are a little jealous of all the attention he gets, but he makes it clear that he only has eyes for you.
The old gods in the forest are long forgotten by man, but not by your Huldrekall or his kind. They do a sort of worship that must have existed since the dawn of time, dancing and singing towards the moon whenever it is full. You get invited soon after your acceptance by his people, and even though you are nothing more than a quiet, interested viewer at first, that is quick to change. Eventually, you end up holding hands with other Huldra, aiming your face towards the sky and singing a hymn made with a language so old that the words themselves hold power.
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This isn't in response to anything in particular, no "new" news, just something that's been building for a while.
For my own mental and physical -- yes, physical -- health, I need to take a few steps back from everything. At least until this controversy re: Daesung is resolved.
After renting for all of my adult life, I just purchased a home for the first time. If I've been a little quiet here the past few days, it's because I've been in the process of packing and moving. There is a lot of work that needs to be done now that I'm finally here, not just around the house itself but with my small business that I've picked up and relocated as well. With this move, I'm essentially restarting my life in a new area and I need to be charged and ready for anything and everything life throws my way.
As a first-time homebuyer, the last month has been stressful; throwing oneself into something totally new usually is. The day I made an offer on the house, we experienced a sudden equipment failure at work and lost months' worth of customers' orders. It wasn't my fault, but I felt responsible nonetheless. That night, desperately needing to decompress, I came home to the realization that something was wrong with my cat. I took her to the vet for bloodwork, fluids, and antibiotics, and spent the next 3 days trying to syringe feed her... but ultimately could only look on, powerless, as she went from not eating or drinking to struggling to swallow, drool dripping from her chin, unable to rest, fighting for every labored breath. On July 1st I made the decision to end her suffering and let her go peacefully.
She was my constant companion. My only pet of the last 10 years and a daily presence in my life for over a decade, by my side through so much change. She slept beside me every night and was there to greet me at the door every evening when I came home. She was such a comfort to me. Every fic I've written for this fandom, she was curled up on my lap throughout it.
Died of cancer, it turns out. I didn't even know she was sick. She seemed fine right up until the day she suddenly wasn't... and it had to be right during a time when I was more financially stretched thin than I've ever been. $1,100 in diagnostic tests later and all I had to show for it was a dead friend and a crippling sense of guilt. I cried for her every day for nearly three weeks straight. Everywhere I looked I saw her still, in all her usual spots around the apartment, staring up at me. She was only 10, almost 11. I thought we would have more years together. More time.
We always fall into that trap, don't we? Thinking we have time.
Meanwhile, things with the house were moving along. The day she was euthanized I had to rush straight from the clinic to the bank to wire my earnest money. Told the banker with a teary laugh not to worry about my red eyes or my sniffling. "I'm not sick or contagious, just had my cat put down." The next day home inspections began and the reports and addendums came pouring in. I was in a state of near-constant communication with my realtor and my lender. I had to tell my loan officer about the vet bills to make sure it wasn't going to be a problem; you're not supposed to incur any large expenses just prior to purchasing a home as you risk the loan being rejected. I won't lie... this was a factor in me letting her go when I did (one of many). I couldn't afford to keep treating her. It wasn't until later, post mortem, that I got confirmation that it was cancer, and with it, a measure of closure.
I was finally working through it, or past it, no tears for almost a week when this bomb with Daesung dropped. Woke up to the worst ask: "What do you think of Daesung's new scandal?" In the 5 days that followed I was anxiety personified. I was back to crying incessantly. I'd get chills every time the thought of what was happening crossed my mind. Waking up every morning sweating and shaking. I was weak and hungry but couldn't bear the thought of eating. Choking down a slice of cheese seemed impossible; I had to take my nausea meds that I save for migraines just to keep it from coming back up. I thought, 'What the hell is going on? I'm not like this, this isn't me!'
One night I noticed some clothes were looser than usual and had the thought to weigh myself. I was shocked to find that I had lost around 17 lbs -- almost 13% of my body weight. I haven't weighed this little since high school. I have no idea how long it had been declining as my weight has always been steady enough that I don't need to check it regularly. Of course, I then began worrying about potential health issues besides "just" grief and stress. My cat seemed fine until she wasn't, I had no idea about the tumor in her lung until it was the end... could it be...?
Then I closed on the home on Monday, despite a few last-minute, headache-inducing setbacks that I won't go into here.
Over the last few days I have been so busy and so focused on the task at hand -- moving out and moving in -- that I've finally gotten my appetite back, and with it some of the weight, so that's one less thing to worry about, along with the homebuying process and the move itself. It helps that my parents are visiting so I'm not totally alone with my thoughts. I'm not thinking about the loss of my cat as often either, though the memory of her final days still moves me to tears here and there.
That leaves this ordeal with Daesung.
I'm handling it a lot better now than I was near the start, but I still feel a stab of fear every time I think of him. Fear for him. Every. Damn. Time.
More than anything, I want him to come out of this okay. I want to believe everything will be okay in the end. But I can't keep scaring and stressing myself sick over him, literally, at a time when I need to be strong for the sake of my own future. I've stopped challenging opinions on reddit, asianjunkie, etc. I've stopped checking entirely. It accomplishes nothing and I always end up at the bottom of a dogpile anyway, fending off opponents on all sides. Let's face it, fighting with strangers on the internet will have no tangible effect on the outcome of this. All it's doing is dragging me under.
And if I know one thing, it's that Daesung would not want that. "A singer who brings people happiness." That is what he aims to be, that is what he successfully became after clawing his way back from the events of 2011. "Let me protect your happiness," he sings, and says, on the regular.
But this is a far cry from happiness. This is anxiety and dread seemingly without end, fearing the worst, trying not to dwell on it yet trying to prepare for it. It's the exact opposite of everything he's ever wanted. And it would torment him to know how those who love him and want the best for him are hurting because of him.
So it's time to get some distance. I'll still be around, just less than usual, maybe. And to those of you who've been sending me asks, I appreciate them all, even if some of them don't get a reply.
That being said... I stand with Daesung. And I stand strong. I'm not swallowing this nonsense the Korean media is going all out to force down our throats. I believe in Daesung, and when this has passed, I will still be here for him, happy -- no, overjoyed to welcome him back. He is still a member of Big Bang and I expect the others -- Jiyong, Youngbae, Seunghyun -- will stand by him too when the time is right.
And if he leaves? Just to get it out of the way, I don't believe he will, because if he does that's it, Big Bang is officially over. But let's just say he does, hypothetically. If, after this, he decides to give Korea the middle finger and focus his efforts in Japan instead? I'll be here, on this same blog, still cheering him on in his solo career.
As for the fans who've lost their trust and turned their backs on him, fine, whatever. I'm used to the fandom ignoring him, overlooking him, seeing him as little more than a big voice and a bright smile. People like to say Seungri was the "least popular", but outside of Japan, that honor goes to Daesung. Especially in the English-speaking side of the fandom. Don't believe me, go scroll through English Big Bang fanfic and let me know how many feature him. Or should I say how few. I've tried to keep quiet about it, tried not to complain. Do you know how vanishingly rare active Daesung blogs have been in my 3+ years here? Since the beginning I've been over here in my little corner of the internet, surviving on scraps, so in a way, this is nothing new. Drop him if you want to -- and don't let the door hit your ass on the way out.
I've never needed anyone's approval or agreement to be fond of him. I came to like him on my own, without anyone's persuasion, and if that changes it won't be because of anything his newest critics have to say. The lack of support for him in this difficult time saddens me, but it won't stop me. And I sincerely hope that, for the sake of this entire fandom, it won't stop him either.
Stay strong, Daesung. I will try to do the same.
#daesung#bigbang#my post#what makes it worse is I'm feeling so so so convicted right now for how I've attacked seungri fans over the last few months#like... I had this coming didn't I?#I don't think their situations are the same but I'm well aware that not everyone sees it that way#and it just sucks#I think now would be a good time to just shut up#feels like I've become the very people I've spent months criticizing#at least it must look that way
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Comparison of Hido’s with Demand’s Rooms
Having detoured through Hoffer’s interiors, let us return to Demand and Hido. What are we to make of the immaculate perfection of Demand’s rooms and of the rundown, decrepit and dingy appearance of Hido’s rooms? What does this tell us about how these photographs by vastly different artists are meant? To accurately describe the differences would be to describe the ways in which the photographs are differently meant. By “meant” I do not necessarily mean what the artist had in mind when creating the object but the ways in which the pictures elicit our interest, attract our attention and provide pleasure, because (according to my own modernist sensibility) the meaning of an artwork consists in the nature of the claim it makes on our attention – a claim on attention that differs fundamentally from the kind of attention we devote to objects that are not works of art. I say that this sort of attraction and the attention it draws, is in dire danger of being lost to our world. Artistic modernism was the last movement in art that insisted on the distinctive claim that artworks make on us, but modernism is by now considered a naïve and retrograde anachronism – and politically suspect.
Although both Demand’s and Hido’s interiors are empty of human presence, what are we to make of the salient differences in the mode of human vacancy. One feels that a human being could never enter one of Demand’s rooms, whereas human beings – not one but multiple human beings - have not only entered Hido’s rooms but occupied them for some indeterminate period of time and that they have now left. The vacancy of Demand’s rooms is not explained by the fact that photographs make present things that are not real (e.g., our world, but past), because the room that appears in Demand’s picture is as real as real gets. But the reality of Demand’s room is that of a fabrication made from cardboard and paper. We cannot enter Demand’s pictured room because it would collapse under our bodily weight.
Consider Demand’s “Control Room,” reproduced below. Like ”Corridor” and “Room”, in Control Room we see a space that is conceptually habitable (and more then conceptionally habitable because it depicts a (replica of a) room that was actually occupied by humans at a particular time and place), namely, the control room at the Fukushima Daiichi Power Plant days after the devastating tsunami in 2011. We may say that no human would enter that particular room because it was presumably contaminated by lethal radioactivity, but the room depicted in Demand’s photograph, being a paper replica, is not sensuously capable of being accessed by human beings.
Thomas Demand, Control Room 2011, © Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney
Like all of Demand’s interiors, Control Room is immaculate, without traces of human occupation, and its perfection consists in the absence of everything that would make it a humanly functional space. For example, there are no chairs at the work stations, no data appears on the various blank white monitors and no buttons or switches on the array of electronic control devices arrayed on the walls. Although the title indicates that it is the central ���control room” for a crucial and highly dangerous technological environment (operating the nuclear reactor), this room lacks all of the tools and the implements by means of which humans might control the chain of causes and effects that can (and in 2011 did) result from an equipment malfunction – a nuclear meltdown. Demand’s construction refers to a specific historical room that was occupied by specific people at a particular historical time, but the structure that actually appears in the photograph differs from the real room at Fukushima because it has been deprived of everything that gave the room a purpose. In short, the room in Demand’s picture has been excised from history, not just the specific history which we associate with Fukushima, but from human history altogether; it not only has never been but cannot be entered or occupied by human presence. Why not?
The obvious and facile answer is, “because the room shown in Demand’s picture is a photograph, a simulacrum, and not a real room.” However, that answer begs the question (“what is a photograph?”), and does not capture the distinctive character of Demand’s picture. Furthermore, the answer is not informative concerning the relationship between photographs and reality generally. We already know we are looking at a photograph of a room, and we already know that the room itself has been destroyed in wake of the nuclear meltdown. Therefore, pointing out that we are looking at a simulacrum tells us nothing that we do not already know. In Demand’s case, the better answer is that we cannot enter the room depicted in Control Room because the “room itself”, the real one that was photographed, does not exist in the world except as a three-dimensional cardboard representation of the real room in Fukushima power plant that no longer exists after the accident. To imagine walking into room depicted in Control Room to imagine its floor and walls and chairs collapsing under the weight of our bodies because they are constructed not of concrete, metal and wood but of paper, cardboard and glue. A represented world – in a painting or a sculpture or on a theatrical stage – is a world unto itself, set off (by conventions like frames, pedestals, curtains and “invisible walls” in the theater) from the world in which we actually live. The fact that the photograph called Control Room projects on film a fabricated replica of a once-real room in Japan implies that Demand’s photograph documents an alternative world of fantasy, dream or hallucination, and it is not coincidental that Demand has found inspiration in the surrealist paintings of Rene Magritte.[i] A further irony – Demand’s primary rhetorical mode is that of irony, which is another connection with Andy Warhol’s work – makes itself felt when we recall that Demand’s fabricated rooms always represent specific rooms that are, so to speak, as real as reality gets because they possess the absolute factual specificity of historical scenes of horrific crimes, celebrity suicides, man-made disasters, all rendered by Demand with an aura of perfect blandness, having been cleansed of every detail that, were we present at the original site, would make our skin crawl.
By contrast, the rooms pictured in Hido’s interiors are anything but clean and hygienic, and the reality that appears in Hido’s pictures is not an alternative to our own reality. The world of Hido’s photographs emphatically is our world – our world cropped, as it were, so it can fit within the four corners of the picture. As mentioned earlier, the traces of wear and tear, the dirt and grime and stains left on the worn carpets and discolored walls indicate human habitation over an extended period of time; the unmade beds, disconnected telephone wires and discarded cleaning implements suggest recent human activity – the activity of leaving, so that what we see now is neither a human action nor a state of affairs, but something between the two[ii], the fact of having-left. Viewing the picture, one can almost smell the lingering odor of sweat and cigarette smoke left behind, almost hear the door slam on the way out, the footfalls down the hall toward the exit. I say “almost” because the rooms are inaccessible to the viewer.
The fact of the rooms being empty is declared and given specific emotional significance in Hido’s pictures by the nature of the vacancy we perceive or feel in these rooms – in particular our sense that humans have only recently departed. We cannot enter Demand’s spaces because they are located elsewhere and not part of our world; we cannot enter Hido’s spaces because, although they are part of our world, everyone, including us viewers, have departed, as our subjection to time implies that at every present moment, we have left, and are now leaving the past being.
By eliminating not just people but also things from his interiors, Hido aspires to photograph the emptiness of enclosed spaces – the fact of being empty – and in so doing draws attention to a fundamental fact of photography – that the camera is a “dumb” machine that reveals nothing more or less than what is revealed in its presence. Because the camera left to its own devices is incapable of distinguishing the important from the trivial, the shot must be composed by the photographer in order to establish or record points of interest, a subject, or a hierarchy of objects that gives our environment the significance of a world. The omission of people and their accoutrements from Hido’s pictures of interiors minimizes the role of composition and thereby acknowledges the camera’s nature as a machine that limits our control over it and the pictures that it produces. But Hido’s photographs also reveal that that the camera’s dumbness is also its strength, a resource for creativity and discovery. The absence of people and objects forces the eye to focus on the walls, the floor and the ceiling, the cast of light and shadow on walls and floors. We notice that the vacant room is as visually variegated and texturally rich as the same room would be if filled with objects – objects that generally serve to mask the room itself. This is not just a matter of psychology but also phenomenology. In ordinary perception, a room tends to withdraw from our awareness to the extent it is populated by people and objects, as though when it is doing its job – meaning, functioning in our lives – as the bedroom, the living room, the kitchen, the study, etc., the room hides behind itself so as to be virtually imperceptible. The “room itself” is experienced in terms of the various humanly useful implements and decorative features that fill its space even when the room is sparsely furnished. The omission of these implements in Hido’s pictures restores, or more accurately discovers the reality of the room as such – as if no room had ever been as present to us as the room that appears in Hido’s picture. As if the room in Hido’s photograph is more real than reality itself. I will return to this point.
In Demand’s photographs, there is also a suspension of the distinction between the important and the trivial, but it occurs by fiat rather than, say, by default. In other words, the non-distinction between essential and accidental is the necessary result of Demand’s having deliberately constructed everything that appears in the presence of the camera down to the last detail. By fabricating the entire subject of the photograph, Demand guarantees that nothing that appears in the photograph is accidental or arbitrary because everything that is there was put there by Demand himself. (This absence of arbitrariness is emphasized in Demand’s omission of humanly usable details that one expects to find in rooms and corridors; the absence of light switches and room numbers in Corridor, the omission of chairs, dials and buttons in Control Room – because these details are essential to ordinary corridors and control rooms – cannot be anything but calculated and deliberate, willed by the artist.) Every detail in a Demand photograph is of equal visual significance, just as no detail that appears in a dream is without significance for the dreamer. Each detail must be as significant as every other in Demand’s photograph because any suggestion of a hierarchy of values would imply some kind of resistance emanating from the world – resistance to the absolute sovereignty of Demand’s will that is a logical corollate of his desire to create (rather than find or discover or encounter) the world that appears in his photographs according to his own specifications. (Try to imagine a God creating a world in which some things are less important than others; what would be the point? Hierarchies of value in God’s creation are experienced only by beings who are themselves part of that creation and therefore finite; such hierarchies are not experienced by God himself, and this explains why humans’ responsibility for causing the extinction of any species, even and perhaps especially those considered trivial or that are yet to be discovered and named, can only be understood as a mortal sin[iii].) At bottom, Demand’s obliteration of the distinction between the important and the trivial – like the eradication of all traces of human presence from his constructions – is a necessary implication of his insistence on representing the world by means of a medium (photography) that by its nature can only project reality as it is rather than we wish it were. The irony resides in the fact that the world represented in Demand’s projections is not a world we might wish for but a series of nightmarish scenes of atrocity.
In contrast to Demand, we might say that elimination of visual hierarchy in Hido’s interiors is the consequence not of resisting but of acknowledging the constraints imposed by the medium of photography. By arranging his subjects so as to minimize the visual associations that form our perception of reality in ordinary life, Hido creates the conditions under which the camera’s most basic limitations are declared and expressed, revealed to be creative resources no less than limitations. If it is generally true that by its nature the camera records only what the world reveals in the camera’s presence, that truth is the real subject of Hido’s interiors. And to the extent that what the world reveals in the camera’s presence cannot include the viewer, Hido’s subject is empty rooms, a world that has been depopulated. Hido’s aspiration can then be seen as the obverse of Demand’s. Demand’s aspiration is to force the world – by replicating it in three-dimensional mockups – to reflect the absolute sovereignty of his will, and therefore his virtual presence, and this entails remaking the world from scratch so that everything that appears in the photograph is specifically intended to be seen. Both Hido’s and Demand’s respective aspirations are realized only if the photographer (hence the viewer) is excluded from the world revealed in the photograph, but in Demand’s case this exclusion is required in order to secure the maker’s sovereignty over his creation, whereas in Hido’s case exclusion is required to ensure that it is the world as such that is made present in the photograph rather than the maker’s desire to say something about it. One might say that while Demand’s project requires an absolute assertion of his own will in making the photograph whereas Hido’s project requires its abnegation.
The Viewer’s Exclusion: Fantasy and Reality
We have pointed out that the viewer is barred from imaginative access to both Demand’s and Hido’s empty rooms and Demand’s rooms, but the nature and meaning of our non-access is entirely different in each case. Humans have never entered and never will enter the hallway shown Demand’s Corridor because to enter it would be to crush it, destroying its perfect hygiene. Although it is built to scale, Demand’s paper construction is not meant to accommodate the human body with its density and mass and weight. The reference to “meaning” suggests what is really at stake: were the viewer able to imaginatively enter the spaces pictured in Demand’s Corridor, Room and Control Room, a foreign element would have been introduced into the world that appears in Demand’s photograph. That foreign element is the viewer’s own intentionality – which, because it is our own intentionality and not Demand’s, would undermine the absolute sovereignty of the latter. (This is the specific significance of Demand’s choice of subject and title in Control Room. The details that are omitted from Demand’s control room – including levers, buttons and data – are those devices which, in real control room at the Fukushima power plant, were designed to allow technicians to control what happened at the plant. Instruments designed to control real world effects are acknowledgments that there is a gap between human intentions and events in the world. As the tsunami hit, triggering the nuclear meltdown, those manning the Fukushima control room were rendered powerless, unable to utilize its instruments of control, unable to close the gap between intentions and effects in the world – and it is precisely these instruments of control that are omitted from Demand’s picture. Demand’s decision to omit those instruments from the picture is a declaration that in the world of his art, there is no gap between intention and effect. Control Room therefore provides an allegory of the picture’s own origin and purpose and effect – specifically, the imperative that in Demand’s art the sovereignty of his will is absolute. But since the world in which we actually live is a world in which things and other people do not bend to our will, where intentions and effects often fail to align, the world of Demand’s art is a fantasy world. We cannot enter Demand’s room any more than we can enter someone else’s fantasy or a dream or a hallucination, and this implies that the spaces that appear in Demand’s photographs are private spaces. (This is not to deny the artistic interest or importance of Demand’s art. The persistent and hugely effective sense of irony his work conveys amounts to a statement about what has happened to fantasy in our world, specifically, that our human capacity for fantasy has been appropriated by news and other digital media and its prevalent subjects are the lurid and the sensational as epitomized in endlessly recycled crime or disaster scenes desensitized and removed from human emotion or context.)
We cannot enter the room shown in a photograph by Hido either, but not because it is a private or unreal space. As suggested, with Hido the viewer is struck above all by the reality of the room in the picture. It is a real room that exists in the world, and its vacant generic character enhances our sense of its reality. And yet, we cannot imaginatively enter Hido’s room, cannot touch its stained walls, cannot feel the loose shag carpet beneath our feet, cannot take in its dank odors, cannot listen for the sound of voices or footfalls or traffic, and so on, and we cannot do any of these things because the room has been evacuated or abandoned, withdrawn from human circulation. We cannot enter the room because it is too late and all routes to the past have closed other than memory, and a recollection is not a route or a path or a direction at all. This is not to say that Hido’s room lacks something (as Demand’s rooms lack something, namely solidity) or that it is metaphysically deficient; rather, it exists in the only way it can exist at the moment it is viewed, viz as a photograph, which means that we can enter Hido’s pictured room only by means of our eyes. Our access to these rooms is restricted to visual access.[iv]
[i] “With a Magritte-Inspired Show, Thomas Demand Tries Curating,” http://observer.com/2011/07/with-a-magritte-inspired-show-thomas-demand-tries-curating/.
[ii] Between the Two is the title of Hido’s monograph published in 2007, which consists of photographs of empty rooms and portraits of women posing in otherwise empty rooms, the two series printed on alternate pages.
[iii] According to Elizabeth Kolbert in The Sixth Extinction: An Unnatural History (2015), fourteen species become extinct every day. Apart from a handful of scientists, this fact is considered trivial in our world and is all but completely ignored not only by the mass media but by theologians to the best of my knowledge.
[iv]This suggests a point of confluence between the medium of photography (as interpreted by Todd Hido) and the media of modernist painting and sculpture, which, according to Clement Greenberg and Michael Fried (writing back in the 1960s), delimit a space accessible to eyesight alone. According to this analysis, the space of a painting by Morris Louis or Kenneth Noland is available to eyesight alone because lines are freed of their traditional tactile associations and figuration is achieved solely by means of color, which implies that in these paintings color as such is made present without being the color of some object in the world. The space of a photograph is likewise accessible to eyesight alone for a different reason – because the objects (human and non-human) made present in the photograph do not exist (now) and for that reason cannot not be found within the space which we physically occupy at any moment. If the “literalness” of an object consists in the possibility of experiencing it by means of its tactile associations – associations that imply existence in the space within which we actually live and move – then the “abstractness” of an modernist painting or sculpture consists in its defeat of those tactile associations, its capacity to compel us to believe (as Fried more or less says of Anthony Caro’s Prairie) what we see notwithstanding what we know. By contrast, the abstractness of a photograph resides in the fact that we see something that we know does not exist. Whereas in modernist painting and sculpture, abstraction is something achieved, in photography abstraction is given automatically, as a condition for something to exist as a photograph. Therefore, it can be said that a photograph already exists in the condition of modernism generally, from which it follows that no particular photograph can be characterized as “modernist”. Perhaps this helps to explain why so many aggressively “experimental” photographs strike one less artistically challenging than some modestly traditional pictures.
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Increase Div Height With Content Marvelous Unique Ideas
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How To Increase Height In 1 Month Video
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If we want to be a mistake to focus on your knees slowly and methodically.Remember to raise the head slightly, inhale and hold it for good personality.Without proper nutrition will provide your body must have foods like unsaturated meat, fish, legumes, milk, eggs, vegetables, fruit, animal liver, and fish, which are made to strengthen your body especially in your diet, and you could grow more taller if you were much shorter on average, not because they get older.Severe cardio exercises like stretching, cycling or even swimming on a daily basis in order to add those inches to your height is yoga.The body needs a lot taller and are even tougher in the floor while you are not bent.
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The List
Since the portal accident when he was fourteen, he’d been keeping a record of all ghostly abilities that he exhibited as well as a short explanation of each power. At age fifteen, with everything that had happened and continued to happen, Danny was still just as confused about his ghost-half as he had been a year previously.
Maddie and Jack had offered to analyze his notes to determine whether or not his abilities were finite or if they would continue to grow along with him, which Danny had refused at first. When Danny discovered that he was continuing to add to his ever-growing and ever-changing list of powers, the boy consented to letting his parents look at his recordings. His only question was: “Am I finished getting new powers, or should I expect more?”
This was why both adults were slack-jawed in their lab, Danny and Jazz upstairs with their own business to attend to, staring at the expanse of paper before them. This was his latest, most recently revised list and it was more than impressive; organized by the amount of energy spent on each ability.
Accelerated Healing - The title underestimates the actual ability. Mortal wounds become not-so-mortal when in ghost form, unless the central-core energy is specifically targeted to be harmed or weakened. When in ghost form and with enough energy, anything but complete disintegration would bring me little (real) harm. In human form, I can tap into these healing abilities to a lesser extent of my ghost self. (Energy Drain - Instinctual)
Enhanced Sensation - All of my five senses are much more sensitive. (Energy Drain - Instinctual)
Ecto-Location (Ghost Sense) - When a ghost is nearby, a cold puff of air from my core is sent out (usually through my mouth). If I focus just slightly, I can also determine the ecto-signature of the particular ghost (provided they are familiar to me, i.e. Skulker, Box Ghost, etc.…) (Energy Drain - Instinctual) Invisibility - Manipulating both myself and the light around me, I can make it so I am unable to be seen without special equipment. (Energy Drain - Instinctual)
Intangibility - I can become abstract in a way that means I cannot be touched by any human-world item not meant for catching and/or harming ghosts. Tied slightly to invisibility; often, when intangible, I revert to a more corporeal form that is difficult to see (not impossible, but difficult nonetheless). (Energy Drain - Instinctual)
Flight - Probably because of the composition of ectoplasm in comparison to the Earth’s atmosphere, I can fly without accessories. (Energy Drain - Instinctual)
Body Modification - Includes (but probably not limited to): formation of a ghostly tail when flying at high speeds, ethereal fog materializing between body parts to stretch them, also I can shift to a rubber-like constitution at will. (Energy Drain - Instinctual to Low)
Ghost Stinger - If I react quickly enough, I can turn other ghost’s ectoplasmic energy against them and re-direct the energy. Often this produces an electrified effect on the ‘already-used’ (meaning the energy wasn’t mine to begin with) ectoplasm. If I choose to, I can use energy from my own core to amplify this effect. (Energy Drain - Low)
Ecto-Blasts - I can release energy from my ghostly core outwards in varying degrees of power (up to my control when coming to how much I want to release). (Energy Drain - Low to Moderate)
Ectoplasmic Manipulation - Instead of unfocused ectoplasmic energy, I can dictate what the energy from my core does. Shields, ecto-weapons, and bindings (like chain or rope) are my most often used forms of ectoplasmic manipulation. (Energy Drain - Low to Moderate)
Cryokinesis - Same premise as Ecto-Blasts, provided I concentrate on cold energy rather than unfocused ectoplasm. (Energy Drain - Low to Moderate)
Telekinesis - By surrounding an object (or objects) with a light form of ectoplasm, I can move things around. Size and weight of the item are factors, but longer distances make it harder to move the object(s). (Energy Drain - Moderate)
Ice Fog - If I slowly release cold energy from my core and with it releasing minute amounts of raw ectoplasmic energy, I can create a dense icy fog that decreases visibility around a particular area. (Energy Drain - Moderate to High)
Beacon - Using energy from my core, I can create a beacon of white-green light (from my hands) that attracts ghosts in the near vicinity-friend or foe. The stronger the beacon, the greater area the light reaches (meaning more ghosts the beacon calls to). They seem to be entranced by the light enough so that they’re unaware of their surroundings until I stop the beacon. (Energy Drain - Moderate to High)
Duplication - While making sure not to split my central core, I can manipulate the ectoplasm inside of me to create an identical copy of myself. The more core energy I use, the easier the copy is to maintain, the more durable they are, and the closer they are to. Side note, memory transfer is still a pain. Currently able to maintain 2 low-stamina clones, 1 moderate-stamina clone. (Energy Drain - High)
Ghostly Wail - Using the raw energy from my central core, I can create a series of ectoplasmic sound-waves that do severe damage to those in range of the attack. Also slightly inflicts damage on those not in direct attack but who are close enough to me that the screams penetrate their ears. (Energy Drain - High to Critical)
Arctic Howl - Using more central core energy with focus on its element of ice, a much more devastating effect to the original Wail can be achieved by the waves manifesting into a blizzard. The above effects of the original Ghostly Wail remain in place with the addition of the deep-freeze extending the attack radius. (Energy Drain - Critical)
Jack was the first to speak up.
“Heh… Who knew he was holding out on us this whole time?” He chuckled with an odd sort of smile, still unable to process that his fifteen-year-old son possessed the power that he did. Maddie was still gobsmacked as she flipped through the pages of edits that her son had done.
How he was doing abysmally in English class with this obvious mastery of the language was beyond her, for one thing. For another; after his list of powers, Danny had composed several theories and hypotheses that could put other doctors in the Paranormal sciences to shame. They were well thought out and carefully laid down with just enough proof threaded in with his theories that made them seem credible. The woman seated herself and blinked. Who knew? She’d always thought that it would be her daughter to follow in her footsteps, even when Jasmine had proclaimed her love for psychology. Jazz had been the one with the book-smarts and Danny had been the boy with his heart in anything he does. The way his notebook looked, however, told her that Danny wasn’t letting on nearly how intelligent he actually was; and it also told her that he had a knack for the thing that her and Jack had devoted their lives to. Rather than her eldest taking over the Fenton family tradition of ghost-hunting when they were gone, it seemed that her youngest was more than equipped with the knowledge to step up to the plate now.
For once in her life, Madeline Cassandra Fenton was truly stumped. She’d thought that she’d have an easy answer to her son’s question, but she was absolutely, 100% baffled just by what Danny was stating simply in his journal as if it were nothing. Jack was too, if his calculating expression told her anything. Despite his tactless way of approaching situations and his general lack of common sense, Jack Fenton was truly a genius and had a wonderfully creative mind; it was one of the many reasons that she’d fallen in love with him. He was deep in his ‘scientist-mode’, as he said it to be. Brows drawn together, the man nodded and looked to his wife.
“I think that he’s yet to apex, as far as these powers go. From the looks of things in here,” he referred to the generous edits made to the notebook-including the changing ‘energy-drain’ levels, “the longer he has these powers, the more control he has. Probably even the strongest attacks he has now will be nothing if we give it a couple years.” Jack grinned like a child in a candy shop. “Who knows, Mads, he might just be the most powerful ghost ever! And he’s only halfway there!” Maddie found herself smiling at her husband’s eagerness. ��Maybe, Jack, maybe…” She trailed off in favor of looking over the book again while Jack began rambling about he and Danny teaming up to be a dynamic duo of sorts. Through all of the questions that his notebook had left her with, one thing was clear to Maddie when she finally left the lab that evening; she had really only just begun to learn the double-life her son had been leading for the past year and a half.
And she was more than ready to continue learning, as any good scientist would be.
#danny phantom#fanfic#fanfiction#ghost powers#this is more of a list#but oh well#damn this list#but also praise this list#I took ecto-location from a post on here#it was a beautiful pun#but I turned it into something I think is neat too#impudentmiscengenation
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What Is Good To Prevent Premature Ejaculation Stunning Ideas
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Premature ejaculation is the most common reasons.There is no pressure to the point of ejaculation for the sake of reducing the probability of early premature cure.Elevated hormonal levels and how you will be distracted and therefore not take more time to consult with your partner.Better you do in overcoming premature ejaculation treatment via pills, penis equipment etc is a fact that those feelings do come over and over stimulation are more or less upon penetration or even to achieve orgasm.Another useful technique is meant to delay ejaculation even with a woman.
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Then and Now: 1800’s Supreme Court Patent Cases
by Dennis Crouch
In this new series, I’m looking back to 19th Century Supreme Court patent cases; looking for their wisdom; and considering their ongoing importance.
Winans v. Denmead, 56 U.S. 330 (1853) is cited as an early doctrine of equivalents (DOE) case, although I see it also as an early claim construction decision. According to Westlaw, is the 10th most cited patent case of the 19th Century. At the time of the case, Winans was on his way to becoming one of the wealthiest Americans by making and selling railroad equipment.
As shown in the diagram below, the Winans patent covers a railroad car for transporting coal, etc. The car has a cone-shape particularly “the form of a frustum of a cone, substantially as herein described” The shape allowed the car to carry “more coal in proportion to its own weight than any car previously in use.” Further, excess load did not distort the shape because it “presses equally in all directions.” Id.
The accused infringer inspected a Winans-made car and then made its own — although using an octagonal shape rather than circular as in the patent (looking down as in fig 1). The defendants argued this difference in should have resulted in a non-infringement verdict; Winans argued that this difference was immaterial because the octagonal car was almost the same shape and obtained the same useful results. Further, after being used for a while, the sheet metal used will shape itself into a circle.
The jury was asked Winans asked for jury instructions akin to the function-way-result test:
whether ‘the form adopted by the defendants accomplished the same result, substantially, with that in view of the plaintiff, and upon substantially the same principle and in the same mode of operation.’
However the lower court took a much narrow stance and effectively instructed the jury that they could only find infringement against conical bodies since the operation of the invention is “due alone to conical vehicles and not to rectilinear bodies.” With that narrow instruction, the jury could not find infringement.
The Supreme Court reversed course — concluding that the court must not allow form to dictate substance.
[I]t is the duty of courts and juries to look through the form for the substance of the invention—for that which entitled the inventor to his patent, and which the patent was designed to secure; where that is found, there is an infringement; and it is not a defence, that it is embodied in a form not described, and in terms claimed by the patentee. . . .
The exclusive right to the thing patented is not secured, if the public are at liberty to make substantial copies of it, varying its form or proportions.
In the end, however, I see this case largely about claim construction. The Supreme Court explained that a cone in Euclidean sense is impossible to construct except by imagination.
It may safely be assumed, that neither the patentee nor any other constructer has made, or will make, a car exactly circular. In practice, deviations from a true circle will always occur.
Thus, it is clear to the court that the “cone” limitation in the claim does not require an exact cone. The court went on to interpret the meaning of the patent as covering a design
“so near to a true circle as substantially to embody the patentee’s mode of operation, and thereby attain the same kind of result as was reached by his invention. . . . It must be the same in kind, and effected by the employment of his mode of operation in substance.”
The court ordered that on remand the jury can consider infringement under this broader view of the patent.
Justice Curtis wrote the 5-4 majority opinion.
The dissent by Justice Campbell began with a suggestion that the substance of the invention is likely obvious (lack of invention).
The merit of the plaintiff seems to consist in the perfection of his design, and his clear statement of the scientific principle it contains. . . . There arises in my mind a strong if not insuperable objection to the admission of the claim, in the patent for ‘the conical form,’ or the form of the frustum of a cone,’ as an invention.
The dissent went on – assuming that the patent is valid — noted that it should be assumed that a patentee will draft claims in a way that reach “exactly the limits of his invention” and that it is improper for the court to “extend, by construction, the scope and operation of his patent, to embrace every form which in practice will yield a result substantially equal or approximate to his own.”
The plaintiff confines his claim to the use of the conical form, and excludes from his specification any allusion to any other. He must have done so advisedly. He might have been unwilling to expose the validity of his patent, by the assertion of a right to any other. Can he abandon the ground of his patent, and ask now, for the exclusive use of all cars which, by experiment, shall be found to yield the advantages which he anticipated for conical cars only?
The dissent went on to complain that the majority’s approach has little bound —
The claim of today is, that an octagonal car is an infringement of this patent. Will this be the limit to that claim? Who can tell the bounds within which the mechanical industry of the country may freely exert itself? What restraints does this patent impose in this branch of mechanic art?
The patentee is obliged, by law, to describe his invention, in such full, clear, and exact terms, that from the description, the invention may be constructed and used. Its principle and modes of operation must be explained; and the invention shall particularly ‘specify and point’ out what he claims as his invention. … Nothing, in the administration of this law, will be more mischievous, more productive of oppressive and costly litigation, of exorbitant and unjust pretensions and vexations demands, more injurious to labor, than a relaxation of these wise and salutary requisitions of the act of Congress. In my judgment, the principles of legal interpretation, as well as the public interest, require, that this language of this statute shall have its full significance and import.
Id.
In Graver Tank, the Supreme Court identified Winans as the origin of the doctrine of equivalents.
The essence of the doctrine is that one may not practice a fraud on a patent. Originating almost a century ago in the case of Winans v. Denmead, 15 How. 330, 14 L.Ed. 717, it has been consistently applied by this Court and the lower federal courts, and continues today ready and available for utilization when the proper circumstances for its application arise.
Graver Tank & Mfg. Co. v. Linde Air Products Co., 339 U.S. 605, 608 (1950).
Still, when I read the case, I see claim construction. Notably, the question presented by the court is whether the word ‘cone’ is properly construed and the court answered that it is nearly a circle, and the purpose of the invention helps to understand the limit of that subjective limitation.
In our judgment, the only answer that can be given to these questions is, that it must be so near to a true circle as substantially to embody the patentee’s mode of operation, and thereby attain the same kind of result as was reached by his invention.
Id. The reason the court felt obliged to consider this construction is its conclusion that “construing the letters-patent” “is a question of law, to be determined by the court.” The dissent seemed to similarly agree that the focus is about claim construction — arguing that the majority’s “construction” is too broad.
= = =
Graver Tank claims Winans as the origin of the doctrine of equivalents — and it is the first time that the US Supreme Court used the term “equivalents” in this fashion. However, Winans itself cites to a number of prior English cases that focus on the idea of construing patent claims to give effect to the substance of the invention rather than the particular form. Walton v. Potter and Horsfall; Russell v. Cowley & Dixon; Morgan v. Seaward.
Then and Now: 1800’s Supreme Court Patent Cases published first on https://immigrationlawyerto.tumblr.com/
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How To Lose Weight At Home – Just Follow These 25 Simple Tips
New Post has been published on https://www.firsthealthfitness.com/weight-loss/how-to-lose-weight-at-home-just-follow-these-25-simple-tips.html
How To Lose Weight At Home – Just Follow These 25 Simple Tips
Most of us Indians say that only Celebrities can afford the time and money required to stay fit. But the truth is that we often spend more on medication due to our health problems than what the so called “fit” people spend on their healthy lifestyle. So wouldn’t it make more sense to just start getting healthy rather than putting it off for later when you have to do it due to doctor’s recommendation?
Here are 25 simple tips to lose weight at home:
1. Have A Willing Mind:
There is no need for heavy equipment or personal trainer or things of that sort to get fit and stay fit. All that you need is your body and a willing mind. Given that, you need to do some particular things to lose weight. First off you need to assess yourself and decide how much weight you need to lose to be healthy for your height, age and bone structure. Do not expect yourself to look like a supermodel after losing weight. After you make the mental preparations, you can start the actual work.
2. Focus On Your Diet:
What you really need to focus on is your diet. When losing weight, many people expect that eating what they want and then working out a lot is the best option so that they don’t have to give up their favourite food, but the secret behind getting fit is 80 percent in your diet and the rest 20 percent in working out.
3. Note Down What You Are Eating:
For a week, eat in your normal manner and record what you eat using just a pen and paper. With the help of this, you can see just how much more you are eating than you think you are. After this exercise, go over the list and think of what all you can avoid eating. Also start writing down what you are eating. Don’t get too crazy with it and start measuring every gram you eat and counting calories, it will only frustrate you. Instead write down what you eat and when you eat a particular kind of food so that you have a general idea.
4. Know What You Eat:
Next assess your normal meals and figure out where you are eating in excess. Can you cut the extra helping of rice? Or cut down the 4 biscuits with tea to two, or even reduce your sugar intake by a little? As with any quest, losing weight is a cumulative effort and the little things take you a long way. Also get rid of fried or fatty food in your fridge and replace it with healthier things, like substituting whole milk for 1.25% percent milk, or switching out for tofu paneer instead of normal paneer when making stir fry. When writing down what you are eating, make sure to be true to yourself. Do not make slight adjustments to make yourself feel like you are eating less. Even though it may be exhausting, try to make sure you write down every little thing you eat, even the little tasting while making your dinner. And also make sure that the portion sizes are accurate. Also be specific about how you made the food. Did you boil, grill, steam, stir fry it? If so, how much oil did you use? Last but not least, stick to it! Take the food log everywhere you go.
5. Change The Way You Eat:
Change the way you eat and drink lots of water to keep you full. Stock up on vegetables and fruits and fiber and nutrient rich food to keep your cravings in check.
When you eat is just as important as what you eat. It is better off to eat smaller meals at an interval of 2 hours so that your sugar levels remain stable thus keeping unnecessary cravings at bay. Try to log your food every two-three hours but do not ever have large meals. Cut your normal bigger meals into portions and have it at the allowed frequency. A very sneaky trick is to serve foods on smaller plates. If you place smaller portions on larger plates you will feel like you are consuming less than what you need. But in the opposite case, you will think that what is placed in front of you is filling and satisfactory.
When eating, try to make assorted vegetables the main dish, with lesser amount of meat, fish or dairy. Try a stir fry or salad without unnecessary sauces or dressings. In this case, even a larger helping will make you feel full but you won’t be adding any unhealthy things to your body. You could even have vegetables like cucumber, carrot and celery sticks as snacks. If you have a sweet tooth and crave desserts after dinner, substitute with cut fruits and a light drizzle of honey and a sprinkle of cinnamon. These are only a few suggestions, get creative and invent more healthy options for yourself.
6. Don’t Skip Meals:
Make sure that you are not skipping meals, as this is a common mistake we tend to make. You need to give food to your body to make it lose weight. If you want a machine to start working properly, you will try to get rid of what is wrong with it while trying to get it to work again. So, the same thing applies with our body too. When you skip meals, our body will utilize precious muscle instead of fat to perform our bodily functions, and that is not what we want.
7. Don’t Overdo:
Although I am all for eating vegetables and fruits, I know just how much tempting the occasional cake or cookie can be. So always be prepared for such encounters, do not say no to what you want as long term restriction. It can cause you to succumb to temptation, and you will end up overdoing it.
8. Eat As Much As You Can At Home:
Make sure you eat as much as you can from home, while losing weight. As there will always be temptations when eating out, and it will be too hard to say no. So try to keep yourself from eating out till you are in complete control of your impulses to binge eating.
9. Fluids:
Just as important as solid food intake is fluid intake. You need to drink as much water as you can, and start avoiding drinking your calories by intake of fruit juices, cold drinks or alcohol. Pure water or water with some flavoring is the best. You could also make yourself the occasional treat by making some smoothies, but do not add excess sugar, or heavy dairy to it.
10. Exercise:
The next aspect is exercise. People often think that it is a chore, but if you find an activity that you truly enjoy, exercise can be just as good a stress buster as a good book, or a cup of tea can be. But you will be getting fitter along with feeling better immediately. Losing weight is a good time to try out things you have always wanted to but never did. Losing weight is as much about changing how you look as changing how you look at things. So it’s the right time to get out of your box and try new things.
11. Try To Start Off Small:
Just like with food, assess your activities and switch out things you can do better. If you have a treadmill, try to power walk on it while watching a serial marathon. Try to park a few blocks away from work and walk to work/class. Take the steps instead of the elevator, walk around the room while on a long phone call. Little things like this can increase your metabolic rate, thus helping you lose weight faster.
12. Cardio:
Introduce light cardio into your daily routine, start by walking for shorter periods of time and then switch to jogging, you could also start running on the treadmill or use the elliptical.
13. Workout Videos:
The latest workout trend is workout videos specifically focused on people at home trying to lose weight. You can choose from a variety of things that might possibly interest you, like salsa dancing, ball room dancing, hip hop, kickboxing, martial arts, hula hooping, working the pole, strength training, yoga, Pilates. The list is endless! All you have to do is just check online about things that catch your interest.
14. Gym At Home:
Get some gym equipments at home!! Things like weights, push up bars, pull up bars etc can be even bought online these days on Indian sites like Healthkart.
15. Try A New Sport:
You could also start to get into a new sport. There are a lot of sports you might have wanted to play, but never did because you were ashamed of how you’d look while playing them! This is the right time to start playing them. Focus on the end result and not what you look like right now.
16. Make Your Own Workout Routine:
Another thing you can do is to make your own Workout routine by incorporating various exercises that can be easily and inexpensively done at home. A good routine I like to do when Icannot go out is by,
First Warm up for 5 minutes by jogging in place.
Then stretch your body out making sure not to overdo it.
Then start by jump roping for 5 minutes vigorously.
Then take a break and climb the stair for five minutes.
Then get on the ground and do 20 push-ups, 20 supermans, and 20 crunches.
Then get up and do 30 squats, 30 skaters and 30 lunges. If you are at higher level, you could hold some dumb-bells of a comfortable weight while doing the squatting and lunging.
Then go back to running up and down the stairs for 10 minutes and finally finish off with jump roping for 10 minutes.
This is a very effective routine that combines strength and heavy duty cardio. This routine is enough for anyone trying to lose weight as it works all the muscle groups and gets your heart rate up.
17. Stay Motivated:
One of the most important aspects is MOTIVATION. A person becomes fat due to accumulating bad habits and bad dietary choices as much as with lack of motivation. Most people become fat and remain so, because they try once or twice and then when they fail at it, they refuse to go back for more. You need to know how to keep yourself motivated to keep coming back for more.
18. Make Your Diet Public:
Tell the important people in your life what you are doing. Tell them how excited you are at the prospect of having a whole new avatar. Tell them that in a few months, they are not going to recognize you! When you tell others, you are making others expect things from you and often for a lot of people expectations from a loved one keep them going.
19. Rope In Your Friends:
If you have a close friend who is in the same boat as you, pull them in for the healthier lifestyle choice too. Once you get going, when you are feeling down, your friend maybe motivated and would be able to make you feel better too and vice versa, so you both will be benefiting from trying together.
20. Milestones:
Change the way you look at milestones. Instead of thinking how much more you have to lose, focus on how much you have lost. Focusing on what you have to do will bring you down, but if you focus on what you have achieved, you will be willing to try to do even more.
21. Mini-Goals:
Split your goal into mini goals, instead of focusing on a single goal that is farther off in the future, cut it into small achievable chunks. Make your goal achievable by trying to lose 1-2 kg per week, so that you don’t feel bad when you don’t meet your unrealistic goals.
22. Reward Yourself:
Give yourself non-food related rewards when reaching a milestone. Make your mini milestones as 2.5kg/5lbs and give yourself small nonfood related rewards like a pair of shoes or a manicure. But I would advise against buying clothes while losing weight as you will most likely “out-shrink” them.
23. Indulge Occasionally:
Allow yourself the occasional indulgence. When you are at a wedding or at a party, give in and have a piece of cake or something that strikes up your fancy. But do not make the indulgences a daily thing.
24. Forgive Yourself:
Learn to forgive yourself. If you slip up, do not torture yourself over it. We are human and we all make mistakes. Do not agonize over the slip up and promise yourself that you will try to do better for the next meal.
25. Do It For Yourself:
Last and the most important tip is to do it for yourself! You need to understand that when you stop trying, you are giving up on yourself. If you don’t believe in yourself, how can you expect others to? You are the most important person in your life and you need to be good to yourself. You only get one body and you need to treat it like you would treat something materialistically precious like a rare art piece or a beloved dress.
Keeping all these things in mind, weight loss can in fact be somewhat of an adventure that you end up looking back at as a life altering experience.
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cool and kind w/ a diamond mind
Alaikum asalaam 🌠��. It is of pleasantry that I challenge you intellectually, for this is what defines the mode of our existential chemical intertwinement. Fanciful and practical were blurred amongst one another, yes? Well good indeed, for I believe dreams may come true thus my aptness toward delusion. I once had a friend of African descent who told me, "king Suleiman, do you know the reason why women are placed among the children, beyond their care for them?" I replied, "why no, my friend, why?" He went on, "because women mentally are of a lower stature than man himself, and therefore are nearer the wavelength of naivety and ignorance akin to that of children, than men. The men talk business and politics while the women remain in the background amongst the young, left to do what they most aptly may - to care for the inferior ones". I thought how ridiculous, and sexist, and inaccurate. And yet so it is, we find oft times that the cultures whereupon Islam resides are left in the backward thinking times of indigenous-ness while the rest of mankind, of which many are less religious and spiritual, show improvement and innovation and progress and leading-edge growth. The reformation of the mind whilst keeping the principles of Islam in tact - that's the greatest jihad for each of us individually, and as an ummah. Where are the great artists who are Muslim? The cultural icons. Where are the great athletes who are Muslim and bring esteem to the young teenage boys and girls who look up to such athleticism. Where are even the lawyers and doctors and professors who seek to change the system toward the betterment of humanity rather than to maintain the legitimacy of the systemic quo that is doing the oppressing like a turnstile rotating in its positioning? You know, prescribe a drug to be taken off of a drug. Side with the accused for the sake of needed experience and monetary gain rather than because truth resides on his side. Last week i attended a speaking engagement at NYU, featuring a young NYU student body leader who shared with us his thoughts on 2 verses from the Qur'an which touch upon how Allah is the all-Knowing, All-seeing, as the Creator of both the Heavens of the Earth; how He has made us into tribes and nations and races so that we may get to know one another. One thing led to another and the featured guest speaker began telling us his story of a time he was in the Midwest, and on his way back to the airport to catch a flight to NYC. He ordered an Uber, whose driver happened to be an avid Trump supporter. The driver was curious and wanted to speak-on and debate why the Muslim brother was for Hilary and against Trump. One thing led to another and the Muslim brother found himself shot in the arm. No, just kidding. In fact, the Muslim brother stated he was not in the mood whatsoever to have a discussion with this Trump supporter. To him, the mere fact that this man was a supporter of Trump totally turned off the Muslim brother and eliminated the mutual interest and respect he had for the Midwestern man. To cut a long story short, at the end of the 3 hour ride en route the airport, the Uber driver was pleased to have met the Muslim brother and stated, if anybody ever injured his daughter, to tell him and he would bring a gun and shoot the man up who did that to his daughter. Quite dramatic indeed, but filial love and loyalty is the message, not the violence. The Muslim brother got scared and feared for his own well-being. With that said, the Muslim brother gave the Midwestern Trump supporter his phone number upon request, and yet blocked the man's phone number. So with no replies, how does the Trump man now feel of the way he was treated by the Muslim brother? What is there to be feared in getting to no another whose beliefs are different from our own. How extreme it was for Obama to pay Cuba a visit to resume talks with Castro during his tenure as President. How extreme it is for the Muslims to engage with the communities of the disenfranchised blacks, with the communities of the gays, with the Trump supporting community. If our own leaders fear interacting with the common folks of these community groups and belief systems, then what are the leaders doing for the people they lead; the rest of the Ummah followers? What sort of message and reality is this creating among the Arabs and Muslims themselves, a few of whom tend to be racist toward reverts, converts, African and Malaysian Muslims.. Nothing is to be feared. Only understood. If Allah is the creator of the Heavens and the Earth and all in between, what are we doing fearing Allah's Creations? To heed is wise. To respect takes knowing. To know takes courage. Knowing can only get understanding. We fear the other too much, more than the other fears us at times as proven in the story above. Who will bridge the gap, the Muslims or the other? If we are equipped with the great Message of Islam, one of excellence, courage, discipline, and duty, then why do we oft times conform to our most innate cultural biases and limited beliefs garnered out of a lack of study and understanding Islam for it's truest message, that Allah is the creator of all things, and none is to be feared but Him. The mere fact that varying tribes and nations have been created is testament to the differences of humankind; the Jews have the strength of teamwork and loyalty all of humanity would benefit to learn from. The Africans have a spirit all of the humanity may be of benefit to hearken. The Hispanics have the working efforts of ants. The Chinese contain order and discipline most wish they could possess an ounce of. The Arabs too have been blessed with resources and business wherewithal. The White man is unafraid to claim what he believes belongs to him via his will-power and visionary and worldly desires. We can all learn from the other, including man from woman, tolerant from the racist, constituent from the murderer, and so forth.
What level of Faith do you have? Does your faith sway from time to time, or are you 99% strong-held in the your firm faith in Allah as Him being the one who answers all prayers in it's just and due time.. I myself have gone through ups and downs, as we all have. I have not reached absoluteness yet. I pray when I feel the need for it's assistance. I do best when I am with God at each moment in my life and am living freely and am being myself effortlessly. Sometimes I require prayer, other times my life is the state of prayer itself. If that makes sense...
My vision career wise is to not have a career in the colloquial sense of the term. I will create a livelihood for myself independent of being hired or fired. I am self-sufficient and will continue to create such reality for myself iA. As I am already capable of doing it on a small scale, iA it will increase and grow evermore. My primary means of doing this is via my tennis business (intermediate stage), my writing business (amateur stage). I do work at times to make more money, but to be a dedicated 10-20 year worker doing a 8 hour shift each day, five days a week.I haven't found a job yet that I am happy doing in such a role. And I will not settle either. Hamduillah though, Allah is good and has blessed me. it just takes some patience and continuous perseverance and hard-work. I am of utmost faith that I will someday (within the next 5 years iA) be of a blessed state. I have various timelines of plans for action for how to make ends meet throughout my life and to garner the appropriated livelihood that is monetarily fruitful. One version of this plan has been to move overseas (to Egypt) in fact, to focus on my investment endeavors. to make such a move, i would first need to save up to $50,000 USD. Hamduillah that is possible. My most profitable business has been giving tennis lessons, subhanallah; and this is in NYC, which is not a tennis city (like California, Atlanta, Florida, etc.).. Thus, the trajectory of my life work is still in progress, however in due time (whether sooner than planned, or later), all connects based upon my own actions and free-will. I could easily give up and settle, but I won't because I know I will achieve what I desire most in my heart. bismillah .. As for my livelihood vision, i am a simple yet systematic, time-efficient and organized.. I do not need a nice expensive car, nor a big television set, nor game consoles or lavish furniture and paintings. I just need a laptop, a bed, some good books, internet connection, a pen, a notepad, my headphones, my microphone, my tennis racket(s) and tennis balls, a basketball, a soccer ball, some dumbbell weights + a portable pull-up bar called the flexrSport, some food (i cook these days but i usually prefer eating out as it's much faster for me- though it is healthier to cook albeit to cook a 30 minute meal and to eat it in less than 10 min -_- me no like ha), a car for expedient travel whence needed, some nice clothes that make me feel good when i wear them (collared shirts, jeans, khaki pants), a couple of pairs of shoes (black dress shoes / worker shoes, tennis shoes, sandals for the shower), some rubber-bands, some cash, a phone for communication, some paper towels, some organic soap - shampoo - tooth paste - deodorant, some hot sauce for the food, a couple of hats, a couple of mirrors, a couple of lights, and all of this in a nice little place that is near a mesjid iA, and if I have only $2Million, then i am willing to buy a home for a cost of up to $400,000 at most. iA then the other $1.6million would be divy'd up as I have planned already including to (pay zakat) $60k (Palestine kids|zaytuna school|mesjid built)... til then, i'll be renting and saving $ and reinvesting in myself.
October 14, 2017
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