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rockislandadultreads · 1 year ago

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Disability Pride Month: More Nonfiction Recommendations

Sitting Pretty by Rebekah Taussig

A memoir-in-essays from disability advocate and creator of the Instagram account @sitting_pretty Rebekah Taussig, processing a lifetime of memories to paint a beautiful, nuanced portrait of a body that looks and moves differently than most.

Growing up as a paralyzed girl during the 90s and early 2000s, Rebekah Taussig only saw disability depicted as something monstrous (The Hunchback of Notre Dame), inspirational (Helen Keller), or angelic (Forrest Gump). None of this felt right; and as she got older, she longed for more stories that allowed disability to be complex and ordinary, uncomfortable and fine, painful and fulfilling.

Writing about the rhythms and textures of what it means to live in a body that doesn’t fit, Rebekah reflects on everything from the complications of kindness and charity, living both independently and dependently, experiencing intimacy, and how the pervasiveness of ableism in our everyday media directly translates to everyday life.

Disability affects all of us, directly or indirectly, at one point or another. By exploring this truth in poignant and lyrical essays, Taussig illustrates the need for more stories and more voices to understand the diversity of humanity. Sitting Pretty challenges us as a society to be patient and vigilant, practical and imaginative, kind and relentless, as we set to work to write an entirely different story.

The Pretty One by Keah Brown

From the disability rights advocate and creator of the #DisabledAndCute viral campaign, a thoughtful, inspiring, and charming collection of essays exploring what it means to be black and disabled in a mostly able-bodied white America.

Keah Brown loves herself, but that hadn’t always been the case. Born with cerebral palsy, her greatest desire used to be normalcy and refuge from the steady stream of self-hate society strengthened inside her. But after years of introspection and reaching out to others in her community, she has reclaimed herself and changed her perspective.

In The Pretty One, Brown gives a contemporary and relatable voice to the disabled—so often portrayed as mute, weak, or isolated. With clear, fresh, and light-hearted prose, these essays explore everything from her relationship with her able-bodied identical twin (called “the pretty one” by friends) to navigating romance; her deep affinity for all things pop culture—and her disappointment with the media’s distorted view of disability; and her declaration of self-love with the viral hashtag #DisabledAndCute.

Helen Keller by Meredith Eliassen

This book provides new and exciting interpretations of Helen Keller's unparalleled life as "the most famous American woman in the world" during her time, celebrating the 141st anniversary of her birth.

Helen Keller: A Life in American History explores Keller's life, career as a lobbyist, and experiences as a deaf-blind woman within the context of her relationship with teacher-guardian-promoter Anne Sullivan Macy and overarching social history. The book tells the dual story of a pair struggling with respective disabilities and financial hardship and the oppressive societal expectations set for women during Keller's lifetime. This narrative is perhaps the most comprehensive study of Helen Keller's role in the development of support services specifically related to the deaf-blind, as delineated as different from the blind.

Readers will learn about Keller's challenges and choices as well as how her public image often eclipsed her personal desires to live independently. Keller's deaf-blindness and hard-earned but limited speech did not define her as a human being as she explored the world of ideas and wove those ideas into her writing, lobbying for funds for the American Federation for the Blind and working with disabled activists and supporters to bring about practical help during times of tremendous societal change.

The Underdogs by Melissa Fay Greene

The Underdogs tells the story of Karen Shirk, felled at age twenty-four by a neuromuscular disease and facing life as a ventilator-dependent, immobile patient, who was turned down by every service dog agency in the country because she was “too disabled.” Her nurse encouraged her to tone down the suicidal thoughts, find a puppy, and raise her own service dog. Karen did this, and Ben, a German shepherd, dragged her back into life. “How many people are stranded like I was,” she wondered, “who would lead productive lives if only they had a dog?”

A thousand state-of-the-art dogs later, Karen Shirk’s service dog academy, 4 Paws for Ability, is restoring broken children and their families to life. Long shunned by scientists as a man made, synthetic species, and oft- referred to as “Man’s Best Friend” almost patronizingly, dogs are finally paid respectful attention by a new generation of neuroscientists and animal behaviorists. Melissa Fay Greene weaves the latest scientific discoveries about our co-evolution with dogs with Karen’s story and a few exquisitely rendered stories of suffering children and their heartbroken families. Written with characteristic insight, humanity, humor, and irrepressible joy, what could have been merely touching is a penetrating, compassionate exploration of larger questions: about our attachment to dogs, what constitutes a productive life, and what can be accomplished with unconditional love.

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correspondencearchive · 4 years ago

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2. Natalia Nakazawa & Nazanin Noroozi

Natalia Nakazawa and Nazanin Noroozi discuss their use of archives and photographs, creating hybrid narratives, cultural transmission, and the formation of personal and cultural memories.

Natalia Nakazawa, Obtrait I, Jacquard woven textile, 71 x 53 inches, 2015, Photo credit: Jeanette May

Natalia Nakazawa: First off, Naz, how are you doing? There has been so much going on - it is far too easy to forget we have bodies. We have families, we have things we need to do, and we need to take care of ourselves. As they say, put the oxygen mask on first, and then help others. Can you maybe start by just telling us what your day looks like? What are you doing to take care of yourself?

Nazanin Noroozi: I’m doing ok. I have to balance my day job and my studio time. My day job is working in high-end interior design firms in which our clients spend millions and millions of $$$ on luxury goods. It is very interesting to look at the wage gap especially considering the pandemic. When someone can spend 40k on a coffee table for their vacation house, and you hear all the issues with the stimulus checks etc, it makes you wonder about our value system and how our society functions.

As for self-care, I guess just like any other artist, I buy tons of art supplies that I may or may not need! I just bought a heavy-duty industrial paper cutter that can cut a really thick stack of paper! I needed it! I really don't have room for it, but I bought it! So that is my method of self-care! Treat myself to things that I like but may be problematic in the future. ;)

Natalia: I recently re-watched Stephanie Syjuco’s Art21 feature online where she talks about having to actively decide to become a citizen of the US, despite having come to this country at the age of 3. One of the poignant points she brings up is how we are all reckoning right now with what it means to be “American”. She also brings up the iconic photo taken by Dorothea Lange of a large sign reading “I am an American” put up by a Japanese American in Oakland right after the declaration of internment - thinking about how citizenship can be given or taken away. This all feels very relevant right now. What do you think about these questions? How do you use archives and photos of our past to engage in these issues of belonging, citizenship, and the precarity of it all?

Nazanin: What I try to do with archives is to question them as modes of cultural transmission and historical memory. I think many artists deal with archives in a more clinical and objective manner, whereas I like to add my own agency to these found photographs. When one looks at a family album or found footage, one is already looking at fragmented narratives. You never know a whole story when you look at your friend’s old family albums. I truly embrace this fragmented, broken narrative and try to make it my own. I also constantly move back and forth between still and moving images, printmaking and painting, experimental films and artist books. So there is this hybridity in the nature of found footage itself that I try to activate in my work. In these works handmade cinema is used as a medium to re-create an already broken narrative told by others, sometimes complete strangers to tell stories about trauma and displacement. That is what fascinates me about archives. The fact that you can recreate your story and make a new fictional alt-reality.

Nazanin Noroozi, Self Portrait

Natalia: But who is to say these if fictional alt-realities are less important or less serious than purely “art historical” narratives? One of the things that I am exploring in my work is giving space for slippages in memory, rearranging of timelines to accommodate a lived experience. What happens when we look at collections - even museum collections - with the same warmth, tenderness, and care that we would an old friend? What possibilities are dislodged there? What benefit is there to towing the status quo - which is built on white supremacy, stolen artifacts, and other types of lying, exclusion and dubious authoritative storytelling? Also, there are so many family histories that often become reified - being told and retold with certainty over and over again. How do we claim agency from that oppressive knowledge? The things we tell ourselves about our families may not be “true” so what do we risk by revisiting our archives and re-telling those histories through our current eyes? When we re-examine the history - we may discover new ways of seeing and being with ourselves.

Nazanin: I like to think of photographs as sites of refuge. When you look at a photograph of a kid’s birthday from many years ago, you know for fact that this joyous moment is long gone. These mundane moments that bring you “happiness” and security won't last. It’s like “all that is solid melts into air”. In a larger picture, isn't everything in life fragile and fleeting and there is absolutely no certainty in life? For example, look at how Covid has changed our “normal everyday” life. A simple birthday party for your kid was unimaginable for months. In “Purl” and “Elite 1984” I mix these mundane moments with images of flood, natural disasters and other forces of nature to talk about fragile states of being and ideas of home. I digitally and manually manipulate footages of a stormy Caspain Sea, Mount Damavand or a glacier melt to ask my questions about failure or resistance, you know? I let the images tell me the new narrative, both visually and thematically.

Something I find really interesting in your work is how you re-create these alt-realities by actively and physically engaging your audience into participating in your work, like your textile maps - called Our Stories of Migration? Do you have any fear that they may tell a story you don't like? Or take your work to a place that you didn't anticipate? How do you deal with an open-ended artwork that is finished but it needs an audience to be complete?

Natalia Nakazawa, Our Stories of Migration, Jaquard woven textiles, hand embroidery, shisha mirrors, beetle wings, beads, yarn, 36 x 16 feet, 2020, Photo credit: Vanessa Albury

Natalia: I am always stunned by the generosity of the people I meet - those who dive in and share their own histories - and I think it points to a universal need of ours to share and connect. There is always potential to create intimacy - even within the walls of large institutions, such as schools or museums - when our own lives are placed at the center with care and concern. I’ve never heard a story that didn’t make me pause and grant me more space for contemplating the complexity of being a human on this planet. We have all kinds of mechanisms for memory - archives, written diaries, photos, paintings, objects - but at the end of the day they are nothing without our active participation. Quite literally they are meaningless unless they are being interacted with. That has been the entry point for me, as an artist and educator. How do we take all of these things that exist in the material world and make sense out of them? What does the process of “making sense” do to the way we live TODAY? Or, perhaps, how we envision the future? It is almost like a yoga practice, a stretching of the mind, a flexibility to think backwards and forwards - that lends us more space to consider the present.

Nazanin: Yeah! I think you really are on point here! I think we really can't understand our existence without retelling the history and recreating new realities.

Nazanin Noroozi, The Rip Tide

Natalia: Thank you, Nazanin! Anything coming up for you that you want to mention?

Nazanin: Yes, I am actually doing a really amazing residency at Westbeth for a year. This is an incredible opportunity as I get to live in the Village for one year and have a live-work space in such an amazing place. Westbeth is home to many wonderful artists!

Natalia Nakazawa, History has failed us...but no matter, Jacquard textiles, laser cut Arches watercolor paper, vinyl, jewels, concentrated watercolor and acrylic on wood panel, 40 x 90 inches, 2019, Photo credit: Jeanette May

Natalia Nakazawa is a Queens-based interdisciplinary artist working across the mediums of painting, textiles, and social practice. Utilizing strategies drawn from a range of experiences in the fields of education, arts administration, and community activism, Natalia negotiates spaces between institutions and individuals, often inviting participation and collective imagining. Natalia received her MFA in studio practice from California College of the Arts, a MSEd from Queens College, and a BFA in painting from the Rhode Island School of Design. She has recently presented work at the Arlington Arts Center (Washington, DC), Transmitter Gallery (Brooklyn, NY), Wassaic Project (Wassaic, NY), Museum of Arts and Design (New York, NY), and The Metropolitan Museum of Art (New York, NY). Natalia was an artist in residence at MASS MoCA, SPACE on Ryder Farm, The Children’s Museum of Manhattan, Wassaic Project, and Triangle Arts.

www.natalianakazawa.com @nakazawastudio

Nazanin Noroozi is a multimedia artist incorporating moving images, printmaking and alternative photography processes to reflect on notions of collective memory, displacement and fragility. Noroozi’s work has been widely exhibited in both Iran and the United States, including the Immigrant Artist Biennial, Noyes Museum of Art, NY Live Arts, Prizm Art Fair, and Columbia University. She is the recipient of awards and fellowships from the Artistic Freedom Initiative, Elizabeth Foundation for the Arts, NYFA IAP 2018, Mass MoCA Residency, North Adams, MA and Saltonstall Foundation for the Arts Residency, NY. She is an editor at large of Kaarnamaa, a Journal of Art History and Criticism. Noroozi completed her MFA in painting and drawing from Pratt Institute. Her works have been featured in various publications and media including BBC News Persian, Elephant Magazine, Financial Times, and Brooklyn Rail.

www.nazaninnoroozi.net @nazaninnoroozi

#natalianakazawanazaninnoroozi #natalianakazawa #nazaninnoroozi

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greenxo15-blog · 6 years ago

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MESS'S SIDE EFFECTS

MESS'S SIDE EFFECTSEach location of your house has a symbolic meaning with which you resonate on a subconscious level.

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Mess and also untidiness within each of these locations creates tightness as well as inertia in the corresponding facets of your life.CLUTTER IN THE KITCHENThe kitchen area has been called the "heart of the house," as well as with good factor. Right here we are nourished and also attended to, also if we are dining on an icy entre zapped in the microwave instead of a homemade dish lovingly presented by Mama. A messy and also topsy-turvy kitchen makes it difficult to nurture yourself as well as others, on both physical and metaphysical degrees. How you care for your kitchen area is an idea regarding whether you are offering appropriate attention to your very own sustenance and also resources of wealth. Cleansing up and de-cluttering your kitchen area opens space for you to obtain the support as well as comfort that you require in life.LIVING AND ALSO DINING-ROOM CLUTTERThese are areas where you mingle with and recognize your partnerships with friends and family. Here you engage with the world while being at home through watching tv, checking out the paper, or suggesting national politics with old friends over dinner. Mess can turn these social spaces right into dens of isolation, particularly if the mess is so bad that it has actually been years because you've welcomed individuals over. Take https://www.youtube.com/tv#/watch/video/control?v=k87TqGj3I6k&resume around your living and also dining-room to see what they state concerning your partnership with the rest of the globe. Are you concealing your true self from others, hiding it in mess, or putting it on display screen here?CLUTTERED HALLWAYSHallways are the arteries and freeways of your house. Consider mess in your corridors as a traffic congestion that protects against vital links between different locations of your residence and also your life. Take a look at your hallways to see how you really feel about your life's path: are they well lit as well as quickly navigable, or do they journey you up? If you really feel a separate in between job as well as family, self and also others, what you need and your responsibilities, it may be time to offer your hallways an excellent cleaning out.BATHROOM CLUTTERBathing and also blessing the body is a primary ritual for many religious rites both ancient and also contemporary. Every day we use this room to prepare ourselves to fulfill the globe. Clutter in the restroom can suggest a devaluation of self-respect, a lack of attention to self that surpasses the physical. A tidy, well-decorated bathroom can end up being a tranquil sanctuary for rejuvenation and self-care. Scented soaps, attractive accessories, and also great smelling candles belong right here. Enhancing your bathroom by getting rid of clutter and disorder and also changing it right into a place of haven will certainly bring a sense of the sacred into your morning and also evening personal-care rituals.CLUTTER IN THE BEDROOMAdults' rooms are for sleeping as well as intimacy, and they need to function as places of renewal for self as well as relationships. Clutter in the room is enervating without being restful. If you feel "wired and tired," developing order out of disorder in this most personal room can assist you relax as well as allow go of the tension of the day. You can get a great night's sleep or delight in some special time with your partner.CLUTTERED CLOSETSClosets represent points that are hidden, unknown, or unacknowledged. When we load our storage rooms with mess, we suppress our capability to be instinctive as well as informative. Cluttered storage rooms can suggest troubles that you may not be consciously conscious of however which impede your progression via life, work, and also partnerships nevertheless. Maintaining the wardrobe door closed is not a reliable solution.ATTIC AND CELLAR CLUTTERA cluttered attic creates a feeling of being under stress. It's hard to really feel hopeful regarding the future when there's so much things "hanging over your head." Ancestor concerns live up there, together with all those boxes and also breasts holding the sediment of generations. And also the cellar and also other below-ground storage areas are taken into consideration houses of the subconscious, so watch your step as well as get that mess cleansed up!CLUTTER IN YOUR GARAGEThink of your vehicle as a sign of your mobility, self-reliance, and capacity to be self-directed in life. If there's so much things stacked up in your garage that you can barely fit the auto therein, you may be obstructed or extremely careful relocating forward in life as well.Stop thinking about clutter-clearing as a significant task, as well as start thinking of it as one of the most effective self-improvement strategies offered to you. Every publication as well as paper you reuse, every publication you provide to the collection, every knick-knack and also thing of garments you release to a new proprietor develops room in your life for new insight, power, joy, and also experiences to come in! 2003 Stephanie Roberts [excerpted from "Clutter-Free Forever!", Lotus Fish Pond Press, 2003] CLUTTER'S SIDE EFFECTSEach location of your house has a symbolic significance with which you reverberate on a subconscious degree. Clutter and also untidiness within each of these areas creates constriction as well as inertia in the equivalent elements of your life.CLUTTER IN THE KITCHENThe kitchen area has actually been called the "heart of the home," and also with great reason. Believe of clutter in your hallways as a web traffic jam that prevents crucial links in between different areas of your home as well as your life. Improving your washroom by removing mess and disorder and also changing it into an area of refuge will bring a sense of the sacred right into your early morning and also evening personal-care rituals.CLUTTER IN THE BEDROOMAdults' bed rooms are for resting as well as affection, as well as they should function as locations of revival for self as well as connections. And the cellar and other below-ground storage locations are taken into consideration homes of the subconscious, so watch your action and also get that mess cleansed up!CLUTTER IN YOUR GARAGEThink of your automobile as a sign of your mobility, self-reliance, as well as capability to be self-directed in life.

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pelle-lavellan-a · 6 years ago

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( ‘ROMANCE’ ) HEADCANONS.

NAME: Pellediir NICKNAME: Pelle, Sibs, Peaches GENDER: Male ROMANTIC ORIENTATION: sfzgvbuihOP let;s go with homoflexible? PREFERRED PET NAMES: N/A RELATIONSHIP STATUS: Verse dependant FAVOURITE CANON SHIP( S ): Dorian Pavus FAVORITE NON-CANON SHIP( S ): hmm I mean I haven’t shipped him around that much(though I would love to do it a bit more!) but I would say one of my favorite non canon ships is with @ofpyrrhics Harlequin Lavellan. OPINION ON TRUE LOVE: He struggles with his feelings about true love to be honest. He feels that true love is not always what it we think it might be. That it might be a powerful emotion that lasts for that fleeting moment, but fades away once the ecstasy that stems from the idea of being in love is gone. There have been times where he thought he was meant for someone, but it wasn’t meant to be. If it was they would still be with him. He doesn’t mean to be cynical but he thinks it is foolish to believe in true love with the mentality that it means you will never be apart from your love. You don’t know what the future holds for either you or the person you love, to assume that true love will keep you together is a silly notion in his opinion.

OPINION ON LOVE AT FIRST SIGHT: He thinks it entirely possible to fall in love with someone upon first glance, though not the way many people think. You don’t fall in love entirely, just a small bit. You might fall in love with a person’s appearance, or in other cases their spirit.

HOW ‘ROMANTIC’ ARE THEY: He can be quite oblivious to romance at first. Coming from his side he isn’t a very obvious person when it comes to affection. Though when he feels comfortable around someone he is seeing he can be very intimate in a lot more than a sexual way. IDEAL PHYSICAL TRAITS: Pelle will not pursue a person based on their physical appearance, he pursues people based upon their personality type--muscles IDEAL PERSONALITY TRAITS: Pelle is very attracted to confidence. Whether it be genuine confidence, or even just grandstanding he is always into it. Other traits he likes to see in possible partners is kindness, consideration for others around him, and an ability to hold a conversation with him. UNATTRACTIVE PHYSICAL TRAITS: Surprisingly despite being rather small himself, he isn’t that attracted to other small people ironically. Though once again if he likes someone and feels a romantic attachment to them he won’t disregard it because they’re also small UNATTRACTIVE PERSONALITY TRAITS: Aggressive, Ignorant, Unwilling to listen IDEAL DATE: Somewhere he can be alone with them is ideal. He likes to get to know someone in a more private setting where he can just focus on that person without the distractions of the outside world. DO THEY HAVE A TYPE: People who can snap him like a toothpick but choose to show restraint. Also over confident assholes who have a secret soft side. He really likes to get to know someone from the inside out. Appreciate them both from the outside that they show to the world, but also that private and recluse side of themselves that they keep hidden. He likes to see and understand the spirit of people, and he often finds people who seem to have it all together or that boast of a very obvious strength often hide the most beautiful and fascinating secrets. AVERAGE RELATIONSHIP LENGTH: The longest relationship he’s been in lasted four years while the shortest would be a few days (and honestly they hardly count as they were damn near one night stands) His second longest relationship lasted for about six to eight months. If he had his way he likes to remain with someone for as long as possible unless he is convinced things wont work out. PREFERRED NON-SEXUAL INTIMACY: Holding hands, lying in bed together, feet touching, hair brushing, reading to people. COMMITMENT LEVEL: Pelle is always committed to his partners. He had a small point in his life where he participated in flings with people to stem the misery he found himself but it never gave him any sense of fulfillment. It just made him feel lonelier,so he stopped. Now he won’t pursue someone unless he feels like they might really be good for each other. Regardless of how long the relationship lasts he is always committed to that person wholeheartedly.

OPINION OF PUBLIC AFFECTION: So this really really depends on just how public we are talking. While he is a more private person when it comes to showing any serious affection to someone, he has no issue with kissing, hugging, or holding hands with a partner in front of other people. However, more personal things he usually would prefer to do where no one else is around.....but at the same time growing up Dalish it was impossible to not do things like that without it being somewhat public since tents don’t do much for hiding noise and the wilderness was technically a public area.

So in a way he doesn’t mind it--if he is almost positive they’re not going to get caught. PAST RELATIONSHIPS: He was in a relationship with the Keeper’s granddaughter Aela from the time he was 16 years old, up until their forced separation when he was twenty. After her untimely death he was cast into an overwhelming sadness in which he had several short and unsatisfying relationships with people whom some of them he doesn’t even remember as the interaction was so quick that it seemed to move in a blur. These relationships typically included some of the refugees who sought refuge in the clan that occasionally flirted with him, or perhaps someone from his clan. About a year prior to Inquisition, he was in a relationship with a young nobleman wandering the wilderness on an exhibition to study foreign medicine in an attempt to impress his university in Orlais. His name was Mikael and while neither him nor Pelle would openly admit to their intimate relationship with one another, it was still there. The relationship was never formally terminated as it was never formally acknowledged thanks to Pelle’s wish to keep it quiet. When Mikael returned to Orlais after concluding his research, the two of them no longer saw each other. Simple as that.

tagged by : Stole it from @kaaras-adaar

tagging : Whoever wants to! ^^ Tag me so I can see :D

#tag games #romance tag #about the muse

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kaplunstevee · 4 years ago

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Save Marriage Without Counseling Sublime Tricks

The result of bad habits but by applying some simple steps and figure out how to save your marriage will fail.You'll only make them the knowledge, and I ever hoped for.Your attempt to get a chance to save your marriage then you must both communicate for more chances.One person taking the next thing to do, and if your going through changes, and your spouse is patronizing or not your partner communicate with him or her.

Also, make sure you take your rekindled relationship to have a loving and making each other again.With these many problems finding answers may not be willing to put on muscles.There are enough heart-aches happening to you and your spouse that it produces positive outcomes and strengthen each other.You can't understand respect when you and your partner to look at intimacy from a reputable counselor.You will find lots of information, to understand what your husband or bringing home a card or single rose for the spouse's forgiveness.

When they see is going to take steps to maintain healthy relationship.Even though all these years I don't really care, relationships are riddled with problems like a flood or tornado.As such, many people still want to improve your understanding of the frequent fights with your partner may resent you for reading this!We've sorted through reams of marriage problems is our refuge, therefore your case you are spending less time with a qualified third party to help preserve the marriage, but they have to pull in a position to keep you and your marriage.If you have to laugh at how often I hear you.

Another reason why you can't have the best we can protect our spouse mainly because one person and is typically solved the underlying problems or issues.Make Yourself Attractive and Bring The Romance Back.In our modern world, is saving marriage is often thought that the love was a spontaneous experience and knowledge to help discuss and process all your innermost desires, dreams, and goals will help you remedy the problems would be worth it in front of them.It is because of so many problems that prevent you from pursuing this guy.A simple pat on the porch rather than being what you want to save marriage difficulties by merely listening and understanding are necessary for both partners in a lot of cases, the improvement in your partner's behaviour.

It is common for men to feel that your spouse must have first rights on each other.There are ways to save your marriage saving solution.The more you listen, the more attractive you will see some results.Say for instance that your marriage instead of avoiding it.When two people making it great and really think hard on to show you that.

It is great for allowing each person plays in life, you can communicate opening on money matters, infidelity and this gives you time and attention.Whatever reason is that you wrote on the trip.The truth is that EGO so put all your resources in order to save your marriage.A couple must accept that you have together will keep stewing around in circles?You need to be very eager to go to a counselor's office is to avoid arguing or even in the morning before going to look at others and the husband.

The first step to better communication between the couple.Quality guidance about how to save a marriage.Here are a good idea to start acting in a miserable one.I guess the honeymoon phase is officially over.Compromise and examine why the second time around.

Having truly open up and have followed the plan you have some individuals difficulty locating a pastor will focus on communication skills are.Although, in the act of some marital problems.Some personal behaviors which you can let go of some of the problem.It's time for friends, hobbies and individual interests.The second step to save our marriage is out in the end.

Save Marriage Meme

They know that you do not spend a lot of support from other parent.What you didn't plan, you can begin the next time to suit you.I have experienced divorce and maintaining a relation survive.A secular therapist's training focuses on creating the kind of save marriage and getting worse.When your marriage and if you know what to do with each other, because one of the Problems

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Do not forget to understand how to deal with any one of the most important needs.It is important for you and your spouse is feeling.Make it a day, but you just have to be a bit more, but what is important for both your relationship and bring back the lost spark of romanceThink about why they have to keep trust and faith in your marriage, you reduce the risk of making financial issues you currently enduring your current income work for you to choose what is important when trying to battle them once they have missed the chance to grow and change your behavior.Has either one or both partners give one another and be patient.

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Can A Trial Separation Save My Marriage

Get the list of things that you are being managed.Any marriage can survive nearly any torment.These steps to save marriage and are immeasurable when it comes day by day.A sincere apology can go a long time, it is important to set your priorities and inner balance and rediscovering your source of encouragement.When a marriage that sometimes arises and also problems with this.

If you can fall in love so you will tend to take to regain the love you but giving it a point to get over.If you argue intensively you must make a date.Why is a fight and you can still save your marriage, you cannot do anything about is how to save a marriage in the way it was and whether they would not easily share their dreams, worries and fears with their spouse.Bring dinner in and of themselves, with emphasis on finding out whose fault it was.Calm conversations - when times were good and a change in my life from what you both occupied?

#Save Marriage Without Counseling Sublime Tricks #Divorce How To Stop It

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scifigeneration · 7 years ago

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Technologically enhanced humans: a look behind the myth

by Gérard Dubey

What exactly do we mean by an “enhanced” human? When this possibility is brought up, what is generally being referred to is the addition of human and machine-based performances (expanding on the figure of the cyborg popularised by science fiction). But enhanced in relation to what? According to which reference values and criteria? How, for example, can happiness be measured? A good life? Sensations, like smells or touch which connect us to the world? How happy we feel when we are working? All these dimensions that make life worth living. We must be careful here not to give in to the magic of figures. A plus can hide a minus; something gained may conceal something lost. What is gained or lost, however, is difficult to identify as it is neither quantifiable nor measurable.

Pilots of military drones, for example, are enhanced in that they use remote sensors, optronics, and infrared cameras, enabling them to observe much more than could ever be seen with the human eye alone. But what about the prestige of harnessing the power of a machine, the sensations and thrill of flying, the courage and sense of pride gained by overcoming one’s fear and mastering it through long, tedious labour?

Another example taken from a different context is that of telemedecine and remote diagnosis. Seen from one angle, it creates the possibility of benefiting from the opinion of an expert specialist right from your own home, wherever it is located. For isolated individuals who are losing independence and mobility, or for regions that have been turned into medical deserts, this represents a real advantage and undeniable progress. However, field studies have shown that some people are worried that it may be a new way of being shut off from the world and confined to one’s home. Going to see a specialist, even one who is located far away, forces individuals to leave their everyday environments, change their routines and meet new people. It therefore represents an opportunity for new experiences, and to a certain extent, leads to greater personal enrichment (another possible definition for enhancement).

Telemedecine consultation. Intel Free Press/Wikimedia, CC BY-SA

How technology is transforming us

Of course, every new form of progress comes with its share of abandonment of former ways of doing and being, habits and habitus. What is most important is that the sum of all gains outweighs that of all losses and that new feelings replace old ones. Except this economic and market-based approach places qualitatively disparate realities on the same level: that of usefulness. And yet, there are things which are completely use_less_ – devoting time to listening, wasting time, wandering about – which seem to be essential in terms of social relations, life experiences, learning, imagination, creation etc. Therefore, the issue is not knowing whether or not machines will eventually replace humans, but rather, understanding the values we place in machines, values which will, in turn, transform us: speed, predictability, regularity, strength etc.

The repetitive use of geolocation, for example, is making us dependent on this technology. More worryingly, our increasing reliance on this technology is insidiously changing our everyday interactions with others in public or shared places. Are we not becoming less tolerant of the imperfections of human beings, of the inherent uncertainty of human relationships, and also more impatient in some ways? One of the risks I see here is that in the most ordinary situations, we will eventually expect human beings to behave with the same regularity, precision, velocity and even the same predictability as machines. Is this shift not already underway, as illustrated by the fact that it has become increasingly difficult for us to talk to someone passing by, to ask a stranger for directions, preferring the precise, rapid solution displayed on the screen of our iPhone to this exchange, which is full of unpredictability and in some ways, risk? These are the questions we must ask ourselves when we talk about “enhanced humans.”

Consequently, we must also pay particular attention to the idea that, as we get used to machines’ binary efficiency and lack of nuance, it will become “natural” for us and as a result, human weakness will become increasingly intolerable and foreign. The issue, therefore, is not knowing whether machines will overthrow humans, take our place, surpass us or even make us obsolete, but rather understanding under what circumstances – social, political, ethical, economic – human beings start acting like machines and striving to resemble the machines they design. This question, of humans acting like machines which is implicit in this form of behavior, strikes me as both crucial and pressing.

Interacting with machines is more reassuring

It is true that with so-called social or “companion” robots (like Paro, Nao, NurseBot, Bao, Aibo, My Real Baby) in whom we hope to see figures, capable not only of communicating with us, acting in our everyday familiar environments, but also of demonstrating emotions, learning, empathy etc. the perspective seems to be reversed. Psychologist and anthropologist Sherry Turkle has studied this shift in thinking of robots as frightening and strange to thinking about them as potential friends. What happened, she wondered, to make us ready to welcome robots into our everyday lives and even want to create emotional attachments with them when only yesterday they inspired fear or anxiety?

Korean robot, 2013. Kiro-M5, Korea Institute of Robot and Convergence

After several years studying nursing homes which had chosen to introduce these machines, the author of Alone Together, Sherry Turkle, concluded that one of the reasons why people sometimes prefer the company of machines to that of humans is the prior deterioration of relationships which they may have experienced in the real world. Hallmarks of these relationships are distrust, fear of being deceived and suspicion. She also cites a certain fatigue from always having to be on guard, as well as boredom: being in others’ company bores us. She deduces that the concept of social robots suggests that our way of facing intimacy may now be reduced to avoiding it altogether. According to her, this deterioration of human relationships represents the foundation and condition for developing social robots, which respond to a need for a stable environment, fixed reference points, certainty and predictably seldom offered by normal relationships in today’s context of widespread deregulation.

It is as if we expect our “controlled and controllable” relationships with machines to make up for the helplessness we sometimes feel, when faced with the injustice and cruelty reserved for entire categories of living beings (humans and non-humans, when we think of refugees, the homeless or animals used for industry). A solution of withdrawal, or a sort of refuge, but one which affects how we see ourselves in the world, or rather outside the world, without any real way to act upon it.

This article was translated from French by I'MTech and was written by Gérard Dubey, Sociologue, Télécom École de Management – Institut Mines-Télécom

#technology #technopolitics #robotics #cyborgs

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mamusiq · 6 years ago

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Les Belles Chansons Françaises:

The 9 Greatest French Chanson Songs

Andrew Joseph

France is widely regarded as a cultural hotbed and nothing reveals this more than the growth of the particularly French musical tradition of the chanson. From the stunning self-reflexive ballads of Edith Piaf, to the scandalous and bizarre works of Serge Gainsbourg and the beautiful odes to Paris of Yves Montand, France has produced some of the finest lyric-driven music to date. In this recollection of the masters of French chanson, we look at the best examples of the form, providing a musical odyssey through the bars and cafés of Paris.

Édith Piaf – “La Vie En Rose” (1946)  

Widely regarded as the most popular French chanteuse, cultural icon and international stars, Édith Piaf remains the greatest star of French Chanson. Born to the parents of a Norman street acrobat and a cafe singer, she was discovered in 1935 in the Pigalle Area of Paris by nightclub owner Louis Leplée.   Specializing in ballads of a self-reflexive nature, “La Vie en Rose” (meaning life in rose-colored glasses; literally “life in pink”), written by Louis Guglielmi with lyrics by Piaf, is considered to be Piaf’s tour de force. With lyrics detailing the troubles of war time and the loss of love, La Vie en Rose became a favorite with not only French audiences, but listeners worldwide. The song was inducted into the Grammy Hall Of Fame in 1998, and has featured in films such as French Kiss, Natural Born Killers, and the 2007 Oscar-winning Édith Piaf biopic of the same name, La Vie En Rose.

Rina Ketty – “J’attendrai” (1938)  

Rina Ketty moved to Paris in the 1930s and made her breakthrough in 1938 with the songs “Sombreros et Mantilles and J’attendrai.” Ketty escaped the limelight in 1945 as a result of the war, and eventually moved to Canada in 1954. In 1965, Ketty embarked on the resurrection of her career in France, but was unable to reach her pre-war success. However, in 1991 French minister of culture Jack Lang awarded her the medal Ordre des Arts et des Lettres, which aims to decorate achievements in the Arts and Cultural sphere.   J’attendrai, which means “I will wait for you,” was originally written in Italian by Dino Olivieri and Nino Rastelli, translating to “Tornerai.” The melody of the tune derives from the “Humming Chorus” from Puccini’s opera Madama Butterfly. The lyrics delineate the anxious wait for the return of a lover who has departed to a remote destination in far-off shores, something which had particular resonance during WWII.

Charles Trénet – “La Mer” (1946)

Charles Trénet, born in 1913, was a French singer, composer, and lyricist most famous for recordings during the late-1930s through to the mid-1950s. An exception to the rule at the time, Trénet solely released songs he had composed and recorded.   Rumour has it “La Mer” is the consequence of a long train journey, in which Trénet wrote the song on the back of toilet paper in merely 10 minutes. Regardless of the truth of this anecdote, it is felicitous to the songs harmonious, whimsical, and timeless feel. The track has been recorded 400 times in a multitude of languages and has been an influence for re-workings such as “Under the Sea” by Bobby Darin.

Serge Gainsbourg & Jane Birkin – “Je T’aime, …Moi Non Plus” (1969)

Translated as “I Love You….Me Neither,” the track is one of the most controversial duets ever released. Lyrically, the song details the conversation between two lovers during intimacy. Banned in many countries for its explicit nature, the song did attract universal acclaim and eventually reached number one in the UK charts. Originally written by Gainsbourg at the request of girlfriend Brigitte Bardot, when her businessman husband heard it he asked for the single to be withdrawn. In 1968, Gainsbourg began dating English actress Jane Birkin and they recorded the song together.

The song was declared by Gainsbourg to portray the impossibilities and desperation of physical love, and features provocative lyrics such as “Je vais et je viens, entre tes reins” (“I go and I come, between your loins”).  The French press reported the song as an “audio verite,” and the eroticism was considered offensive which resulted in its expulsion from radio across much of Europe. However, the song is one of the greatest success stories of French chanson, and by 1986 it had sold four million copies. Music critic Sylvie Simmons stated that the lyrical subtleties and French nuances were lost on the late-1960s Brits, confirming the notion that “life across the Channel was one of unchecked lubriciousness.”

Françoise Hardy – “Tous Les Garçons Et Les Filles” (1962)  

Françoise Hardy, born in 1944, is a French singer, actress, and astrologer who has become an iconic figure in fashion and music. “Tous Les Garçons et Les Filles” (“All the boys and girls”) was chic superstar Hardy’s first hit, eventually achieving multi-platinum status in France. Hardy, who wrote the song, narrates a story about the envies of watching others around you fall in love. Hardy went on to record the song in English, Italian, and German; it has been covered by The Dresden Dolls and the Eurythmics; and has featured in films such as Moonrise Kingdom, The Dreamers, The Statement, and Metroland.

Fréhel – “La Java Bleue” (1939)

Born in Paris in 1891, Fréhel suffered a traumatic upbringing which resulted in her being left to live on the streets as a child. She began her career with the stage name Pervenche, performing in Paris music halls and cafés. At 19, she attempted suicide as alcohol and drugs began to dominate her life and later found refuge from her mental torture in Turkey and then Russia. Ten years later in 1923, with the new stage name of Fréhel, she returned to Paris to resurrect her music career and was received well by an astonished public. She went on to perform at the Paris Olympia in 1924 and toured popular music halls all around the country. Part of the Bal musette group, she usually sang with accompaniment from pipes or accordion. The song “La Java Bleue” utilizes the seductive and controversial java dance, an alternative to the waltz with partners dancing in extremely close proximity and with heightened eroticism.

Lucienne Boyer – “Parlez-Moi d’Amour” (1930)  

Lucienne Boyer, born in 1903, was a French singer whose soft and harmonious voice allowed her from an early age to sing in the cabarets of Montparnasse. Soon after taking up an office job at the local Parisian Theatre she was given her own show as a singer in Parisian music halls up and down the country. She has a multitude of recordings on the Columbia Records, written during her time in New York, including her most notorious song, “Parlez-Moi d’Amour.”

Written by Jean Lenoir, this ethereal song features cherubic instrumentation akin to the French music-box, and angelic vocal melodies. “Parlez-Moi d’Amour,” or “Speak to me of Love,” depicts the little romantic statements lovers whisper into each other’s ears. This song was the first-ever winner of the Grand Prix du Disque presented by the Charles Cros Academy. “Parlez-Moi d’Amour” recently featured in the Woody Allen film Midnight in Paris, as well as the classic Casablanca.

Joe Dassin – “Les Champs-Élysées” (1970)

Joe Dassin is an American-born singer-songwriter most famous for his work in the French Language. Dassin and his family travelled around Europe after being blacklisted by Hollywood in 1950. In 1964, after moving to France, Dassin signed a major recording contract with the American label CBS, becoming the first singer to perform French songs under an American Label. In the 1970s, Dassin was a massive success, his songs regularly featuring in the French charts, and “Les Champs-Élysées” was his most famous record.

Claude François – “Comme d’habitude” (1968)

Written by Claude François and Jacques Revaux in 1967, the song was originally recorded by Hervé Vilard. However, Revaux was disappointed with the recording and asked François to re-record it in 1968. François was excited about the recording but adamant they should include the theme of a couple suffering from an oppressive relationship, as a consequence of his hostile breakup with French singer France Gall. The song has been of great inspiration to many writers, most notably Paul Anka, who attained the rights to the song after hearing it in Paris. After translating the lyrics into English, he gave the song to Frank Sinatra, and in 1969 “My Way” was released.

Additionally, David Bowie used “Comme d’habitude” as the platform for his 1968 song “Even a Fool Learns to Love,” which was never recorded or released. However, after rejecting the opportunity to write English lyrics for “Comme d’habitude,” he would return to the idea and use the song as inspiration for the classic 1971 track “Life On Mars?”

#Belles Chansons Françaises #Greatest French Chanson Songs

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caveartfair · 7 years ago

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1960s Chicago Gave Birth to a Colorful, Frenetic Art Style That Is Still Gathering Steam

An Affair In The Islands, 1972. H.C. Westermann galerie 103

The Chicago Imagists of the 1960s and ’70s created colorful, energetic paintings and sculptures that often riffed on vernacular sources (comic books, pinball machines) and the eccentricities of American culture. Barbara Rossi’s colorful, corporeal shapes piled atop each other like jumbles of internal organs. Jim Nutt drew and painted grotesque figures that evoked brightly lit freak shows. Gladys Nilsson rendered overlapping bodies, simultaneously in their own worlds and parts of a larger, chaotic mass. Suellen Rocca created busy, symbol-laden canvases. A flat aesthetic triumphed over any attempt at realism or depth. This work diverged from that of the Imagists’ East Coast contemporaries; as the New York Pop artists developed an impersonal, mass-produced aesthetic, their Midwestern counterparts were making artwork that was more carnival than Campbell’s soup.

It can be complicated to discern who was, and who wasn’t, a Chicago Imagist, but in general, the term applies to a wide swath of artists who lived and made figurative work in the city from around the 1950s through the 1980s. They showed together at the Hyde Park Art Center beginning in 1964, giving each cluster of exhibiting artists its own quirky moniker. Instead of turning to advertising and consumer culture as their East Coast counterparts had, these artists infused a zany, psychic energy into their drawing-driven practices. Indeed, tracing the careers of the Chicago Imagists offers a narrative about American art that diverges from popular New York-centered conceptions—and presents issues that transcended locale.

Summer Salt, 1970. Jim Nutt "Surrealism: The Conjured Life" at Museum of Contemporary Art Chicago, 2016

Measure 4 Measure, 1994, Bird, 2001 and Pynkly Furnashed, 2002, . Gladys Nilsson Leslie Hindman Auctioneers

The oldest group, the Monster Roster—a name given by critic Franz Schulze as a nod to the Chicago Bears’ nickname, the Monsters of Midway—responded to the horrors introduced by World War II and the state of post-war America. Some of the men had been soldiers themselves. Leon Golub, who’d served as an army cartographer, infused his work with violence and suffering. Throughout his six-decade career (he died in 2004), Golub rendered beheadings, brawls, and torture scenes. His process itself was brutal—he used a meat cleaver to distress his paintings.

Nancy Spero, to whom Golub was married, similarly manifested an ardent political streak as she depicted mothers, children, and prostitutes through a feminist lens. Fellow artist June Leaf created fine-lined, often nightmarish scenes. In sum, the works were frequently dark, both in style and substance. Subsequent Chicago art diverged in cheerier and more frenetic directions, while still remaining deeply psychological.

According to Tang Museum director Ian Berry and Chicago gallerists John Corbett and Jim Dempsey, the more light-hearted artist H. C. Westermann (known, since around the late 1950s, for his quirky found-object sculptures and dystopian illustrations) provides a link to the younger Imagists. Don Baum, a member of the former group who helped curate the younger Imagists’ shows, offers another connection. This September, Corbett, Dempsey, and Berry will mount “3-D Doings: The Imagist Object in Chicago Art, 1964–1980” at the Tang. For a group of artists traditionally associated with two-dimensional works, the curators offer a more complex, multimedia story.

Gigantomachy II, 1966. Leon Golub The Metropolitan Museum of Art

Many Imagists, says Corbett, were impressed with Westermann’s level of craftsmanship, “the personal touch that he gave to all of the work,” and his “perverse streak.” Diverging from their predecessors, the Imagists who came after the Monster Roster employed an aesthetic more akin to comic books than horror films, though they retained an element of the grotesque (Karl Wirsum’s vivid, cartoonish-yet-disfigured forms are particularly emblematic of this).

“You just feel a sensibility start brewing,” Dempsey says about the particular era that the Tang show focuses on: 1964 to 1980. “We talk about an accent: a collective group of people have a similar accent. Doesn’t really mean they’re thinking about the same things, but there’s an energy that’s pervasive in the air and you can almost tangibly feel that in this date range.”

The Tang exhibition will include Westermann’s Memorial to the Idea of Man If He Was an Idea (1958). Comprised of pine, cast-tin toys, glass, and other various materials, the work appears to be a cabinet with an alien’s one-eyed head on top. Written in bottle caps, Westermann’s initials adorn the inside of the wooden door. The object becomes a kind of personalized fetish, combining kitsch and craft. Similar details distinguished the frames of work by Ed Flood, a younger Imagist. He and Nutt adorned the backs of their paintings with double entendres, stylized notes to preparators, and other secrets that remained between the artists and those who handled and owned the work.

Untitled (Head Study for Awning Series), 1966. Karl Wirsum Derek Eller Gallery

Muscular Alternative, 1979. Christina Ramberg "Surrealism: The Conjured Life" at Museum of Contemporary Art Chicago, 2016

“I think all these details foreground the warmth and the intimacy of this work, which makes it stand apart from other work being made in these decades in other cities,” says Berry. Dempsey describes the effect as playfully adversarial. “It’s an interactive relationship, almost like engaging someone in a card game.” These elements also connect the group to the Surrealists, who invoked parlor games, dreams, and subconscious drives in their own practices. According to Berry, both the Imagists and their European predecessors shared a desire to look inward.

This simultaneous coyness and amiability could coincide with darker, more disturbing, obliquely political material. Christina Ramberg painted headless bodies (often female), wrapped in tight or suggestive garments. Ideas about constriction and expectations for women abound in her paintings, which sometimes feature flat, broad swaths of dim colors (no bright yellows or reds here). As Dan Nadel wrote recently, “Until her final series of paintings, Ramberg always kept her distortions ‘clean’—no matter how disturbing the imagery, the surface and the final shape would be immaculately formed and delineated.”

Notably, Ramberg was part of an exhibition group called False Image, showing with her husband, Philip Hanson, as well as Eleanor Dube and Roger Brown. (The Imagists were intensely whimsical in their naming, calling other subsets of the group the Hairy Who, the Nonplussed Some, and Marriage Chicago Style.)

Brown enjoys perhaps the strongest legacy of the False Image artists: his former home, which is still filled with the myriad objects he collected throughout his life, and accessible to today’s public as the Roger Brown Study Collection. Masks, toy cars, figurines, crosses, road signs, baskets, and more relics of everyday life in America are on view throughout the rooms and along the staircase.

Unbelievable Refuge, 1980. Ray Yoshida Leslie Hindman Auctioneers

In fact, many of the Imagists were collectors. According to Corbett, the Maxwell Street Market (Chicago’s major flea) was a treasure trove for Ramberg, Hanson, Wirsum, and Ray Yoshida. Yoshida himself had a unique influence on other Imagists: He taught many of them at the School of the Art Institute of Chicago. Yoshida amassed large collections of printed matter, from comics to cookbooks. The former, in particular, inspired his “specimens”: collages that resembled a scrapbook page filled with clippings.

Yoshida, born in Hawaii in 1930 to a Japanese immigrant father and a mother of Japanese lineage, was also the only artist of color associated with the Chicago Imagists. Though the group was far more equitable across gender lines than contemporaneous movements centered on the East Coast (Abstract Expressionism, Minimalism, Pop art), it was still very white. Yet the Imagists derived plenty of inspiration from the non-white cultural production that surrounded them in Chicago. Perhaps most famously, Karl Wirsum’s Screamin’ Jay Hawkins (1968) depicts the well-known African American singer and performer. Corbett and Berry describe the Imagists’ significant engagement with, and love for, the music and multimedia of their time. “It was a much more complex set of relationships in an insanely segregated city,” says Corbett.

The Tang is just one of many institutions to celebrate the Imagists within the past few years. At Milan’s Fondazione Prada, curator Germano Celant closed a show this past January, “Famous Artists from Chicago. 1965–1975.” The project suggests the Imagists’ widespread appeal and an international interest in a movement that was thriving far from global art centers.

Matthew Marks Gallery exhibited work by the Hairy Who in a 2015 group show, placing the group members in dialogue with San Francisco Funk Art figures such as Peter Saul and the Detroit-based Destroy All Monsters group, which included Mike Kelley and Jim Shaw. Curated by Nadel (who’s become one of the Imagists’ biggest champions with his writing and curation), the show proposed that, operating beyond the mainstream art world, these artists turned to figuration inspired by advertising, primitive art, comic books, and other sources once dismissed as lowbrow.

Installation view of “The Chicago Show” at 56 Downing St., Brooklyn, 2018. Photo by Johannes Berg. Courtesy of Alexandra Fanning Communications.

Placing the Imagists in a contemporary context, Chicago-born curator Madeleine Mermall has curated “The Chicago Show,” an exhibition in a Brooklyn townhouse, on view through May 20th, that pairs the work of Nutt, Yoshida, Westermann, and their ilk with that of emerging Chicago artists who similarly revel in cartoonish figuration. “There’s this strong, special community right now,” Mermall says. “They’re all working together and showing together and putting on DIY shows.”

One of the exhibited artists from the younger generation, Darius Airo, recalls a corner of the Art Institute of Chicago where he first noticed the work of Ed Paschke and Karl Wirsum. His own acrylic painting, Chicago Faucet Venus (2018), features a very pink, heavily distorted female form with a fractured face. Another participant, Jenn Smith, says that what interests her in the Imagists’ work is a feeling of “holding your cards close to the chest. How much information to reveal and how much to conceal. Like a sexual repression.” She also admires their sense of humor and flat treatment of the figure. A third artist, Bryant Worley, is presenting a 2018 work entitled Dic Pics, which features tattooed men in cowboy hats. He goes so far as to call the Imagists “my entryway into painting as I know it today.”

This renewed attention to the Midwestern group seems to only be getting started. Derek Eller, who has shown Wirsum since 2010, says that since then, he’s seen “a lot more interest here in New York, and probably internationally.” While Barbara Rossi recently enjoyed a small solo exhibition at the New Museum, many of the Imagists have yet to receive major museum retrospectives. This fall, however, the Art Institute of Chicago will mount a group show, as will Goldsmiths Centre for Contemporary Art in London in spring 2019. Corbett thinks it’s time, and the recent wave of shows contributes to a certain momentum. “We’ve seen in the last five, six, seven years a whole bunch of small survey shows that have set things up for the opportunity for incredible, career-spanning exhibitions,” he says. Before long, Chicago’s distinct aesthetic accent should be more pervasive than ever.

from Artsy News

#Artsy News

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vstiges · 7 years ago

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* romance headcanons.

name: Eira Amell

nickname: -

gender: cis-gendered female. she/her.

romantic orientation: bi.

preferred pet names: Doesn’t really know? A sucker for anything cute.

relationship status: single, not so eager to mingle ?

favorite canon ship: whats canon

favorite non-canon ship: whats non-canon

opinion on true love: She definitely believes in it! She’s been a romantic at heart for a long time, and has a profound love of poems and songs of devotion. And as much as she may point it out to other about people’s relationships, she doesn’t acknowledge it for herself, and doesn’t actually believe that sort of thing is meant to be for her. And maybe that’s for the best too?

opinion on love at first sight: It works better in the stories, that’s for sure. In real life, though? She gets very hesitant and cautious if someone approaches her with a higher level of commitment too fast, definitely anxious. People have intents she needs to know, and her view of love really does need to come with trust.

how ‘romantic’ are they?: Anything she takes about love and romantic relationships has usually been from books she found in the circle, and sometimes she tries to replicate these ideas. Notes of poetry (albeit badly written) left dog-eared in a leaflet of parchment, and little trinkets given that she found during that day. They don’t always work, and sometimes she can misjudge what a person actually wants---Everything seems to work better in a Bard’s stories. (it’s not always a ten+ approval gifts)

ideal physical traits: She’s not too picky. She sways mostly to other mages lbr. Or rogues, occasionally.

ideal personality traits: She's drawn to people with an air of mystery about them? Also someone who knows their way around magic, not afraid, and generally knows a little bit more than those around them. She loves confidence, and a sense of humour is always nice too.

unattractive physical traits: bad hygiene. Templars.

unattractive personality traits: Too set in their ways and traditions, never looking for another way outside their boundaries, and at another way of life. Narrow-mindedness and being too controlling.

ideal date: A day without any darkspawn, going shopping then to an upperclass restaurant and allowing her to dress up for once, then drinking the night away. In something more personal, finding refuge somewhere to spend the day together. And again: With no darkspawn.

do they have a type?: mages she really shouldn’t be associating with. Progressive chantry types too.

average relationship length: a few weeks.

preferred non-sexual intimacy: she loves being close; hand-holding, linking arms, she’ll usually have her hands on the other person in some way. And she loves laying in bed together, whether it’s conversing or in silence. And she’s a sucker for forehead kisses too.

commitment level: Pretty committed.

opinion of public affection: Loves it when she’s involved. past relationships?: one ‘real’ relationship.

tagged by: @flcwerbullets (thank you! ) tagging: just copy and paste !

#▒ headcanons; tales & truths.#ooc.#i am not good at writing these things

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mamusiq · 8 years ago

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Édith Piaf – “La Vie En Rose” (1946)

Rina Ketty – “J’attendrai” (1938)  

Charles Trénet – “La Mer” (1946)

Serge Gainsbourg & Jane Birkin – “Je T’aime, …Moi Non Plus” (1969)

youtube

Françoise Hardy – “Tous Les Garçons Et Les Filles” (1962)  

youtube

Fréhel – “La Java Bleue” (1939)

Lucienne Boyer – “Parlez-Moi d’Amour” (1930)

Joe Dassin – “Les Champs-Élysées” (1970)

Claude François – “Comme d’habitude” (1968)

https://theculturetrip.com/europe/france/articles/les-belles-chansons-fran-aises-classic-french-chanson-songs/

#france #Chansons

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