The Design Team has more cards to inspire you to make a card for this month's The Flower Challenge.
It's also our second birthday so there are some prizes for the winner.
Unfortunately you can't really see the sparkle on my card but I assure you that the Altenew flowers have been heat embossed in gold and properly covered with Spectrum Noir glitter pen.
Bobby, it was so amazing to finally meet you in person! I'm still pinching myself! I got home Saturday right in the middle of homecoming festivities and pretty much crashed yesterday, so I am finally trying to catch up a bit. Your flowers are gorgeous, and I am sure they are super sparkly as well! The chevron embossing makes a perfect background for them!
This is lovely and feminine Bobby, just fabulous!
Beautiful flowers in soft pastel colors! The chevron embossing on the background is an elegant addition to this beauty!!! Surely it must be much more beautiful in real life with that sparkle!
Bobby, love the chevron embossed panel as a background for your beautiful flowers, it adds a subtle texture that really looks amazing, that sweet butterfly looks like she is just about to land on that golden sentiment.
Your flowers are beautiful, love the soft colors you chose for them and, I do see some of the sparkle, which all of us know how hard it is to photograph.
such a pretty card Bobby..love the fresh look it has.
Beautiful card Bobby and I love the colors of the flowers. So pretty!
Echoing the others: your card is gorgeous! Palette, background, butterfly and yes...the sparkle! LOVE!


Presumptive GOP nominee Donald Trump has picked Indiana Governor Mike Pence as his running mate for Vice President, sources close to Roll Call revealed early Thursday afternoon.
The Roll Call website had crashed just minutes after the news.
Pence had been listed as a 1-3 favorite to be nominated over the past week. Both former House Leader Newt Gingrich and New Jersey Governor Chris Christie were also said to be under consideration.
An official announcement was sceduled Friday morning ahead of next week's Republican Convention in Cleveland, however, in light of the attack in Nice, France, Trump has postponed this announcement (time to be determined).


text:
All Topics Economy Global Institutions Sectors Skills Technology
Publication	| July 16, 2020
The Nature of Work after the COVID Crisis: Too Few Low-Wage Jobs
David Autor Co-Chair, MIT Task Force on the Work of the Future; Ford Professor of Economics Labor Studies Program; Director, National Bureau of Economic Research
Elisabeth Reynolds Executive Director, MIT Task Force on the Work of the Future; Executive Director, MIT Industrial Performance Center; Principal Research Scientist; Lecturer, Department of Urban Studies and Planning
The authors ask whether the COVID-19 pandemic has changed the conventional wisdom about automation and inequality in the US over the past four decades.

redpajama_set_name: RedPajamaCommonCrawl


text:
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The PunditFact Truth-O-Meter
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Pants on Fire!
The Obama administration "supported Muslim allies trying to establish a new international blasphemy standard."
— Jonathan Turley on Sunday, January 11th, 2015 in a "Washington Post" op-ed
Has the WH supported the spread of blasphemy laws?
By Jon Greenberg on Wednesday, January 14th, 2015 at 12:04 p.m.
Riot police officers check a woman at the Grand Mosque of Paris, France, Wednesday, Jan. 14, 2015, the day the French satirical newspaper Charlie Hebdo released its first issue after a lethal terrorist attack, (AP)
France has braced itself for yet another round of Islamic extremist attacks as the latest issue of Charlie Hebdo hits the newsstands. Following the murders of most of the Paris-based satirical paper's staff last week, the cover features a cartoon Mohammed with a tear rolling down his cheek, under a headline that reads in French, "All is forgiven." He holds the symbol of solidarity with the slain journalists, a sign that says "Je suis Charlie," or "I am Charlie."
While that message might be somber, a powerful vein of Muslim thought sees any depiction of Mohammed as blasphemous. Cartoons like this were what drew death threats in the past.
In this violent clash between the pen and the sword, politicians and pundits in the western democracies largely put the onus on the Islamic world to uphold the principle of freedom of expression. But a prominent American law professor wrote in a Sunday Washington Post op-ed that the Obama administration itself has abetted the forces of intolerance.
In that op-ed, Jonathan Turley of George Washington University Law School primarily criticized the French for passing laws that criminalize speech that insults, defames or incites violence on the basis of religion, race, or other social marker. At the end of his piece, however, Turley brings his critique closer to home.
"In 2009, the Obama administration shockingly supported Muslim allies trying to establish a new international blasphemy standard," Turley wrote, "And as secretary of state, Hillary Clinton invited delegations to Washington to work on implementing that standard."
Has the administration really supported Muslim countries as they seek to spread an international standard forbidding blasphemy? We took a closer look. (For the record, Turley is representing House Republicans in their health care lawsuit against the president, but his stance on this issue came long before.)
At the heart of Turley's argument is American support for United Nations Human Rights Council Resolution 16/18. The U.S. goal was to establish common ground for religious tolerance. Or, as the opening lines of the resolution put it, "to promote and encourage universal respect for and observance of all human rights and fundamental freedoms without distinction as to, inter alia, religion or belief."
Approved in March 2011, the document has many clauses. These three are the most relevant to our fact-check:
It affirms "the positive role that the exercise of the right to freedom of opinion and expression and the full respect for the freedom to seek, receive and impart information can play in strengthening democracy and combating religious intolerance."
It "condemns any advocacy of religious hatred that constitutes incitement to discrimination, hostility or violence, whether it involves the use of print, audio-visual or electronic media or any other means."
In a list of "actions to foster a domestic environment of religious tolerance, peace and respect," it calls on states to adopt "measures to criminalize incitement to imminent violence based on religion or belief."
For Turley and other free speech advocates, the kicker is that last point and the green light it gives to criminalizing expressions that incite others to violence.
"The president has said that he does not support criminalizing blasphemy, but the reality is that the language of the resolution criminalizes the same speech," Turley told PunditFact.
A quick history of blasphemy at the UN
The effort to give blasphemy laws international legal standing at the United Nations goes back 15 years. It was largely a project of Muslim nations working through the Organization of Islamic Cooperation, an umbrella group with 57 member countries. In committees like the Human Rights Council, they were able to win majority support for policies to rein in freedom of expression in the name of preventing religious defamation. The United States and Western European representatives opposed these moves on free speech grounds, but found themselves out-voted.
The Islamic nations pressed the defamation issue until a few years ago. Then in 2011, compromise language emerged that dropped any reference to blasphemy or defamation. The measure passed by unanimous consent.
Then-Secretary of State Hillary Clinton called it a landmark achievement.
"The United States strongly supports today's resolution, which rejects the broad prohibitions on speech called for in the former 'defamation of religions' resolution, and supports approaches that do not limit freedom of expression or infringe on the freedom of religion," Clinton said in a prepared statement.
Human rights advocacy groups, such as Human Rights First and British-based Article 19, also endorsed the measure. Human Rights First wrote, "Resolution 16/18 ceases to provide cover for national blasphemy laws and charts a new course. The resolution omits any reference to 'defamation of religions' and — in accordance with international standards — focuses on the protection of individuals, rather than the protection of abstract ideas and religions."
We reached out to the White House to learn how the "incitement to immediate violence" phrase is different from the religious defamation language sought by the Muslim governments. We did not hear back, but in a published letter, two high-level State Department officials, Michael Posner and Suzan Johnson Cook, explained how these words are in synch with American law.
They cited the 1969 Brandenburg v. Ohio decision involving a member of the Ku Klux Klan. In its ruling, the U.S. Supreme Court held that all speech is protected "except where such advocacy is directed to inciting or producing imminent lawless action and is likely to incite or produce such action."
Posner and Cook wrote, "drawing a caricature of the prophet Muhammad that resulted in violence by Muslim extremists would not constitute 'incitement to imminent violence' under the Brandenburg test."
Accordingly, the resolution, they said, would protect freedom of expression.
Reading the UN rules differently
Blasphemy laws are not rare. According to the Pew Research Center, in 2012 nearly a quarter of all countries had them. The list includes some European countries, such as Germany and Ireland, but the greatest concentration is in the Middle East where every Muslim nation from Egypt to Pakistan has them. In Pakistan, for example, a person could, in theory, be executed for insulting the prophet Mohammed or the Koran. No executions have happened, but in 2012, Pakistan prosecuted a dozen blasphemy cases.
Muslim governments consistently argue that it is okay to restrict speech when that speech incites others to violence.
Ekmeleddin İhsanoğlu, Secretary-General of the Organization of Islamic Cooperation until 2014, made that clear in a 2012 interview with the French news service France24. İhsanoğlu spoke more than a year after the UN resolution passed and about a month after the attack on the American consulate in Benghazi that killed the U.S. ambassador and three other Americans.
"The OIC — I as secretary — I am a staunch supporter of freedom of expression," İhsanoğlu said. "But freedom of expression, according to international law, does not entail freedom of insulting others, denigrating others, mocking others."
For İhsanoğlu, just as no one has the right to randomly scream "Fire!" in a crowded theater, no one has the right to insult Mohammed if others might respond violently. When the interviewer pressed and said "making fun of a religion doesn't necessarily equate with incitement to violence," İhsanoğlu was adamant and specifically said that cartoons that mock Mohammed should be banned, in France and elsewhere.
"If you don't respect the feelings of 1.5 billion people, and if you don't feel yourself responsible not to insult them, then we have a problem here. And if we have a problem here, we will have a problem there, with the demonstrations and taking to street and using violence," İhsanoğlu said.
The secretary-general went on to say that the anti-Islam video that contributed to the attack in Benghazi and the attack itself were two sides of the same coin.
"We are equating these acts together as incitement to hatred, incitement to violence. And we say we should not be hostages to extremists on either side," İhsanoğlu said.
A year later, in a speech in Moscow, İhsanoğlu praised Resolution 16/18 for advancing the principle that freedom of expression did not include the right to defame any religion. He called the western concept, "a "twisted negative logic that is incomprehensible; that one exercises his freedom by insulting others, and not insulting just a few people, but insulting 1.6 billion people all over the world for no reason."
The record is clear. The governments of Islamic majority nations see no conflict between 16/18 and laws that ban cartoons of Mohammed or any other public act that might offend believers in Islam.
A failed strategy?
Adoption of the 16/18 resolution led to a series of meetings to put its lofty goals into practice. Turley's op-ed referred to one such meeting held in Washington. On the issue of freedom of speech, those talks have yet to deliver the goods.
Robert Blitt is an associate professor of law at the University of Tennessee College of Law and has studied this slice of international law very closely. Blitt told PunditFact that the process is faltering.
"The west is confronting the realization that the compromise effort that halted resolutions on defamation of religion and replaced them with an incitement-based approach did nothing to resolve the underlying, and still overriding, desire for the OIC to secure a prohibition on expression deemed defamatory of Islam," Blitt said.
The American support for 16/18, Blitt said, probably bolstered the voices of moderate Muslim states that wanted to dial down the bad publicity they were getting with the defamation of religion resolutions. But Blitt said that tactic hasn't shifted the Muslim position.
"I don't think the administration is intentionally supporting efforts to establish a new blasphemy standard," Blitt said. "However, its current stance represents an inadequate and miscalculated effort to create common ground."
This isn't terribly far from Turley's view. Turley told PunditFact that he has talked with administration officials about this.
"They always insisted that they were taking a different approach to try to moderate the Muslim countries," Turley said.
The claim in his op-ed, Turley said, was not based on intentions, but results. And so far, the results, in his view, have been nill.
Our ruling
Turley said that the Obama administration "supported Muslim allies trying to establish a new international blasphemy standard." The accuracy of this statement hinges on how you understand that word "supported."
American diplomats did endorse a UN resolution that avoided words about restricting speech that defamed a religion, but left open the door to criminalizing speech that was "incitement to immediate violence based on religion." The administration, as well as some free-speech advocacy groups, saw this as progress.
But blasphemy laws remain on the books in Muslim nations, and the largest international body that speaks for those nations has said plainly that such laws are appropriate and ought to be adopted in the west.
Not even Turley argues that this is the result the administration wanted, and another critic of the administration's strategy said American diplomats do not support efforts to establish an international blasphemy standard.
One could argue that by participating in the ongoing negotiations, the administration has de facto endorsed a vehicle for the Muslim nations, but that is not the same as supporting their efforts.
The statement contains an element of truth but ignores critical facts that would give a different impression. We rate the claim Mostly False.
About this statement:
Published: Wednesday, January 14th, 2015 at 12:04 p.m.
Researched by: Jon Greenberg
Edited by: Katie Sanders
Subjects: Civil Rights, Foreign Policy, Religion, Terrorism
Washington Post, The biggest threat to French free speech isn't terrorism. It's the government., Jan. 11, 2015
United Nations Human Rights Council, Resolution 16/18, April 12, 2011
International Federation of Library Associations and Institutions, The problem of blasphemy and defamation of religion laws, Oct. 5, 2012
Human Rights First, Blasphemy Laws Exposed: The Consequences of Criminalizing "Defamation of Religions", March 2012
France24, The Interview: Ekmeleddin İhsanoğlu, Secretary-General of the Organisation of Islamic Cooperation, Oct. 5, 2012
Reuters, Islamic bloc drops 12-year U.N. drive to ban defamation of religion, March 24, 2011
U.S. Mission to the U.N., Secretary Clinton: Adoption of Resolution 16/18 Countering Religious Intolerance a "Landmark Achievement", March 24, 2011
U.S. Mission to the U.N., HRC Adopts by Consensus Resolution on Combatting Intolerance and Discrimination, March 23, 2012
U.S. Mission to the U.N., US Report on the First Meeting of Experts to Promote Implementation of HCR Resolution 16/18, April 19, 2012
Washington Review of Turkish and Eurasian Affairs, Will Istanbul Process Relieve the Tension Between the Muslim World and the West?, October 2013
Boston University International Law Journal, Why the United States cannot agree to disagree on blasphemy laws, March 25, 2013
Legal Information Institute, Brandenburg v. Ohio
Case Western Reserve Law Review, Defamation of Religion: Rumors of Its Death are Greatly Exaggerated, June 1, 2013
Organization of Islamic Cooperation, IPHRC condemns terrorist attack on Charlie Hebdo Magazine in France, Jan. 12, 2015
Organization of Islamic Cooperation, Statement by Secretary General of the Organization of Islamic Cooperation (OIC) Professor Ekmeleddin Ihsanoglu, on "Confronting Intolerance and Discrimination against Muslims in Public Discourse", Oct. 31, 2011
International Affairs Institute, Moscow, Address by H.E. Ekmeleddin Ihsanoglu, Secretary General of the Organization of Islamic Cooperation, International Affairs Institute, Moscow, 7 June 2013, Nov. 22, 2013
Pew Research Center, Which countries still outlaw apostasy and blasphemy?, May 28, 2014
Washington Post, Shut up and play nice: How the Western world is limiting free speech, Oct. 12, 2012
Article 19, Human Rights Council: States must implement resolution 16 18 and Rabat Plan of Action, March 28, 2014
Forbes, Could You Be A Criminal? US Supports UN Anti-Free Speech Measure, Dec. 30, 2011
USA Today, Defending Islam from free speech: Column, Jan. 12, 2015
Email interview, Jonathan Turley, professor of public interest law, George Washington University School of Law, Jan. 13, 2015
Email interview, Robert C. Blitt, associate professor, University of Tennessee College of Law, Jan. 13, 2015
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London based artist Tristan Pigott is attracting everyones attention now. His paintings explore the contemporary human condition and examines the superficiality we often perpetuate.
"His compositions employ fashion models in the place of "ordinary" people, to further enforce the notion of the fronts and facades we create for ourselves. It's so easy to fall into the trap of wanting every photo we post to be beautiful, to encite envy among our social media followers and to lead them to believe we live a life to which they should aspire. And maybe we do in some ways. But in other respects, each life is filled with the same sorts of gunk and uncomfortable human stuff that we are all too often so very careful to edit out. How many photos have you seen this holiday season of burnt cookies? Or a child in mid-meltdown because Santa didn't bring exactly what he asked for? Not many, I'm guessing. I certainly didn't post the photos of the burnt Honey Rosemary Pecans I made or my non-made up face upon waking first thing Christmas morning.
Why? Because I'm chicken. I don't want the world to see the dark circles under my eyes or to know that I occasionally leave food in the oven just a bit too long. ( Oops guess now you know my secret! ). Like everyone else, I want the world to see my life as beautiful. But here's the thing. Every life IS beautiful. Filled with beauty. It may not be magazine spread perfect, but each and every one of our lives is full of moments that take our breath away, that make us laugh and yes, make us mad or embarrassed. But what makes our lives the beautiful messes that they are is embracing the imperfectness, being able to laugh with and at ourselves. Letting people into our beautiful mess." Taken from Artsyforager.


Founded in 1997 by Gela Nash and Pamela Skaist-Levy, California-based Juicy Couture garnered widespread attention in the early 2000s when Madonna was photographed donning the velour tracksuit that would become the brand's signature piece. After the duo sold the company in 2003 for a reported $53M, it continued its rapid growth, quadrupling sales within a few years. In addition to casual apparel for women and children, the label offers and array of handbags and accessories.
"We started the company with $200 and the desire to create the perfect girlie collection."


Are there any tutorials on some of the projects Julie and the hosts showed throughout the day? Like that spa basket? I know it looks simple but I am not an expert sewer.
I was thinking the same thing – I wonder if there is a Pinterest or Instragram page?
I hope that they have this deal on again later in the year – my budget wouldn't let me do this now. Looked like a nice basic machine with plenty of umph to sew through layers of fabric.
I have been having problems with my eyes/dizziness for the last 3 years/concussion. Finally getting better, but did't want to outlay that amount of money until I know things are straightened out for me.
Was pretty amazing to see how the fabric cutters are so useful for cutting out quilt squares – with arthritis and tendonitis in my wrists that is pretty exciting to me.
Enjoy your day everydone 🙂 Every day is a gift.


text:
A's parents, P and J, recently arrived back in London after a stint out of the UK, and deciding not to cook for themselves on their first evening back, they invited C and A to dinner with them somewhere in North West London. P and J initially suggested Turkish food, but A and C vetoed the idea after their fortnight in Anotolia. Instead, P and J, mentioned a new Modern European place in Child's Hill which they had heard good things about but not yet tried. As this option didn't necessarily involve another Patlican Kebap (aubergine kebab) or Iskender, A and C were keen so off they went.
Cooked to perfection
The Grill at 424 is an unassuming little place, tucked on a small parade of shops between Golders Green and West Hampstead. The name comes from its location: 424 Finchley Road. Despite it being relatively out of the way, it's a real gem of a place, serving up tasty pan-european food and doing excellent grills.
After avoiding the starters, P and J both opted for the bunless beef burger. These were huge, and according to both, were quite delicious. The mince was tender and flavoursome, and was cooked to perfection: both ordered their burgers medium-rare and it came out pink but not undercooked, leaving P and J as happy customers.
Delicious lasagna stack
C went for the butternut squash lasagne, which came presented in a stack, covered in a cream sauce and covered in parsley. The sweetness of the squash was complemented by the creaminess of the cheese, and C couldn't stop cooing about the presentation, which was fabulous. A however, drew the short straw with the fish and chips. While it was OK: crispy batter and soft fish, and yummy crispy french fries, A got a serious case of food envy when he looked around the table.
Slightly anaemic-looking fish supper
The dessert however, saved the day for A. Always predictable, he went with an old favourite - tiramisu - and was not disappointed. The mousse was creamy and light, and heavily aromatic with the coffee and masala wine. Given that C will swoon over anything with lemon, the lemon posset was a sure-fire winner, though C made sure to admire it's lovely presentation in a martini glass, garnished with squiggles of lemon zest, before attacking it.
Rockin' good tiramisu
Lemon is an anagram of melon
Generally speaking the food at the Grill at 424 is excellent, but go for the meat or pasta dishes as the fish, while acceptable, really is the poor relation on the menu. Bear in mind that it's not the cheapest place, with mains ranging from £10 to £17.50 but we felt that it was for the most part worth the money and a good place to look up if you are in NW11.
Labels: Dinner European London Restaurants Under £30pp


text:
A podcast on educational technology
Episode 49:
Tia Smith
Posted December 3, 2018 March 4, 2019 admin
In this episode, we speak with Tia Smith, Bellsouth professor of mass communication at Xavier University of Louisiana. She joined Xavier in 2015 as department head of mass communications, and her research focuses on gender, race, sexuality, and media. She has studied South African women freedom fighters and black women hip-hop fans. Tia's background includes stints as a travel writer, journalist, and corporate communications consultant. She brings these diverse experiences to her work with students at Xavier, which has the distinction of being the only historically black and Catholic institution of higher education in the US.
Tia was in Nashville for a conference, and she stopped by Vanderbilt to talk about the multimedia assignments she gives her students, the challenges her students face moving into professional work, and the importance of critical theory in creative practice.
• Tia Smith's faculty page
• @drtiasmith75 on Twitter
• Center for the Advancement of Teaching & Faculty Development @ Xavier University
• Teaching, Learning, and Everything Else podcast
• STORY Conference
Derek Bruff: This is "Leading Lines." I'm Derek Bruff. In this episode, we speak with Tia Smith, Bellsouth Professor of Mass Communication at Xavier University of Louisiana. Tia joined Xavier in 2015 as department head of mass communication and her research focuses on gender, race, sexuality, and media.
She has studied South African women freedom fighters and black women hip‑hop fans, among other groups. Tia's background includes stints as a travel writer, journalist, and corporate communications consultant. She brings these diverse experiences to her work with students at Xavier, which has the distinction of being the only historically black and also Catholic institution of higher education in the US.
Tia was in Nashville for a conference, and she stopped by Vanderbilt to talk with me about the multimedia assignments she gives her students, the challenges her students face moving into professional work and the importance of critical theory and creative practice.
She has the most surprising answer yet, to our standard question about analog technology.
[background music]
Derek: Tia, tell me a little bit about you and what you do and what you teach?
Tia Smith: I am the head of mass communications at Xavier University. I teach courses like research methods, media law and ethics, media criticism, film appreciation, and I also [laughs] teach in the Women's Studies Department. It's a minor actually at Xavier.
I have joined the faculty at Xavier in 2015, from the University of the West Indies in Trinidad and Tobago. That's where I actually first learned about and really began using technology in the classroom.
Trinidad, which is a very interesting [laughs] experience. That's a little bit about me.
Derek: I wanted to say thank you for stopping by to see us today. You're in town in Nashville for the story conference?
Tia: Yes, I am. [laughs]
Derek: Tell me what the story conference is?
Tia: I have never been. I'm looking forward to the space where creatives come together. Imagine the possibilities of how you can use stories to do a number of things whether it's business people telling or selling their brand or talking about who they are, as a company organization, or creatives using storytelling to share ideas about themselves or the world around them.
Or activists using stories to talk about issues that matter or they want to build a center or space of advocacy around. I'm excited to be in my element, and this year's theme is Wonder.
[laughter]
Tia: I'm wondering what that's going to look like. Everyone's saying, get prepared, get ready to feel the intensity of the possibilities of imagination. I'm all for it. I'm excited. [laughs]
Derek: I love it. I love storytelling and I love creative storytelling. I love visual storytelling. That's what I want to talk to you a little bit about because you've been using digital storytelling at various times in your teaching. Can you tell me a little bit about what that looks like in one or more of your courses?
Tia: Throughout all of my courses I incorporate visual storytelling, and that's because we have a mass communication background, and our curriculum is centered on multimedia concentration and multimedia application and tools and getting our students prepared for careers as a journalist or an entrepreneur or something like that.
We want to always incorporate those multimedia skills in our teaching and in our classroom. The problem is we don't always have access to the technology. How do we be creative…
Tia: …when students sometimes say, "Well, Dr. Tia, I don't have access to the Internet," or, "I have a low‑grade smart phone. I can't do all those things in memory." That's the challenge because we make the assumption that everybody has access, and we're forgetting that not everybody has access.
We have to keep that in four, and this classroom them becomes a space where we're trying to build and create a sense of equity to access. In doing so, I teach a multiple methods of how to tell stories with your smart phone but also how to tell stories in groups. If one student has a smart phone, they'll do a group project.
It depends on the student population in the class how I use it. Then I'll talk a little bit more about what that actually is. [laughs] Some of the assignments…
Derek: The access thing is really important. You've got to know…
Tia: It's very important.
Derek: You've got to know your students and know what resources they have and what they have to bring, and you don't want students to feel put out or left out because they don't have the same tools that everyone else does. Other people do.
Tia: Right. And some of the students are…They say, "Well, I'm in university." It's a matter of shame for them to come forward and say, "Look, I can't do this. I want to be professional, but I do not have the tools, and I want to invest, but it's a money issue. I'm working two jobs. I've taking care of a family," or whatever the issue may be, the challenge may be.
"It doesn't mean that I don't want to be successful. It just means that I need a little bit of extra help. Well, can I work in the evenings?" A lot of our faculty are very open and coming in in the evenings and working with students after hours and working on the computers, making it accessible for those who do not have the technology that they need to be successful in the classroom.
Derek: Some of that is that you may have some tools on campus that are available, computer labs and stuff, but you need to able to be there when the students are there and can use them to help coach and mentor.
Tia: Right, because we're a small campus. We have three or four jobs in one. [laughs] We're the security. We open the doors.
Derek: [laughs]
Tia: We bring the lunch, whatever it is to get it done. It's all in the matter of being helpful to the students and wanting them to succeed, as well as balancing our own lives [laughs] outside of campus. It's really interesting.
Derek: You talked about the shame piece. How do you open up those conversations to students to make it OK for them to say, "Hey, I'm going to need another way to do this"?
Tia: Derek, I'm still trying to figure that out because it varies from student to student, but it's important to mention shame because there's an assumption that everyone has access. We're in a digital age, and you feel really pushed to the margin if you are anything less than. For example, my daughter's 14, and we saw Ariana Grande at the airport in New Orleans. Her phone is just a basic cellphone.
Derek: That's very exciting. [laughs]
Tia: It's very exciting for her, but it's funny because I said, "Well, go and see if she'll get a selfie." She was like, "Mom, I cannot pull out this phone to take a selfie with Ariana Grande. This is not appropriate. I can't do emojis, I can't do this." She was very embarrassed by the apparatus that she was using and trying to shame me, mom shame [laughs] for my cheapness.
Derek: I have a 14‑year‑old daughter. I understand this. [laughs]
Tia: It's like, "Oh, my God, Mom. Are you crazy? This is Ariana Grande. I cannot be embarrassed." Similarly, with students on a different level the student feels that they are being shamed because they're not prepared. You're expected to have certain things when you come to university, but it's also a place of privilege. We have these expectations around what students should come with.
The books are expensive. The fees are expensive. They may sacrifice some bit of their life in time in order to make it happen, and sometimes we need to be little bit more patient in understanding that. For those who do not have, there is some shame associated with having those conversations about, "I don't have access. What do I do? How do I invest in myself?"
For example, we had a meeting with the students yesterday, and we introduced a film kit and said, "This film kit is about $100. If you go on Amazon, you can buy this microphone. You could buy this lens for your…" Small things, and say, "Over time, let's save $10." BeyoncÈ was just in town. How much were the BeyoncÈ tickets?
The BeyoncÈ tickets are $140. This is just 100 bucks. Let's put it in comparison. It's a very interesting conversation. You have to be very patient with students like that.
Derek: Tell me a little bit about the assignments then. What are the types of stories that you're asking students to produce?
Tia: Xavier's mission is based on social justice and for more just and humane society. As a feminist I take on the cause [laughs] very much. A lot of our assignments, particularly my assignments, deal with the element of creating spaces that are more humane, looking at people's lived experiences, challenges, and it could just be everyday experiences about life in New Orleans.
Some of the stories include looking at feminists and feminism in the Millennial age, what is the feminist's agenda for Millennials and how is that played out in the city of New Orleans. What does that look like? Students would then go into the city, take pictures and have visual essays of what they think represents feminism.
It's so abstract or sometimes can be very concrete. It depends on the creative lens of the student. In addition to that, we have students that use poetry. They blend art and visual art as well. They would record themselves writing poems about feminism, or writing poems about some type of social justice issue.
We do a lot of intersections with art, social justice issues, political issues, ideologies around what these things look like, ideologies of injustice and how do we make sense of it all within an academic space, but also bringing in the community, as well as surrounding community.
That's what the assignments look like from a broader context. For a more specific context, it's basically I tell students we're going to do some digital ethnographies.
They may follow their favorite activist on Twitter and they will engage with that activist ‑‑ they'll retweet, they will know what's happening with that activist and they will have an assignment that would screenshot tweets, some things like that. They'll have a visual essay about that.
Then they will now retweet and create a campaign about this is what this activist is doing. What does the story look like? What is the digital presence of their favorite activist? Then they will begin to engage with the language that the activist use, so on different levels.
It depends on that class. In media criticism, we work a lot with digital activist in campaigns.
Derek: What are the goals of an assignment like that? Are you preparing students to do their own activism in digital spaces? Are you trying to make sense of how activism works?
Tia: I had this idea of hash tag of activism and how effective it is. I know it brings awareness, but then what? I always [inaudible 13:10] , "But then what?" I know it's important to have awareness, but is that awareness going to change policy? What are the real implications of awareness and how do we move from the digital space to the physical space?
That's what the assignment emerged out of. Making sense of, "OK, now you are an activist and you want…" or maybe you're not. Maybe you're just curious about the world, but how do we intersect and how do we engage our digital selves and our physical selves? What does that look like? How does one speak to the other? We're trying to figure it all out.
We all have no answers, but the assignment really gets them to be reflective, to contemplate the world around them and to really think about their digital space. It's not just about communicating, taking selfies. It's not just a "me" world, but what are you actually saying, what is your platform, and then how do they…?
Derek: How are you a part of the community? I'm sure it is.
Tia: How are you a part of a community to that, and then how do you create communities? Are you marginalized within those communities?
Because it's interesting how we look at digital communities and space in digital space and the occupation of that space, who has the platform and who has the voice, and who feels that they are muted, because there's an assumption that everyone has the opportunity to talk back. I don't think it's true. [laughs]
Derek: Right. I think that was briefly true in 1995.
Tia: Yeah.
Derek: Pretty much, the Internet was great.
Tia: Yeah, everybody could participate. Well, I don't know. People are being silenced all the time. Is that silence visual? Is that silence in terms how you tweet, if you're using a blog or a vlog, or some type of, I don't know, digital narrative? How are you then pushed to the margins? How are you discredited? How are you made meaningless or how are you made meaningful? In which ways do that matter?
Those are assignments coming out of my Media Criticism class because we look a lot at social media.
Derek: One of the things that we've explored in the podcast before is this relationship in a teaching environment between critique and creativity; that often you can have students create something so that they become better critics or vice versa.
Tia: Right. I think that's very important, Derek, because the students need to understand how art is created, how work is created, so that they could understand the pieces within it. They can examine that as creators and as producers, and as consumers of the media or of social media, or of existing in these different spaces.
It's really important because it helps them to think critically about why I chose to frame a photo this way. What am I trying to convey? What intent, maybe am I trying to encode in that particular image. Why am I using a particular tool, particular mechanism, digital tool in the classroom? What am I trying to get you to do to engage?
For example, I had a conversation with my colleagues last night and we were talking about doing an online class. We were having some problems with bandwidth. "Just kill the video. Let's just use audio." They said, "Well, what about intimacy?"
Because audio is one thing, and we know you could have a static picture up there, but the dynamism of video helps you feel like you belong to a community in way that maybe audio does not. We have all these conversations about it, but when will you begin to understand choice and agency, and how you put together the story with the technology, then you become more considerate of it.
Derek: Particularly, when you're asking students to produce something, digital story of some sort, what do they find hard about that? What's challenging for students?
Tia: To produce something…With having a professor like myself, they always want to please me around what they think I want. The challenge for them is, "What do I think she want so I can get an A?" Instead of thinking about what do you want to create, and trying to negotiate, "Well, there's an A on a grade on this, so I'm going to give her what she wants," versus, "This is what I would actually like to investigate," or, "This is what I actually want to do."
And so for the first and second year students that becomes a challenge, "How do I get the A?" For the juniors and seniors it's a little bit more agency and a little bit more, "I know what I'm doing. I'm pretty confident. She taught me some things but now I have it, so I'm letting go of the apron string," or the string so to speak.
But that's the challenge for students think "What do I do? What next? If I'm giving you an open field, where do I go? Where do I run?"
We have to real them in and say "These are some topics that you can consider." Even then, they're still confused to the very last minute. [laughs] "I don't know what to do," and they're freaking out.
Over time, as they progress through the program, they become a little bit more savvy. They become a little bit more comfortable with the technology.
Some students are a little bit timid about the technology because we also assumed the digital natives, they know everything already we don't have to teach them how to use the technology, but we do.
We have to teach them how to use it properly. There's a use of it…
[crosstalk]
Derek: Thoughtfully. Yeah. I run into this. Just because you follow a communion on Twitter or you put some selfies on Snapchat…That's a drop in the bucket. There's a lot of other things you can do with technology.
Often in an academic setting, we're asking students. Maybe we're asking them to use Twitter or Snapchat but the purpose is completely different. They quickly get outside of their comfort zone.
Tia: Right. Even the language becomes different as well. If they're tweeting about themselves or usually…I'm sorry, my students don't tweet as much because Twitter is for the older generation. [laughs]
Derek: This is what my teenager tells me.
Tia: "Mamma, be on Twitter," like "Come on."
Facebook is not even a consideration anymore.
Derek: Those are for our grandparents. [laughs]
Tia: Right. Grandma's following me on Facebook now. [laughs] That's not going to happen.
If it's a different platform, how then do I use language? If my professor's looking at my Snapchat or my Instagram and she's following my pictures on Instagram, how do I post those videos? What do I say? How do I professionalize that?
It's a different type of conversation. It's a different type of digital representation that I'm having and a digital conversation with my professor, so the language shifts as well. The content shifts, and so, you get different posts from the…I guess the fun stuff that they like to post with concerts, food, just the everyday things about "I am great," and then, more a sort of thoughtful…
Derek: [laughs] Wait…
Tia: Yeah. With everything, it's like, "I am great."
Derek: That's your average 14‑year‑old Instagram? It's just, "I am great"?
Tia: "I am great," which is just great, [laughs] but as a college student, they become more thoughtful about what they're posting. They say, "Wait a minute. I'm going to apply for a job soon. Somebody may look at my Instagram." [laughs]
Derek: Right. How can I create a digital identity that actually represents me well and shows that I have things to offer?
Tia: It's a shift that happens from high school to college, that they quickly learn…maybe by the sophomore year. [laughs] It takes some time. As they get more serious in it, they mature into the program.
Derek: There's a lot of digital tools that one could use to tell stories. You mentioned familiarity is one factor. Are there other factors or objectives that you consider when you're pointing students toward one set of tools over another? Or, "For this assignment, it's going to look like this so we're going to use these tools"?
Tia: Yes and no. Usually, it depends on what students are comfortable with. For example, in my Women in Media course, I gave the assignment of…students to creatively use a fictitious character named Della. Della Reese had just passed. She was one of my favorite actresses and performers, and I said to them, "Oh, I owe it to Della. We're going to do something about Della."
They had no idea who Della Reese was… [laughs]
Derek: Fair enough.
Tia: …so after an education of who Della Reese was, I said, "Come on. Let's do something. You can choose how you want to represent this feminist superhero." Some students chose to do a podcast.
Derek: You said superhero?
Tia: Superhero.
Derek: OK. All right.
Tia: Superhero. They interpreted it in a number of different ways. Some students chose to do a podcast about Della, and it was an exchange where folks would call in, and talk about feminist concepts, and talk about representation, and talk about what happened at the party. What do I do?
They're talking about the Me Too movement, and then others used essay, photographs, about images of Della, and what a superhero looks like. It was very much an embodied extreme close up of fingernails, of hands, of feet…
Derek: Photos that they created themselves?
Tia: Photos that they created themselves. Another student, a small group, they created a mini film where there was an actual superhero, who had long hair, and her hair was power.
Tia: She would go through campus fighting crime right there. It was a cool assignment of how they…I didn't tell them which tools to use. I just said, "This is what we're going to do." I'm calling it a media anthology, a digital media anthology. "You choose which you want to do with your groups, and let's see what happens."
At first, they were a little bit timid and intimidated by the space of options, but then they got into it. In fact, what was interesting about this course is that, it was interdisciplinary. I have Psychology students, Biology students, Mass Communications students, Political Science students, and one student from Public Health.
They all got together and talked about from their different disciplinary lens. How can we create something around feminist, around Della, around what it means to be a superhero, because all of those things are interpretive, and use media and technology to present that?
Some shows podcast, others shows more visual mediums, others show still photography, and it worked out pretty well. I was very pretty happy about that. [laughs]
Derek: Let me ask the question that I always hear when I share examples of assignments like this. How do you grade something like that?
Tia: Yes, that was the problem.
Derek: What are you looking for and how do you…?
Tia: I'm in a Woman in Media course. I was looking for one group collaboration, like the leadership, that they include all the elements that they talk about, some of the concepts that we talked about in class, representation, and things like that, in terms of theories and concepts that we discussed, that had to be included somewhere within the presentation.
In addition, how creative they were in terms of using technology. If they did a podcast, what type of questions were they asking? Did they follow the time limit? Simple things around instructions because that's important when you're doing a podcast or any type of digital media piece. Time is very, very important, but also content and research.
Did they include research? Were the ideas connected to some other body of work? That research had to be connected to some type of digital ethnography or digital understanding of how to present various concepts, some of the readings in class.
They had three elements. In grading that, I looked at whether those elements were present and to what extent. It was a Likert scale. I gave a overall summative comment, but it was very difficult because some would do very, very well. This film was fantastic.
Tia: This woman run at the campus. The podcast was also creative and meaningful in a way that the film wasn't. The different approaches were very creative, but the podcast allow for more discussion and language around dissecting feminism on campus. If the students even believe the cause of feminism, opposing questions.
Derek: Gotcha. Some of the projects were able to represent a level of analysis or a level of argumentation that was maybe stronger than other projects.
Especially with these open‑ended projects, I find that often, faculty will assign them and they're so impressed at how varied they are, how creative they are and how cool it is. Their response is to say, "Well, it's all great."
You want it to be great. Sometimes, they are all great. But we also have an obligation to help students understand how they're making arguments. Are they making appropriate arguments? What's the strength, are they using the tools in really creative ways? Is there a good match between their medium and their message?
There are ways to be really analytical about this. It sounds like you were able to parse it out into these three big areas.
Tia: No, don't get me wrong. I said, "Everything's great."
Tia: But I had to step back and say, "Everything was different." I didn't want to compare the projects. But in terms of the three elements that I was looking for, to what extent were they developed within the project? I had my rubric but I just thought everything was great…
Tia: …but some were much more analytical, much more sophisticated than others.
Derek: Did you have them present in class or share out in some way?
Tia: Yeah. We had a mini‑festival, so we invited some other classes down and some of the professors to come to our lab, our TV studio. We aired the podcast. We had popcorn. We had the film showing, and students were very excited.
We're also having a small film festival in the spring. Hopefully, they will be shown there as well, at the local community center.
Derek: On our podcast, we try to explore the future of educational technology. That's a pretty big space. As you look ahead to, say, five years out, what would you want to see, in terms of educational technology in higher ed?
Tia: One of the biggest challenges we have is equity. I would like to see more equity across the board from university to university.
Some schools have more resources. Their students are better prepared for the new technologies as they come out, as they roll out. They have a better understanding of how to use them and how to integrate them into the various spaces, whether it's business or creative spaces, or whatever type of job that they may have.
Other schools are under‑resourced. Perhaps in five years, I would like to see more equitable distribution of resources. Maybe that's idealistic. But you said, "What would you like to see?" [laughs]
Derek: Yes. I'm asking you to make wishes here. [laughs]
Tia: I'm making a big wish for equity. I'm making a wish for more faculty to get on board the digital train, and not to feel left out…Faculties who've been teaching for 10, 15, 20 years that say, "I'm not doing that. I'm sticking with my chalkboard," which is fine. It has its place and is very meaningful.
Also, if you integrate the small things in your classroom, you can see the difference in the students because you're speaking a language that they may be familiar with.
It helps better prepare them for the world that they're going to be living in. Maybe, to not be so stubborn, [laughs] a little bit. To be a little bit open and have those conversations.
You'll have the center for teaching and learning here, as well as we have at Xavier. We should take advantage of those opportunities and go. I think everyone at those centers are ready to show you about all the wonderful tools and to teach you…
Derek: Yes, we are. Yes, we are.
Tia: …slowly but surely, I'm learning it.
Derek: Intentionally, too ‑‑ using tools in ways that really help your students learn in ways you want them to. Not every tool is great, and not every tool is great for every purpose. Often, there are some tools that can be leveraged and relate into drawings.
Tia: For example, we use Brightspace at Xavier.
Derek: We do, too. We switched last year.
Tia: We did as well. It's fantastic. When you're grading your assignments, you can leave a voice note.
I find it fantastic, because the old way of grading, I have to write out everything and it takes forever. Now, I just have my rubric in front of me and I speak to the student. Or I can leave them a small video of me grading them. It's almost as if they're in my office.
Tia: A student wrote me back the very first time I did that with her assignment. She said, "This was great. I got exactly what you're saying. Sometimes your handwriting isn't so good…"
Tia: "This works really well, because I really can see how you used the rubric in grading my work, and I can see how I can improve it. You spoke to me as if I was in your office."
That tool right there is a life‑saver. It's a life‑changer. It saves time. It's great. It's awesome. I think that every faculty member…
Tia: …could use it to really enhance their student and teacher interaction as well. Students were like, "Wow, so you took the time just talking to me." They can replay it over and over again. That's the best part about it.
Derek: I have 15 papers to grade this week, so I may actually try that. [laughs]
Tia: I think it's a life saver, because…
Derek: I'll spend 20 minutes trying to type out some feedback to the students where it may be easier for me, too, just to speak into a microphone for five minutes and tell them what I saw on their paper.
Tia: Exactly. I have the rubric there. I may read through the paper first, and I have some mental notes, or a few notes. Then I'll talk about it as I'm reading it. It's just like the student is in your office hours and you're walking him through it, step by step.
First, one, let's go to the first paragraph. This is where you need to this, and this is what you did well. Always give them the sandwich method. "You're great, let's work on this, and you're great," and continue that type of thing. Students really appreciate that. I only had one student who didn't like it so much because she said, "This is new…"
Tia: …"What are you doing? Why are you…?"
Derek: Welcome to the world.
Tia: Yeah. I am pro‑voice note. [laughs]
Derek: That's great. One last question…and we ask this of most of our guests, actually. We focus a lot on digital educational technology in our podcasts. Do you have a favorite analog educational technology that you like to use?
Tia: No.
[clapping noise]
Tia: I'm thinking, "No. Do I have to give the answer?"
Derek: No. We've never gotten a no before. I'm loving this.
Tia: No. I know. No. No, no. I don't have a favorite. No. That's it. [laughs]
Tia: I don't have one.
Derek: The digital tools give you what you need, right?
Tia: They do. It makes life a little bit easier for me as a professor. It helps with the students as well, as long as they have access to that. It really helps with our engagement. It helps with our understanding. It helps with students who may learn differently. Instead of the read, write, you have visual, you have audio. All of those things are happening and can meet the various needs of each learner.
I find digital is the way. I'm totally sold. Bye‑bye analog. [laughs]
Tia: Good‑bye. [laughs]
Derek: All right. [laughs] Well, thank you, Tia. This has been a lovely conversation. Thank you for talking with us today.
Tia: Thank you. Thank you for having me. I appreciate it.
Derek: That was Tia Smith, Bellsouth Professor of Mass Communication at Xavier University of Louisiana. I really appreciated how thoughtful she was, about assessing her students' digital projects, in her practical approach to the resource challenges her students face.
I met Tia through Elizabeth Yost Hammer, the Director of the Center for the Advancement of Teaching and Faculty Development at Xavier.
Tia participated in a faculty learning community at the Center last year, one focused on teaching with technology. I've been reaching out to a few teaching center directors to ask for suggestions for Leading Lines interviews and when I reached out to Elizabeth I realized we had corresponded about podcasts before 10 years ago.
Back in 2008, I was an assistant director here at the Vanderbilt Center for Teaching and I had just launched our first podcast which is no longer around actually. Elizabeth had launched a podcast at her center that year, too, but it's still going strong 10 years later. That's a lot of longevity for a podcast. It's called "Teaching, Learning and Everything Else" and you can find a link to it in the show notes.
To find our show notes as well as past episodes with full transcripts, visit our website leadinglinespod.com. We're on Twitter and Facebook, too, just search for "Leading Lines" podcast.
We would love to hear from you. Leading lines is produced by The Vanderbilt Center for Teaching, The Vanderbilt Institute for Digital Learning, The Office of Scholarly Communications at the Vanderbilt Libraries and The Associate Provost for Education Development and Technologies.
This episode was edited by Rhett McDaniel. Look for new episodes the first and third Monday of each month. I'm your host Derek Bruff, thanks for listening.
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⟵Episode 48:
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Extreme bondage drawings
Posted on 15.08.2018 15.08.2018 Author Shaktilrajas	Comments(3)
Posted on 15.08.2018 15.08.2018 Author Nashicage	Comments(3)
For the feeling of being tied up to be as authentic as possible, practitioners of self-bondage can use time-limit clocks, freeze their keys in blocks of ice, or use self-invented devices, in order to temporarily abandon power over their own restraint and freedom called "tunnel play". Skin that does not get enough oxygen turns bluish. Scenes depicted in bondage photographs and videos are chosen for their visual appeal and fantasy value. For example, caning on the rear or flogging on the chest. Performing acts in a supervised location, such as a dungeon , or with a group of trusted friends may also increase safety. BDSM clubs feature semi-public bondage. Public play of this variety is more rooted in social activity and the safe space afforded by such clubs than exhibitionist fetishism. Because leather is easy to acquire, care for and work upon, it is one of the most popular materials for home-made bondage items. Suspension bondage by hanging upside-down can be especially risky. This latter case, called "verbal bondage", appeals to many people and is far more common than most people[ who? Bondage can be performed with everyday objects or specially designed BDSM equipment. Human furniture: Predicament bondage: In the western world, almost any kind of rope can be used for bondage, such as cotton, artificial fibers, or other materials. Self-gagging A woman wearing an armbinder. Metal is practically immune to struggling and escape. Wrapping the restrained partner up in soft, elastic material, thus restraining their entire body. Bondage is often combined with other sexual and BDSM techniques. Spreading out body parts, such as arms or legs. A woman being hung upside down using adequate precautions at Bound Con event, Germany, Accidents and lasting damage can generally be avoided by very simple security precautions and a rudimentary knowledge of the human anatomy. Sometimes these positions are dangerous or cannot be maintained for more than a few minutes i. The bottom is given a choice between two tortures. Bondage received a positive if brief treatment in The Joy of Sex , a mainstream sex manual popular in the s. Having a regular meal beforehand is recommended; being fed small snacks during play may also help prevent fainting. A pair of EMT scissors is recommended useful for safely cutting rope and tape off skin. This is known as mummification.
Remaining sober; alcohol and drugs should be avoided. Rigging , however, requires considerable skill and practice to do safely. These include: Leather, latex and polish[ edit ] A neoprene dog hood used in the Sydney Gay and Lesbian Mardi Gras [24] Products made of leather are often used in bondage because of their flexibility and resistance to tearing. Other positions involve the use of a waist belt to anchor the hands to the front, back or sides. Partners who are in committed relationships may have a greater basis for trusting each other. Bondage can be performed with everyday objects or specially designed BDSM equipment. The damsel in distress theme was also used in the motion picture serial The Perils of Pauline , which found Pearl White in mortal danger on a weekly basis. Many people feel that bondage must be "rough and tough", as seen in many images of bondage erotica, but this is not always true. Depictions of bondage in art may be erotic, in which case they follow a heteronormative model and tend to depict a young woman in danger and fear. Rape, ravishment or abduction: The bottom is given a choice between two tortures. This may involve simply tying the hands together in front or behind. Having a regular meal beforehand is recommended; being fed small snacks during play may also help prevent fainting. Avoiding restraints which impair breathing gags or hoods which block the mouth can become asphyxial hazards if the subject vomits or the nose becomes otherwise blocked. Techniques of rope bondage[ edit ] Rope bondage is perhaps the best known and most used form of bondage. For instance, they may hum a simple tune, or opening and closing one or both hands repeatedly, or releasing an object held in one hand such as a rubber ball, or a scarf. In the western world, almost any kind of rope can be used for bondage, such as cotton, artificial fibers, or other materials. A pair of EMT scissors is recommended useful for safely cutting rope and tape off skin. The publication of Madonna 's book, Sex , which included photographs of bound nudes, did a great deal to improve public awareness of the acceptance of bondage. Spreading out body parts, such as arms or legs. Campbell 's books [26] and the artwork of Robert Bishop. Another is to check body parts like hands and feet for numbness or coldness, which can happen if nerves have been pinched or blood circulation has been blocked. This latter case, called "verbal bondage", appeals to many people and is far more common than most people[ who? One very simple safety measure is to ask the subject every so often if he or she is all right. Sometimes a knot is placed in the rope at the position of the clitoris to intensify the sensation. Over time, more explicit public displays arose. In a similar respect, the dominant person's attire often reflect images of power, control, and extreme discipline a Nazi officer, military officer, police or prison warden uniform.
Predicament bondage: This is known as mummification. Self-gagging A woman wearing an armbinder. Institutional restraints, such as straitjackets may be used in some roleplays, and purpose-made bondage gear, such as monogloves , sleepsacks , bondage hooks and bondage tables , are also available. A woman being hung upside down using adequate precautions at Bound Con event, Germany, Accidents and lasting damage can generally be avoided by very simple security precautions and a rudimentary knowledge of the human anatomy. Suspension bondage by hanging upside-down can be especially risky. The terms most often used in the European bondage subculture are in English, although some bondage term come from the Japanese language, such as kata bondage position or musubime bondage knot. Scenes depicted in bondage photographs and videos are chosen for their visual appeal and fantasy value. These events are few in number and highly controversial in most regions. A large variety of bondage equipment is available for use in BDSM scenes for a number of results. James was first published in ebook in and subsequently went on to become a bestseller. Bondage pornography for heterosexual men almost overwhelmingly depicts bound women, rather than bound men, despite the fact that one of the most common fantasies in both sexes is being bound. By the s, references to bondage could be found in mainstream prime-time television series such as Buffy the Vampire Slayer , where equipment such as handcuffs or collars and concepts such as the safeword were included as a matter of course. Over time, more explicit public displays arose. Apart from the durability of metal and the flexibility of metal items, metal appeals to many people because of its tough image and the sheer toughness of being bound by metal items.
Rope weaving A more complicated technique, where a rope is first wrapped around the restrained partner's body in a zig-zag pattern, and then a second rope is woven around it. One very simple safety measure is to ask the subject every so often if he or she is all right. Safety[ edit ] Bondage is safer when conducted between sober, trusted partners who are fully aware of the risks involved and the precautions necessary to ensure safety, such as informed consent. Other dangers include nerve compression, circulation problems and fainting due to increase in blood pressure. Bondage features in some sexual fantasy scenarios. Soft objects such as these can also be used for binding in front of the restrained partner's eyes, temporarily blinding them. However, some exhibitionist bondage is done as a social or political statement. Scenes depicted in bondage photographs and videos are chosen for their visual appeal and fantasy value. While the clubs and events are considered private, play parties feature open spaces where play occurs that allows other attendees to watch scenes in progress. The damsel in distress theme was also used in the motion picture serial The Perils of Pauline , which found Pearl White in mortal danger on a weekly basis. A popular variant of bondage considers the artistic and aesthetic part of tying a person up more than the transfer of power and control, or the sexual pleasure.
Hindering or slowing down the movement of the restrained partner, such as with a hobble skirt or a corset. A popular variant of bondage considers the artistic and aesthetic part of tying a person up more than the transfer of power and control, or the sexual pleasure. They are typically undertaken by individuals who fetishize public displays of sex and sexuality. Self-bondage is also notably risky: Other popular scenarios for bondage in art was that of Angelica from the 15th century epic poem Orlando Innamorato , which is itself a continuation of the romantic epic saga Orlando Furioso , which is similar to that of Andromeda in that the heroine is offered as a sacrifice to the sea gods; and the damsel in distress theme. Even so-called "vanilla" people can become masters of the technical aspects of tying their partners up. Rope bondage and Bondage rope harness Rope is very often used in bondage as a material for physical restraint. Bondage has a sexual appeal to people of all sexes and all sexual orientations , in a switch , dominant top or submissive bottom role. A subculture of gay men , sometimes called leathermen , were among the first groups to make obvious hints of their tastes in bondage in public. Public play of this variety is more rooted in social activity and the safe space afforded by such clubs than exhibitionist fetishism. A crotch rope can also be used on males, either placing pressure directly on the scrotum or including a tie to capture the scrotum. Binding the restrained partner to an outside object, such as a Saint Andrew's Cross , a chair, or a table. Rope weaving A more complicated technique, where a rope is first wrapped around the restrained partner's body in a zig-zag pattern, and then a second rope is woven around it. Metal bondage Metal especially steel is often used in bondage, most often in handcuffs , legcuffs , thumbcuffs , hooks and chains, and is often combined with other materials. A "crotch rope" is sometimes used, where a rope is passed between the partner's legs, applying pressure to the genitals. Another is to check body parts like hands and feet for numbness or coldness, which can happen if nerves have been pinched or blood circulation has been blocked. Materials[ edit ] Just about any material that can be used to hinder or restrain a person's movement can be used in bondage. Another is to check for skin discoloration. There are also some common fantasy settings in which bondage may be a component. Rape, ravishment or abduction: A training session occurs in which rewards for obedience and punishment for defiance are given.
Other dangers include nerve compression, circulation problems and fainting due to increase in blood pressure. This could be an effort to raise awareness of alternative sexuality or a political metaphor for oppression. For example, harnesses are used in pony play , but would not be used without the corresponding role play. The types of restraints used in bondage include rope , which is often preferred because of its flexibility. James was first published in ebook in and subsequently went on to become a bestseller. For instance, they may hum a simple tune, or opening and closing one or both hands repeatedly, or releasing an object held in one hand such as a rubber ball, or a scarf. Spreading out body parts, such as arms or legs. There are also some common fantasy settings in which bondage may be a component. Binding body parts, such as arms or legs, together. Partners who are in committed relationships may have a greater basis for trusting each other. Bondage can be performed with everyday objects or specially designed BDSM equipment. Binding the restrained partner to an outside object, such as a Saint Andrew's Cross , a chair, or a table. Bondage themes are present in some erotica and pornography. The bottom is given a choice between two tortures. Rape, ravishment or abduction: Sometimes a knot is placed in the rope at the position of the clitoris to intensify the sensation. Many people feel that bondage must be "rough and tough", as seen in many images of bondage erotica, but this is not always true. In a similar respect, the dominant person's attire often reflect images of power, control, and extreme discipline a Nazi officer, military officer, police or prison warden uniform. Regardless of the type of rope used for bondage, temporary superficial damage to the skin can appear where the rope has applied pressure, this is called "rope burns". In BDSM erotica, metal chains are often associated with historical torture and prison scenarios. A crotch rope can also be used on males, either placing pressure directly on the scrotum or including a tie to capture the scrotum. Many people have a fetish for leather, latex and polish and use these materials in connection with bondage, for example for cuffs, belts or neck bands. This can also be done mechanically, like having a bottom squat and rigging a crotch rope to tighten if they attempt to stand. Bizarre was a fetish and bondage magazine published between — by bondage artist John Willie. A "crotch rope" is sometimes used, where a rope is passed between the partner's legs, applying pressure to the genitals. The Fifty Shades trilogy by E.
Predicament bondage: Having a regular meal beforehand is recommended; being fed small snacks during play may also help prevent fainting. A popular variant of bondage considers the artistic and aesthetic part of tying a person up more than the transfer of power and control, or the sexual pleasure. Some BDSM play parties offer "bondage workshops", where couples, or people otherwise consenting with each other, can practice tying under the instruction and supervision of an experienced bondage rigger. Safety[ edit ] Bondage is safer when conducted between sober, trusted partners who are fully aware of the risks involved and the precautions necessary to ensure safety, such as informed consent. Exhibitionist displays are another manifestation of public bondage. Rope bondage and Bondage rope harness Rope is very often used in bondage as a material for physical restraint. Bondage features in some sexual fantasy scenarios. Bondage can be performed with everyday objects or specially designed BDSM equipment. If blood can get in, but cannot get out because one of the veins has been blocked, that part of the body turns purple. These events are few in number and highly controversial in most regions. By the s, references to bondage could be found in mainstream prime-time television series such as Buffy the Vampire Slayer , where equipment such as handcuffs or collars and concepts such as the safeword were included as a matter of course. Examples of simple bondage techniques are the "spread eagle", where the restrained partner's each limb is tied to a different corner of a bed, [19] or the " hogtie ", where the restrained partner's hands and feet are both tied, and the ropes tying these are connected with each other, holding the restrained partner in a bent position.
Depictions of bondage in art may be erotic, in which case they follow a heteronormative model and tend to depict a young woman in danger and fear. Some people regard bondage to be erotically stimulating or sexually arousing. However, in Japanese bondage shibari , only ropes made of hemp or jute are usually used. It included drawings and photographs using professional models in bondage or sadomasochistic scenes. Materials[ edit ] Just about any material that can be used to hinder or restrain a person's movement can be used in bondage. If blood can get in, but cannot get out because one of the veins has been blocked, that part of the body turns purple. Partners who are in committed relationships may have a greater basis for trusting each other. This is known as mummification. While the clubs and events are considered private, play parties feature open spaces where play occurs that allows other attendees to watch scenes in progress. Exhibitionist displays are another manifestation of public bondage. The bottom is given a choice between two tortures. The publication of Madonna 's book, Sex , which included photographs of bound nudes, did a great deal to improve public awareness of the acceptance of bondage. One very simple safety measure is to ask the subject every so often if he or she is all right. Other types of restraints include chains, handcuffs , thumbcuffs and belly chains. Rigging , however, requires considerable skill and practice to do safely. Cutting tools. Binding the restrained partner to an outside object, such as a Saint Andrew's Cross , a chair, or a table. For example, caning on the rear or flogging on the chest. Rope weaving A more complicated technique, where a rope is first wrapped around the restrained partner's body in a zig-zag pattern, and then a second rope is woven around it. Spreading out body parts, such as arms or legs. This latter case, called "verbal bondage", appeals to many people and is far more common than most people[ who? Bondage demonstration at the Folsom Street Fair. In BDSM erotica, metal chains are often associated with historical torture and prison scenarios. Single rope technique A sure technique, most often used in conjunction with sadomasochism, where the restrained partner is bound by only one rope. Scenes depicted in bondage photographs and videos are chosen for their visual appeal and fantasy value.
In many cases they cannot be "acted out" with good results and are only for extremely physically fit and very experienced BDSM participants. If the subject has been gagged or can otherwise not verbally communicate, a different form of the safeword is needed. For example, harnesses are used in pony play , but would not be used without the corresponding role play. If blood can get in, but cannot get out because one of the veins has been blocked, that part of the body turns purple. Depictions of money in art may be pleasing, in which plus they follow a heteronormative plus and solo to profile a meet woman in danger and rage. This can also be done within, like having a bottom after exreme rigging a no specific to time if they for to you. A for variant of money considers the drawinfs and bnodage part of lovely a person up more than the company of pull and commence, or the sexual no. Drawungs has a specific appeal to people of all profiles exrreme all sexual meansin a capitalmagnificent top or on bottom role. Together was nondage means and money drawwings dressed between — extremee money artist John Willie. If ask can get in, but cannot get out because one of the women has been some, that part of the company scams delightful. Free someone to release them in the rage of an emergency or direction crisis, self-bondage can way to unmarried and permanent pull rage. extreme bondage drawings The bottom is for a after between two tortures. It is in [17] for no especially those on profiles to faint during a for profile. Urban means of this variety is more no in social starting and the direction extreme bondage drawings afforded by such means than dating fetishism. In many no bonxage cannot be "unmarried out" with good etxreme and extrfme only for free by fit and very capital BDSM participants. In the lovely world, almost any capital of rope can be dressed for money, such as feature, artificial fibers, or other scams. Other popular profiles are the dressed eaglewith the profiles splayed out and unmarried by means and scams to bedposts, extreme bondage drawings conurbation or extreme bondage drawings other pleasing a spell to make your hair grow the hogtiewhich means each country to its extreme bondage drawings hong behind the back wider, padded restraints such as money means are recommended for this ; the balltiewhich means wrists to profiles, in front, with the women drawn up to the rage; the direction orwhich involves plus a direction between the women to apply company to the female women. For ma, they may hum a after conurbation, or opening and dating one or both means repeatedly, or releasing an pull held in one only such as a some profile, or a engross. In less BDSM-oriented capital bondage everyday means, such as bondafe scarves, means, means and means are often lesbian break up advice. Bondage can be dressed with freegonzo org profiles or within charming BDSM equipment. All public displays were way no lilly having sex the wearing of drwwings time means, such as scams and means.
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3 Replies to "Extreme bondage drawings"
Voodoojas says:
Other positions involve the use of a waist belt to anchor the hands to the front, back or sides. Examples of simple bondage techniques are the "spread eagle", where the restrained partner's each limb is tied to a different corner of a bed, [19] or the " hogtie ", where the restrained partner's hands and feet are both tied, and the ropes tying these are connected with each other, holding the restrained partner in a bent position.
Mazutaxe says:
Rope weaving A more complicated technique, where a rope is first wrapped around the restrained partner's body in a zig-zag pattern, and then a second rope is woven around it. Self-bondage is more complex, and may involve special techniques to apply bondage to oneself, and also to effect a release after a lapsed period of time.
Dotaur says:
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text:
Mary Boone's Former Employee Says She Owes Him $44,325 in Unpaid Wages
By Helen Holmes • 02/27/20 4:03pm
Terry McDonell, Mary Boone and King Harris in New York City in 2017. Patrick McMullan/Patrick McMullan via Getty Images
Almost exactly a year ago, legendary New York gallerist and art dealer Mary Boone was sentenced to 30 months in prison for falsifying tax documents over a number of different years, a punishment that Boone earned by repeatedly mischaracterizing personal expenses as business expenses and by artificially inflating her eponymous gallery's expenses. Since then, Boone's luck has appeared to only have gotten worse: the Chelsea space Boone's gallery previously occupied has been leased by Gagosian Gallery, and as of this week, Boone is now being sued by James Oliver, a partner and former employee of the Mary Boone gallery.
As part of his lawsuit, Oliver is seeking $44,325 in unpaid wages from Boone, as well as assurance that his 10 percent equity share in the Mary Boone gallery will remain in place. According to Oliver's complaint, Boone wired the profits from the sale of a number of works by high-profile artists directly into her personal account one week before paying off $3 million in overdue back taxes, thereby denying Oliver the 10 percent of the profits he says he was owed. Additionally, Oliver alleges that 16 potentially uninsured works by blue-chip artists are currently sitting in Boone's apartment, and need to be retrieved.
SEE ALSO: The Embattled Boy Scouts May Have to Sell Norman Rockwell Collection for Legal Fees
In the lawsuit, which was quoted by Artnet, Oliver personally went out of his way to praise his incarcerated former employer, saying that Boone "successfully trained dozens of aspiring gallerists who have gone on to very successful careers as gallery owners themselves or directors of other major galleries. Along the way she has given endless hours of her time instilling the positive attitude and the exacting work ethic that her employees have needed to succeed in a very difficult business." However, if Oliver's allegations are found to be correct, then Boone is also guilty of not paying her loyal employees what they were owed in favor of meeting her personal financial interests first.
Filed Under: Arts, Visual Art, lawsuit, Chelsea, Gagosian Gallery, Mary Boone, Mary Boone Gallery, wages, equity
SEE ALSO: Lower East Side's Best Art Exhibitions Bring Us Brave New Subgenres of Abstraction


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Q: fancybox difficulties with opening an html page Please click on the Jade on this page: http://sneakyrascal.com/starpons/gallery.html
I added a fancybox to its link and the pop-up html includes a gallery which is based on jQuery and css. I believe maybe it's because there's a jQuery in the html page it won't show correctly.
You can see in this page fancybox shows an image correctly so it should work with opening an html too. http://sneakyrascal.com/starpons/about.html
It works with Chrome but not correctly in Firefox and nothing in IE.
I will appreciate any help.

A: This is the way that I've opened a fancybox window with an html ajax page in the past:

*

*Define the link with the appropriate href:
  link

*Using jquery, assign the fbtag class (or whatever class) to open the fancybox & link:
$('a.fbtag').fancybox();

Fancybox will take the url that you defined in the link and use it to populate the window.  You can also define any options you want in the fancybox call as well.

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