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Regional innovation ecosystems
Scope & Objectives
I. Eligible Applicants
II. Eligible Activities
III. Eligible Costs
IV. Ineligible and/or Unsupported Costs
Disbursement of Funding
Visibility and Communications Requirements
The Regional innovation ecosystems (RIE) Stream aims to create, grow and develop strong and inclusive regional ecosystems that support business growth and innovation, as well as the entrepreneurial environment necessary to foster more innovative regional economies and increase the competitiveness of small- and medium-sized enterprises (SMEs).
Through this program, FedNor seeks to:
Grow and sustain strategic clusters and consortia to leverage regional strengths and support businesses to scale up and commercialize innovative products, technologies and services.
Enhance the development and reach of business accelerators and incubators, and other organizations, which support entrepreneurs, start-ups and innovative companies with high-growth potential.
Support projects led by innovation-oriented organizations to increase and promote business productivity and global competitiveness, and investment and talent attraction.
FedNor will make targeted investments in not-for-profit organizations that provide support to businesses at each stage of development in areas where Northern Ontario has the potential to have a leadership position and opportunities for growth. Investments made through FedNor's Regional innovation ecosystems Stream will further enhance the capacity of ecosystems to support underrepresented groups, including women, Indigenous peoples and young entrepreneurs, promoting their entrepreneurial talent.
Projects supported through FedNor's programs work towards achieving one or more of the following departmental results:
Businesses in Northern Ontario invest in the development and commercialization of innovative technologies, products, services and processes.
Businesses in Northern Ontario are innovative and growing.
Communities in Northern Ontario are economically diversified.
Not-for-profit organizations (e.g., sectoral associations, universities, colleges, and angel networks);
Business Accelerators and Incubators (BAIs);
A group of eligible recipients (e.g., alliance) that include not-for-profit organizations, small- and medium-sized enterprises (SMEs), post-secondary educational institutions, social enterprises; or a group or an alliance such as an industry association or consortium;
A municipality and all other municipal-type organizations;
An Indigenous organization such as Indigenous-led not-for-profits and organizations that include but are not limited to First Nations as represented by their Chief and Council, Tribal Councils, Indigenous Representative Organizations, Métis and Inuit organizations, and Settlements as well as Indigenous/First Nation/Métis Settlement owned businesses;
A crown corporation provided that the financial assistance is not or will not be used to fund the corporation's capital or ongoing operational requirements;
An Ontario government department, crown corporation or organization or any other entity created by the provincial government or a provincial department.
To be considered eligible, project benefits must accrue to Northern Ontario.
All eligible applicants must be legal entities capable of entering into legally binding agreements.
To be considered eligible for funding, applicants must demonstrate:
Evidence of project funding.
Managerial, technical, operational and financial capacity to achieve the project's stated objectives in a timely manner.
Market/industry demand (e.g., how the project addresses a significant gap in the market; global opportunity to be seized within Canada; and evidence that Northern Ontario is uniquely positioned to capture market share).
A viable project plan with achievable outcomes, supported by verifiable cost estimates.
Applicants may also be required to demonstrate how their project will be self-sustaining upon the completion of the project. For project proposals that will result in the creation of a new ongoing program/service, applicants may be required to demonstrate the financial sustainability of the new program/service beyond the project completion date (i.e., sustainable business model and/or a plan for generating revenue in order to grow or maintain service levels.
FedNor is targeting investments structured around the following activities:
Growing Clusters and Consortia
Cluster and consortia projects bring together multiple stakeholders, such as businesses, industry associations, Indigenous economic development corporations, post-secondary and research institutions, and all levels of government. These projects will normally have strong industry participation, support the translation of leading-edge innovation into high-growth entrepreneurship, and focus on areas where Northern Ontario has an innovation advantage and/or there are global opportunities.
Examples of eligible project activities could include:
Business and market development and/or expansion of programs and services.
Commercialization services, networking and mentoring opportunities.
Financing programs and support.
Business innovation support services for women, Indigenous peoples and young entrepreneurs.
Improving the availability of risk capital to address a need in the region.
Innovative models to support the first sale of new products and services.
Training needed to support the adoption or adaptation of innovative technologies, processes and practices.
Enhancing investment attraction, export readiness and market diversification.
Facilitating supply chain development.
Eligible costs include all costs incurred by the eligible recipient which, in FedNor's estimation, are reasonable and necessary for carrying out the project, including:
Project-specific cost of labour (e.g., wages and benefits) and of material used;
Capital costs: purchase of machinery, equipment and infrastructure;
Operating costs that are incremental, measurable and directly related to the project;
Consultancy fees (e.g. professional, advisory and technical services);
Advisory expenses (e.g., planning, business information, counselling advisory services; coaching, mentoring or networking events; workshops or conference fees);
Costs related to intellectual property;
Preproduction (e.g., technological development and commercial demonstrations);
Commercialization costs;
Costs related to expanding or maintaining markets;
Subcontracting costs;
Production and distribution of promotional material and management tools;
Anticipated cost of maintaining the useful life of an asset for a reasonable period;
Production of management tools; and,
Costs related to specialized services such as testing services, research and development services, technical or innovation services, sector development strategies in all markets and business networking.
Any costs deemed not reasonable and/or not directly related to the eligible project activities are ineligible, including:
Activities in support of regular maintenance and/or ongoing operation costs;
Costs typically supported by federal/provincial transfer payments;
Cost incurred prior to the eligibility date as defined in the contribution agreement;
Any cost that is ineligible or unsupported under the contribution agreement;
Acquisition of land and buildings;
Costs that result in direct benefits to a single or small number of private firms, unless specifically associated with an approved activity related to the delivery of service or program under the proposed project; and,
The purchase of any assets for more than the fair market value of the said asset.
FedNor will work to ensure project applications align with the Government of Canada's Prosperity and Growth Strategy for Northern Ontario (PGSNO) Preference will be given to projects that respond to issues and opportunities identified in the PGSNO. These may include priority sectors and strategic clusters, or projects that reinforce Northern Ontario's economic and innovation strengths in areas of comparative advantages at the regional, national or global level.
Projects that support the government's commitment to inclusive growth (i.e., women and Indigenous peoples) and Official Language Minority Communities may be given priority.
Assistance available includes repayable and non-repayable contributions. Contributions will normally be repayable where proposed projects generate profits for the eligible applicant.
The amount of the awarded contribution will be based on the minimum amount required for the project to proceed, the extent to which other sources of available funding have been leveraged, and the applicant's ability to repay the contribution, if applicable.
Applicants are normally eligible to receive up to 75 percent of eligible and supported costs. On an exceptional basis, FedNor may consider projects eligible for up to 100 percent of eligible and supported project costs. Where contributions are awarded to commercial projects, recipients must assume a portion of a project's eligible costs.
For projects involving redistribution of funding to SMEs, the ultimate recipients (SMEs) must provide minimum 50 percent cash contribution. The maximum disbursement of a contribution that provides funding to SMEs as their ultimate recipient is capped at a maximum of $25,000 per SME under a FedNor project with a not-for-profit organization.
Government stacking up to 100% is allowed for the Regional innovation ecosystems Stream. All potential recipients of assistance under this program must disclose all sources of confirmed and potential government assistance before the start and at the end of the project.
Financial assistance from government programs may have tax implications for an organization. It is recommended that applicants obtain advice from a qualified tax professional.
Project funding is subject to parliamentary approval of funds and to the maintenance of current and forecasted program-related budgetary levels.
If a project receives approval, a contribution agreement will be executed with FedNor. Funding will be based on the percentage of funding approved for eligible costs incurred.
FedNor will allow for advance payments under this program based on the recipient's cash flow requirements.
Progress payments will be made on the basis of documented claims for reasonable eligible costs incurred or on the basis of the achievement of pre-determined performance objectives (for example, project milestone payments) and on the costing formula to be described in the contribution agreement.
To receive funding, recipients must submit claims forms, on templates provided by FedNor, that summarize eligible costs incurred and paid within a defined period. Generally, the duration of these periods will be quarterly.
The specific terms of repayment, if applicable, including date of commencement and length of repayment term, will be determined on a case-by-case basis during the development of the contribution agreement. Repayment will normally begin no later than one year following the completion of the project.
Applications are accepted on an ongoing basis with no submission deadlines. FedNor has a Two-phase application process and a Phase One Application for Funding that is used across all programs.
Refer to the Application Guide for instructions on how to complete FedNor's Phase One Application for Funding. Applicants are encouraged to review the Application Guide in conjunction with these programming guidelines.
Applicants are strongly encouraged to contact a FedNor Program Officer prior to submitting an application.
Multiple and concurrent project submissions from the same applicant are discouraged and may not be considered by FedNor; applicants are encouraged to prioritize project submissions.
FedNor reserves the right to initiate calls for proposals as deemed necessary to encourage applications in priority areas or sectors. FedNor also reserves the right to change the application process at its sole discretion.
FedNor will review Phase One applications as they are received.
All applications will be screened initially for completeness.
Complete applications are those that include all prescribed documentation containing all information needed for FedNor to complete the review. Information should be accurate, verifiable, relevant and consistent.
Applicants that meet the program eligibility criteria will be notified and asked to submit a Phase Two application.
Phase Two applications will undergo a due diligence process where they are assessed against a number of factors. Assessment criteria include, but are not limited to:
Project's contribution to achieving the objectives and expected outcomes of the Regional innovation ecosystems Stream and government priorities.
Demonstrated capacity of the applicant to successfully implement the project and achieve the stated objectives. Factors to be assessed include managerial capacity, technical capacity, operational capacity and financial capacity.
Assessment of need for the project, and how the project fills a significant gap in the ecosystem in priority sectors or clusters.
Risks (financial, technical) and mitigation strategies.
Economic benefits of the project.
Innovation benefits of the project.
Demonstrated need for FedNor's investment and its incremental impact on project in terms of scope, location and timing.
Support for inclusive growth priorities (e.g., women-owned or Indigenous-owned organizations).
All proprietary data, commercially sensitive information and potentially valuable results or ideas will be protected from unauthorized, inadvertent or untimely disclosure. This information will be treated in accordance with the Access to Information Act and the Privacy Act.
These laws govern, protect and limit the collection, use and disclosure of personal and confidential information by federal government departments and agencies. Beyond the parties already mentioned above, confidential commercial information will not be shared without the applicant's consent.
Recipients may be required to submit to FedNor periodic project reports and annual financial statements. Project reports will provide details on results and completion of deliverables, including achievement of performance indicators and project benefits identified in the contribution agreement.
Recipients must agree to participate in a public announcement and other promotional activities linked to the Contribution, as outlined in the Communications requirements section of FedNor's website.
FedNor is committed to providing quality service to all applicants and funding recipients in the official language of their choice.
Our goal is to:
acknowledge receipt of an application within three (3) working days; and,
provide a decision on applications within eighty (80) working days of receipt of a fully completed application.
FedNor reserves the right to modify these guidelines at any time without notice and may waive certain requirements on an exceptional basis.
Where applicable, FedNor requires that:
Applicants address the requirements of the Canadian Environmental Assessment Act, 2012, and reflect the spirit and intent of the Official Languages Act;
Capital projects respect Canada's obligation to consult and, where appropriate, accommodate Aboriginal communities;
Applicants use a fair, competitive and transparent procurement process to ensure the best value for money when supplies, equipment and services are purchased or personnel hired; and
An appropriate authority or regulatory body endorses the project.
Applicants are strongly encouraged to contact FedNor to discuss their project with a Program Officer, who will also explore other government programs that may be applicable, or begin your application process.
For more information on FedNor's programs, visit Our Programs, or call 1-877-333-6673. TTY (for hearing-impaired): 1-866-694-8389.
Regional Economic Growth through Innovation (REGI)
Northern Ontario Development Program (NODP)
Community Futures Program
Economic Development Initiative (EDI)
Page: E204-fn04093


There isn't a lot of shade along this route. Depending on the season, you might need to apply sunscreen. Also, during the warm, humid months, you might want to consider some insect repellant if you intend to stop for any length of time along the trail.
This trek begins at the intersection of Tyrone Boulevard/Bay Pines Boulevard and Park Street North. The best place to park is the southwest corner of the Target parking lot (north side of Bay Pines Boulevard).
21 Miles from Mile Marker 7 to Demens Landing in downtown St. Petersburg and back.
Target has restrooms and water at the start of this trek.
Demens Landing has restroom and water facilities.
There are many street crossings since this is a trail running through the most densely populated county in Florida.
When riding through downtown St. Petersburg, you share the same side of the road coming and going. When you are heading back traveling against vehicular traffic, it can be a little disconcerting.
If you don't enjoy climbs, you will not like the climbs up the overpasses along the trail. If you are of average health, though, you should have no problem as they aren't particularly taxing.
The pass through the old St. Petersburg Times shipping facility is creepy at best – I would not recommend sight seeing around this area.
Relatively flat course. The only climbs are the overpasses across major thoroughfares.
A fine view of the St. Petersburg Pier. See this iconic landmark before it is leveled to make way for a new tourist destination.
Since this is my first post, please feel free to leave a comment below on what additional information I can provide or helpful information I can add. Be sure to check out the Gallery Pictures below!


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(This is the first in a series of posts about the emergence of indicators of a Cinema of Totality)
Oscar Schlemmer: Triadic Ballet, Bauhaus 1922 Ideas of the gesamptkunstwerk – the total art work – drove both Walter Gropius (founder and director of the Bauhaus), and Lazlo Moholy Nagy, who in 1923 took over as head of the Preliminary (Foundation) Course from Johannes kitten. Oscar Schlemmer had his ideas too, inspired by von Kliest's essay on the Marionette Theatre (1798), and concurring with Moholy Nagy's vision of a theatre of machines.
Back in 1924, in his book Theatre of the Bauhaus, the artist-designer-film-maker Lazlo Moholy Nagy, then in charge of the Foundation year at the Bauhaus, included a piece headed Theatre, Circus, Variety in which he described THE COMING THEATER – A THEATER OF TOTALITY:
"3. THE COMING THEATER: THEATER OF TOTALITY
Every form process or Gestaltung has its general as well as its particular premises, from which it must proceed in making use of its specific media. We might, therefore, clarify theatre production if we investigated the nature of its highly controversial media: the human word and the human action, and, at the same time, considered the endless possibie creator—man."
"It must be said, however, that those ideas, in contradistinction to a literary-illustrative viewpoint, have unquestionably advanced creative theater precisely because they were diametrically opposed. They canceled out the predominance of the exclusively logical-intellectual values. But once the predominance has been broken, the associative processes and the language of man, and consequently man himself in his totality as a formative medium for the stage, may not be barred from it. To be sure, he is no longer to be pivotal—as he is in traditional theater—but is to be employed ON AN EQUAL FOOTING WITH THE OTHER FORMATIVE MEDIA."
Examples of indicators of the emerging Cinema of Totality. The Wachowsky's The Matrix (1999) in many ways mapped out the new 'virtual cinematography' – the intricate compositing of live-action-motion-capture-CGI, freeing the camera both in space and time.
I believe that we are witnessing the early stages of a Cinema of Totality. Very early stages, I suggest, as the true art of the 21st century is still only being hinted at in the great variety of emergent art-forms and media innovation that has marked the last twenty years. These nascent forms include interactive installation-art, augmented reality, virtual reality, e-books, web-sites, virtual worlds, projection-mapping, webcasting, geographical information systems, social media, fractals, CGI, robotics, simulation software, chatbots, machine-generated literature, games, MMORPGs, hypertext and hypermedia, multi-touch, gesture recognition, speech-recognition, machine-learning, video-art, artificial life, genetic algorithms, QR Quick-Response Codes, hologram projection, tamagotchi, exoskeletons, transmedia narrative, synthespians, software agents, Internet of Everything, wikipedia, internet archive, Skype, animatronics, interactive documentary, digital journalism, realtime motion capture, PreViz software, – and of course a swath of acronymic technologies, including: html, vrml, RSS, PHP, Java, CCTV, HD, QTVR, VVVV, RFID, GPS, GIS, etc.
Some key books have hinted at the possibilities here: Brenda Laurel: Computers as Theatre (1991), Howard Rheingold: Virtual Reality (1991), Clifford Pickover: Computers and the Imagination (1991), Steven Levy: Artificial Life (1992), Neil Stephenson: Snowcrash (1992), Noam Chomsky: Manufacturing Consent (1992), Scott Bukatman: Terminal Identity (1993), Howard Rheingold: The Virtual Community (1993), April Greiman: Hybrid Imagery (1993), Kevin Kelly: Out of Control (1994), Bob Cotton and Richard Oliver: The Cyberspace Lexicon (1994), Robert Pepperell: The Post-Human Condition (1995), Sherry Turkle: Life on the Screen (1996), Mitchell Resnick: Turtles, Termites and Traffic Jams (1997), Janet Murray: Hamlet on the Holodeck (1997), Bob Cotton and Richard Oliver: Understanding Hypermedia 2.000 (1998), Hans Moravec: Robot (1999), Scott McCloud: Reinventing Comics (2000), Bob Cotton and Malcolm Garrett: You Aint Seen Nothing Yet (2000), Jay David Bolter: Remediation (2000), Brenda Laurel: Utopian Entrepreneur (2001), Lev Manovich: The Language of New Media (2001), Martin Dodge and Rob Kitchin: Atlas of Cyberspace (2001), Lucien King: Game On (2002), Bob Cotton: Futurecasting Digital Media (2002), Howard Rheingold: Smart Mobs (2002), Jeffrey Shaw: Future Cinema (2002), Bill Moggeridge: Designing Interactions, Charlie Gere: Art, Time and Technology (2006), Stephen Keane: Cinetech (2007), Mike Faulkner: Audio-Visual Art and VJ Culture (2008), Jesse Schell: The Art of Game Design (2008), Erik Brynjolfsson and Andrew McFee: The Second Machine Age (2014), Lev Manovich: Software Takes Command (2014).
While most of these example films are blockbusters, and several are series (to amortise the original costs over several films), around 30% of the top 100 greatest grossing movies would fit in as illustrations of the totality of directorial freedom in the last decade or so. If you can imagine it, we can build it.
These were all hints as to the essential building blocks of a 21st century iteration of Wagner's Gesamptkunstwerk (composite art work) – hints as to the ingredients of a new total art form. But I want to talk about a recent trend apparent in big-budget (blockbuster) movie-making. A trend that has several signs of a new Cinema of Totality.
Since the successful integration of (first of all) models and optical effects, then later, computer-generated imagery (CGI) with film (in movie-industry terms, going all the way back to Fritz Lang's Metropolis (1927), Stanley Kubrick's 2001 A Space Odyssey (1968), George Lucas' Star Wars (1977), and Stephen Lisberger's Tron (1982), but more particularly and perhaps more spectacularly, in James Cameron's Terminator films (from 1984), then in a string of mostly hugely successful films that synthesise CGI, motion-capture, scenography, prosthetics, analglyptic 3d, virtual cinematography as well as multi-channel sound, costume design and other traditional filmic arts. These include: (in chronological order):
Luc Besson: The Fifth Element (1997)
Wachowskis: The Matrix series (from 1999)
Chris Columbus: Harry Potter and the Philosopher's Stone (2001)
Peter Jackson: Lord of the Rings series (from 2001)
Gore Verbinski: Pirates of the Caribbean (2003)
Frank Miller, Robert Rodriguez: Sin City (2005)
Andrew Adamson: Chronicles of Narnia 2005
James McTeigue: V for Vendetta (2006)
Christopher Nolan: The Dark Knight (2008)
James Cameron: Avatar (2010)
Alfonso Cuaron: Gravity (2013)
(an indicative list only – you can think of many more films like this, in which the director seems to have total creative freedom)
In the last decade or so, it is computer graphics modelling and animation (CGI for short) that has catalysed this creative freedom – allowing director's, production designers and cinematographers the freedom to think and to create entirely outside the constraints of gravity and space/time. From the very first high-level CGI I saw in the early 1980s (it was a much treasured showreel from John Whitney Jr's Triple I studio) it was obvious that this was not only part of the future of animation, but an essential component in the future of movies.
Of course, CGI wasn't a sudden phenomena – on the contrary, the art and science of computer graphics has a long history – with its foundations in the work of the MIT Lincoln Lab (light pen 1958), Boeing Aircraft Company (3d wireframes) in the early 1960s, and its breakthrough-moment came with the work of Ivan Sutherland and his 1963 doctoral hypothesis: the Sketchpad software (interactive, screen-based 3d modelling), and the work of the flight-simulation company he set up with David Evans (Evans and Sutherland) in 1968.
This is an abbreviated chronology of CGI:
Jay Forrester: Industrial (System) Dynamics 1958
William Fetter (then at Boeing)- coins 'computer graphics' in 1960
Steve Russell: Space War computer game 1961
William Fetter: wireframe 3d modelling including Boeing Man – ergonomic 3d wireframe of human body 1964
Arthur Appel: Hidden-line removal 1967
Arthur Appel: Ray-casting 1968
Henri Gouraud: Gouraud Shading – 1971
Michael Noll: raster-scan (bitmaps) 1971
Bui Tuong Phong: Phong Shading 1973
Ed Catmull: Texture mapping 1974
Martin Newell: Utah Teapot model 1975
Turner Whitted: Ray Tracing 1979
Benoit Mandelbrot: Fractal landscapes (used in Star Trek Wrath of Khan, 1982)
Rebecca Allen: Motion Capture for Twyla Tharp: Catherine Wheel (capturing and modelling realistic human motion)1983
William Reeves: Particle System (rendering fire, explosions, clouds, smoke etc)
Cornell University: Radiosity 1984
Jamnes Kajiya: Path-Tracing 1986
Will Wright: Sim City complex system simulation (based on Forrester's System Dynamics) 1989
John Carmack and John Romero: Wolfenstein 3D realtime 3d first-person shooter 1992
John Carmack: Doom realtime 3d first-person shooter 1993
Kristin Dana: skin and cloth textures 1999
cel-shading 2000
Voxel Volume Ray-Casting
Stephen Regeleious: Massive/Prime crowd-rendering 2001
This is hardly a definitive list, but it gives some impression of the phenomenal development of computer graphics over the 54-year period: 1960 – present. The components of CGI – the hardware and software – are of course still developing. The software is a fascinating example of the success of the scientific collaborative sharing of knowledge aka the open-source ideal. The software packages used in the industry now (Maya for example) are the result of over 50 years of innovation by computer scientists, artists, CG specialists, and graphics programmers. The gradual accretion of algorithms for modelling and rendering is a phenomenal example of international collaboration, and has resulted in a set of immensely powerful tools for film-makers, (as well as for artists, architects, designers, scientists, medical researchers, etc, etc).
A scene from The Matrix – the universe of options echoes the range of potential techno-aesthetic components of the cinema of totality.
In this brief mapping of the trendings towards a Cinema of Totality, a few zeitgeist concerns resonate through the last 11 decades or so. One is immersion – the desire to surround an audience with light/sound /visuals/scenographics/information/signals/signs/meaning – another is interactivity – the trending towards active artist-audience-artist dialogue, machine-dialogue, interpersonal dialogue, intermedia and transmedia dialogue. Another is non-linearity – a zeit-form iterating through 11 decades in the atonal composers, in James Joyce (especially in Finnigans Wake, 1939), and in William Burroughs (early 1960s), and in Dziga Vertov (Man With A Movie Camera, 1929). And in Maturana, Cybernetics (Norbert Weiner, 1947), in Psycho-geography (Guy Debord 1954), in T.S. Eliot (The Wasteland, 1922). The other main recursive strand is multi-media, intermedia, transmedia (a mixing of media – film, ballet, literature, music, dance, poetry, theatre etc etc), and finally a kind of synaesthesia – a mixing of the senses.
These are the gradually evolving forms that will composite, catalyse and gell together into a radical 21st century art form, orchestrated by a student genius who gets it. Who gets the immediacy, the interlocution, the smartness, the genius, the richness of a form that marries sensory, kinaesthetic, physical, intellectual, algorithmic, lyrical and expressive modes of a form that is still being born, still nascent, still, like an unchecked lottery ticket, resonant with hope. We love it.
(best short history of computer graphics is at https://design.osu.edu/carlson/history/lesson2.html)
Posted on July 11, 2014 July 26, 2014 Author bobcottonTags Bauhaus, Blockbuster, Cameron, CGI, cinema of totality, Matrix, Virtual Cinematography, Wachowsky Leave a comment

redpajama_set_name: RedPajamaCommonCrawl


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Sophiko Geliashvili
Tiresian Modernist Interpretation in Djuna Barnes' novel
Djuna Barnes' novel "Nightwood" published in 1936 is one of the most prominent novels not only among the writer's works but also of the modernism era and modernist literature in general. The introduction to "Nightwood" was written by Thomas Stearns Eliot, who discovered Barnes' text and supported its publishing. In the introduction, which is no less important than the work itself, Eliot emphasizes the poetic nature of the text and entrusts its reading to readers who are proficient in poetry and able to fully appreciate it. The novel is dedicated to American expatriate Peggy Guggenheim, famous for collecting works of art, and John Ferrar Holms, a British literary critic.
The novel, set in Paris in the 1920s, revolves around the lives of its characters, whose symbolic and associative comprehensivenessallows reading the text not only in relevance to a specific era but also from the perspective of different time periods– from the ancient period to modern times. The writer disregards the temporal distance by using mythical schemes and creating fantastic environment, in which the symbolism of the decoration as well as the characters' body imagesand each gesture plays a significant role. Subsequently, the characters go through both imaginative and spatial paths to find, adapt to, or forget their particular identity. Even though the action takes place in Paris, Berlin, Vienna, and America, the Barnesian quest mythos seems to be a path of the mind rather than a spatial one. On the mysticism and phantasmagoria of the characters of "Nightwood", Joseph Frank notes that Dj. Barnes did not attempt to make her creations look like living human beings, but instead, she demanded that we accept them the way they were (Frank, 1945).
The central character of the novel, Matthew O'Connor, is a symbolic figure of mythological Tiresias. The first thing we learn about him is that his interest in gynecology took him halfway around the world - "The man was Dr. Matthew O'Connor, an Irishman from the Barbary Coast (Pacific Street, San Francisco), whose interest in gynecology had driven him half around the world"[Barnes, 1980 :243]. The unlicensed doctor quietly does what he loves and enjoys popularity in Parisian society. His hypnotic power is the only salvation for melancholic patients and the characters of the novel. Matthew O'Connor's constant communication with representatives of different eras points to his timeless, eternal existence. The doctor can simultaneously address the resurrected Lazarus and the goddess Diana. Through the connection with Lazarus, he points to his own experience, which involves seeing both the dead and the living. The mention of Diana emphasizes Matthew's feminine nature and parodies the goddess of childbirth in the form of an unlicensed doctor. The surname of the character is related to the opera "The Lily of Killarney", which the main character himself mentions of; the protagonist of the operais Eily O'Connor.Julius Benedict's opera, whose libretto is based on the play "The Colleen Bawn" by Irish playwright Dion Boucicault, tells the story of an injustice inflicted on young Eily: she fails to gain trust of the man she loves and is doomed due to some kind of misunderstanding. By using the girl's last name, Dj. Barnes parodies the melodramatic plot of the late 19th century, and Eily, a symbol of innocence and tenderness, is transformed through the early 20th century Tiresiasian nature of Matthew. It is worth noting that "Lily of Killarney" is mentioned in Chapters 6 and 13 of J. Joyce's Ulysses when Leopold Bloom attends a funeral but at the end of the tiring day, he watches women on the beach [Joyce, 2013]. Like with Barnes, with J. Joyce, the purpose of the opera is to confront concepts and reveal contrasts. Matthew considers the dismemberment of a person to be the only way out of suffering, an example of which is Maria Carolina of Austria, the representative of the Habsburg-Lorraine dynasty, whose mention in the text is by no means accidental. O'Connor attributes his pain to a tragic fate, a childless princess suffering from epilepsy. Dismemberment is an unfavorable action to savehimself, because, as he states, "but I'm all in one piece" [Barnes, 1980 p. 361]. He then takes us back to Shakespeare's era by recalling ablack, circus performer Nikka with "Desdemona" tattooed on his genitals. According to Jane Marcus, by mentioning the long nametattooed on a genital, the author mocks the commonly accepted stereotype of the violent and over-sexualized Black people [Marcus, 1989]. Parallel to "Othello", Matthew equates his suffering with Desdemona's pain, because she was also betrayedby men forher innocence. At the same time, the doctor can perceive the age of Catherine the Great, the age of Saxon rule, and explain it all simply - "The reason I'm so remarkable is that I remember everyone even when they are not about it" [Barnes, 1980: 360].
His memory holds Father Lucas, whomhe abhors even more because of the duty imposed on him - to live as simply as an animal and not to harm anyone. He was the priest who was abusing Matthew while he was waiting for salvation. Through contrasts, DJ. Barnes presents with all the intensity the suffering of the character, who turns into the doctor hiding like a beast. He no longer waits for salvation and goes to church to masturbate. And his thinking covers all temporal and spatial dimensions, which simply parodies life. It is important to note that at the end of chapter 7, the author mentions the former priest who is tasked with taking the drunken Matthew home. The former priest is associated with Father Lucas, who may have become a victim of debauchery and, like Matthew, also took refuge in Paris. It is also noteworthy that two years after the publication of the novel, Matthew O'Connor's character became a source of inspiration for Dylan Thomas. Researcher Gene Montague believes that in Dylan's poem - "How Shall My Animal" –there are manystriking allusions to Barnes' character. Like Matthew, the narrator of the poem suffers from impotence. They express their pain with the following words: "...my bowels turned turtle..." [Barnes], "The bowels turned turtle" [Dylan]. Both Dylan's "A bush plumed with flames" and the title of chapter 7 -"Go Down, Matthew" are associated with Moses [Montague, 1968].
The text is replete with O'Connor's monologues. He attracts and captivates everyone around him with his speech because the endless nightly conversations have a great impact on the characters who are constantly searching for or striving to escape themselves. It should be noted that the characters perceive him differently: for Felix, Matthew is a mere liar, although he can never refuse to talk to him; for Nora, he is the only means of survival, as she is convinced he is the only one to have answers to all questions. As for Robin, none of the episodes reveal her attitude towards the doctor, although it is only she who uses his professional help. She does not treat him as an unusual being but as the most natural creature in the world.
The attitudes presented in the novel reflect on people's views on clairvoyants. The only purpose of the modernist embodiment of the prophet Tiresias is to speak, in order to prevent those around him as well as himself, from thinking - the synonym of unbearable suffering in the given text. Matthew's thoughts and ideas are often paradoxical, which produces the high poetics mentioned by T.S. Eliot in the preface to the novel. Matthew O'Connor's prophetic streak and gender ambiguity bring to mind the story of Evangeline Musset, the main character of "Ladies Almanack", published in 1927. The prototype of the protagonist of the text is American expatriate Natalie Clifford Barney. Evangeline is born a woman, although"…she had been developed in the Womb of her most gentle Mother to be a Boy" [Barnes, 2016:7]. Evangeline rejects her female gender and lives like a man. This is an incisive blow for her father; her mother disappears altogether from the text. The doctor is also upset to see that his parent is disappointed with him, because,while Evangeline's father is dissatisfied with his child's masculine behavior, Matthew's father is embarrassed by his son's incompetence in the war and feminine conduct. The text does not mention whether Evangeline has only female genitals or is a hermaphrodite. However, it contains a reference to emasculation, which she categorically denies. Matthew and Evangeline share a talent for managing people and effective talking. In the salon set up for women, Musset seems to be a saint, who should, like Matthew O'Connor, put the people coming on the "right" path. Besides, by owning a salon, Musset is associated withZadel Barnes, and is related to Sophia Ryder and Nora Flood in literary context. It is worth noting that the author places her next to the statue of Venus, the patron goddess of heterosexual love. This fact suggests her ironic attitude towards the current situation.
While visiting Nora, O'Connor himself emphasizes the essence of a clairvoyant in him from time immemorial - "You see that you can ask me anything" [Barnes, 1961:295]. The quote hasthe same emotional and meaningful significanceas the words that Tiresias said to Odysseus - "Move back from the trench and turn aside your blade so I may drink the blood, and prophesy truth to you" [Homer, 1975:179]. Like Tiresias living in the land of spirits and the barren land, theParisian gynecologist knows how the characters' story will end. His vague predictions gradually become true as the story unfolds. The reader quickly forgets the illogical propositions, but after they come true, numerous hints already heard here and there easily come to mind. We witness how the circle closes between O'Connor and the storyline. His first prophecy about the mental weakness of the last born of the aristocracy is voiced when it is still unclear for the reader whether Felix will marry Robin. And the words come true after the birth of Guido with mental problems. Accordingly, the prophecy comes true and Guido with no prospect of reproduction becomes the last offspring of the Volkbeins. There is another important prophecy at the end of the fifth chapter - "...and I screamed and thought: "Nora will leave that girl some day: but though these two are buried at the opposite ends of the earth, one dog will find them both"[Barnes, 1980: 362]. The mention of the dog makes the statement even more ambiguous. It is only in the last chapter when its true meaning becomes clear: Robin and Nora, living in different parts of the world, meet each other precisely with the help of a dog, which appears as a medium and a source of radiance for Vote. Thus, Vote manages to reveal the animal instincts embedded in him and ends the story in an ecstatic state.
Nora's seeing the doctor in a female nightgown reveals a hidden side of the character. This contrast gives us reason to think that Matthew's identity reflects the alternation of day and night. Mixed medical instruments, cosmetics and women's clothes are symbols of unconscious desires, which the doctor expressesonly at night. Julie Goodspeed Chadwick explains the possibility of this nocturnal manifestation as follows: "It is not synonymous with freedom, but "night" is the time when aberrant characters who do not conform to social, or "daytime" norms can act with more impunity " [Goodspeed-Chadwick, 2011:37]. While talking to Nora, O'Connor repeatedly emphasizes the significance of the night both in human life and in the historical context: "Listen! Do things look in the ten and twelve of noon as they look in the dark?" "Take history at night, have you ever thought of that, now? Was it at night that Sodom became Gomorrah? It was at night, I swear!" [Barnes, 1980: 300]. He blames the night not only for the tragedy of Sodom and Gomorrah, but also for the misfortune of Melissa and Periander. According to Herodotus, Periander killed his wife and raped her corpse. In order to revealnecrophilia, Melissa's ghost returned when her husband wanted to find a lost item. As Vivien J. Gray writeswith regards to the trustworthinessof Herodotus' narration and the woman, "His dead wife Melissa appeared but refused to reveal its whereabouts and said that she was cold, since her funeral clothing had not been burned with her. The proof of the truth of what she said was her reference to the loaves that Periander put in a cold oven" [Gray, 1996: 378]. O'Connor is better aware of the true nature of his personality than anyone else in his surroundings, and is convinced the daylight is his punishment as in the daytime he has to live and behave as he is supposed to. The doctor's, as of a mythological creature's, nightly transformation can be viewed as an example of the mythological ability of theriantrophy or metamorphosis. Metamorphosis in mythology implies turning a man into an animal at night, while the 20th century Tiresias is a mixture of possibilities and uses the night to change his sex.His sincere desire is revealed in an exaggerated form of stereotypical female characteristics peculiar for transvestites: "It was a high soprano I wanted, and deep corn curls to my bum, with a womb as big as the king's kettle, and a bosom as high as the bowsprit of a fishing schooner" [Barnes, 1980:304]. Susana Martinez explains Matthew's desires as follows: "What O'Connor wants is not a female body, but the signifiers of femaleness" [Martins, 1999: 113]. Matthew's dreams make it clear why gynecology became so important to him. The profession was the only way for him to study the state of the body, for which he craved every night. The pleasure deriving from being close to women can be viewed as a kind of revenge on the part of the doctor. Children deliveredwith his hands are doomed to suffer or never even make it to birth. This is due to the unrealized desire to have a child: "... no matter what I may be doing, in my heart is the wish for children and knitting" [Barnes, 1980: 304].
O'Connor's confusion of prince and princess in the text serves to create confusion overthe personality. During the conversation with Nora, he mentions that love for a homosexual (invert) originates in childhood when fairy tales are intensively read – "Who is the lost girl, if not a prince? The prince on the white horse we have always been looking for" [Barnes, 1980:340]. The "lost girl" in this case is a homosexual woman who finds herself and becomes a "prince", and the search for the prince on a horseback leads to the fact that he turns out to be a woman instead of aman. If Dj. Barnes refers to female homosexuality as "Prince", she calls the same condition of the man in the same paragraph as "Prince-Princess", which in this case indicates the androgyny of the man. Here it is worth noting another vague opinion expressed by Matthew - "…in the girl it is the Prince and in the boy it is the girl that makes a prince a prince - and not a man" [Barnes, 1980:340], which Andrea Harris explains as follows:"If this were a symmetrical chiasmic reversal, the phrase would read, "In the girl it is the prince, and in the boy it is the princess. "Yet this version of phrase is impossible because Matthew has removed the princess from the model entirely because the princess signifies not just femininity but the transvestite's version of femininity, and transvestites are a special case of inverts" [Harris, 1994: 246]. According to the problem raised in the text, there is also a male gender in any woman, which pushes her to be "princely" and it is not only her feminine origin that participates in this. The same happens in case of a man: the feminine gender in him creates the look of a "princess" or, taking into account the androgynous origin, he remains a "prince-princess". According to Dj. Barnes, the replacement of male gender identity by a female cannot be given a specific name, hence the words "prince", "third gender" and "doll" are used to denote it.The doctor develops a similar idea on the example of dolls, which appear to us as the embodiment of the third gender, because they have both male and female faces - The doll and the immature have something right about them, the doll, because it resembles, but does not contain life, and the third sex, because it contains life but resembles the doll" [Barnes, 1980:348]. Based on these considerations, both sexes equally have both hermaphroditic and androgynous origins, which determines their further development. In this case, it is of utmost importance which gender you lean towards (regardless of your physical condition). However, according to Barnes, living with one particular gender does not mean ultimately suppressing the other, because it is the latter that is the determining force for the development of the first.
The character withthe Tiresiasian essence, Matthew O'Connor, has become a symbolic figure of both prehistoricism and modernism. The union of the prophet and the psychologist in a transsexual, and mythologically hermaphrodite creature created the timeless hero free from geographical and sexual identity. He understands best the impossibility of escaping from the circle of eternity and the infinity of his own suffering. Matthew O'Connor is the pillar of the characters and the driving force behind their actions, as he is the only one who knows the beginning and the end of thestory, which is full of vanity.
ჯოისი ჯ.
2013 ულისე. თბილისი, ბაკურ სულაკაურის გამომცემლობა.
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1975 ოდისეა. თბილისი, ნაკადული.
Barnes D.
1980 Nightwood. New York, Farrar, Straus and Giroux.
2016 Ladies Almanack. Mansfield Centre, CT: Martino Publishing.
Frank J.
1945 Spatial Form in Modern Literature: An Essay in Three Parts. The Sewanee Review, vol. 53, No. 3.
Goodspeed-Chadwick J.
2011 Modernist Women Writers and War. Louisiana State University Press.
Gray V.
1996 Herodotus and Images of Tyranny: The Tyrants of Corinth. The American Journal of Philology.
Harris A.
1994 Eroticism and Containment. New York University press.
Martins S.
1999 Gender Trouble and Lesbian Desire in Djuna Barnes's "Night wood". A Journal of Women Studies.
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1968 Dylan Thomas and "Night wood". The Sewanee Review.
Marcus J.
1989 Laughing at Leviticus: "Night wood" as Woman's Circus Epic. Cultural Critique, No. 13, The Construction of Gender and Modes of Social Division.


In many ways, their conversations mirror our current blog series on the local church. John even mentioned the series at one point and remarked on the extraordinary response we've seen from readers. So for those of you wondering: yes, John does see your comments.
And since John and Austin covered some of the same topics we're dealing with in this series, we wanted to share some short clips from their conversations to help frame our ongoing discussion here on the blog. This first excerpt deals with the importance of baptism and the struggle to establish the biblical model in a church that didn't have a set pattern for baptizing believers.
Tomorrow we'll take a closer look at why baptism is important, and why so many believers today have not been baptized.


Michael Carini transmutes his medium through what he describes as a poetically alchemical process based upon the principles of equivalent exchange. Carini received his artistic training in Los Angeles, studying at Loyola Marymount University while simultaneously serving as an apprentice under respected artists Jane Brucker and Roland Reiss. Carini currently lives and works in San Diego, CA.
Deianira Tolema: You describe your artistic process as Acrylic Alchemy. For those who don't know, alchemy was the protoscientific predecessor to chemistry with the aim of transforming matter, usually in the hopes of creating healing elixirs or precious metals. Can you expand on what Acrylic Alchemy means to you in the modern age and to your art practice?
Michael Carini: I look at it from a broader vision. In order to obtain, there must be sacrifice. I utilize my struggle as a sacrifice of equivalent exchange in the transmutational creation of something beautiful and positive to share with the world. Sometimes very specific items, or even completed paintings, are the sacrifice. I have burned several paintings in sacrifice to utilize their ashes as a symbol of recreation and rebirth. In doing so, they give new life and tell stories like that of the mythical phoenix rising from the ashes.
I pay close attention to both process and the contents of my paintings. Nothing is overlooked, and there is always more to it than meets the eye. Not everyone will understand, see, or be willing to see. That's okay though. I just need to keep doing what I'm doing. When you believe in what you're doing, the right people will believe in you. I truly believe I am doing things that have never been done before and I will continue to do so. I am always growing and transforming into a better version of myself. I will do so until I expire…and even then. Perhaps one day I will be the sacrifice of one of my paintings. In that manner, my energy and legacy can live on forever.
DT: While studying art at Loyola Marymount in Los Angeles, you also worked as an apprentice under artists Jane Brucker and Roland Reiss. Much of Jane Brucker's work relies on sculpture, installation, and performance; seemingly a far cry from your painted pieces. What lessons did you learn from working with her that you were able to translate into your two-dimensional paintings?
MC: Jane is my primary mentor and the only painting instructor I ever had during my studies. All of my technical painting abilities, concepts, and knowledge of color were brought to life by Jane. She taught me how to be a successful artist, how to present myself, and also introduced me to her mentor, Roland Reiss. I owe Jane absolutely everything. Without her, I wouldn't be doing what I'm doing and I wouldn't be who I am. I wasn't even supposed to be focusing on painting. I was going to school for Graphic Design. Once I started working with Jane, everything changed.
DT: The influence of Roland Reiss is clearer in your work, particularly when looking at Reiss' painted abstract floral compositions. Did his mentorship contribute at all to the development of your 'Acrylic Alchemy' painting technique?
MC: My working with Roland was critical for my overall development and to see what it is like to be a successful artist as I assisted him in the penthouse of the Brewery Complex in Los Angeles. At that time, Roland was not yet working on his floral pieces. Around 2005-2006, he was working on clear acrylic. The works were a beautiful blend of organic/inorganic elements, color, and whimsical play with light & shadow. It's interesting that many of those materials and mediums, which I did not yet know, would become a big part of my future as I transitioned into the sign industry. He definitely instilled within me a comfort that would allow me to cultivate my own voice, which would later grow to become Acrylic Alchemy. Working with such a kind artist that has that magnitude of influence in the history of art is an incredible experience for which I will forever be grateful.
DT: Your paintings used to be more representational, as evidenced by your The Lost Shepherd series from 2005-06. What spurred the desire to switch over to entirely abstract work?
MC: In my early years, I was not a huge fan of abstract art. It wasn't until I studied Art History and the arts of the world (cave paintings of Lascaux, Modernism, arts of Asia, Middle Eastern patterns and tessellations) that I learned to appreciate abstract art for what it is and what it represents…how it pushes the boundaries of the mind and opens up worlds not yet previously explored…how it can be universally symbolic…a language that can articulate more clearly than all other languages. Abstract art allowed me to create my own world when I felt this one didn't have a place for me. It allowed me to capture the physical manifestation of energy and tell stories that could seeming capture past, present, and future in a single compositional narrative. Before that, however, it was imperative that I cultivated my technical abilities and work them to a masterful level on par with the masters before me. I wanted to study and replicate the works of classical masters like da Vinci and Caravaggio. I wanted the strongest foundation of fundamentals…line, shape, color, value, texture, and form. It was only once I felt like I could replicate anything that I could truly create anything… and that is when I decided to take the next step of moving into the realm of abstraction. There are still figurative and representational elements in my work if you look closely.
DT: You've said that when viewing your work, you want your audience to "completely lose [themselves] within these labyrinthine experiences, only to discover a new sense of self and emerge reborn." Is this rebirth the same experience that you have while making the work? Or do you feel the artistic practice and the viewer's experience of the work are mutually exclusive?
MC: I love to help people lose themselves only to find themselves, for one cannot find what is not first lost. I would like for each individual to have their own unique experience with my work. I put out work that is vulnerable and honest and I believe each person will connect and relate with that shared experience in their own personal way. My hope is that they can take something positive from the experience to help them with their journey. I find that often times what people take from my work is learning to let go of something, thus further illuminating the often-paradoxical nature of my creations. For some it will be one thing, for others several things. Even nothing is a thing and that too is a valuable lesson. What people take from my work may vary, but what is given does not. I give everything in my work and you are welcome to take as you please. But please, share what you take.
DT: You've experienced a great deal of hardship in your life, from living with debilitating illnesses to surviving assault and the suicide of your father. Yet you manage to remain so optimistic, even referring to these experiences as 'enlightening.' How is it that you are able to transform all that pain into positivity?
MC: It's easy when your choice is to accept death or keep fighting. It has always been a fight for me, so that's all I really know…finding a way to survive and thrive. If that lesson can benefit someone else and spare them from having to go through some of the things I have had to go through, I am happy to share it. I want my legacy to be of someone that spared others the pain I have had to taste. If you can find a way to run through unimaginable obstacles and do it with a smile, you win. It's not always easy, but nothing great in life is. I'm learning to not only be glass half full as I grow, but also how to refill my cup and the cups of those around me. Acrylic Alchemy is all about utilizing my struggle as a sacrifice of equivalent exchanges in the transmutational creation of something beautiful and positive. That's why I'm the Acrylic Alchemist.
DT: In 2012 you were on the brink of homelessness after losing your job when you landed an artist residency at Alexander Salazar Fine Art. I can only imagine what a major turning point that must have been in your life and career. What was that moment like for you? How did it alter the direction of your art, if at all?
MC: It was a breath of fresh air and the first I had for a long, long time. That period was the lowest I have ever experienced and it really, truly felt like rising from the dead. That period taught me to take absolutely nothing for granted and to utilize every little resource I have. It was also the birth of my series Beautiful Accidents (based on the Japanese aesthetics of Wabi, Sabi, and Shibui), which are composed of the recycled remnants of my palettes. I feel much of my drive and urgency was fueled by that experience, because I know I never want to go back there and I now fully understand just how valuable time and opportunity are. I am forever thankful to my friend Alexander Salazar and Alexander Salazar Fine Art for that gift.
DT: While so many artists choose to leave their work untitled, the titles of your paintings are very expressive, and often combine multiple existing words to create new ones. It is almost as if you are creating a new dialect of English exclusively for your painting titles. What do you feel the titles of your paintings add to the viewing experience?
MC: Whether people pay attention to my titles is completely up to them. Some love the titles, and some don't even notice them. I used to do a lot of writing and poetry, and I now let that manifest in the names of my stories and the titles of my work. Like the work, they are abstract composites that convey the story or experience at hand. I feel it is only appropriate that the two work in unison to create a complementary harmony. If some of these words or concepts were to work their way into everyday language, I certainly wouldn't complain. I feel they do convey new and unique concepts and emotions.
DT: Since the titles of your work are clearly embedded with a great deal of meaning, let's talk about one of your more recent bodies of work, The Boy in the Box. What is the significance of the name of this series?
MC: As part of my residency, I literally was "The Boy in The Box" for two months in Downtown San Diego. For an introvert that doesn't venture out much, it was quite the experience and culture shock. All of the pieces created during the residency are named after people I had experiences with during the duration of my stay. Most are single word composites of a person's name and my interaction with them. Some of the most powerful are Blutiful, Reconstruction of the Chimera (Zachericle), and Astranomelly. The stories for all three can be found on my website under the piece descriptions.
Reconstruction of the Chimera (Zachericle) tells the story of the mythological phoenix while also incorporating personal narrative elements and concepts of the ouroboros & chimera. Created during my 2012 artist residency, it was inspired by a young man named Zach. Zach would stop by on a daily basis to grab a piece of candy from the bucket I left by the door for those passing by. One day, Zach decided to step in a little further than usual which led to a deeper conversation. I handed Zach a print of my work for stopping by, at which point tears welled up in his eyes. It was at that time that Zach told me he had been living on the street and was just accepted into a program where he would have a bed to sleep for the first time in a long time. My print, he said, was one of the only things in his possession that he could call his own, and the first thing for him to hang above his bed. By the time I finished this painting, Zach had stopped coming by. I don't believe he ever saw it and hopefully that's because he's doing well. Sometimes we just need a chance to start over.
The ashes in this piece are from a painting I burned titled The Transmutation of Miss-Tere and the cut fragments are from a piece titled Sacrifices and Second Chances (The Day Eye Made The Devil Blink).
Astranomelly was the culminating piece of my artist residency in Downtown San Diego. During the months of April/May ,2012, I spent 50 days painting on Broadway Avenue, generally averaging between ten and twelve hours per session and never taking a single day off. Basically, living in the studio as I found myself on the precipice of homelessness, this climactic creation measures 6.5′ x 10′ and is representative of my collective experiences as The Boy In The Box. The culture shock of the residency experience made this both an artistic opportunity and a sociological experiment as I found myself imbued with the regionalism of this foreign community and was indoctrinated into their culture. The individuals that visited and shared their stories during my tenure in the box were all incorporated into the painting, their names inscribed in the underpainting that surrounds the iconic vortex (or black hole) that is simultaneously a symbol of the outward eyes looking in at me as I poured my soul into the canvas. The concept for Astranomelly came to me on a car ride home at 3:30am as I listened to the track Battling the Sun by local musician Astra Kelly. I had met Astra earlier that evening when she stopped in during a rare San Diego storm. The rest of the story I now leave with you.
DT: Now that you seem to have conquered the fine art world, you are venturing into the realms of fashion and home décor, with your designs even appearing on luxury yoga leggings. How have these new endeavors broadened your horizons and altered the way you think about your art?
I try to share my visions with the world any way I can and I am a big supporter of collaboration and balanced reciprocity. I love partnering with artists and entrepreneurs (particularly local vendors and small businesses) in other fields. If we help each other grow, we all win. I've learned during my journey that the business of art involves much more than simply the creation of art. My main focus is and will always be on telling genuine and vulnerable stories through my creative process. If I can find other platforms to share that, I am always open to new and unpaved avenues. I'm always on the lookout for new business partners, investors, and sponsors. It always comes back to the painting, but I have to be growing at all times and open to trying new things. Otherwise, how am I an artist? The more people your voice can touch, the more people you can reach and the more lives you can change and impact for the better. You can still be true to yourself while expanding into other realms. Some people call this crossover selling out, but I really see it as the opposite. I'm fully committed and invested in myself. I'm on a mission to show other artists that if you're willing to work hard, you can be financially successful as an artist. We're often told at a young age that it's a ridiculous dream. I'm out to prove it a beautiful reality. I want to keep the dream alive, or resuscitate it, for those that follow me.
D/RAILED: Can you tell us about any upcoming projects of yours we should look out for?
DT: Are there any exhibitions or art shows you're looking forward to in a near future?
MC: I must admit that I don't see a lot of art these days and the reason why is that I'm creating my own. When I was more focused on my studies and fundamentals, I spent a lot of time looking at art and going to shows. Now, I focus more on my personal studio practice. I find that if I'm working on my creations and looking at other work, it infiltrates my thought & creative processes, if only on a subconscious level, and affects my work. In an effort to keep my work as authentic as possible, I require a level of separation. My knowledge of art history is still there, but there is enough distance that I can still maintain my own personal and unique voice. I generally have seasons for looking at work when I'm in between my own personal projects. There's a reason I chose to become an artist and not an art historian. Both have their value. I appreciate what others do and what has come before, but my primary focus will always be on telling my stories and working to create my own path. Sometimes (often times) that requires me to put on my blinders and bury my head with a relentless work ethic not everyone will understand. That is a sacrifice I make for my legacy.
The Carini Technique-As every story has a past, present, and future, what may at first glimpse appear to be non-objective abstraction is in fact segmentations of energetic imagery interacting through the boundlessness of time and space.
Deianira Tolema is an Italian writer based in Salerno, Italy. She's intrigued by culturally, historically relevant and meaningful contemporary art that challenges conventions. Her goal is to explore everything innovative and out of the ordinary concerning the socio-psychological and conceptual aspects of art-making.
Thank you for making your art, Michael Carini. It's breathtakingly beautiful.


As many of you know, we all lost an incredible mother, wife, sister, daughter and friend on February 2, 2015 as a result of a ruptured brain aneurysm. While this has been a crushing loss for all of us, we are determined to create a positive experience from this tragic event.
As such, a group of close family and friends have created The Jamie Beck Family Foundation whose mission is to provide financial assistance to families who are impacted by brain aneurysms.
As many as 1 in 50 people will develop a brain aneurysm.
Every 18 minutes an aneurysm ruptures.
50% of ruptured aneurysm patients will die within minutes.


Our Word of the Year choice serves as a symbol of each year' s most meaningful events and lookup trends. The jesus storybook bible pdf download. The story of the fall and return of the prodigal son to his father as told by Jesus in Luke 15.
Featuring Video from the History Channel' s TV series " The Bible" The 30- Day Experience DVD Study Kit is a five- week study for individuals small groups based on some of the epic stories of the Bible series on TV with an emphasis on God' s plan of redemption for mankind through Jesus Christ. Adriel Booker is an author beauty, Australia who believes storytelling, speaker, advocate based in Sydney the grace of God will change the world. Here are some ideas you can try: Use toys to act out the story. Our wide selection of kid' s Bibles include illustrated Bibles Bible storybooks, traditional KJV , NIV Bibles more!
It is an opportunity for us to reflect on the language and ideas that represented each year. So, take a stroll down memory lane to remember all of our past Word of the Year selections. It is everything He gives us all free undeserved on our part.
Discover and Experience The Bible in a Whole New Way! Il papiro fatto di materiale spesso simile alla carta che si ottiene tessendo insieme gli steli della pianta di papiro, forse già durante la Prima dinastia, veniva utilizzato in Egitto per scrivere, poi battendolo con un attrezzo simile al martello anche se la prima prova proviene dai libri contabili del re Neferirkara Kakai della V dinastia egizia ( circa 2400 a.
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As you read your preferred Bible story, try to bring the story to life for your children. Shape your kids' faith teach them to know God' s word, to live by it to listen for His voice in their lives.
They are a part of HarperCollins Christian Publishing, Inc. Read Romans 5: 1- 11. Preschool Sunday school lesson activities for preschoolers based on the Bible passage of Jesus' Triumphal Entry into Jerusalem, crafts riding on the donkey. Zondervan is an international Christian media publishing company located in Grand Rapids Michigan.
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Richard Stearns is the president of World Vision United States Washington. The jesus storybook bible pdf download. Has multiple imprints including Zondervan Academic Zonderkidz, Blink Editorial Vida. 3145 Brook Highland Parkway Birmingham, AL.
He will be retiring at the end of.
Reply Becky Daye 27 November at 10: 59 am. I think this is a beautiful idea and I too LOVE the Jesus Storybook Bible. My oldest child is now 9, but before.
The kids in your ministry will enjoy this video Bible story from Crossroads Kids Club.
Watch the preview below and then download a copy from their page on Vimeo. Don' t miss all their free Bible teaching videos. Some time later, Jesus went up to Jerusalem for one of the Jewish festivals. 2 troduce your 4- to 7- year- olds to the greatest story ever told! Featuring Fausto Bianchi' s vibrant illustrations, this timeless collection brings 48 pivotal Bible stories to life for your kids.
And you' ll appreciate how it portrays each event as part of the big picture of God' s Word- - - from creation to the promise of Jesus' return. 288 pages, hardcover from Zonderkidz.
Closer Than A Brother, a Bible story about David and Jonathan as told by Barbara Wilmerton Haas on award- winning Children\ ' s Chapel site, featuring Bible stories from a variety of authors, excellent Christian resources for children, and over 140 links to other Christian and family- friendly sites for and print this Bible storybook to help children learn about God' s work of creation. This lesson is part of a series of Bible lessons about creation. Each PDF file tells the story of creation based on Genesis and includes color visuals. Award- winning site, featuring Bible stories from a variety of authors, excellent Christian resources for children, and over 140 links to other Christian and family- friendly sites for kids.


Join the Fort Collins Coloradoan for holiday stories during our December Storytellers Project night.
We're looking for tellers! If you have a holiday story to share, please email Jennifer Hefty at jenniferhefty@coloradoan.com.


text:
In September 2008, Real Mavericks Played With House Money And Won Big Time On W.E. A.L.L. B.E. News & Radio...
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One Full Year On The Air!!!
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Definition Of Maverick Courtesy Of Merriam-Webster's Online Dictionary
Main Entry:
1mav·er·ick
\ˈmav-rik, ˈma-və-\
Samuel A. Maverick died 1870 American pioneer who did not brand his calves
1: an unbranded range animal; especially : a motherless calf2: an independent individual who does not go along with a group or party
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~~~~~~
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This Squier Mini Strat guitar gives you a smaller (3/4 size) scale Strat with the power and style of a full-sized one. Perfect for those with smaller hands and as a first guitar. Quality, sound, classic vibe—it's all here. This is loaded with three single coil pickups and a fixed non-tremolo hardtail bridge and five-way switching. Very cool. As always, a free setup from our luthiers is included.
I am wanting to know more information about Squier - Mini Strat - Black.


text:
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Canada, France, USA, Germany
Canada, Mexico, USA
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Germany, Soviet Union
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Germany, UK, USA, Italy
Germany, USA, Czech Republic, Italy
Ireland, France, USA, Canada, Belgium, UK
Ireland, Luxembourg, Belgium
Ireland, Luxembourg, France
Italy, France, USA, Brazil
Japan, France, USA
Korea, South Korea
Morocco, USA
Netherlands, Luxembourg, UK
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USA, Germany, France, Canada, South Africa, Australia, UK, Japan, China
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Country: 2020,
Cha Hyun-Soo is a high school student. He is also a recluse and rarely leaves his room. He refuses to talk to his father, mother and younger sister. One day,…
Genre: Drama, Fantasy, Horror, Thriller
Yuuji Itadori is a boy with tremendous physical strength, though he lives a completely ordinary high school life. One day, to save a friend who has been attacked by Curses,…
Genre: Action, Adventure, Animation, Fantasy, Thriller
Father Vergara—an exorcist, boxer and ex-convict—lives in a remote village in Spain. Hoping to be lost and forgotten, Vergara's demons catch up to him.
The Mess You Leave Behind
A teacher starts her job at a high school but is haunted by a suspicious death that occurred there weeks before and begins fearing for her own life.
With his two friends, a video-game-obsessed young man finds himself in a strange version of Tokyo where they must compete in dangerous games to win.
Genre: Action, Fantasy, Mystery, Sci-Fi, Thriller
De brutas, nada
In a contemporary Mexico City, a group of six sophisticated close friends navigate through every life experience imaginable together: love, lies, heartbreak, marriage, divorce, kids, career, job loss, fights, break-ups,…
In a world mostly wiped out by the plague and embroiled in an elemental struggle between good and evil, the fate of mankind rests on the frail shoulders of the…
Genre: Adventure, Drama, Fantasy, Horror, Sci-Fi, Thriller
A group of teen girls from different backgrounds must fight for survival after a plane crash strands them on a deserted island. The castaways both clash and bond as they…
Genre: Adventure, Drama, Mystery
Wealth, lust, and betrayal set in the backdrop of Regency era England, seen through the eyes of the powerful Bridgerton family.
A ghost-hunting duo team up to uncover and film paranormal sightings across the U.K. and share their adventures on an online channel. Their supernatural experiences grow more frequent, terrifying, and…
Grace Fraser is a successful therapist on the brink of publishing her first book with a devoted husband and young son who attends an elite private school in New York…
After the fall of the Galactic Empire, lawlessness has spread throughout the galaxy. A lone gunfighter makes his way through the outer reaches, earning his keep as a bounty hunter.
In a Kentucky orphanage in the 1950s, a young girl discovers an astonishing talent for chess while struggling with addiction.
CDC researcher Abby Arcane investigates what seems to be a deadly swamp-born virus in a small town in Louisiana but she soon discovers that the swamp holds mystical and terrifying…
Genre: Action, Adventure, Drama, Fantasy, Horror, Sci-Fi
A close-knit anthology series dealing with stories involving malice, violence and murder based in and around Minnesota.
The Crains, a fractured family, confront haunting memories of their old home and the terrifying events that drove them from it.
Follow the voyages of Starfleet on their missions to discover new worlds and new life forms, and one Starfleet officer who must learn that to truly understand all things alien,…
A group of vigilantes known informally as "The Boys" set out to take down corrupt superheroes with no more than blue-collar grit and a willingness to fight dirty.
Genre: Action, Comedy, Crime, Sci-Fi
Enslaved teenager Henry Shackleford, aka Little Onion, becomes a member in abolitionist John Brown's motley family during the Bleeding Kansas era before the Civil War.
After an au pair's tragic death, Henry Wingrave hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the estate's chef…
Facing the end of civilization when a terrifying plague strikes, a group risks their lives, loves — and humanity — in a brutal struggle to survive.
Genre: Drama, Sci-Fi, Thriller
In 1980s LA, a crew of misfits reinvent themselves as the Gorgeous Ladies of Wrestling.
Genre: Comedy, Drama, Sport
Selena: The Series
As Mexican-American Tejano singer Selena comes of age and realizes her dreams, she and her family make tough choices to hold on to love and music.
Status: In Production
Song Exploder
Get inspired as musicians dig deep into the creative process of songwriting and reveal their intimate thoughts in a series based on the hit podcast.
Skeptical female clinical psychologist Kristen Benoist joins a priest-in-training and a blue-collar contractor as they investigate supposed miracles, demonic possessions, and other extraordinary occurrences to see if there's a scientific…
Genre: Crime, Drama, Horror, Mystery, Thriller
Sneakerheads
Family man Devin falls back into his sneaker obsession after his pal Bobby talks him into a wheeling-dealing scheme to score a mythical pair of kicks.
When ambitious Chicago marketing exec Emily unexpectedly lands her dream job in Paris, she embraces a new life as she juggles work, friends and romance.
After Earth is ravaged by a great religious war, an atheistic android architect sends two of his creations, Mother and Father, to start a peaceful, godless colony on the planet…
40-year old political leader Birgitte Nyborg secures her party a landslide victory through her idealism and huge effort, then faces the biggest challenge of her life: how most effectively to…
Young Wallander
An incendiary hate crime stirs civil unrest, fast-tracking rookie cop Kurt Wallander to detective in this origin story for the popular character.
Hilarious ensemble comedy that follows Leslie Knope, a mid-level bureaucrat in the Parks and Recreation Department of Pawnee, Indiana, and her tireless efforts to make her quintessentially American town just…
American astronaut Emma Green must leave her husband and teenage daughter behind to command an international space crew embarking upon a treacherous mission. A series about hope, humanity and how…
Genre: Drama, Romance, Sci-Fi
That '70s Show
Crank up the 8-track and flash back to a time when platform shoes and puka shells were all the rage in this hilarious retro-sitcom. For Eric, Kelso, Jackie, Hyde, Donna…
The tale of three mothers of first graders whose apparently perfect lives unravel to the point of murder.
Picking up just days after the "Power" finale, this sequel series follows Tariq navigating his new life, in which his desire to shed his father's legacy comes up against the…
A bullied teenager turns to beauty pageants as a way to exact her revenge, with the help of a disgraced coach who soon realizes he's in over his head.
Three women living in three different decades: a housewife in the '60s, a socialite in the '80s and a lawyer in 2018, deal with infidelity in their marriages.
The true story of the movement to ratify the Equal Rights Amendment, and the unexpected backlash led by a conservative woman named Phyllis Schlafly, aka "the sweetheart of the silent…
The true story of one of the worst man-made catastrophes in history: the catastrophic nuclear accident at Chernobyl. A tale of the brave men and women who sacrificed to save…
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Provides basic facilities for importing and exporting DBObjects to XML format streams and/or files.
Details: The Expresso XML project is an extension of the Expresso Framework and provides basic facilities for importing and exporting DBObjects to XML format streams and/or files. Expresso applications that use Transaction objects can also make use of this projects' XSLT front-end for Transactions, allowing the user interface of any Expresso application to be designed with XSL stylesheets.
A related project to the Expresso Application Framework. Expresso XML provides XML aware components for use with Expresso, including XML import and export of DB Objects, XSLT transformations for easy UI reconfiguration, and parsing of XML data for configuration and setup values. In order to keep the Expresso Framework project modular, we have separated Expresso XML as it's own project. Expresso XML includes the two required libraries ( namely Xerces & Xanlan from Apache.com ) that Expresso will use only if XML handling is required.