text:
IV Castellanos
$100 for Truth
METAMORPHOSIS: final festival and closing performances
Friday, November 16th 2018 to Sunday, November 18th 2018
November 16, 17, 18, 2018
Panoply Performance Laboratory/IV Soldiers
104 Meserole Street
ARTISTS: Lorene Bouboushian, IV Castellanos, Dominique Duroseau, Shawn Escarciga, Ayana Evans, Kanene Ayo Holder, Amanda Hunt, Maria Hupfield, Anja Ibsch, Honey Jernquist, Miao Jiaxin, Anya Liftig, Jodie Lyn-Kee-Chow, Geraldo Mercado, PPL, Rafael Sanchez, Julia Santoli, Edward G. Sharp
104 MESEROLE STREET has been Panoply Performance Laboratory (PPL)" organized by the collective of the same name since 2012. As of January 1, 2019, the site will be renamed "IV Soldiers," organized by IV Castellanos and Amanda Hunt.
Under the name PPL, the site has operated as a laboratory for the performance art communities of Brooklyn and beyond, home to hundreds of events, gatherings, meetings, exhibitions, thinktanking sessions, projects, and performances. METAMORPHOSIS celebrates the movement mentalities and states of constant adaptation and (intra)relationality that (in)form our practices and projects, culminating 7+ years of work by artists with practices centralizing liveness, presence, and social situation/interaction and activation.
7pm:
Jodie Lyn-Kee-Chow and Kanene Ayo Holder
Shawn Escarciga
Anya Liftig
Miao Jiaxin
4pm: COMMUNITY MEETING
6pm: performances begin:
Honey Jernquist
Anja Ibsch
Geraldo Mercado
Ayana Evans
IV Castellanos and Amanda Hunt
Rafael Sanchez
Lorene Bouboushian
3dwardsharp
Julia Santoli
ABOUT THE ARTISTS:
According to Brooklyn Historical Society there are currently 83 Brooklyn streets named after slavemasters (of which Meserole Street is one.)
Jodie and Kanene's project, Joncanooaacome at the Crossroads deals with gentrification and lost traditions of Africans in the Americas. During this public performance, the artists will perform ritualistic dances while inviting participants to tell their Brooklyn street addresses and shred clothing that they've brought while incorporating our materials to complete their own Junkanoo costumes. http://www.culturepush.org/2018-spring-fellow-kanene-holder-jodie-lynkeechow/
Kanene Ayo Holder (b. Brooklyn) is an award winning educator, activist, satirist and performance artist based in Harlem. Holder works with interactive street theater and performances to encourage discussion about social issues. Her satire Searching for American Justice: The Pursuit of Happiness which highlights the ineffective systems that benefit the 1% and continue to put #profitoverpeople was covered by the New York Times and Village Voice. Holder has performed at various venues including Brooklyn Museum (2011), The New York International Fringe Festival (2005), La Mama ETC (2008), Aaron Davis Hall (2009), Symphony Space (2003), University of Granada in Spain (2009), QMAD Festival (2012), and NYU Low Lives Festival (2012). She recently received a fellowship from Yale's Thread program for non-fiction storytelling . Holder is also a recipient of grants including from Lower Manhattan Cultural Council (2006), Franklin Furnace (2007) and NYFA/UAI (2005) and was a finalist for Creative Capital in 2012 to support her artistic practice. Holder blogs for the Huffington Post and has contributed political commentary on CNN and BBC, among others. Holder also lectures on race, media, literacy, art history and African Diasporic history at various institutions including Studio Museum of Harlem, Museum of Art and Design, Columbia University and NYU. Holder received her B.S. in Speech Pathology from Howard University and research fellowships from the National Endowment for the Humanities (2009 and 2016), The Colin Powell Center for Policy Study (2008) and Bard College (2010). She received her M.S.Ed in Childhood Education from City College. Holder is a recent recipient of a Innovative Cultural Advocacy Fellowship from the Caribbean Cultural Center African Diaspora Institute while becoming the Art Department Chair at Broome Street Academy High School. At BSA she supervises art teachers and oversees internships, a talent show and trips for over 300 underprivileged and LGBTQA youth, emphasizing creativity and critical thinking. https://sitchaassdown.com/
Jodie Lyn-Kee-Chow (b. Manchester, Jamaica) holds a BFA with honors in Painting from New World School of the Arts, University of Florida, (1996) and an MFA in Combined Media from Hunter College, CUNY (2006). Lyn-Kee-Chow often explores performance and installation art drawing from the nostalgia of her homeland, the commodified imagery of Caribbean primitivism, folklore, fantasy, consumerism, spirituality and nature's ephemerality. Exhibitions of note include "Queens International 4", Queens Museum of Art, NY (2009), "10th Open Performance Art Festival", Beijing, China (2009), "Guangzhou Live 5", Guangzhou, China (2014), "Jamaican Pulse: Art and Politics from Jamaica and the Diaspora", Royal West Academy of England, Bristol, U.K. (2016), a special project commission at "Jamaica Biennial", The National Gallery of Jamaica, Kingston, J.A. (2017), and Live Action 12 Performance Art Festival in Gothenburg, Sweden (2017). Solo exhibitions include Rush Arts Gallery (2008), New York, N.Y. and Boston Children's Museum (2015), Boston, M.A. Her work has also been exhibited at Exit Art, New York, N.Y, Amelie A. Wallace Gallery at S.U.N.Y. Old Westbury, N.Y., MoCADA (Museum of Contemporary African Diasporan Arts), Brooklyn, N.Y., Grace Exhibition Space, Brooklyn, N.Y., Lehmann Maupin, New York, N.Y., and Art Museum of the Americas, Washington, D.C. Lyn-Kee-Chow's work has garnered the following; NYFA (New York Foundation for the Arts) Fellowship Award in Interdisciplinary Art (2012), Rema Hort Mann ACE (Artist in Community Engagement) Award (2017), Franklin Furnace Fund (2017-18), and Culture Push's Fellowship for Utopian Practice (2018). Her work has been reviewed in publications such as The New York Times, The Huffington Post, The Washington Diplomat, Daily Serving, Hyperallergic, Artinfo, The New York Art World, Super Selected, and Newsday. She also lives and works in Queens, N.Y. https://www.jodielynkeechow.com/
Shawn Escarciga (Brooklyn, NY) is an "experimental" "performance" "artist" whose work is steeped in Butoh and the creation of new movement paradigms, particularly around their deep capacity to feel things and the queer body. Their work has been shown throughout New York City (Panoply Performance Lab, Glasshouse ArtLifeLab [Performeando], Queens Museum [LiveArt.us], MIX NYC, Triskelion, Grace Exhibition Space, Chinatown Soup [Performance Anxiety], The Clemente, Real Estate Fine Art), domestically (Boston, Chicago, Lexington, New Orleans, Miami, Fayetteville), and abroad (Berlin and London). They think a lot about classism, queer visibility, how to light patriarchal structures on fire effectively, intimacy amongst faggots, and what it would be like to live in a country that supports non-commercial artists which might look something like eating a 2000 calorie diet regularly and owning a Shiba. www.shawnescarciga.com/
Anya Liftig's work has been featured at TATE Modern, MOMA, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, Performance Art Institute-San Francisco, Atlanta Contemporary Art Center, The Kitchen at the Independent Art Fair, Performer Stammtisch Berlin, OVADA, Joyce Soho and many other venues. In "The Anxiety of Influence" she dressed exactly like Marina Abramovic and sat across from her all day during "The Artist is Present" exhibition. Her work has been published and written about in The New York Times Magazine, BOMB, The Wall Street Journal, Vogue Italia, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Hyperallergic, Bad at Sports, The Other Journal, and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The MacDowell Colony, Yaddo, Virginia Center for the Creative Arts, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia. www.anyaliftig.com/
Beginning in Shanghai, where his photography works expressed the universal theme of urban angst, Miao Jiaxin then immigrated to New York, expanding his view of urban streets towards a more conceptual public stage. Among his performative practices across different media, Miao has blended his naked body into the bleak streets of a midnight New York City, traveled inside a suitcase hauled by his mother through urban crowds, made live-feed erotic performances on an interactive pornographic broadcasting website, and dressed as a Chinese businessman for an entire year when working towards his MFA at School of the Art Institute of Chicago. More lately, he converted his New York studio into a jail and charged $1 per night as accommodation on Airbnb and Facebook. Miao's works often express the ambivalent and sometimes antagonistic tension that always exists between the individual and governing or cultural authorities, questioning assumptions about power in relation to identity politics. He posits the artist's nature as one who transgresses boundaries, challenges consensus, and stays distance from authorities. www.miaojiaxin.com/pageviewer.html
www.honeymcmoney.com
Anja Ibsch (Berlin), born in 1968, has been actively working as an artist and curator in the areas of performance and installation since 1993. Currently based in Berlin, she creates intense works that explore personal, cultural and social aspects of human presence while researching the endurance and tolerance levels of her body. Frequently inspired by myths of sainthood, sacrifice and release, her work emphasizes and extends connections between her body and the earth. Her varied actions have included eating dust, offering the surface of her skin as a nesting ground for worms, and melting ice on her eyes. She has performed primarily in Europe, Asia and Canada and South America.
In her work, Anja Ibsch characteristically tests her bodily limits, creating images that combine conceptual concerns with tasks of endurance or physical strength. For the audience, these images work to transform the way we view or understand the performer's physical identity. At the same time, the works engage the performer in a changing perception of her relationship to the world around her. Ibsch creates her work in response to the circumstances that present themselves, adapting to local environments and situations. https://anja-ibsch.jimdo.com
Statement from the artist: "I create narratives. I document, cross-examine, create cultural hybridizations. I de-contextualize/re-contextualize texts, topics, and issues on Black Culture's constant striving within today's society. I work within the cusp of her cultures as Haitian, American, and African Diaspora, then link unresolved issues across time as a political strategy. This takes into account the nuances of language and mannerisms, while illuminating social issues and injustice; depicting contemporary struggles against indifference, coded vernacular, and entrenched economic dispositions. The issues addressed in my works may at first seem outdated and irrelevant, but instead have actually remained persistent, and morphed. The work folds in residuals of colonial influence, women's issues, and criticism of imperialist white-supremacist patriarchal cultures." www.dominiqueduroseau.com/
Geraldo Mercado is a Brooklyn based Performance and multimedia artist. Born in Yauco, Puerto Rico and raised in Westfield, Massachusetts; Geraldo moved to New York City in 2008 to work as the Video Production Manager at Exit Art, a pioneering Manhattan Art Space that closed its doors in 2012 after thirty years. Having complete access to their digital archives introduced him to the world of performance art. Since then, Geraldo has performed nearly non-stop.
As a performance artist Geraldo creates kinetic pieces of art using his body. A good artist uses all of the tools at their disposal, and having been born with a high tolerance for pain, he pushes his body to the limit as a means of exploring identity, empathy, and the cultivation of understanding. His aesthetic is punk rock in its ethos and in the way that he incorporates music, dance, theatricality, and storytelling while not being trained in any of those disciplines at all. Geraldo aims to tell stories with his body and reveal the underlying machinations of performance art as a medium.
Geraldo is a member of the Social Health Performance Club, a loose collective of artists creating performative works that directly confront systematic social issues. In 2013 Geraldo was one of the artists-in-residence at Animamus Art Salon: A Living Gallery London. In 2014 his non-narrative short film "The Land Scape" was a part of El Museo Del Barrio's retrospective show "MUSEUM STARTER KIT: Open With Care". Geraldo's first solo show In The Universes Where I Died took place in 2015 at Gallery Sensei in Chinatown, New York in conjunction with Animamus Art Salon. His second solo show…And What Will We Do When We Get There was held at cloyingPARLOR in 2016. Geraldo holds a Bachelors of Science in Communications Media with a concentration on Directing for Film from Fitchburg State University. geraldomercado.com/
Ayana Evans is a NYC based artist. She frequently visits her hometown of Chicago whose Midwestern reputation is a major influence on her art. Evans received her MFA in painting from the Tyler School of Art at Temple University and her BA in Visual Arts from Brown University. She has attended the Skowhegan School of Painting & Sculpture and the Vermont Studio Center. In 2015 she received the Jerome Foundation's Theater and Travel & Study Grant for artistic research abroad. During Summer 2016 Evans completed her installment of the residency, "Back in Five Minutes" at El Museo Del Barrio in NYC. She completed a series this Summer 2017 "A Person of the Crowd" at the Barnes Foundation, Philadelphia, PA; as well as FAIP an international performance festival, Martinique; "Light Happenings II" presented by Lab Bodies, Baltimore, MD; and Rapid Pulse Retrospective, Chicago, IL. Evans also performed at Ghana'a Chale Wote festival in August 2017.
Evans's on-going performances/public interventions include: "Operation Catsuit" and "I Just Came Here to Find a Husband." She has curated and co-curated performance art shows throughout the U.S and worked in arts education for a decade. She is Editor at Large for www.cultbytes.com. Her recent press includes articles on New York Magazine's The Cut, Hyperallergic, the Huffington Post, gallerygurls.net and CNN. www.ayanaevans.com/
Amanda Hunt is a Brooklyn based performing artist. Amanda has performed solo work at Judson Church, AUNTS, Panoply Performance Laboratory, Larkin Arts (Harrisonburg, VA), Segundo Piso (Puebla, MX), and Open Engagement at the Oakland Museum. Hunt has attended the Old Furnace Artist Residency (Harrisonburg, VA) and has worked with Kira Alker + Elke Luyten, Sam Kim, IV Castellanos, and De Facto Dance, and Kathy Westwater (2013 - present).
IV Castellanos is an abstract performance artist who has performed at the Queens Museum, Gallery Sensei, dfbrl8r (Chicago), Gruentaler9 (Berlin), and Grace Exhibition Space. Castellanos and Hunt performed their newest work 04.14-15.17, "SurForm i & ii", as a part of Work Up at Gibney Dance Center. They have been on the curatorial committee and performed regularly at Panoply Performance Laboratory 2017 and past.
As a duo, the artists IV Castellanos and Amanda Hunt explore the continuous catching and falling of one another's bodies, and through this idea that takes many aesthetic forms, aim to define arrival as reciprocity. This work of jumping, catching, holding, climbing, falling and/or dropping, and dragging one another on repeat, is juxtaposed with task based labor driven work. Using moulds of utilitarian objects (hammers, saw blades, deformed objects) casts from plaster, the work aims to render the execution of "simple" and "everyday" tasks, just as hammering or cutting, as possibly without goal and possibly other(ed). The artists wear work suits and work boots, both for the proposition of viewing functionality and ordinary-ness as art and as a nod to the long history of Queer folx that have worn these outfits before them. We are very Queer and non Cisgender-men which all aspects of the work, non-negotiably, exudes. Our work sets the stage for the Queer and Feminist utopia we'd like to live in and would like to invite you into. The set choreography is built on the idea that holding and being held requires different (and often metaphorically overlapping) skill sets/strengths, which is why we consciously choreograph each performer doing many types of both holding and catching. An equal distribution of labor gestured by different bodies. www.ivcastellanos.com/iv-castellanos-amanda-hunt/
Rafael Sanchez (b. Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In 2007, for Calienté/Frio, the artist traced the migration process of two women from Cuba to America during the 1960s. Sanchez has been deeply influential on performance art in the NJ/NYC metro area, from the days of Exit Art and English Kills Gallery through the days of Brooklyn International Performance Art Festival, Grace Exhibition Space, and up through the present. He lives in Newark with his wife and young daughter and works as a teacher and counselor at a local High School.
Lorene Bouboushian works within dance, experimental music/noise, and performance art. They build a rhizomatic practice through visible forays into performances and workshopping, and less visible forays into writing, dialogue, modes of care and support, and resource sharing. They utilize "self-exposure and vulnerability in real, risky ways" [CultureBot, 2011], and produce "thought-provoking commentary on social limits" [Minneapolis Star Tribune, 2016].
They have shared their work in galleries and theaters in Seattle, Madison, Athens, and Beirut, performing in festivals including New Genre Festival (Tulsa), Miami Performance International Festival, QueerNY and Queer Zagreb, Inverse Performance Art Festival, and Month of Performance Art-Berlin. They have shared their interdisciplinary teaching practice at universities in Kentucky, Beirut, and Mexico.
They have collaborated with Forced Into Femininity (as missdick vibrocis), Kaia Gilje, Lindsey Drury, Matthew D. Gantt, Valerie Kuehne, and Panoply Performance Lab, and performed for Yoshiko Chuma, Yvonne Meier, Melinda Ring, luciana achugar, Daria Fain, and Kathy Westwater. They are a former member of NYC based collectives XHOIR (organized by Colin Self), Feminist Art Group (organized by IV Castellanos), and Social Health Performance Club.
They are currently in process as a dancer with Jill Sigman/Thinkdance, working with a think-tank through 9 PROPOSITIONS (Panoply), and a member of the Civic Reflex cohort (also Panoply). https://lorenebouboushian.org/
Based in Brooklyn New York, Maria Hupfield is a member of the Anishinaabek Nation from Wasauksing First Nation, Ontario, Canada. Her first major institutional solo exhibit The One Who Keeps on Giving, is currently traveling and is a production of The Power Plant Contemporary Art Gallery, Toronto in partnership with Southern Alberta Art Gallery, Lethbridge; Galerie de l'UQAM, Montréal; Mount Saint Vincent University Art Gallery, Halifax; and Canadian Cultural Centre, Paris. She is a current Triangle Artist in Resident 2018, the first Indigenous Fellow at the International Studio and Curatorial Program, ISCP in New York 2018 and finishing a residency with Native Art Department International at DTA/FABnyc in the Lower East Side.
Together with her husband artist Jason Lujan, Hupfield co-owns Native Art Department International based out of China Town New York, a project focused on presenting artwork by artists with demonstrated ongoing commitment to Native American communities alongside and on par with international artists. Hupfield also sings with Nishnaabekwewag Negamonid a three-member Anishinaabe women's hand drumming group based in Brooklyn, NY committed to language and cultural revitalization, using song to disrupt colonial spaces and speak to prior, persisting Indigenous presences. The group was born as part of an Anti-Columbus Day action in the American Museum of Natural History in 2016 and 2017.
Like her late mother and settler accomplice father, Hupfield is an advocate of Anishinaabek Womanism, Indigenous Feminisms, Accomplice building and Activism.
Maria Hupfield is represented by Galerie Hugues Charbonneau, Montreal Quebec Canada. https://mariahupfield.wordpress.com/
ohai, i'm 3dwardsharp. can we listen/talk/dance together? like, IRL?
SELECTED SUBSTANTIVEZ:
a fucked-up scan from the back-section of a willa cather novel, um, literally, umm, as aesthetic codex that we could {un}pack, now or later or never. i mean, maybe it already happened, i looked again, and saw something else.
IF YOU ARE READING THIS: then my performance has already started. a small gesture wedged in-between.
in this performance @104 meserole i'm trying to see you more clearly but visibility is low. however, intentional, it, be.
NO PAIN, BABY, NO GAIN [let's get physical]
http://futuredeath.agency
http://edwardsharp.com
Julia Santoli is a multi-media artist based in New York. Her work synthesizes image, gesture, and sound while navigating memory and presence—how past experience manifests in the present as ruins, and how these traces transform through mediation to/from the body within the ghost-nature of sound. Her explorations take the form of vocal performance and body-generated audio feedback, sonic installation, video, and prints. She completed her BFA from the School of Visual Arts (Visual and Critical Studies), and has presented performative and visual work throughout New York. http://juliasantoli.net/
PPL (Panoply Performance Laboratory)
PPL the collective's current configuration is lead by Esther Neff with Brian McCorkle, Kaia Gilje and many others. Working across spheres of visual arts, dance, theater, music, and cultural activism to research (e)motion and social movement, mentalities, forms of collective ideation, and modes of organization, PPL makes "operas of operations," performance art, installation, tours, and social projects. Past and ongoing projects including Embarrassed of the Whole (EotW), Any Size Mirror is a Dictator (with Lindsey Drury), NATURE FETISH, and The Transformational Grammar of the Institutional Glorybowl I, II, & III have been performed at LMCC (14 Wall St.), chashama (42nd St, 37th St, Harlem site), Danspace, ISSUE Project Room, Dixon Place, Grace Exhibition Space, and ABC No Rio to name a few places in NYC, and across the USA (D.C, Boston, Pittsburgh, Chicago, Milwaukee, Kansas City, Tulsa, Toledo, Columbus, Lexington, Detroit, etc) and in Berlin, Copenhagen, London, and elsewhere. PPL has also released recordings through Gold Bolus and organized conferences, exhibitions, and events all over the world.
www.panoplylab.org
CIVIC REFLEX Session #3
Saturday, September 22nd 2018 to Sunday, September 23rd 2018
8pm-11pm:
Aditi Natasha Kini and Amin Husain
Leopoldo Bloom
Megan Livingston
IV Castellanos || Zavé Martohardjono || S. Lumbert || J. Soto
Ongoing installation by David Ian Bellows/Griess
***FREE & OPEN TO THE PUBLIC***
This event is SESSION #3 of PPL's 2018 PERFORMANCY FORUM program CIVIC REFLEX/REFLEJO CIVICO, a temporary collective of 20 artists/individuals/groups meet 5 times over the course of the year with public exhibitions of performance, dialogue, and discursive practice at 8pm on April 21, May 26, September 29, October 20, and November 10.
CIVIC REFLEX/REFLEJO CIVICO participants are: Diane Dwyer, David Ian Bellows/Griess, Benjamin Lundberg Torres Sánchez, Daniel Gonzalez, Nana Ama Bentsi-Enchill, Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.), Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña, Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung, Rina Espiritu, and Pei-Ling Ho.
CIVIC REFLEX/REFLEJO CIVICO is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). Program conceived/organized/administered by Esther Neff (Panoply Performance Laboratory, PERFORMANCY FORUM), selections from an Open Call were made by a peer committee via the Brooklyn International Performance Art Foundation (BIPAF).
Performancy Forum: Intra-Activities + Para-Normalities
Saturday, January 20th 2018
8pm***pay-what-you-can-for-the-artists***
***intra-activities materialize quantum singularities****phenomena emerge from para-normative wor(l)dings***zero-gravity***sonic barriers broken***project(ive) transport***these words mean: meaning = matter(s)******an evening of POETRY, MOVEMENT, INTERDISCIPLINARY PERFORMANCE, PERFORMANCE ART******
*** RAY FERREIRA ***
*** JEAN CARLA RODEA w/ GAVIN TAO ***
*** MOH GROUT ***
*** IV CASTELLANOS AND AMANDA HUNT ***
*****INFO*****
RAY FERREIRA
w h e n a m i blaqlatinx from occupied Lenape lands called New York, NY: the illegitimate EEUU. An o the r Corona, Queens<a spacetimemattering<a materialdiscusive (dis)/continuity: [the Caribbean, the Greater Antilles, Hispañola, the Dominican Republic —> Corona, Queens] : history.
ray ferreira w h e n a m i a performer of sorts aka multidisciplinary artist aka polymath. She stays playin: the dance between materiality<->language through her body w h e n a m i where histories are made and remade. She plays with iridescence, text, rhythms (aka systems), to cruise a quantum poetics. Englishes, Spanishes, and other body languages spiral, dance, and twirl to create a banj criticality: that turnup w/the grls; that swerve past white cishet patriarchy. wh e n ami
http://rayferreira.net/
MOH GROUT
JEAN CARLA RODEA w/ GAVIN TAO
Jean Carla Rodea is an artist from Mexico City, based in Brooklyn, NY. Her work deals with spaces and instances where socio-political and cultural constructs are rendered visible through performative movement, sound, and image. By using an interdisciplinary research-based approach, she is invested in understanding how time is insistently constructed through memory and how these memories whether embodied or recorded in spaces are documented and re/constructed. Rodea is especially interested in how these processes have the possibility to become agents to make space for fictional dimensions that can disrupt and subvert.
http://www.jeancarlarodea.com/
Gavin Tao is an interdisciplinary New Media artist from the U.K. His practice is built upon queering the space with objects, avatars, and his own body. In doing so, he disrupts the spatial status quo, introducing images that magnify queer visual discourse.
Performance and technology intervenes his video work, creating a dislocated sense of time and place.
Amanda Hunt is a performing artist who is is currently thinking about the life hood of materials as they intercept/are intercepted by the/my body, and what it means to obsessively choreograph movements my body does everyday.
IV Castellanos is a sculptor and abstract performance artist. Labor: the adjustments the body is required to make in order for a functional action while working is an influence on how Castellanos moves through the construction of performance. They collaborate with Amanda Hunt and are both current Chez Bushwick AIRs, shared a residency at Gibney Dance, have performed at Grace Exhibition Space, Dixon Place, Danspace for Movement Research 2017 in collaboration with the Feminist Art Group and the Wild Project.
********PERFORMANCY FORUM is a platform for materialytic presence(s) organized since 2009 by Esther Neff****www.performancyforum.net******
Just Situations: Day 5, Reading Conditions
Thursday, July 20th 2017
JUST SITUATIONS: a performative convention https://www.facebook.com/events/1975315539357388/
justsituations.wordpress.com
Day Five: Reading Conditions
What are the elements of "a situation"? How do we inscribe, read into, interpret, and mark our world(s)? Abstraction, social magnetics, communication, (con)text, and forms of semiotic transparency perform "reads" of our conditions, backgrounds, ethics, identities, and ideals.
Nicole Goodwin
Danielle Abrams
+++SITUATOR CONTEXTUAL INFORMATION+++
Danielle Abrams' performances react to the social tensions that shape her experiences as a biracial lesbian. Her performances blend scripted and improvised language, and public encounters that rely on engaged participation. She adopts contradictory personae that are also autobiographical, and animates the ambivalent relationships between racial and ethnic groups. Her menagerie of personifications stage humorous encounters while reimagining the cultural narratives of art history, civil rights, and popular culture.
Danielle Abrams has performed at Museum of Fine Arts (Boston), Detroit Institute of the Arts, Institute of Contemporary Art (Boston) Bronx Museum of the Arts, Roger Smith Hotel (NY), The Jewish Museum (NY), Queens Museum, Santa Barbara Contemporary Arts Forum, WOW Performance Cafe, and The Kitchen. Abrams has received grants from The New York Foundation of the Arts, Urban Arts Initiative, and the Franklin Furnace Performance Art Fund. She is a Professor of Practice in Performance at School of the Museum of Fine Arts at Tufts University. http://www.danielleabrams.com/
IV Castellanos is an abstract performance artist and sculptor based in Brooklyn, NY. They have performed at the Queens Museum, Gruentaler9 (Berlin), DFBRL8R (Chicago), Grace Exhibiton Space, IV Soldiers, Dixon Place, PPL, Gallery Sensei and Rosekill (Kingston, NY). They founded the F.A.G. (Feminist Art Group), 2016 with co-founder Esther Neff, which has alternating performers.
IV will perform a piece called: Brick x Brick v
Ayana Evans is a NYC based artist. She frequently visits her hometown of Chicago whose Midwestern and sometimes controversial reputation is a major influence on her art. Evans received her MFA in painting from the Tyler School of Art at Temple University and her BA in Visual Arts from Brown University. She has attended the Skowhegan School of Painting & Sculpture and the Vermont Studio Center. In 2015 she received the Jerome Foundation's Theater and Travel & Study Grant for artistic research abroad. During Summer 2016 Evans completed her installment of the residency, "Back in Five Minutes" at El Museo Del Barrio in NYC..She also completed a series this Summer 2017 "A Person of the Crowd" at the Barnes Foundation, Philadelphia, PA; as well as FAIP an international performance festival, Martinique; "Light Happenings II" presented by Lab Bodies, Baltimore, MD; and Rapid Pulse Retrospective, Chicago, IL.
Evans's on-going performances/public interventions include: "Operation Catsuit" and "I Just Came Here to Find a Husband." She has curated and co-curated performance art shows throughout New York, worked in arts education for a decade, and is Editor at Larger for www.cultbytes.com. Her recent press includes articles on New York Magazine's The Cut, HyperAllergic, the Huffington Post and gallerygurls.net. https://www.ayanaevans.com/
For more information on her upcoming projects and impromptu public performances follow her on instagram @ayana.m.evans and visit www.ijustcameheretofindahusband.com
Artist Statement/ Performance practice:
I often articulate my ideas through different modes of actions and appearances from our daily living-practices. Mundane repetitive movements or physical struggles are my primary forms of expression. These actions collaborate in acknowledging, collecting, and creating evidence of my "self," as they are laced with personal stories that exude both humor and pain. My performance practice continuously reveals larger explanations and speculations of (re)defining/categorizing significances, meanings and values within the hegemonic society. It is important for me to exert a conceptual and tactful way of thinking, seeing, inhabiting marginalized bodies (and spaces) through my art practices.
Nicole Goodwin is the author of Warcries, as well as the 2017 EMERGENYC Hemispheric Institute Fellow, the 2013-2014 Queer Art Mentorship Queer Art Literary Fellow, as well as the winner of The Fresh Fruit Festival's 2013 Award for Performance Poetry. She published the articles "Talking with My Daughter…" and "Why is this Happening in Your Life…" (Personal essay/Review for award-winning documentary Tough Love) in the New York Times' parentblog Motherlode. Additionally, her work "Desert Flowers" was shortlisted and selected for performance by the Women Playwriting International Conference in Cape Town, South Africa.
http://femmesfollesnebraska.tumblr.com/post/55883219156/nicole-goodwin-poet
Performancy Forum: Biomass/Microbiomes
Saturday, March 11th 2017
FIRST PERFORMANCY FORUM OF 2017!!!!!!
LIBRARY!!!!! (https://newyorkcitylibrarycard.bandcamp.com/)
ARANTXA ARAUJO!!!!! (http://www.arantxaaraujotoca.com/)
SHAWN ESCARCIGA!!!!! (visibility and obedience in the fascist state)
IV CASTELLANOS!!!!! (http://www.ivycastellanos.com/) w/ Thea Little, Amanda Hunt and Esther Neff
POLINA RIABOVA!!!!! (honey, roses, shower curtain)
JON KONKOL!!!!! (http://www.jonkonkol.com/)
pay-what-you-can cover
MUTATION AND MUTINY, (DIS)ORDER, OBJECTIONS AND OBEDIENCES, OUR CHAOS RESONATES, AM I SMALL OR AM I LARGE? OUR BODILIES ARE INDIVIDUAL AND SOCIAL, WE BREATHE EACHOTHER'S BIOMES, WE ARE BIOMASS(IVE)
PERFORMANCY FORUM is a critical platform for live art of the undercommons (www.performancyforum.net)
REMAINING/REMINDING/REMAINS/REMAINDERS
Saturday, October 1st 2016 to Sunday, October 2nd 2016
is open 11am-7pm on Saturday, October 1 and Sunday, October 2
+ IV CASTELLANOS + AYANA EVANS + ZACHARY FABRI + DAVID IAN BELLOWS/GRIESS + JON KONKOL + GERALDO MERCADO + HIROSHI SHAFER + NYUGEN SMITH + KIKUKO TANAKA +
Bushwick: long ago defaced and degraded by "mural style" ads, Bichon Frise shit, bro vomit, and crêpe trucks, we perch on the edge of an almost-imaginary recent past, clinging to an old lease as "postmodern mediterranean" buildings march us shoulder to shoulder towards total erasure. This exhibition briefly stages the melancholy, mortification, embattlement, righteousness, humor and violence of artists who were working in performance art before it became a joke on TV, artists who use "recycled materials" because they are free, artists whose politics, identities, and "socio-ethics" are core elements of practice not marketing tools.
REMAINING/REMINDING/REMAINS/REMAINDERS is visual works and video by artists who celebrate no "post" (gentrification)(modern)(colonial)(structural), working through ongoing colonial, imperial, and capital-driven histories, leaving remainders of performances, using remains and scraps of materials used for other purposes, providing reminders of what matters.
PPL is a BOS Hub site.
Sudden and Indeterminate Intimacies: Is This a Public or a Private Site?
Sunday, July 31st 2016
Inside PPL and outside on the street/under the scaffolding, a pop-up performance art night with:
Alejandra Solano visiting NYC for the first time from Bogota, Colombia + local artists:
J. Soto
Amanda Hunt
LJ Leach
open at 6pm performances begin at 7pm
PERFORMANCY FORUM: Tactical Trials
Saturday, May 28th 2016
Jenna Kline
https://vimeo.com/user1617527
http://www.ivycastellanos.com/
Charli Brissey
http://www.charlibrisseyisananimal.com/
Melissa Koziebrocki
http://mkoziebrocki.format.com/#1
coco cafe
http://performanceco.tumblr.com/
FOLLOWED BY A DISCUSSION
TACTICAL TRIALS: (SELF) DEFENSE IDENTITY LOVE RESPONSIBILITY: a razor's edge between empowerment and self-punishment, no wave feminism, size 5 steel-toed boots, intentional dysfunction and high-skill fabrication of sight, site, situation::::
"Responsibility to yourself means refusing to let others do your thinking, talking, and fighting for you, rather fighting for others, thinking, talking with and for others...it means that you do not treat your body as a commodity with which to purchase superficial intimacy or economic security, rather as a tactical tool leveraged in defense of your own rights and the rights of those weaker than you are. "
-- Adrienne Rich
"I am too intelligent, too demanding, and too resourceful for anyone to be able to take charge of me entirely. No one knows me or loves me completely. I have only myself"
― Simone de Beauvoir
"I have to find of cultural translation, modes of encounter, modes democratic participation, which actually work to foster understanding, without mandating unity. And it also means that when I take responsibility it is not a grandiose act, it's not a narcissistic act, in which I am responsible for the entirety of the world. No, I place myself in a vividly decentered way in a world with others, who are their own centers, and which I must understand to live socially, to live democratically, to live in a polity, is always to in some sense be displaced by the subject. It is partially what it is to live in a culturally diverse, democratic culture. But if one finds that the modes of communication and deliberation that allow for that to exist in its complexities, then I think we have the chance to take a kind of collective responsibility. But one cannot take collective responsibility alone. It is something taken with others."
--Judith Butler
http://www.performancyforum.net/


text:
Voyageur Pharmaceuticals Ltd. Designs Carbon Neutral Pharmaceutical Manufacturing Plant with a Carbon Credit De-Carbonization Strategy for Customers
Calgary, Alberta – TheNewswire - October 31, 2022: Voyageur Pharmaceuticals Ltd. (TSXV:VM) (OTC: VYYRF) (the "Company" or "Voyageur") announces the completion of the design of its carbon neutral pharmaceutical plant and as such has accelerated the revenue generation timeline for the Frances Creek barium sulfate project, compared to stated timeline of the SGS Canada Inc preliminary economic assessment. ACH Engineering Inc has estimated the total capital cost to be CAD $30M (excluding land). The plant is designed to process approximately 5,000 tonnes per year of Frances Creek USP (US Pharmacopeia) grade barium sulfate (barite) concentrate. A first of a kind, carbon neutral pharmaceutical manufacturing facility, utilizing carbon capture technology to convert waste carbon dioxide into fullerene nano particles, for pharmaceutical contrast media drug development. The manufacturing facility is designed to produce revenue streams from pharmaceutical barium and iodine contrast media products for the radiology drug market. The plant is expected to produce additional revenue stream from industrial barite sales and produce carbon fullerene allotropes for the new drug development program. Voyageur has chosen to set up operations in Alberta, Canada.
Brent Willis, Voyageur CEO, stated "North America is experiencing critical pharmaceutical supply chain challenges. It is becoming paramount for Canadian companies to focus on domestic production of pharmaceuticals to fulfill the needs of our health care system in North America. Voyageur's integrative approach to carbon neutral contrast media manufacturing, will become an important factor for health care security, with a strong focus on our environment. Building the first carbon neutral pharmaceutical facility in Alberta, Canada, will be a major milestone for Voyageur. The added benefit of de-carbonizing our customer base by utilizing our carbon credits will make our product line unique and attractive to ensure potential high growth."
The timeline for construction of the pharmaceutical manufacturing and R&D facility will take an estimated 18 months to complete, subject to financing. Upon completion of the facility, the processing of Frances Creek barium will commence. Voyageur plans to build the sterile gmp pharmaceutical facility in 2023 that will produce contrast media drugs. This will allow Voyageur to optimise its processing and create high quality, profitable barium products. In parallel, Voyageur will import iodine API (active pharmaceutical ingredient) and plans to utilise the sterile injectable blow fill seal vial line to manufacture iodine contrast media products. Iodine drug manufacturing using imported iodine API is phase one of the Company's staged in approach. Full integration of the iodine contrast manufacturing is planned for stage 2 and will focus on producing iodine from mineral brine water (from the well head to the vial).
Voyageur's objective is to create a fully integrated, secure, environmentally responsible supply chain of barium, iodine, and fullerene contrast media for the North American and global markets. The facility design includes a state-of-the-art laboratory and R&D drug development wing, to enable in house testing and innovation. Voyageur will be utilizing the Rain Cage Carbon Inc.'s (RCC) carbon capture technology to capture CO2 from the facilities' off grid power plant exhaust stream. RCC and Voyageur are developing a plan to produce a significant quantity of carbon fullerenes each year from the captured waste CO2 (the RCC technology creates fullerene carbon allotropes from captured CO2 in its process).
The advanced carbon fullerenes will be used for contrast material development under the terms of the development agreement MOU, previously announced. Voyageur's power generation will be designed to be over-sized to sell excess power to the grid and to produce significant carbon credits. Voyageur and Rain Cage are working jointly on creating a carbon credit distribution arrangement that could enable Voyageur to pass on carbon credits to its customer, helping customers meet their Environmental, Social & Governance (ESG) requirements.
Voyageur's strategy to create the first fully integrated and net carbon zero pharmaceutical manufacturing company is coming to fruition. The added sales strategy of implementing the corporate de-carbonizing sales plan by transferring the carbon credits to the customers, is a unique and beneficial concept that Voyageur and RC look forward to developing together. Voyageur's objective is too de-carbonize the supply chain network in the radiology drug market. Globally, companies are looking for mechanisms to meet their ESG requirements. If successful, Voyageur's strategy will offer the market a new innovative low-cost path forward for decarbonization and will allow Voyageur to utilise carbon as a sales and marketing tool, to gain market share in the radiology drug market.
Voyageurs previously published preliminary economic assessment (PEA), by SGS Canada Inc, stated:
Base Case Net Present Value @ 8% discount rate = $464 M Pre tax, $344 M After tax
Initial Project horizon – 10 Years
Total Capital Required over 3 years – $36 M (Management has reduced this cost 37% to $22.5M, reduced the timeline, and added iodine, fullerene production and carbon capture = estimated $30M
Payback period after start of production – 11 Months
Operating Gross Margins average 75% over the Project
The Company's consolidated financial statements and management's discussion and analysis ("MD&A") for the third quarter have been filed on SEDAR at www.sedar.com under the Company's profile.
About Voyageur
Voyageur is a Canadian public company listed on the TSXV under the trading symbol VM. Voyageur is focused on the development of barium, iodine and carbon Active Pharmaceutical Ingredients ("API") and high-performance cost-effective imaging contrast agents for the medical imaging marketplace. Voyageur's goal is to initially generate positive cash flow from operations using third party GMP pharmaceutical manufacturers in Canada. Ultimately, Voyageur has plans to build all the required infrastructure to become 100% self-sufficient across all manufacturing activities. Voyageur owns a 100% interest in three barium sulphate (barite) projects including the Frances Creek property, suitable in grade for the pharmaceutical marketplace, with additional interests in a high-grade iodine, lithium & bromine brine project located in Utah, USA. Voyageur is moving forward with its business plan of becoming the only fully integrated company in the radiology contrast media field, by controlling all primary input costs under the motto of: "From the Earth to the Bottle".
For Further Media Information or to set up an interview, please contact:
Brent Willis
E brent@vpharma.ca
www.voyageurpharmaceuticals.ca
Al Deslauriers
E albert@vpharma.ca
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this news release.
This news release may contain certain forward-looking information and statements, including without limitation, statements pertaining to: the construction of the pharmaceutical plant, the timing and costs of the construction and the pharmaceutical plant operating at the design specifications; the success of utilizing the carbon capture technology to convert waste carbon dioxide into fullerene nano particles; the ability to generate and transfer carbon credits; and availability of financing. All statements included herein, other than statements of historical fact, are forward-looking information and such information involves various risks and uncertainties. There can be no assurance that such information will prove to be accurate, and actual results and future events could differ materially from those anticipated in such information. A description of assumptions used to develop such forward-looking information and a description of risk factors that may cause actual results to differ materially from forward-looking information can be found in the Company's disclosure documents on the SEDAR website at www.sedar.com. Voyageur does not undertake to update any forward-looking information except in accordance with applicable securities laws.

redpajama_set_name: RedPajamaCommonCrawl


text:
import { Component } from '@angular/core';
import { FormGroup, FormControl } from '@angular/forms';

@Component({
	selector: 'lu-date-minmax',
	templateUrl: './date-minmax.component.html'
})
export class DateMinmaxComponent {
	date = new Date();
	min = new Date();
	max = new Date();
	formDir = new FormGroup({
		date: new FormControl(new Date()),
	});
	formCal = new FormGroup({
		date: new FormControl(new Date()),
	});
	formPic = new FormGroup({
		date: new FormControl(new Date()),
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	formSel = new FormGroup({
		date: new FormControl(new Date()),
	});
	submit() {
	}
}

redpajama_set_name: RedPajamaGithub


IoT is gaining ground in the healthcare space and its potential for impact on hospital and provider business models is gaining momentum. But how can one not only innovate, but drive better patient care, health outcomes, and achieve business success in a changing healthcare landscape. Is the transition from fee for service to value-based care driving the speed of adoption? How are hospitals readying themselves for the change about to come?
In this podcast, we explore these topics and more with Dr. Michael Dahlweid, VP and General Manager of HCIT Solutions at GE Healthcare and Timothy Dwight of Medullan, a digital health firm that works with payers, providers and the life sciences to design and build solutions that achieve high rates of adoption and drive better health outcomes.


Disability / Sensory Friendly Santa is Coming to New Jersey!
Disability / Sensory Friendly Santa is Coming to Town!
We recently highlighted a story on DisabilityScoop.com about sensory friendly Santas holding events that are designed to be accessible for young persons and adults with disabilities. If you have ever attended a traditional gathering of jolly ole' Saint Nick at your local mall or community center, you will remember the long lines, loud noises, and Santas that might not be exposed to the special needs population. This is usually NOT a sensory/communication friendly experience, but these Santas are looking to change all that.
Sensory friendly activities are set up for those waiting to be occupied until it's their turn to talk to "the big man." You do need to reserve your spot ahead of time however. So we've gathered a list of all the upcoming dates for these events. Please check below and sign up to experience the holiday magic like you've never had before!
We'll update this list year after year so you never miss out on the following year's activities. If you'd like to learn more about Easterseals, please visit our website.


"Dorsey differs from writers such as Carl Hiassen, James Hall, and Elmore Leonard...These guys fire bullets. Dorsey makes sure his gun is filled with hollow-point."
Readers who can't get enough of lovable serial killer Serge A. Storms can rejoice. He's back in Electric Barracuda--the latest outrageous romp through the Sunshine State by Tim Dorsey, master of the zany crime thriller. This time Serge is a fugitive running from the police, and murder and mayhem have never been more over-the-top hilarious. Tim Dorsey's Electric Barracuda is not to be missed. The Miami Herald put it best: "Nobody, but nobody, writes like this guy."


1 Bell Ringer Identify the subjects and verbs of the following sentences: Patrick listened to his iPod while the teacher was giving a lesson. When reviewing for our test, Hannah is always right. Lydia is short and cannot reach the top shelf. John quickly completed his homework so he could go outside and play.
Reading Act III scenes iii-v Skill Focus: Foil Characters Foil Character Activity CFA (Timed) Learning Target: I can explain how the use of complex (foil) characters affects the development of the plot and theme of a text.
4 Conflict Review Watch the following clip from Gnomeo and Juliet. List and describe the conflicts from the clip. Are they internal, external, man vs. man, etc. Try to find at least THREE!
5 Summarizing scene iii Learning of his punishment to be banished from Verona, Romeo fears that he will never see Juliet again. He hides in the Friar's cell until further plans are made. The Nurse visits Romeo and asks him to see Juliet before he lives for Mantua. Application: What is Romeo's greatest motivation in this scene? How does this motivation create greater conflict and drive the plot of the play? Make an inference as to what will happen in scenes iv- v.
Why does Lord Capulet say Juliet needs time before marrying Paris? When does Lord Capulet agree to hold the marriage? Who will bring the wedding news to Juliet?
9 Act III: Scene Five (p. 979) Parts: Romeo, Juliet, Nurse, Lady Capulet, Lord Capulet What do Romeo and Juliet debate? Why does Juliet pretend to act upset? What news does Lady Capulet bring to Juliet and how does Juliet react? Why does Lord Capulet become angry? What will happen to Juliet if she does not marry Paris? What does Juliet ask for from her mother? What does Juliet decide to do since the Nurse will not help her?
What can you infer about Ferris' character? (Use STEAL to justify your answer.) What can you infer about his friend Cameron? (STEAL) How are the two friends the same? How are they different? This is the scene that introduces Ferris's very depressed friend, Cameron.
12 Character Foils A Character Foil is a character who is used to as a contrast to another character. A writer uses a foil to distinct the qualities of two characters. How were Farris and Cameron foils? What are some other examples of famous character foils that you can name from movies, books, television shows, or comics?
14 How do we define foil characters?
Juliet's mother, royal member of the Capulet family, minor character Juliet's nurse and confidant, works for the Capulet family, more significant minor character Traits/Characteristics bossy, rude, stuck up, aggressive, regretful funny, crude, understanding, loving, supportive Primary Motivation She wants Juliet to marry into a good family and have a happy life. She wants Juliet to be happy and marry who she wants (even if she doesn't personally agree with her choice). Conflict(s) in the story Lady Capulet vs. Montagues, vs. Juliet, vs. Lord Capulet She also struggles internally with her decision to force Juliet into marriage. Nurse vs. Juliet, vs. Montague servants, vs. Romeo She struggles internally with her decision whether or not to support Juliet's secret marriage.
17 Lady Capulet vs. Nurse How are the characters similar?
How are the characters different? What trait(s) make them foils of one another? What was Shakespeare's overall purpose for writing this play? Why does Shakespeare include this pair of foil characters in the play? How do they help him develop his overall purpose? Be sure to use specific evidence from the text to support your answer.
18 Lady Capulet vs. Nurse How are the characters similar? They both care about Juliet and want what THEY think is best for her. How are the characters different? What trait(s) make them foils of one another? While they both care about Juliet, the mother is driven by what she thinks is best (marrying Paris) and the Nurse does what makes Juliet the happiest (marrying Romeo).
Each group will be assigned a pair of foil characters. Work together with your group members to answer the questions on your worksheet. After each group finishes, we will present to the class and fill out the back to your worksheet.
20 Poster Requirements: Your group will be assigned a specific set of foil characters from the play. On your paper, complete the following: Draw a picture of your two characters. Describe the role of each character in the play. Explain any important traits/characteristics of each character. Describe the primary motivation for each character's actions. Describe the major conflicts that each character faces. Explain why these two characters are foils of one another.
21 Exit Slip: If you life was play, what would your FOIL be like?
Describe your personality in 1-2 sentences. Describe your foil's character in 1-2 sentences. Explain how this character would be a foil. What do they have in common? What is different?
Download ppt "Bell Ringer Identify the subjects and verbs of the following sentences: Patrick listened to his iPod while the teacher was giving a lesson. When reviewing."
Bell Ringer #5 For what reasons would you or members of society hold Romeo and Juliet responsible for their own deaths? Who else might you hold responsible.
D AY S IX. B ELL R INGER #6: (A) 1/28 & ( B ) 1/31 Romeo spends a majority of his time during the beginning of the play ignoring his friends, walking.
By William Shakespeare 5/15/ ROMEO AND JULIET.
How can Mercutio be described as a foil to Romeo?
"Romeo and Juliet" (1594 - 1595). STUDY QUESTIONS 1.What theme is at the centre of the play? It is the young people who die in the play, and their deaths.


A George II statuary and Sienna marble antique fireplace after a William Kent (1685–1748) design, carved with a fabulous Aurora mask. The moulded shelf protruding in the centre and over the jambs. The frieze is centred with a well carved mask of Aurora, the personification of dawn, (Gk. Eos) who flew across the sky announcing the arrival of the sun, and here symbolises the coming pleasures of the evening and night. This is flanked by panels of richly veined and coloured Sienna marble. The statuary pilaster jambs on Sienna background carved with inverted flowering husks of flowers and are capped with fluted scrolling brackets. The opening with egg and dart (good and evil), mirroring those on the shelf; the whole raised on foot blocks. With restoration and adaptions, 18th century and later.


Cyclone Idai has hit Chimanimani, destroying and sweeping away over 10 houses at Ngangu high density suburb last night.
Rusitu Valley is also bearing the brunt of the cyclone which is expected to continue over the weekend and also affect Masvingo, Mashonaland East and Mashonaland Central provinces.
Eye witnesses said heavy rains erupted from mountains in Chimanimani, sweeping away houses and in the process leaving huge gullies.
The desperate eye witnesses said the situation needs an urgent intervention, adding that the extent of destruction can only be fully established later in the day as the incident occurred around midnight Friday to early hours Saturday.
Two eye witnesses Munyaradzi Chinoda and Ellias Simango said it is difficult to determine the level of destruction but a number of houses at the local high density suburb have been swept away.
Some roads linking the Ngangu high density suburb and Chipinge town have been swept away, while people whose houses have been affected have sought refuge at the local shopping centre and nearby houses.


seeking source code developer: make preset, mts/avchd > image sequence?
Youtube videos re slightly out of sync. Why?
GH2 Moon T7 - Patch whats best export. settings in Premier Pro cs6 ???
Batch automation for 5DtoRGB on Windows?
Hacked GH2 - No Spanning, multiple copies of the same file instead.
windows platform: how to convert a MTS file without losseing any quality for editing.


text:
After Years of Suffering, Hope for Women in Malawi
Social Justice, UNC Stories
by Zach Read, zachary.read@unchealth.unc.edu
By the early twentieth century, obstetric fistula was essentially eliminated in the United States. The last fistula hospital in the country closed its doors in 1895. Built in its place is one of New York City's most famous luxury hotels, the Waldorf Astoria.
More than a decade into the twenty-first century, fistula persists in many poor nations. According to the World Health Organization, more than 2 million women worldwide suffer from the devastating effects of fistula. In the sub-Saharan African country of Malawi, it is estimated that fistula may occur in 2 percent of deliveries. It is also where UNC associate professor of obstetrics and gynecology Jeff Wilkinson works in collaboration with the Freedom From Fistula Foundation (FFFF) to surgically repair fistulas at one of the country's busiest maternity hospitals.
"In the United States, you may see small fistulas that result from injury during a hysterectomy or occasionally from radiation or infection, but fistula from obstructed labor comes along maybe once in a career," says Dr. Wilkinson. "They virtually never happen."
Fistula occurs when the baby's head is too big to pass through the bones of the mother's pelvis. In high-resource settings, a woman in this situation would immediately go in for a caesarean delivery. In low-resource settings, women go into labor in remote villages far from a health care facility or in a hospital or health facility that doesn't provide C-sections or a significant delay occurs at a critical time in the delivery. The baby's head compresses the soft tissues of the pelvis, resulting in areas of dead tissue that ultimately lead to a hole between the bladder and/or rectum and the vagina. The baby dies ninety-five percent of the time, and women are left leaking urine or stool from their vagina.
During his medical training, Dr. Wilkinson knew that he wanted to help women enduring the devastating consequences of obstetric fistula. It took a few years after his urogynecology fellowship at UNC to find the right opportunity. While on faculty at Duke, he traveled to Niger for several weeks a year for his initial fistula training. Then he lived in Tanzania for two years and gained further experience performing fistula surgeries.
"Like any other complex surgical condition, it takes a lot of time with good mentoring," he explains. "You work with people who are highly experienced in the field to get enough exposure to feel comfortable doing the surgery. Some surgeries are fairly straightforward, others are more complicated, and still others are extremely complicated."
Since joining the UNC School of Medicine faculty and UNC Project-Malawi in 2011, Dr. Wilkinson, in collaboration with FFFF, has performed 400 fistula surgeries. Women of all ages have been his patients, from teenage girls to elderly women in their eighties.
"We've had women who had a fistula for as long as 50 years before coming for care," he says.
Women who suffer from fistulas tend to be shorter than average and got pregnant very young, before pelvic growth had completed. Dr. Wilkinson estimates that 30-40 percent of his patients were teenagers when they became pregnant.
According to John Thorp, MD, Hugh McAllister Distinguished Professor, Department of Obstetrics & Gynecology, performing fistula surgeries is daunting, even for skilled surgeons. He has assisted Dr. Wilkinson during elaborate surgeries including ureteral reimplantations and other procedures. Dr. Thorp stresses how fortunate UNC is to have someone with Dr. Wilkinson's astounding skillset on faculty.
"The surgery is so technically complex that it's more difficult than any American doctor will see in a whole career," explains Dr. Thorp. "Dr. Wilkinson is the savant of this surgery – he's amazing."
Among the more complicated procedures are urinary diversions, a technique not often undertaken in sub-Saharan Africa. Only a handful of fistula centers routinely do them.
"They're more complex and require greater degree of post-operative care for the patients than more common fistula surgeries," says Dr. Wilkinson.
As he explains it, when a woman's bladder is either too small to hold any urine or the urethra and the nerves and muscles around the urethra are completely destroyed, the bladder can't function normally again no matter what kind of surgery is performed. About 3 percent of his patients require the procedure.
"We take the ureters – the tubes from the kidney to the bladder – and divert the flow of urine into the sigmoid colon so that they urinate and defecate at the same time," Dr. Wilkinson says. "But in doing this you have to make a low-pressure pouch out of the sigmoid colon so they are less likely to get infections in the kidneys and damage the kidneys long term."
The average fistula surgery takes 1 to 1.5 hours to complete; urinary diversions, on the other hand, take about twice as long.
Dr. Wilkinson has operated in Tanzania, Malawi, Sierra Leone, and Niger, and he acknowledges that the operating conditions in these places can present challenges. Electricity, water supply, and the most basic supplies aren't always reliable or available at all.
"I'm fortunate to have a very nice battery-operated head lamp that I use in all cases," Dr. Wilkinson says, laughing. "But it wouldn't be uncommon here at all for the lights to go out in the middle of a surgery and for the physicians to have to complete the surgery using the lights of a cell phone. We've done that before."
Despite the occasional power outage, Dr. Wilkinson says that the resources he has available through his collaboration with FFFF and the additional support from UNC, make conditions much better than in the previous settings in which he has worked.
"By far we have the best setup here," he says. "We're well-supplied and have reliable, consistent, and well-trained staff, all things that are routinely taken for granted in the West."
Although more attention than ever is being paid to women's health in places like Malawi, educating women about their health – and educating young people to take control of their health care – remains critical to eliminating fistula. In developing nations, the condition still discriminates. It targets the poorest and most vulnerable women, many of whom live in remote areas and have scant access to education and health care. Women suffering the effects of fistula are often shunned by their communities, left by their husbands, and even ostracized by their families and friends.
"Once a person gets a fistula, she goes from a very low status in society, which women already have in that culture, to being a virtual outcast," says Dr. Thorp. "The women are essentially doomed and their lives are ruined. It's almost as if they were dead but alive – I think many would prefer to be dead – and many commit suicide."
After suffering the loss of the baby during childbirth, enduring the constant leaking that follows them, and losing ties to their own communities, it is estimated that 70 percent of women with obstetric fistula will never have another live birth.
"It depends on the degree of injury and where the injury is," says Dr. Wilkinson. "We have a lot of patients who go on to get pregnant afterwards, but the damage is so extensive to the pelvic organs in some that they're unable to get pregnant or carry a child if they do get pregnant."
Dr. Wilkinson passionately advocates for women with obstetric fistula both before and after surgery. He is currently mounting an effort to build a school for fistula patients so that they can access formal education and gain financial literacy after they've been through successful surgery.
"By definition, they're among the strongest, most resilient people you'll come across," he explains. "They have to be, given what they've been through."
To learn more about Dr. Wilkinson's work with UNC Project-Malawi and the Freedom From Fistula Foundation, please visit the UNC Institute of Global Health & Infectious Diseases, UNC Department of Obstetrics and Gynecology, and the Freedom From Fistula Foundation.
In a country of 15 million, Malawi has fewer than 10 trained obstetrician-gynecologists. One of the best ways to improve safe delivery in the country is to grow the trained health care workforce. UNC Global Women's Health and the Institute for Global Health & Infectious Diseases collaborate with the Malawi College of Medicine on a four-year OB-GYN residency program, the first in the country.
The goal is to have a qualified OB-GYN consultant in every district hospital within 10 years.
Residents are trained at Bwaila Hospital in Lilongwe, one of the busiest maternity hospitals in the region. Partners in this effort include the U.S. CDC, the Norwegian government, the Bill and Melinda Gates Foundation, Baylor College of Medicine, and private donors. The first class of four OB-GYN residents started in October 2013.
His Biggest Obstacle Yet: A Stroke
Thanks to his co-workers' quick thinking, an active 34-year-old recovers fully from a stroke.
Stroke, UNC Stories
A Presidential Experiment: What are Monoclonal Antibo...
One of the therapies used to treat Trump is an approach being tested at UNC.
Coronavirus, Research, UNC Stories
Creating Community While Preparing for Baby
The CenteringPregnancy program brings parents-to-be together for prenatal care.
OB-GYN, Pregnancy, UNC Stories
Correcting Spina Bifida with Surgery During Pregnancy
The treatment of spina bifida can begin while baby is still developing inside mom.
Maternal Health, UNC Children's, UNC Stories


European and Australian players get it via the Nintendo Network, but others will need to get a code from their local store.
The legendary Pokémon Zygarde will be distributed as a Shiny Pokémon during the month of June.
There's a crucial catch, however. The distribution runs between June the 1st to June the 22nd for European, Australian and New Zealand players via the Nintendo Network. For other regions such as North America, you'll have to visit a store to receive a code for it; for instance, GameStop between June the 1st to June the 24th.
The Zygarde can be received in Pokémon Sun and Moon at level 60, with the attacks of Land's Wrath, Glare, Safeguard and Dragon Breath. If received in Pokémon Ultra Sun and Ultra Moon however, it comes at level 100, with a free Gold Bottle Cap, and the attacks of Thousand Arrows, Outrage, Extreme Speed and Dragon Dance. This Zygarde will also have the ability Aura Break, and cells can be added and removed from it to create new formes as necessary.
Are you excited about this release of a free Shiny Pokémon?
Edited by Jake and HeroLinik.


Indie Game Dev Studio and secret superhero organization. When we are not out fighting crime, we write code and create art for indie games!
KickBack was informaly founded in December 2010 when we, Nick Konstantoglou and Vagelis Antonopoulos, two cousins from Larisa Greece, decided we wanted to put our variety of passions towards creating a game.
After a lot of work, passion, desperation and excitement we finally felt confident we could actually make this game. We officially founded KickBack and we have released our first game. We never had any funding and our equipment was outdated, but we thought we could balance this out with a lot of hard work. After more than two years of working on Lost Echo, we managed to have a successful launch. Since then we keep supporting it by updating it, improving it, adding localisations and finally, adding a whole new chapter, Lost Echo: Resonance, which is coming soon.
There are far more images available for KickBack, but these are the ones we felt would be most useful to you. If you have specific requests, please do contact us!
"Cutting edge, stunning looking adventure games do not usually debut on iOS, but indie studio KickBack seems to think otherwise."
"You're still working on that?!"
We were interviewed by 148apps.com for our game Lost Echo! http:.
We were interviewed by GameSkinny for our game Lost Echo! http:.
Stay up to date with what we're doing https:.


Are you suffering from different kinds of eyes discomfort? Our Electric Eye Massager creates a magnetic field on microcirculation to improve blood circulation in the eye area.
SOLUTION FOR VARIOUS EYE PROBLEMS: The eye massager helps insomniacs to relax nerves and fall asleep. This electric eye massager prevents myopia or suspends turning into high myopia, alleviates eye pouch, dark circles and wrinkle. Suitable eye massager for anyone who excessively uses eyes, like IT workers, writers, accountants, students, etc.
POWERFUL MAGNETIC CIRCULATION: High-frequency oscillation: 9 oscillation modes + 20~100 HZ oscillation. 22 neodymium magnet massage dots, the eye massager builds a magnetic field on microcirculation. The eye massager is wireless, very light.
IMPROVES BLOOD CIRCULATION IN EYES: The eye massager improves blood circulation, eliminates eyestrain and eye muscle tension. It can be charged with USB and also powered by 2* AAA Batteries (Not Included).
ADJUSTABLE: Adjustable headband of the electric eye massager fits most people's head, very light, comfortable to wear. It also comes with adjustable massage time, easy to control the massage periods.
PROVIDES MICROCIRCULATION: Biological therapy: 600 high-frequency magnetic fields of the electric eye massager provides microcirculation to the eye.
ACUPOINT STIMULATION: This eye massager features 9 important points to enhance the metabolism of an eye.
Bought this for my wife. She has been experiencing headaches and this has worked wonderfully.
I work in the software industry, I have to stare at the screen for more than 8 or 10 hours every day. This message helps to eliminate any eyes strains for me.
Really the strains all melted away! This eye massager holds multiple functions that can make me feel heating, extrusion, kind of like shiatsu and kneading, and vibration.
This is great to use when life gets a bit stressful.It also works great for sinus pressure and headaches, while it may not make your headache go away, it definitely lessens the pain.
This product is awesome! I personally use computer, cellphone and television a lot, sometimes I felt my eyes are kinda of dry and tired. That's the reason I want to buy this product. It just works perfectly! It's able to give my eyes massage gently. After about 10 minutes massage, when I took it off, I feel completely refreshed, especially my eyes!
The massage is just short of heavenly, and it does help tired, computer eyes. My husband uses the high setting almost every night and he said he doesn't feel like it squeezes too hard as others have stated. It may be a preference thing. My husband has a larger head as well as a large nose bridge and this mask fits him comfortably.


text: A basic vagrant image for docker and golang development.


TWG Crew - Anyone interested here? I will probably send an e-mail blast soon. I know we haven't had a game in a wile.
I think I'll run one in May, try to get some activity back around here... And this time, I won't let Okaros take it over!
Not here - no way that I have the time to commit to a game of that caliber, and I'm going to be in and out of wifi range quite a bit.
DastardlyOldMan wrote: Not here - no way that I have the time to commit to a game of that caliber, and I'm going to be in and out of wifi range quite a bit.
A game starting mid June wouldn't be possible either, perhaps?
I'm traveling for a couple of years or thereabouts.
I don't suppose you'd be up for the task?
If anyone is interested in repping ARS Technica this year, please let me know before the week is over.
We should make Ravebomb do it. He's never doing anything productive.
Gah... Sadly I'm out. My attention is elsewhere these days.
Woohoo - knock 'em dead (well, if you're a wolf, that is).
The MU Discord link is this: https://discord.gg/zdeEhcg (grabbed from one of the threads).


This Android Development eBook Bundle includes an Android Application Development Cookbook, Hacking Android eBook, Android High Performance Programming and an Android UI Design eBook. It is a complete package that will help you build various Android concepts. The bundle is on a great deal and it is super affordable. Get the bundle for just $24 at this site and become a pro at dealing with Android.
The Android Development eBook Bundle includes a special Android Application Development Cookbook. It will help you jump to a topic of interest related to Android and will help you learn how to implement a range of Android features. It starts with basic Android features and then moves on to more advanced concepts that many developers struggle with. The course will also help you incorporate full internet web services without having to become a server admin.
Another eBook included in the bundle is the Hacking Android eBook. Since Android OS is widely used today, security is an issue that is still being dealt with. Everyone, including the users and developers are concerned about Android security. This eBook is designed to help you get up to date with fundamentals on Android Security. It also includes information on rooting, app security assessments, malware etc.
Another eBook included in the bundle is Android High Performance Programming. Building apps that can balance speed and performance with functionality and UX is very difficult. This book will help you get the most out of your device and will increase your reach and engagement. It starts will an intro on state-of-the-art Android techniques and moves onto Android SDK tools. It has a lot more but I won't tell everything. You have to try it to know it.
The last book in the Android Development eBook Bundle is the Android UI Design eBook. We all know how important designs are to an application. This book is all about the application designing and focuses on the development of UI features. The book provides almost complete coverage of UI specific content. It will help you create powerful and interactive apps that all users will love.


Most, not all, I have read is made by the nervous system making cells reproduce themselves 100 times more. Being in tranquility is the best remedy most of the times, the magic remedy. Which is what this entire humanity needs also.
I Am sure you must have looked into this, and will find a solution for it.
I Am sure you'll both come out well of this.
Attract that energy and you will receive it.
Why o why didn't I think of that before...?
Once considered demon possession, Vampirism is now registered by the United States Health Department, alongside Werewolves, as a disease. Transmitted only through blood transfusion, Vampirism is essentially a virus.
There is a short incubation period characterized by unnaturally fast recovery from wounds, enhanced sight at night and an aversion to sunlight. After this incubation period (which can last anywhere from 24 hours to years), the user will enter the primary stage, in which signs similar to Rabies are produced—a tendency to attack those around them and an urge to draw and consume blood. If any blood save for that of the infected is consumed, survivability drops to 3%., due to the fact that the body has yet to stabilize. If none is consumed, though, mortality drops to around 82%. The other 18% become permanent carriers, what we call Vampires.
A Vampire's infected body cannot produce Protein and many blood cells, and thus it is forced to absorb this through the blood of others. A Vampire's body then condenses the blood into a superconcentrated form, leading to Vampire blood becoming distinctly dark colored, almost black.
A Vampire who consumes human blood will be endlessly capable of dividing and recovering his already-existent cells, though the loss of transmittable genetic code means that he/she will never grow. Animal blood, because its composition and genetic codes are distinctly different from that of a human, will yield a far lower energy intake and will cause the vampire to "age," in fact slowly wasting away.
The Vampire's body must maintain the protein it has, and thus it will dispense of unneeded functions when it is not used. For this reason, evolution has wired the Average Vampire's mind to stay away from sunlight, since the presence of UV rays forces the Vampire body to produce melanin and pigments, something that is extremely draining for the Vampire in question.
A vampire can consume food, but the need to activate his digestive system is also very tiring. Vampiric Cells tend to react badly to metals, particularly silver. While they can touch it, dissolution into the body is extremely damaging. Because, unlike demon possession, Vampirism is more an organic condition than a curse, normally effective exorcism methods such as Holy Water, Prayer Chants and Purification salt have very little effect.
In that 18% window of infected Vampires, about one in nine infected vampires enters an intermediate stage. In a small fraction of these cases, the body is strong enough to completely reject the Vampirism Virus and revert the body to human (though there are lingering symptoms, such as a fast recovery rate and/or a fear of light).
In some cases, while vampiric, the victim retains some human traits. In the majority of cases, though, the body's regular immune system and the Vampiric blood injected enters a stalemate in which the body gains an immunity to vampirism, but no normal symptoms or abilities of Vampirism.
Sometimes, though, when the body senses it is in danger or is badly weakened, the vampire blood temporarily activates, allowing the individual to escape the given situation and temporarily gain the abilities the individual needs to survive.
Vampires naturally align themselves into groups, called "Clans." Usually, the basis for the formation of these Clans is around one specific individual.
Because Vampire blood weakens with each generation that it is spread down (With the exception of a Transmission, when a Vampire transmits all its blood to another individual as a successor.), this specific Individual is usually the founder. Even so, the current Vampires are far weaker both magically and in a flesh-and-blood sense in comparison to their ancestors.
While most Vampire Clans are First Generation, some are passed down through successors. In respect to the progress of the Vampirism Virus, the strongest Clans are Eastern European (the Jiang Shi and Oni clans of Asia are completely different).
Of the four founding clans of the Vampires, only the Wallachian house remains intact, and greatly weakened. Vampires once worked for the United States CDC, but some served anything from the Church to local Mafias.
the flesh from your arms,literally melted off,never seen anything like that.
I sometimes,find these designer drugs and new concoctions had their origins within some military base at its inception.Some "Freakshow Player" wants to play God with a new scene,a new craze and releases it with hideous side-affects,much to their own amusement.
Order out of Chaos,I'm quite surprised there hasn't been some modified Marburgs Virus released in a controlled situation just to see what happens.
That's the Illuminati for you,get bored,play evil God for the day.


text:
MT 95/600
Proposed development by Vauxhall Motors at Hooton, Wirral, Ches
Date range 1960
File base Series MT, subseries MT 95
In 1960 Vauxhall Motors lodged a planning application to build a car plant at Hooton on the Wirral. The application was passed to the Ministry of Transport, as it would be a major facility and the traffic generated would affect the nearby A41 trunk route.
This file contains the Ministry's deliberations, which reveal that they were mostly against it because of the traffic it would cause. However, the public inquiry went in its favour. The inspector declared that no alternative site could be found that was more suitable; the road system (in the view of the inspector if not the MoT) was adequate; and Ellesmere Port was about to get 20,000 people being moved over from Merseyside as overspill population who would be looking for work. The car plant was built and exists today adjacent to the M53.
Cheshire County Council recommended a new Class I route linking North Road with the A41, to be provided as a matter of urgency in advance of the car plant opening for business. The proposed road appears to be what is now the M53 between junctions 5 and 7 – ie, the Hooton Industrial Road. It opened as an unclassified grade-separated dual carriageway and was later upgraded to become M53.
Plans at the back of the file show a small diversion planned on a B-road near Little Stanney and a wide plan of the Manchester/Merseyside area showing existing trunk routes. There are no plans of the Hooton Industrial Road itself.
Retrieved from "https://archive.roads.org.uk/index.php?title=MT_95/600&oldid=1256"
Subseries MT 95


interfere with the board's performance.
Inductive loads can best be defined as anything with a magnetic coil, such as a motor, solenoid, or a transformer. Controlling a inductive load using our relay controllers requires the use of induction suppression capacitors. The purpose of this capacitor is to absorb the high voltages generated by inductive loads, blocking them from the contacts of the relay. Without this capacitor, the lifespan of the relay will be greatly reduced. Induction can be so severe that it electrically interferes with the microprocessor logic of our controllers, causing relay banks to shut themselves down unexpectedly. In the case of USB devices, customers may experience loss of communications until the device is reconnected to the USB port.
As you can see from the diagram below, a induction suppression capacitor is very easy to install. The capacitor should be located as close to the relay controller as possible, and is connected in parallel with the load you are trying to control. Induction suppression capacitors are NOT polarized, and may be used in both AC or DC applications.
Choosing the correct induction suppression capacitor is simply a matter of choosing the maximum voltage requirement of the device you are trying to control. During checkout you will have the opportunity to purchase capacitors.
Unlike inductive loads, resistive loads such a incandescent lights and element heaters (without a fan), do NOT require an induction suppression capacitor, and will NOT benefit from its use.


text:
You are at:Home»AF kids»64 Joint Base McGuire moms meet the Kardashians at Operation Shower event
64 Joint Base McGuire moms meet the Kardashians at Operation Shower event
By Kristin Davis on	 July 14, 2014 AF kids, Air Force, Air Mobility Command, Charity, Women
Mothers from Joint Base McGuire-Dix-Lakehurst ask Kim, Kourtney and Khloe Kardashian about children's fashion and their experience as mothers during an Operation Shower event in Jersey City, New Jersey. (U.S. Air Force photo/Airman 1st Class Tara A. Williamson)
Sixty-four new and expecting moms at Joint Base McGuire-Dix-Lakehurst in New Jersey took home a new crib, a rocker seat, an air purifier, a $100 gift card and a host of other gifts while hobnobbing with Kim, Kourtney and Khloé Kardashian of tabloid fame July 7.
The event was courtesy of Operation Shower, a nonprofit that has hosted dozens of baby showers for over 1,600 military moms and families since its founding in 2007.
The Kardashian sisters of E! network's "Keeping Up with the Kardashians" hosted the July 7 shower at Battello, a waterfront restaurant in Jersey City.
The 64 moms also received toys, clothes, blankets, a bottle set and a box of diapers, according to a base news release.
"When I was in the military we didn't have events like this," Aimee Robinson, wife of Chief Master Sgt. Phillip Robinson, 87th Air Base Wing command chief, said in the news release. "We had to go to the thrift store or Airman's Attic. I love that the civilian community is saying, 'We're not doing this to look good, we're doing this because the military families deserve this.'"
The mothers thought only one of them would take home a new crib, which they believed was a raffle prize. When the number was drawn, the women realized they were all winners.
"One of the mother's at our table couldn't believe it," Robinson was quoted as saying. "She was floored. 'I won the crib? Everyone won the crib?' These women are humbled; they appreciate it."
In addition to hosting the July 7 shower, the Kardashians are giving their fashion line, Kardashian Kids, to military moms who receive Operation Shower's shower-in-a-box.
Khloé Kardashian told Elle.com: "Operation Shower is a phenomenal organization. It basically relieves the burden of throwing a baby shower when your spouse or husband or whoever is getting deployed …. They have showers in a box that provide you with all the essentials, or for our situation, we're giving our fashion line, Kardashian Kids, and essentials to all these people. They've given over 700,000 of these boxes to families, and it really just releases some of the pressure of not knowing even where to turn to know where to start."