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GIG SPARK: Spreading Peanut Butter Sandwiches
While in San Francisco, 15-year-old Bailey Branham was sad to see so many homeless people while on the way to summer school. She realized many of them were holding signs asking for food. Bailey heard about Go Inspire Go's GIG Spark (Youth Lesson on Compassion Program) and took action.
"As a student, I don't work, so I don't have much money, but I could afford a peanut butter sandwich," she explained. So she bought a loaf of bread, sandwiched some peanut butter and love in between the slices and headed out to busy, bustling downtown San Francisco to hand them out to homeless people along Market Street.
Besides inspiring you to give what is in your power, Bailey also wants you to tell them to "have a great day." You can see from her GIG Spark video how something as small as a peanut butter sandwich sparked so many smiles and gratitude! What a sweet idea, even without the jam!
We hope this video inspires you to do something nice for someone in need in your community in the next 24 hours.
Gigster: Bailey Branham
Where: San Francisco
Spark: Giving peanut butter sandwiches to the homeless.
Your Turn: What thoughtful deed can you do to help others in need? Do it and share with us. We may just share your GIG SPARK video with the world!
FEELING INSPIRED? Make your own GIG SPARK.
As part of GIG's mission to inspire our viewers to discover their power, we developed GIG Spark: A Lesson on Compassion. We want you to identify a problem in your community and be the change by capturing your action in a short 1-1:30 minute video. The goal is to inspire action in everyone that witnesses your good deed.
We're inviting YOU and your community (school, organization, friends, etc.) to use your passion and creativity to produce a "GIG Spark" and inspire viewers with your story. This is for anyone who can shoot and edit short videos.
Inspiration can be fun and infectious! We believe in the power of small acts and using technology to crowdsource ideas, capture it on video, spread the word online, and inspire immediate action. We know that people (especially youth) care and want to do something good for others, but just don't know how. So why not teach compassion to kids and adults in your life? This is a quick way for you to use your power to spark civic engagement and inspire a small ripple of kindness that will create a domino effect…
We can't wait to see inspiring acts popping up all over the state, country, and world! What can YOU do?
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When chasing after a dream, we all feel like giving up at some point. My hope is the words in this video will lift and gift you to achieve, believe and receive.
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Plastic Communion Cross
By Mark Binelli | December 2, 2009
Object No. 2 of 50 — Significant Objects v2
[The auction for this Significant Object, with story by Mark Binelli, has ended. Original price: $1. Final price: $10.49. Significant Objects will donate the proceeds of this auction to 826 National.]
Shortly after I made my First Communion, my cousin Rodney showed up at my mom's. He'd also just made his First Communion, though at a different church. It was so recent, I still had this plastic First Communion cross, a gift from my great-aunt, propped on my bookshelf. My mom always disliked my aunt, and had commented in some oblique way on the chintziness of the gift, as if it should've been a cross made of solid gold or poached elephant ivory or something, as if Jesus would've been psyched about that. I didn't mind it, though.
Anyway, it turned out Rodney, that morning at church, had, in a rather impressive feat of legerdemain, only pretended to eat the communion wafer the priest had placed in his outstretched hands — only very old parishioners still took the wafer directly on their tongue — and instead had palmed the thing and snuck it home. It was a pretty motley act of civil disobedience, a nine-year-old's equivalent of writing in a porn star for mayor or burning a twenty-dollar bill. Still, now he had this piece of Eucharist, which he unwrapped gingerly from a square of toilet tissue. He didn't know what to do with it.
On the grass-colored carpet between us, the host, slightly speckled, looked like a bit of shell from a broken bird's egg. I said how do they make them so perfectly round and flat. Rodney said there's probably a factory upstate. I pictured a conveyor belt, with monks snatching up the bad ones. (You don't want anyone getting a host that's burnt, or cracked, or shaped like a profile of Nixon.)
Finally Rodney suggested that we could have a black mass. The host had been consecrated, after all. I thought this sounded like a cool idea. In a fit of inspiration, Rodney grabbed my Communion cross and flipped it upside-down, making a Satanic altar.
Upside-down, the gold chalice on the cross looked just like a bell.
Rodney said the way this would work was, you got to say a prayer, only it would be to Satan, so you could ask for anything, not just good things — you could ask for wishes God would not only not grant but actually punish you for thinking.
We dimmed the lights and closed our eyes. At one point, I opened mine a crack, and the light from my desk lamp was hitting the cross in a way that made it seem to glow. I quickly closed my eyes again. That was the first time I thought my evil prayers might be answered. But I was never able to levitate, and Tina George's blouse never spontaneously popped open on the playground.
About six months later, when the most hated homeroom teacher at our school got cancer, Rodney did pull me aside and whisper that that's what he'd prayed for. I didn't believe him, though.
Still, you should be careful with this thing.
About Mark Binelli
Mark Binelli is the author of Sacco and Vanzetti Must Die! and a contributing editor at Rolling Stone. He is currently working on a nonfiction book about Detroit.
More Idols
Mystery Object by Ben Greenman
Ocean Scene Globe by Stephanie Reents
Smiling Mug by Ben Greenman
Miniature Basket by Rodrigo Chávez
Porcelain Scooter by Teddy Blanks
Rabbit Candle by Neil LaBute

redpajama_set_name: RedPajamaCommonCrawl


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Tag: painting
Current residencies, workshops and opportunities for artists
Source:"Res Artis – a world wide network of art residencies"(some old posts, but still useful to know)
Crystal Ruth Bell Residency – Duos, Trios & Collectives!
Duos, trios, collectives & collaborations, apply for a funded residency this July in Beijing!
Truth, Lies, Lore | Visual Arts Residency at The Banff Centre
Practitioners of all disciplines are invited to explore what is hidden and what is revealed.
Continue reading "Current residencies, workshops and opportunities for artists"
Author Shahidul AlamPosted on May 24, 2015 July 1, 2021 Categories Arts, China, culture, PhotographyTags Art, painting, Photography, residencyLeave a comment on Current residencies, workshops and opportunities for artists
DAVID HOCKNEY'S CUBIST PHOTOGRAPHY
Source: Dangerous Minds
It was during a discussion for a planned exhibition of his personal photographs that artist David Hockney hit upon a new way of making pictures. Alain Sayag, of the Pompidou Center in Paris, had visited Hockney at his LA home, and was looking through the 100-odd photo albums, when Hockney realized the photographs had "cheated," as they had not captured a true sense of the events they depicted.
"I had become very, very aware of this frozen moment that was very unreal to me. The photographs didn't really have life in the way a drawing or painting did, and I realized it couldn't because of what it is.
"Compared to a Rembrandt looking at himself for hours and hours of scrutinizing his face, and putting all these hours into the picture you're going to look at, naturally there's many more hours there than you can give it.
"A photograph is the other way round, it's a fraction of a second, frozen. So, the moment you've looked at it for even four seconds, you're looking at it far more than the camera did.
"It dawned on me this was visible, actually, it is visible, and the more you become aware of it, the more this is a terrible weakness; drawings and paintings do not have this."
That night, after Sayag had left, Hockney started taking Polaroids of his home and studio. He took multiple pictures, concentrating on some areas, and ignoring others. Hockney then selected the photos he wanted to use, placed these onto a board, arranging them by the same decisions of "line and form" that he used when drawing a picture. The end result Hockney called a "Joiner," a multiple photographic portrait of a place or individual, which gives the viewer a better sense of space and time than any ordinary snapshot.
"Joiners" owed much to Cubism—an association Hockney found to be a "turn-on." It was the beginning of a new phase in his career, one which helped develop Hockney's artistic vision.
In 1983, Melvyn Bragg's art series The South Bank Show visited Hockney at his LA home, where the artist was filmed as he created a "Joiner" portrait especially for the documentary. Hockney used this "Joiner" to show the difference between a single snap or a filmed sequence.
Don Bachardy and Christopher Isherwood
Celia Birtwell
Kasmin
Gregory and David
Author Shahidul AlamPosted on January 10, 2014 July 5, 2021 Categories Arts, culture, PhotographyTags Cubism, culture, David Hockney, painting, Photography, Visual ArtsLeave a comment on DAVID HOCKNEY'S CUBIST PHOTOGRAPHY
Zainul Abedin
Cover of the book Zainul Abedin. The fourth in the series of 40 books being co published by Skira and the Bengal Foundation
"What gives me even more joy than creating my own artworks is seeing art being nurtured in society…Art should be turned into an all-pervasive, daily practice." Zainul Abedin
The only comprehensive survey of Zainul Abedin's work to date and the second volume in a world first series dedicated to the 'Great Master Artists of Bangladesh', edited by Rosa Maria Falvo, co-published by Skira inMilan and the Bengal Foundation in Dhaka. Zainul Abedin (1914-1976), reverently called the Shilpacharya or 'guru of art', is the architect of the modern art movement in Bangladesh, which began with the setting up of the first Government Art Institute in Dhaka in 1948. For his devotion to art education and his visionary and artistic achievements Abedin has always been the undisputed protagonist of the Bangladeshi modern art scene. With essays by Abul Monsur, Nazrul Islam, and Abul Hasnat, this book showcases Zainul Abedin's work over aperiod of 40 years, with more than 200 colour and black and white plates illustrating his special relationship with his country, from various artistic, social, and political perspectives. This beautiful and ground-breaking volume retraces his personal vision and provides the best interpretative angles into a culture and reality that has often been overlooked and even misunderstood in the West. Abedin's humanitarian stance and his commitment to art forged the way for an entire generation of Bangladeshi contemporary artists.
Continue reading "Zainul Abedin"
Author Shahidul AlamPosted on February 24, 2013 August 3, 2021 Categories Arts, Bangladesh, culture, South AsiaTags Bangladesh, Bengal Foundation. Book. visual arts, culture, painting, Zainul Abedin. Skira5 Comments on Zainul Abedin
The 3rd International Resistance Art Festival
Dear Artist;
We are pleased to inform you that Visual Arts Association of Islamic Revolution and Holly Defense in Iran is about to hold ?The 3rd International Resistance Art Festival? in November 2013. The Festival is held in 12 categories including Painting, Drawing and Printmaking, Persian Painting, Calligraphic Painting and Typography, Illustration (Graphics), Poster, Photography, Caricature and Cartoons, Sculpture, Animation, New Conceptual Arts and finally, Scientific Congress and Research Papers. Please read the entry information below. If you are interested to participate, please attach the images of your works to this email based upon the conditions that mentioned below. (For the primary selection, only the images of your works are needed). It is notable that you can participate in more than one category in the festival contest.
WE WILL WELCOME THE SUGGESTIONS FOR CREATIVE AND NEW PROJECTS. Continue reading "The 3rd International Resistance Art Festival"
Author Shahidul AlamPosted on January 8, 2013 Categories Arts, culture, Islam, New Media, Photography, ScienceTags Animation, Calligraphic Painting and Typography, Caricature and Cartoons, contest, Drawing and Printmaking, Illustration (Graphics), iran, New Conceptual Arts and finally, painting, Persian Painting, Photography, Poster, Scientific Congress and Research Papers, SculptureLeave a comment on The 3rd International Resistance Art Festival
Serene Dream and Reality
1st solo painting exhibition of young artist Avi Shankar Ain
Avi's father, artist Ravi Shankar Ain, has been doing the calligraphy for Drik's calendars for the last twenty years. Continue reading "Serene Dream and Reality"
Author Shahidul AlamPosted on December 20, 2012 Categories Arts, Bangladesh, cultureTags Avi Shankar Ain, Bangladesh, Dhaka, exhibition. Alliance Francaise, paintingLeave a comment on Serene Dream and Reality
Explore. Dream. Discover
by?Sanita Ahmed
If the world has an ovarian shape and nobody knows when it really ends, then Vinita Karim?s artistic endeavours seems to be ongoing on a cyclic loop of intriguing artwork exhibits. The artist?s latest exposition opened at the Bengal Art Lounge on October 13, where Chief Guest, Pankaj Saran, the High Commissioner of India to Bangladesh inaugurated the exhibition. The title echoes the feel of the exhibit, where Vinita reintroduces her artworks from the last two decades as the artistic extraordinaire she is at creating natural worlds through symbolic paintings.
Sunset city1,Oil,acrylic,gold and copper-leaf on canvas,156x63.5cm,2012,India
The gallery showcases the distinctive forms of Vinita?s creations over the years, from the acrylic paintings collided with a rich harmony of vibrant colours from 1995 to the unconventional ovoid shapes she created in 2011 by mulling them over with lustrous landscapes.? Vinita?s paintings are not constructed exclusively from the inspiration of landscapes; rather she implements her intricate acrylic techniques to conjure up a beautiful composition using certain elements that can be found in such landscapes.
The occasional boats, the blossoming waterbeds and the rural skyline are repetitive components of her paintings which are formed with contoured brush strokes in an asymmetrical grid-like fashion. The arbitrary placement of such elements works up a fury of abstraction and along with the impressionist scenes, Vinita?s paintings blend the structural realm of colour and random natural ingredients in one astounding kaleidoscopic vision.
She also draws inspiration from 20th century Austrian artist, Friedensreich Hunderrwasser who creates his landscape paintings using similar styles. Although she was born in India, she is marinated from the rest of the world, a result evident in her paintings where she has injected her experiences from India, Switzerland, Egypt and Philippines.
In-search-of-City-of-Gold-2011-Acrylic-and-gold-leaf-on-fibre-glass-32-X-20-X-20-in
She first started creating ovoid installations when she was living in the Philippines. A tornado had caused an abundance of trees to collapse, from where Vinita collected the branches and created her first oval structure using wood. Now, she creates the same using fibre glass and she explains her affection for the oval shape since it symbolizes the birth of creation.
Most of her paintings and installations are layered with deeper significances where she weaves geometric and fluid forms and creates a mythical vortex of her perception of home that makes the viewers fall in the depths of a naturalistic empire where emotions all collide into one big supernova that envelops the mind with an encompassing grasp. Being an exhilarant wanderer, she believes home is not restricted to a singular place and over the years, her paintings have matured into a natural dominion of her inner space.
Between-sky-and-sea2012-96x156cm-acrylic-and-gold-leaf-on-canvas
The exhibition hosts the artistic evolution of Vinita over the last twenty years where viewers are brought out of the normative gaze and sprung face-to-face with a majestic set of artwork that are more than just landscapes but rather, a visual extension of the artist?s imagination and creativity. This is the artist?s third exhibition in Bangladesh since 1995 and 1998 and she hopes to re-introduce her paintings in the local art scene in Dhaka. The exhibition will remain open until October 25.
Author Shahidul AlamPosted on October 19, 2012 Categories Arts, Bangladesh, culture, South AsiaTags Bengal Lounge, painting, Vinita Karim, Visual ArtsLeave a comment on Explore. Dream. Discover
Drik: Photo power
By Satish Sharma
The shutting-down of two photographic exhibitions in Dhaka?s Drik Gallery in just the last few months proves that Bangladesh?s censors, unlike lightning, can strike at the same place more than once ? especially where Drik?s photographic practices are concerned. But then, Drik seems to have become a lightning rod inviting censure, and this will not be the last time either. Not if I know Shahidul Alam and his commitment to pushing photography in what he calls ?the majority world?. If actually being knifed has not stopped him, nothing will.
The British Council in Dhaka had once tried to shut down a Drik exhibition by Roshini Kampadoo because it ?hurt the image of Britain?. And in November last year it was the turn of the Chinese embassy in Dhaka that wanted an exhibition on Tibet, also in Drik, to be closed. When a personal visit by the Chinese Cultural Counsellor and his cultural attach? bearing gifts (calendar, a silk tie and tea) didn?t work, they invoked worsening diplomatic relations and brought to bear the weight of the Bangladeshi government, Special Branch police and even parliamentarians. But Alam didn?t buckle, instead inaugurating the exhibition in the street after the gallery was locked up by the police. He shut it down the next day, however, as a protest against the interference.
Alam?s new exhibition and installation, ?Crossfire?, should have been safer from threats of closure. It was not photojournalistic documentary or even an Americanised ?documentary style?. It showed no dead or disappeared people. Much more conceptual, it allegorically invoked the disappeared through subtler and quieter means. But because it dealt with ?crossfire? deaths by specially raised Rapid Action Battalions (in India, one would call these ?encounter deaths?), it drew fire ? and closure, and protests against the closure.
The ever defiant Mahashweta Devi, confronts Shah Aalm, the officer in charge of Dhanmondi Thaka, outside the Drik entrance. ? Taslima Akhter
Armed police barricaded the gates of Drik Gallery to prevent the exhibition Crossfire, organisers opened the exhibition on the streets outside of the Drik Gallery.?March 22, 2010. ??Saikat Majumder/DrikNews/Majority World
There is something about photography that invites censorship. The power of the photographic image simply has to be controlled, it seems ? one way or another. If ideas of aesthetics, beauty and spiritual values don?t work, governments pass and use anti-terror laws. And internationally applicable anti-terror laws, with the attendant globalised cultural control, are now beginning to have a universal presence, reach and influence.
Shahidul Alam steals a kiss from Mahasweta Devi after the roadside opening of Alam's Crossfire exhibit. CNN reporter Ric Wasserman and New Age Editor Nurul Kabir, look on. ???Saikat Majumder/DrikNews/Majority World
Shahidul Alam speaks at roadside opening of "Crossfire" exhibition outside Drik Gallery. Guest speakers Mahasweta Devi (centre) and Nurul Kabir (right) were also present. ??Taslima Akhter
The symbolic opening of "Crossfire" was through Mahasweta Devi unlocking handcuffs on Shahidul Alam's hands, to cries of "To the end of crossfire" from the crowds. ??Saikat Majumder/DrikNews/Majority World
Any critical photography is subtly suppressed by evoking ideas of photography as a ?fine art?, and by inducing self-censorship before it is more pointedly and politically policed through action by the state?s security services. Self-censorship, I believe, was at the heart of the lack of any decent coverage, by Indian photographers, of the Emergency and the 1984 anti-Sikh riots.
The desire to control the photographic message is, however, universal. And that desire is as old as the medium itself. From colonial control of the photography during the 19th century to anti-terror laws in the era of the global ?war on terror? to control the photographic images of the 21st century, little seems to have changed. The power of photography to control and manipulate perception of the world?s raw realities is too important to be left unchallenged. It is noteworthy that these do not even have to be powers from one?s own country. Perception management is a global political strategy with a global reach; it is globally practiced.
Alam managed to evade police and sneaked inside Drik Gallery to join a video conference with Jean Francois Julliard, secretary general of Reporters sans fronti?res (RSF) in Paris. ??Saikat Majumder/DrikNews/Majority World
Enraged students from Charukola, the Fine Arts Institute in Dhaka University formed a human chain to protest to forced closure of Drik gallery. March 23, 2010. ??Amdadul Huq/DrikNews/Majority World
Human chain by students of Charukala. March 23, 2010. ??Amdadul Huq/DrikNews/Majority World
"Closing down Drik Gallery is the same as banning painting" says poster at human chain outside Charukala. March 23, 2010. ??Amdadul Huq/DrikNews/Majority World
In February, Uzbekistan convicted a photographer for ?slandering the Nation?. Umida Akhmeddova had been documenting the daily struggles of ordinary people, and was accused of ?portraying the people as backward and poor?. Her ?photo album [did] not conform to aesthetic demands? and ?would damage Uzbekistan?s spiritual values?, said the expert panel appointed to look at her work.
The Abu Ghraib photos were not shot by professional photojournalists, yet special laws were passed by the US Congress to prevent their dissemination. Most of the pictures and video footage still remain out of reach ? legally secured, not only by the special acts of the US Congress, but also through the raising of issues such as the right to privacy of the ?victims? and their oppressors, and by wives of the soldier-photographers who raised issues of personal copyright to prevent these photographs from being seen more widely.
Anti-terrorism laws are also being used to prevent photography in Britain?s streets. Photographing the most well-known monuments has become suspect, with even professional press photographers being harassed by local police. Street photography, we have to remember, has a long and proud tradition, and the streets have a central space in the practice of urban photography. Even photography as a safely sanitised art form, a documentary style, is not a safe practice. But then, safety is not what should drive photography. It needs to recover and secure its critical spaces ? its critical power.
Satish Sharma is a photographer, critic and occasional curator. He was a former tutor at Pathshala and currently lives in Kathmandu.
The article was published in Himal Southasian
Sri Lanka Guardian
Earlier post on Crossfire
Author Shahidul AlamPosted on March 28, 2010 Categories Bangladesh, Governance, Human rightsTags Art, culture, education, extra judicial killing, painting, Photography, police, protest, resistance, Shahidul Alam, state repression, student, Violence5 Comments on Drik: Photo power
The Golam Kasem Lecture Series
By: Dhali Al Mamoon
6th September 2009. Drik Gallery Dhaka
Dhali Al Mamoon
Is there an art form that does not draw upon other disciplines? Are literature, music and architecture not informed by visual culture? Are the many manifestations of visual art not encapsulated within them? Today, the boundaries of creative work are difficult to define. If one has to draw a boundary, perhaps it is the sky. The activities that question our intellect, philosophy, science or art ? have all directly or indirectly, become complementary.
Painting and photography, these two forms of visual art are about seeing and showing, creating images and visual signs. The differences in their mode of production, has created some particularities. Painting is not merely the earliest form of visual art, but also the earliest example of human creativity. In this long journey, its structure, its form, its language and its expression both outside and within, have drawn upon each other and gone through transformations. Photography, the youngest of the visual art forms, is less than two centuries old, but has gone through dramatic shifts both within and outside.
The advent of this young visual art form has influenced painting, the earliest visual art form, the most. Very few painters have been able to distance themselves from this influence. According to many, photography has evolved from within the fine arts. Painters have searched for ways to capture the fleeting visuals that surround them, and it is this need that has enabled the discovery of photography.
Earlier in this decade the celebrated British painter David Hockney through his book, ?Secret Knowledge? analysed the creative practices of prominent western artists. This led to a storm of controversy in learned circles, for in that book, Hockney talks of how, well known artists had, prior to photography, used various techniques to enhance their painting skills. Da Vinci, Vel?zquez, Caravaggio, Van Eyke and many other painters had used lenses, mirrors and many other optical devices, to help them create their paintings. The book provides detailed descriptions of these techniques.
One of these devices was the camera obscura. Astronomers had used the camera obscura to obs as early as erve heavenly objects1630. This led physicists and optical scientists to the invention of the telescope and the microscope which revolutionized astronomy and the world of unseen microscopic objects. It opened up a new frontier in our visual culture.
The camera obscura took on many shapes and forms between the 16th and 19th centuries. Large, small, with and without lenses, with reversing mirrors, etc. They were all designed to render a faithful rendering of the scene before us.
Of those who were involved with painting and the visual arts, and also played an important role in the development of photography, a key figure was Louis-Jacques-Mand? Daguerre. Well before he began to improve upon the camera obscura he had established a reputation as a painter, particularly in panoramic painting and theatrical illusion. He later invented the diorama. He began experimenting with photography since 1823. Meanwhile another artist, Joseph Nic?phore Ni?pce successfully created a permanent rendering of a scene in 1822. Ni?pce had been working on lithographs for quite some time. So the advent of photography involved an amalgam of the two disciplines right from the start. Daguerre and Ni?pce began collaborating on their research, and overcame many of the obstacles in their path. In 1833, after the death of Ni?pce, his son succeded him as Daguerre?s partner.
Daguerre?s successful use of photography in 1839 (by a process known as the Daguerreotype) when he was able to record the effect of sunlight through chemical means, created a stir, and the Parisians felt this was superior to painting as it was more lifelike than painting could ever be. The Daguerreotype became increasingly popular and the use and power of photography spread. At the same time, Daguerre was given more responsibility, particularly in the preservation of valuable documents.
By the time photography became ubiquitous in the representation of human activity, the human landscape had also begun to change. Industrialisation led to the disappearance of earlier modes of living. Perhaps the camera too is a product of this industrialization. Photography?s ability for accurate representation led to a rapid increase in its usage. Since the Paris Commune, photography began to be used as material evidence in many political investigations. The revolutionary transformation that had taken place in advertising, post-Napoleon, due to the lithograph, was succeeded by a similar transformation due to photography. The role played by painting was gradually taken over by photography. Gradually, photography took on a more diverse role. Its contribution in extending the scope of visual arts to that of visual culture, is well recognized. On the other hand its replicability gave the image a popularity which other visual art forms like painting lacked due to the limitations of the medium. Rather, even in the fine art spectrum, the reproduction of paintings through photography has led to its democratization and a place in popular culture. Other artwork in museums, galleries and private collections, have become more accessible to the general public by their reproduction through photographs. Consequently, the chapters in western contemporary arts that have gained in prominence, owe their success to the discovery of photography. The advent of photography has transformed the structure of painting, its language, its technique and its perception. In adapting an image or painting to the confines of the photographic process there are elements that get truncated. Before the advent of the mechanical eye of the camera painters were very conscious of these truncations and ensured that the canvas was able to contain the gaze of the viewer. Visual boundaries were created through the use of shadows, or play of colour to restrain the eye. However, dividing the canvas itself was deemed acceptable. The image is a fragment of the visual scene, but artists want to create a complete vision, through the conjunction of images split across canvas divides. The tensions between the whole and the fragment, the seen and the unseen reflect the effects of the artist and the perceptive influences of the social structures she finds herself in. The visual structure or composition of an image has a focal point, around which the other elements are placed. This placement could even be an invisible pyramidal structure that provides stability in our everchanging reality. An attempt to arrest time, or perhaps suggest timelessness. The ramifications of the contemporary art forms reflect perhaps current social structures, and our collective wisdom, religion, philosophy, concerns, from the deeply personal to the centralization of power.
Our perceptions are changing. The inventions, the tools, the techniques follow a parallel path to these ideas. Photography is such a representation of our times. This avatar of our times has broken the boundaries of our experience, it has immersed itself into the fine arts. Similarly, this advent of photography has injected new energy into other contemporary fields of learning. The visual divides of a canvas are no longer a threat to the painter, rather she has learnt to incorporate it into her visual language. Her frame can now be invaded by peripheral objects that interject, exude, linger at the edges. The snapshot aesthetic has been appropriated into her language. What is interesting is that such visual grammar was in use even before photography was invented. Perhaps this was a pre-visualisation of photographic forms in our minds. It manifests itself in woodcuts. Perhaps the impressionists were inspired by Japanese printmakers in the same way that the visual truncation of photography has influenced other visual artists.
In the early days, photography was perceived as a threat by painters, but instead they have gained a new independence and a different visual grammar. It was the impressionists that led the way to this change. The aspects of photography that were trapped within the accepted norms of painting have also found new freedoms. The techniques of dissemination, as well as the specificities of production have become modes of expression for the artist. Freed of the rigidities of material taboos, there is a new democratization in the arts. The modes of production have opened new doors. There was a time when artists followed pre-determined layouts or set ideas which were enacted in the studio. Now they migrate to the open, letting their experiences guide their artistic rendering. No longer does their art work need to conform to a fixed visual straightjacket. The acceptance of this uncertainty has been liberating. The edges are now blurred. The brush has taken on new forms. The ability to freeze fleeting moments, has led to time and timelessness becoming elements of construction. The appropriation of photography has led to a modernization of the arts.
Photography has become a vital ingredient not only of visual arts, but of visual culture. But art critics and intellectuals have raised questions about the creativity and aesthetic validity of the medium. However it was in 1859 when photography held its own space in the Paris Annual Art Exhibition. A few years later in 1863, after a few legal skirmishes, photography was officially recognized as an art form by the French government.
While painting has been influenced by photography through seen and unseen ways, photography too has gained through the discipline of the visual arts. The pictorial syntax of painting has evolved over time. Many consider photography to have a ?pictorial syntax without a syntax?. There are others who think photography is a literal rendering rather than a representation of reality. That it is a receptacle for reality, and can hold no more than what is visually obvious. That it does not have the independence that other visual art forms have. These questions about the validity of photography as an art form have now lost relevance. What a photograph holds depends upon who, when, where and how, it is presented and contextualised. The postscript film ?Letter to Jane? (1972) directed by Jean-Luc Godard and Jean-Pierre Gorin, is a back-and-forth narration by both Godard and Gorin. The Hollywood actress Jane Fonda had gone to Hanoi during the Vietnam war. A photo of her was printed in the French newspaper L?Express. The film serves as a 52-minute cinematic essay that deconstructs the single news photograph.
It is difficult to value a medium based on its specific characteristics. It depends upon time, space and context, and the perceptions of the individuals or collectives that surround it. It is true, that photography can seek out, hold, capture and select, or arrange. While it may differ in modes of creative production, are these not intrinsic to all other art forms? In practice these categorizations depend upon the depth of intellectual ability, the sensitivity, the passion, and even the knowledge of the one who decides. That is precisely why creative work varies with time, space and context. Marcel Duchamp?s ?Fountain?, opened up new spaces for creativity. Soon the tools, the medium and the process, of art became secondary, the ideas and the concepts became the central elements. Duchamp inverted a urinal and called it art. He established the relationship with the roots of one?s work with what one created. He linked creativity with history and culture. His notion that art could be about ideas rather than material things revolutionised thinking about art. When this urinal, through its presentation lost its original functionality, then it entered a new space. Took on new meanings. So the construction of the artwork, or the creativity in its form gave way to the ideas and concepts of the artist.
The interrelationship between painting and photography in Bangladesh is different. In our visual practice, the fine arts institute has a firm foundation. From an organizational perspective it is this academy which quantifies artistic merit. As I?ve mentioned earlier, the Salon de Paris had, over 150 years ago, accepted photography as an art form in fine art exhibitions. That is about a 100 years before fine art practice itself was initiated in Bangladesh. We suffer from the inferior complex that colonial heritage has left us. We unthinkingly accept what is western as superior, so why this condescending attitude towards photography? Even now the fine art exhibitions at Shilpakala Academy (the academy of fine and performing arts), do not recognize photography. But the funny thing is that at the Asian Biennale, many participating countries submit photography as their artwork. More recently digitally manipulated photography is accepted as art. So even the disparity towards the medium is not consistent. Why then is photography not treated as part of the visual arts in Bangladesh?
This may be due to the patriarchal mindset or the fundamentalist concepts about fine art or to do with the power-play between the strong and the weak, the experienced and the inexperienced, or indeed a struggle between the past and the present, the old and the new. We have not learnt from the natural progression of either history or civilization, where progress is entwined with change. Who knows where our art is heading? Our lifestyle, or reality, or work sphere, our learning, our future, our hopes and the dreams of our next generation will shape the future of our art.
Translation by: Shahidul Alam
Dhali Al-Mamoon is a painter and a lecturer at Chittagong University. He was born in 1958, in Chandpur, Bangladesh. He holds a Master's Degree in Fine Arts, University of Chittagong. He received the National Award 2000, Shilpakala Academy, Dhaka, for the best art work of the year and the Grand Prize in the 12th Asian Art Biennale, Dhaka, 2006
Author Shahidul AlamPosted on September 6, 2009 Categories Bangladesh, Photography, WorldTags Art, Bangladesh, creativity, culture, inspiration, literature, painting, Photography2 Comments on Painting and Photography
The present as history. Life and death in Dilara Begum Jolly's work.
After the end of time - 3. Dilara Begum Jolly
Flowers blossom, but with bullets in place of stigma. Bullets signal the end of fertility, the end of life. They signal death and destruction (After the end of time – 3).
Before the end of time 2. Dilara Begum Jolly
A chess board. The king wears Stars and Stripes, his minister is dressed in the Union Jack. Soldiers litter the board, two have holes in their hearts. The path to a target practising board is strewn with eyes, un-seeing eyes. Dead targets. One eye, may be half-alive, stares at us unblinkingly. An eagle, hovering above, stops in its flight of extending the empire, to oversee American-style democracy take root in a faraway land (Before the end of time – 2). This is how Bangladeshi artist Dilara Begum Jolly captures the present moment on her canvas.
Bodies fractured by wars of the present, dismembered limbs, single hands — coloured red, yellow, blue, purple — lie lifeless. Others are raised upwards, they seem to be imploring. Stop this madness, stop the war. A human body folded, her head and pair of legs buried beneath the soil, her arms too. The trunk of her body and her fingers are visible. Fingertips stretched outward, towards the sun, towards light. A flaming red petal of a bird of paradise springs forth like a knife from the navel of a human body as she lies face upwards, her hands tied in a knot. A pair of army boots remind us of how it happened (Before the end of time – 4).
An Iraqi flag interweaves between dead bodies lying in a heap. Mother Teresa grieves silently as a furious red hand, gloved in Stars and Stripes, hangs over — and above — everything else. Once again, a Union Jack, this time in the background (Before the end of time – 1).
Other canvases, other images. Naked bodies, imprisoned bodies heaped on each other, surveilled by an eagle eye, the new owners of Abu Ghuraib. Autumn leaves falling on a white background as women, dressed in hijab, some in brown, others in purple, or blue, grey, white, stand shoulder to shoulder to the right of the canvas. They seem to be grieving. May be for a lost husband or a daughter. May be a son, a grandmother or a lover. For people, obscured by words spun by the invader — safe and secure in Pentagon, Washington, Fort Benning, and Downing Street — "collateral damage." May be for the loss of national independence and freedom.
Other canvases, other images. Not any civilisation, but the cradle of civilisation itself destroyed. Army vehicles advancing on monuments. Statues and sculptures lying scattered as blank pages of history waft down. A Buddha head looks impassively as a shot is fired into its right eye. A broken cuneiform tablet.
And yet, in the midst of all the death, destruction and havoc, a pink lotus blooms. And that, as we who are familiar with the artist's work know, is Dilara Begum Jolly's signature. A flower, a sapling, a shoot springing forth in the midst of ruins. Signalling life, its force and energy. Its beauty. Signalling the will to live. The death of forces of evil.
Dilara Begum, known more by her nickname Jolly than her proper name, has always produced art that is social, and political. That is keenly critical of the prevailing order, whether at home or abroad. Or, as her exhibition Excavating Time (Bengal Gallery of Fine Arts, 4 – 17 September 2006) shows, of the new order that has not only destroyed the cradle of civilisation, but threatens to destroy all vestiges of life on the planet. An inexorable war machine, spinning lies and deceit to the heavy rounds of applause by western politicians, generals, defence analysts and journalists.
Embryo withdrawn 1 Dilara Begum Jolly
Other canvases in the exhibition drew on the womb, on foetuses, on the pain of giving birth. Or, of not giving birth, of an embryo that retreats into the womb, repelled by the patriarchal order that controls and regulates life outside (Embryo withdrawn – 1).
Jolly's more recent work draws on the the nokshi kantha (quilt-making) tradition of Bangladeshi women, quilts that are made from worn-out saris, two to three sewn together, richly embroidered from folk tales, myths, everyday artefacts, and daily village life as seen by, and as intrepreted by, women. Always. Instead of strokes and brushes, Jolly paints short stitches that weave tales, of women as mothers, as sisters, and as friends, drawing on traditions of weaving to tell stories of the pain and wonderment of giving birth. Of creating, and re-creating, bonds of solidarity.
Author Shahidul AlamPosted on February 7, 2009 Categories BangladeshTags Art, Bangladesh, contemporary, Dilara Begum Jolly, painter, painting, politics, woman2 Comments on The present as history. Life and death in Dilara Begum Jolly's work.


Oh, Kelly cardi, I do not love you like I thought I would.
Don't get me wrong, the color is to die for. Probably my favorite color of all time. The shape of the sweater is very boxy. Um, I like the sleeves though.
I should have known better. The pattern says to knit for twelve inches, then cast off for the sleeve. I should have knit about fifteen inches or so. It is too short, I think. Knitting with two strands of dental floss was making my eyes cross, so I just went ahead and cast off anyway. No shaping either. I should have added just a bit around the waist.
After wearing it for a bit, it did grow on me. I like it, but I don't love it.
See Jack's little head there? Frank and I can never sneak outside for a "photo shoot" without one of the kids noticing.
Pattern: Kelly cardigan from Classic Knits, by Erika Knight.
Yarn: Ice Kid Mohair. The yarn is a mohair polyester blend that I was hesitant to get, but it really is soft and nice. It was really inexpensive, which I am thankful for now. I am curious to see how it will wear.
Mods: none. I highly recommend some waist shaping.
Oh I love this color, so pretty! you are much braver than me... can not imagine knitting with such fine yarn, although I am going to try it one of this days. I think the jacket looks good with a white shirt.
My eyes would be positively crossed with that yarn...sock yarn practically makes me cross-eyed. I do love that green color, though! I wish I had more in that color.
Well you may not "love" it but it certainly is the style of the day. All the tops seem to be short now so you are definitely looking like 2009. Actually I think it looks cute on you too .... maybe not beautiful (but I don't think it was meant to be beautiful) but certainly really, really cute!!!
You KNOW Stacy and Clinton would love it!
It looks great on you but hey, everything looks great on you! I love when one of the kids are peeping out from a picture!
Oh, it's VERY pretty. Love that green! So perfect for St. Patrick's Day!
Well "I" love it...but I know what you mean. Besides, EVERYTHING looks good on you!! I would...someday...like to knit a sweater. It's on the "list".
P.S. As for my beads...well, they WERE shoved in a box...before!
It is lovely, and a beautiful color. And really, I don't what wouldn't look fabulous on you.
I love it all. Is it felted?
Um....and I swear you are constantly sewing or knitting. You have so many projects in the works!
That color is AMAZING!! Seriously. I need it in a paint color for my den. Strong work as always!
Love the colour - perfect for St Patricks day!!
Don't you know? Cropped cardis are in! It looks great on you, but I know exactly how you feel. All too often I've made things that I like, but don't necessarily LOVE.
i really like it. perfect for st paddy's day!
Oh, I think it looks great!! I usually like shaping in my sweaters, too, but I really don't think the lack of shaping makes this look boxy at all! Especially worn with a tailored shirt, it looks so nice! And of course the color could not be any more fabulous.
It looks beautiful - wear it - a lot!!
The way you're wearing it here does look good, though!
I always do that with tops, cast off too soon, even when I'm following the pattern.
It would look cute over a sleeveless dress for the spring - kinda casual and springy :) Especially in that color. YES.
The color is so pretty and perfect for spring.
i think it looks great on you!!!
You pull it off well! The color is fabulous!
I think it looks fantastic! Are you sure you don't love it b/c it looks great on you!
oh katie, you should LOVE this sweater. it looks fantastic on you! and the color is so very springy and fresh!
seriously. you wear it very very well!
Oh, feel the love ~ this cardi style and colour look fantastic on you. You should have another look at these photos, you look great!!
It looks lovely on you but it's not fun to finish something and not love how it looks on yourelf after so much work. Great color!
Love this sweater love the color and the shape of it I cant imagine working with such small yarn though!
I'm STILL working on my surface sweater and I'm using worsted weight.
I think it looks great - even without waist shaping! It's just a more swingly look. Very pretty!
It looks pretty good in the pictures and I do love that colour.
I love the cardigan. If you care to pass it off to someone else I'll gladly take it! I also love getting to see what you make. Your creations are seriously making me consider learning to knit. I know how to crochet, but haven't made much more than afghans and scarves. Knitting is so much more lush, though. Please keep those tempting pictures coming!
How many balls of Iced Mohair did you end up using?
ded up using 6 balls of the yarn. there is a ton of yardage!


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Batrachedra parvulipunctella é uma espécie de insetos lepidópteros, mais especificamente de traças, pertencente à família Batrachedridae.

A autoridade científica da espécie é Chrétien, tendo sido descrita no ano de 1915.

Trata-se de uma espécie presente no território português.

Ligações externas
 Batrachedra parvulipunctella - Biodiversity Heritage Library - Bibliografia
 Batrachedra parvulipunctella - NCBI Taxonomy Database
 Batrachedra parvulipunctella - Encyclopedia of Life

Lepidópteros de Portugal
Lepidópteros descritos em 1915

redpajama_set_name: RedPajamaWikipedia


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Dublin's pub guide
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post-title From dancing on the bar to custom beer mats; why we really enjoy The Old Storehouse.
From dancing on the bar to custom beer mats; why we really enjoy The Old Storehouse.
Home / 2019 / From dancing on the bar to custom beer mats; why we really enjoy The Old Storehouse.
We're well familiar with Irish and Dublin attitudes towards Temple Bar. Some love it, and some want maybe a bit of a quieter experience. As we usually tend to talk about pubs outside of the area on Publin, we wanted to bring a bit of focus back to Temple Bar and specifically one pub that we're very familiar with, The Old Storehouse.
Ever week we bring a few dozen visiting tourists around the city on pub crawls that focus on the culture, history, heritage, and music that the cities' pubs have to offer. We try to give them a cross section of pubs that we enjoy and ones that we think they will enjoy. We also try to give them a few different flavours of areas of the city. One pub on these tours that we keep going back to time and time again is The Old Storehouse in Temple Bart and we feel it's only fitting that we give it its due.
Let's start with the music and the musicians. Part of the appeal for any pub for most visitors is the quality of the music and this pub gets in some supremely talented acts, playing a variety of instruments from flute to bodhran, to Uileann Pipes, to the humble guitar. The repertoire of all of these acts of course includes various Irish traditional standards, folk songs, rebel tunes, and more. Spending a deal of time here as we do on tours the music never gets tiring or repetitive and the tune selection is broad enough to keep even the most knowledgeable musical sage interested.
In pubs like this interaction between the acts and the crowd is key and the musicians are always engaging in chat with the audience, making them feel involved and welcome.
At nine o clock on the weekends there's also a very special treat that accompanies the music that people go simply wild for. An Irish dancer appears atop the stairs on the main floor of the bar where they perform a routine for about half the song. At this point most of the bar have their phones out and are recording the show. They go back to their drinks when they think the show has finished, only to see the dancer reappear on a spot on top of the bar where they've installed a rail for the dancer to hold and a spotlight from the ceiling where the show continues. For a visiting tourist who maybe didn't want to sit down through a whole 'dinner and a show', this is a perfect sample of Irish dancing over a pint.
Dancing on the bar on Friday and Saturday night #FeetofFlames #theoldstorehouse
A post shared by The Old Storehouse (@theoldstorehouse) on Oct 5, 2019 at 12:45pm PDT
For Guinness drinking purists, it has to be said that the pub does a spot-on pint of stout. We've been keeping an eye out for bubbles on the heads of pints for the last few weeks (don't judge us) and this is one of only 2 pubs where we've had a completely unblemished head (and the sample size has been reasonably large). That's nit picking, we know, but we're coming up with our own criteria for what makes and perfect pint and this is one of the factors we're looking at.
They're big celebrators of stout here as well. They've mocked up their own retro Guinness advert beer mats with an artists depiction of the pub on the alternate side. We've got a few as keepsakes for our pub museum of the future.
The hatch into the snug bar.
The main bar and the music emanating from it pulls you in as you enter the bar, but there's a few other areas worth investigating as well. To the left as you enter there's a little snug bar that for the most part is a bit easier to et served in when it's a busy night. In here you'll find it a bit calmer and a bit quieter. If you're into your whiskey, the staff in here can usually give you a bit of advice and steer you in the right direction. There's also a snug within a snug to the right of the bar if you want to go down another layer of removal from louder goings on. The window in this snug opens out onto the street, providing a welcome stream of cold air on Summers days. Speaking of Summer days, there's also a hatch from this bar into the beer garden area. The beer garden has partial covering, meaning that you can sit outside in a sheltered area in comfort and you don't even have to go inside again to order a pint.
Downstairs is O'Flahertys Bar, which is mostly for dining. There's a bar, stage, and lots of seating for people who want a bit of space and some musical accompaniment with their meal. If you're ever looking for a spot to book for a wedding reception or something along those lines, this bar would be perfect for it. It's got its own bar, a stage, a PA system, lots of cool seating, and a great food and drink selection.
The food in The Old Storehouse is some the best pub grub we've seen in the city. They've got the traditional fare of fish and chips, angers and mash, stew, wings, burgers, chowder, steak, mussels and more. Generally when we bring groups in at the end of the tour, they take a look at the food on offer and decide to pair a bit of food with their musical entertainment.
We also have to mention the staff in this pub. We've gotten to know Robert and Eamonn very well in our time bringing people in and they've always been so welcoming and pleasant (it's their nature) to us and everybody we bring. You can tell that this good attitude permeates the business as it's noticeable how many staff have been there long term in an industry where people tend to move jobs a lot. It's no doubt a frantic place to work at times (as evidenced by poor Ciaran dropping a few trays of beer and briefly getting international notoriety for it- Link.). but they're always at the top of their game.
We feel it's worth giving this pub a bit of a spotlight and a bit of recognition for all the good work they're doing, providing memorable nights to visitors to the city and giving us some pleasure along the way as well.
Link to website.
johnlepo 16th October 2019
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We offer private and bespoke Pub Crawls for groups, corporate events, and parties.
Let us know what you're looking for and we'll come up with a route around some of Dublin's best pubs.
The weird, the vague, and the questionable. Interesting stories behind the strangely named pubs of yesteryear.
Last week we asked for some suggestions for strange or interestingly named pubs of Dublin's past. T
Pint and a feed: Meal deals for sports matches in Dublin pubs
JW Sweetman JW Sweetman on Burgh Quay is a huge bar with ample seating, great views of the L
Dublin pubs that accept One4All vouchers.
One4All vouchers are handy gifts for Christmas and there's a lot of businesses that give them o
Northside Dublin pubs to watch the 6 nations matches.
The 6 Nations kicks off in early February and people are already booking tables for crucial games.
Dublin pubs have some incredible pizza options. Here's where to get the best.
It's not so long ago that the pizza offering in some pubs was a pre-made pizza in a toaster oven. D
Publin pub crawl
You can book private pub crawls through Publin! Groups big and small for all occasions. Experienced guides who know Dublin's pubs inside out.
Click the image for more details.
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The 100 things to do in Dublin pubs.
12 pubs that do cheap pints in Dublin
16 signature dishes to try in Dublin pubs.
Cheap cocktail deals in Dublin
Where to get a late bite to eat in Dublin pubs.
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Dog friendly pubs in Dublin
Contact us via publinie@gmail.com


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We are a Global People with a Global History.
One of the foremost tasks for contemporary African centered scholars is to provide an historical overview of the global African community. This is a critical task that must be completed in its entirety. This includes the history, culture and present condition of African people both at home and abroad. We are already aware, it should be pointed out, based on recent scientific studies of DNA, that modern humanity originated in Africa, that African people are the world's aboriginal people and that all modern humans can ultimately trace their ancestral roots back to Africa. If not for the primordial migrations of early African people, humanity would have remained physically Africoid, and the rest of the world outside of the African continent absent of human life. This is our starting point.
Since the first modern humans (Homo sapiens sapiens) were of African birth, the African presence globally can be demonstrated through the history of the Black populations that have inhabited the world within the span of recent humanity. Not only are African people the aboriginal people of the planet, however, there is abundant evidence to show that Black people created and sustained many of the world's earliest and most enduring civilizations.
About Runoko Rashidi
Runoko Rashidi (b. 1954 - d. August 2, 2021) was a historian, research specialist, writer, world traveler, and public lecturer focusing on the African foundations of world civilizations. He was particularly drawn to the African presence in Asia, Australia, and the Pacific Islands, and coordinated numerous historic educational group tours worldwide.
Dr. Rashidi was highly sought after for radio, television, and newspaper interviews, having been interviewed on hundreds of radio broadcasts and TV programs. He made presentations at more than 125 colleges, universities, secondary schools, libraries, book stores, churches and community centers. On the international circuit he lectured in over 50 countries.
Dr. Rashidi was the author of Introduction to the Study of African Classical Civilizations. He edited, along with Dr. Ivan Van Sertima, The African Presence in Early Asia, considered "the most comprehensive volume on the subject yet produced". Dr. Rashidi also authored The Global African Community: The African Presence in Asia, Australia and the South Pacific. In December 2005 Dr. Rashidi released his first text in French, A Thousand Year History of the African Presence in Asia.
As a traveler, Runoko visited well over one hundred countries, colonies and overseas territories.
The Global African Presence
By Dr. Greg Carr
001 - The African Presence in India (Part One)
Who are the African people of India? What is their significance in the annals of history? Precisely what have they done and what are they doing now? These are extremely serious questions that warrant serious and fundamental answers. This series of articles, "The African Presence in India: An Historical Overview," is designed to provide some of those answers.
002 - The Life and Legacy of Joel Augustus Rogers
Although Joel Augustus Rogers was largely self-trained, some of the most distinguished scholars of the twentieth century have acknowledged our debt to him. Dr. William E.B. DuBois (1868-1963), perhaps the greatest scholar in American history, wrote that, "No man living has revealed so many important facts about the Negro race as has Rogers."
"History is a light that illuminates the past, and a key that unlocks the door to the future."


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Thirty-one Tonkon Torp attorneys in 11 practice areas have been included in the 2018 Oregon Super Lawyers or Rising Stars lists.
Tonkon Torp partner and bankruptcy authority Albert Kennedy has been once again recognized on the Top 50 list of Oregon lawyers rated most highly by their peers statewide.
New to the Super Lawyers list are business litigators Ryan Bledsoe and Christopher Pallanch.
Seven of Tonkon Torp's 2018 Rising Stars – lawyers under age 40 – have previously appeared on the list: corporate lawyer Drea Schmidt, estate lawyer Sarah Einowski, business litigators Alex Tinker and Michael Willes, IP litigator Eric Beach, labor and employment lawyer Haley Morrison, and tax lawyer Michael Mangan.
William (Rick) F. Martson, Jr.


Upon arrival, you will be warmly welcomed by representatives who will assost you to transfer at your hotel. On reaching, check-in at the hotel and take some rest. After a while, go for a visit to Park Street, Howrah Bridge, Kalighat, and Victoria Memorial.
After morning luxurious Breakfast, head out for local sightseeing of Kolkata city where you will be visiting Aquatica, Science city, Sundarbans National Park, Victoria Art Palace, Kumartuli, Maddox Square and Swaminarayan Temple.
Today, guests will be transferred to Kolkata Airport to board flight to Dibrugarh. On landing, our chauffeur meets you and takes you at the hotel. check-in at hotel and Relax. After refreshments, you may go for a visit to Jakai Reserve Forest.
After morning sumptuous Breakfast, check-out from the hotel and catch a ferry to Yembung. Appreciate the bewildering view of surroundings with water all around. The trek to Siang Valley will really begin from here in Yembung.
Today we spend our day in this beautiful Yembung Village doing some activities like Fishing and Angling. Yembung is a scenic and a picturesque in itself.
Today after some stretching exercise we start our trek to Sessen. It's quite a long walking session today. The trail will take you through various ups and down.
Get ready for the full day trekking. Today will also be a long walking session. There can be hurdles on our way but we have to keep our mind strong. If we reach before time, then you will be taken to do activity like fishing in Siang River.
After breakfast, leave by road for Marying. Stay overnight in the camp.
Today after breakfast in your tent we will leave for Milang by jeep safari. On the way enjoy the picturesque valley.
Another few kilometers distance will take us at Peaka Modi. We could reach there through Jeep safari and pass night in Camp after reaching there.
Now it's time to get back at home by following the same way. Siang valley trek offers us sights and experiences that will last for a long time. On our tour we'll get a chance to enjoy the pristine splendour of Arunachal Pradesh. After breakfast, we drive back to Maryiang by jeep safari.
Today we will move toward Adi Pasi by a 20 km jeep safari. On arrival, enjoy the surrounding and the nearby places of interest and then stay in camp for the night.
In the morning after wholesome Breakfast at the hotel, leave for Pasighat. Take a visit to Minyong tribal village at Panging on the route.
Check into the hotel on reaching and Relax. Later in the evening, you may go for local market visit. Overnight at Pasighat.
After morning Breakfast, board ferry to Dibrugarh. On arrival, check into the hotel and enjoy the day at leisure.
Today, you will be assisted to transfer at Kolkata Airport to board flight back to Home.


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We believe every child deserves to feel the thrill of the spotlight. Can you help a child who dreams of being on stage fulfill their dream? Our YouTheatre Scholarship Fund allows children who would otherwise be unable to participate in our program this opportunity, through the donations of generous people like you.
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Ages 9-12/entering 4th-6th / July 15-19, 9am-3pm / $275 @ Swaner EcoCenter
STEAM learning is more fun when art is in the mix! Join our science and art specialists for a unique combination of drama, music, art, and hands-on learning and exploration on the Swaner Preserve. Show off what you've learned at the end-of-the-week performance! This camp is in partnership with the Swaner Eco Center and Preserve and will be held at Swaner.
1 SPOT LEFT!
Published in ------------------------------------------------------------------------------
"All The World's A Stage"
Ages 8-12/entering 3rd-7th / July 15-19, 9am-3pm / $250 @ Miner's Hospital
We pick songs from the wonderful world of musical theatre on our chosen theme and you spend the week rehearsing music and choreography to perform on Egyptian Theatre stage at the end-of-week showcase! Our focus this summer on "stage" refers to both performance and the life stage of growing up!
Detailed Camp Information HERE!
Production Camp
Just like being a part of a real theatre troupe- performers have a hand in every part of the production! Learn your lines, create characters, rehearse, plus make props, costumes, and set pieces, ending with performance on the Egyptian Theatre stage.
ONLY 6 SPOTS LEFT!
Story to Stage: Creature Feature
*scroll up for Story to Stage ages 6-7*
THIS CAMP IS FULL- email This email address is being protected from spambots. You need JavaScript enabled to view it. to request waitlist placement
Ages 8-9/entering 3rd-4th / July 29-Aug 2, 9am-3pm / $240 @ Park City Library
In partnership with Park City Library, this camp experience brings beloved children's books such as "The Gruffalo" & "Where the Wild Things Are" to life on stage! Each group (separated by age) will explore stories and characters through dramatic play, craft props and costumes, and perform the story live on stage during a showcase on the final camp day. This camp takes place at the Park City Library.
Pre-Teen Intensive
Ages 8-12/entering 3rd-7th / July 29-August 9, 9am-3pm / $475 @ Miner's Hospital
Choice of either Musical Theatre or Creative Drama production group plus two elective classes. With options ranging from Broadway Rock Ensemble to Stage Crafts, excel in one interest or explore many! End with showcase on Egyptian Theatre stage!
This year Pre-Teen Intensive includes 2 half-day masterclasses with singer/songwriters Livingston Taylor & Janis Ian!
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I am a runner. Two halves, a good amount of 10ks, and a bunch of 5ks under my belt. I just completed my first triathlon sprint last weekend. I am signed up for the The Great Northeast Tough Mudder on August 24. I have the endurance with running….I have the cardio down….and the swimming…but I'm a teeny weeny gal…do I was thinking of doing T25 to train and strengthen for the Mudder on top of my continued tri training. What are your thoughts on that combo?
Mo, thank you for your comments.
I think that T25 or P90X3 would be great to add in. Both are about 30 minutes long. Both are great for building endurance and building up your cardio. It sounds like you've kinda nailed the cardio part of training so you probably should focus on some upper body training, along with balance. Tough Mudder is all about endurance, strength and stamina. A lot of the obstacles that are going to require you to use mostly upper body strength programs like X3 or T25 will really come in handy.
T25 and X3 are going to require a band or some light dumbbells, and a pull up bar. You can build the bar or you can get one that goes in your doorway in my "Shop" section.
Im sure you're eating healthy and tons of good stuff. If I could make one last recommendation it would be to get Shakeology along with the workout. As hard as your training, you'll need to supplement to put the good stuff, and the right stuff back in your body! I would recommend the Challenge pack of either T25 or P90X3.
Let me know if you have any other questions!! AND PLEASE come back here and let me know how you did! Show us a muddy picture!!
Heres a quick link to the challenge packs.


text:
Tagaytay – miasto na Filipinach, w prowincji Cavite, na wyspie Luzon. W 2007 liczyło 61 623 mieszkańców.

Miasta partnerskie
  Amman, Jordania
  Bacolod, Filipiny
  Cuernavaca, Meksyk
  Daraga, Filipiny
  Fukuoka, Japonia
  Goulbourn, Kanada
  Iriga, Filipiny
  Las Vegas, Stany Zjednoczone
  City of Manningham, Australia
  Palayan, Filipiny
  Tainan, Republika Chińska

Linki zewnętrzne
 Official Website – City of Tagaytay
 Official Website of the Provincial Government of Cavite

Miasta na Filipinach


Linked Classes are academic/credit classes in which students may register, with the instructor's permission. Enrollment is limited and is on a space-available basis. Students are expected to complete all the required work, take exams, and receive a grade of either Pass or Fail. No college credit hours are earned. Linked Classes start and end with the credit class schedule. The majority of these classes require instructor's approval.
Fall Credit Classes start Monday, August 27. The deadline to register is Wednesday, Aug. 22.
Spring Credit Classes start Tuesday, Jan. 15. The deadline to register is Wednesday, Jan. 9.
May Mini Credit Classes start Monday, May 13. The deadline to register is Wednesday, May 8.
Summer I Credit Classes start Monday, June 3. The deadline to register is Wednesday, May 29.
Summer II Credit Classes start Monday, July 8. The deadline to register is Wednesday, July 3.
Fall Credit Classes start Monday, August 26. The deadline to register is Wednesday, Aug. 21.
NO LATE REGISTRATION once credit classes begin, NO EXCEPTIONS, except for water aerobics. Course fees: $35-$525.
For more information on dates and times, please view the credit schedule.


Same table structure spilt by YYYYMM.
I have 2 tables (1-n relationship, "Keyword" has many "KeywordData") and they are spilt by YYYYMM. They are in the same database.
How do I define the table name in the models so that the values are write/read from the correct _YYYYMM tables?
The date("Ym") uses the current YearMonth.
How do I specify the YearMonth that I want to read & write?
This should return a Robots object with the correct info. This code is off the top of my head and is in no way tested, so let us know if it works!