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10 Facts About Samhain
angel November 1, 2019
Samhain (pronounced Sow-win) is a Celtic pagan religious festival that originated around 5,000 years ago. It was celebrated from October 31 to November 1 in Ireland, Scotland, and the Isle of Man. It's purpose was to welcome the harvest and bring in the dark half of the year. It was believed that the barrier between the physical and spiritual worlds was at its thinnest during this time.
After the harvest was complete, townspeople and Druid priests would come together and light a community fire. Eventually, this changed and individual fires were lit close to homes so as to avoid being kidnapped by fairies.
Cattle were sacrificed in order to please the fairies and ensure a good year.
Household hearths were extinguished and townspeople took a flame from the bonfire back home to relight them.
The celebration lasted 3 days and 3 nights and was mandatory. Anyone not showing up so that the king or chieftain could see them was punished by the gods.
Offerings were prepared and left outside the town for the sidh (pronounced shee), or fairies, so that they would not cause harm.
People would dress like animals and monsters so that the fairies would not kidnap them.
Carved turnips, called Jack-o-lanterns were attached to strings by sticks and embedded with coal.
The tradition of dumb supper was practiced. A feast was prepared and deceased ancestors were invited to partake. Families would interact with the spirits until supper was finished, filling their deceased relatives in on the events of the past year. The spirits then left.
During the night, doors and windows were left open so that the dead could come in and partake of cakes that were made for them and left out.
Samhain marked the end of the Celtic year and the beginning of a new one.
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Sure, go on, get your hockey jokes out of your system. "Hey, bet he's part of a team!" "Is that a hockey stick, or is he just real happy to see me?" "Does he have a specific goal?" Yuk yuk yuk. Better not let him overhear you. That stick isn't just for show.
Yeah, you'd think by the look of him that Gaard would be a team player. Instead, he's a solo player entrusted with a very important task, and empowered enough to carry it out.
In his primary battle, Gaard ended up giving the Thing quite a hard time, while Ben was on a mission in hyperspace to destroy a universal nexus. (Which Arkon was planning to use in a scheme to blow up three parallel Earths and funnel the released nuclear power to his own world. Jeez, you certainly can't say that Arkon doesn't think big.) Ben ran into a little obstacle that Arkon positioned to guard the nexus--the aptly named Gaard, whose weapon (yeah, a hockey stick, but really an electron-powered "cosmic sceptre") allowed him to repel one attack after another from the Thing.
The battle is further complicated when both combatants have odd feelings of familiarity:
But when Ben finally finds a way to slip past Gaard's--um, guard, and collapses the nexus, only the reader learns the truth about the identity of Arkon's henchman:
Of course, Arkon had any number of choices available to him to fill Gaard's position, even from just drawing from his own troops--he certainly didn't need to spend valuable time searching through the jungles of an alternate Earth and then trying to bring a near-death body and mind back to fighting shape. But since writer Roy Thomas was already hip-deep in alternate concepts playing throughout this four-part story, apparently he wanted to add one more for its ending.
At any rate, it's time for Gaard to hit the showers. Though I wouldn't want to be in his skates when Arkon gets back to the locker room.
Labels: Fantastic Four, Roy Thomas, villains

redpajama_set_name: RedPajamaCommonCrawl


Pretty and plush. Pastoral, too. Yet, heads up. Quite a bit like the jaunty, acoustic moments which punctuate Jethro Tull's immortal Thick As a Brick and other Tull gems like Heavy Horses. If you are a fan of that side of his band's musical output, then Ian Anderson's new solo release should satisfy nicely.
Devotees will instantly relate to the album's updated version of the English folk tradition, which long ago became Anderson's trademark style. The inspired instrumental performances, graceful lyric writing, squeaky clean production, and abiding intelligence come together seamlessly to make The Secret Language of Birds one of the most civilized collections I've encountered. Anderson has succeeded in creating the sort of music that makes you feel smarter, more highly evolved, and cleaner than you felt before hearing it.
As to the album/song title, Anderson notes that "birds are the not-so-silent witnesses to what goes on behind windows with partly drawn curtains, and that intrigued me as a notion for a song." Always the adroit wordsmith, in "The Secret Language of Birds" he poetically drapes the wooing process in a becoming garment of well-written lyrics: "Lie in the stillness, window cracked open/Extended moments, hours for the taking/Careless hair on the pillow, a bold brushstroke/Painted verse with a chorus in waiting/Stay with me and learn the secret language of birds." "Panama Freighter" finds a like-minded protagonist engaged in the same pursuit, this time in a foreign scenario. In a deft swipe at the outmoded arrogance of Empire, the English fellow gives these assurances to his prospective lover: "Don't intend to dress you in silver threads, like some trophy in sublime seclusion/Won't try to educate or civilize you."
There are two good bonus tracks included here. "In the Grip of Stronger Stuff," which was originally released on Anderson's Divinities: Twelve Dances With God (an instrumental album that came out in 1995), and a slightly subdued version of the first couple of minutes from the aforementioned epic, Thick As a Brick. I'm not quite clear as to the reasoning behind the inclusion of these tracks, but their presence certainly does nothing to diminish the CD's merit.
The wonderful and exhilarating Kronos Quartet have probably logged considerably more limousine mileage and accrued more PBS Brownie points, but there's a somewhat bigger place in my heart reserved for the noticeably funkier Turtle Island String Quartet.
Like Kronos, TISQ's various incarnations have bent furnace-forged categories and messed with smug preconceived notions since the '80s, and the present crew shows no sign of letting up anytime soon. If there are predictable characteristics associated with this group, those are the consistent high quality of their work and the fact that they gravitate toward jazz permutations.
Violinists David Balakrishnan and Evan Price, violist Danny Seidenberg, and cellist Mark Summer do not disappoint on Art of the Groove, a very impressive new offering from a hip ensemble which filters modern music through a centuries-old music-making machine (the string quartet, that is ), guided by the superb sensibilities of Balakrishnan and his compatriots.
TISQ bow, pluck, slap, and otherwise impart new vigor into pieces such as jazzgod Chick Corea's "No Mystery," crossover classicist Leonard Bernstein's West Side Story mainstay "Cool," and venerable museum-piece Dave Brubeck's "Blue Rondo a la Turk," while flexing yet more by taking on Minnesota's one-of-a-kind, weird-assed six/twelve-string guitarist Leo Kottke's "Oddball," one of the CD's more playful moments (along with Balakrishnan's own "Fruitcake").
When I was a kid, I hated "jazzed up" versions of songs I considered to be untouchable, perfect. However, as the years rolled by and the cavities developed, I began to appreciate the idea of passing musical material around and digging upon so-and-so's take. If you understand what I mean by that, I urge you to investigate Art of the Groove.


Abstract: Muscle injuries generally occur in two-joint muscles with a high percentage of type II fibers during the performance of eccentric activity. Some muscle injuries, such as those located in the adductor longus, a monoarticular muscle, as well as rectus abdominis do not fully comply with these requirements. This study examines five cases of elite handball players with ruptured rectus abdominals. Sonographically, lesions in rectus abdominis are shown as a disruption of the fibrillar pattern with a hematic suffusion that invades the entire lesion. In some of the cases, the ultrasound study was complemented with a MRI. A unified rehabilitation protocol was applied and the return to play time of each handball player ranged between 16 and 22 days, with an average of 18.2 days. Follow-up at 15 months showed no evidence of re-injury or residual discomfort and all of them are playing at their highest level. The aim of this study was to illustrate a feature of handball injury that, as in tennis and volleyball, is uncommon and so far has not been specifically reported. The phenomenon of contralateral abdominal hypertrophy in handball appears in the dominant arm as in tennis and volleyball.


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Q: HELP! one of my pages is giving me a Unable to read the file error Two day ago one of my website pages gave me this error.
There has been an error processing your request
Exception printing is disabled by default for security reasons.
Error log record number: 1105319130851
a:5:{i:0;s:112:"Unable to read the file: /chroot/home/highcali/highcaliberline.com/html/media/eblasts/temp/High Caliber 2015.png";i:1;s:3896:"#0 /chroot/home/highcali/highcaliberline.com/html/app/code/local/HighCaliber/Common/Block/Eblasts.php(83): Imagick->__construct('/chroot/home/hi...')
So I went ahead and went to my var folder to find that Log in and error and saw this:
After seeing this i tried to go through my FTP to access this:
/chroot/home/highcali/highcaliberline.com/html/media/eblasts/temp/High Caliber 2015.png
but there was not png file in there.
How do I fix this problem?
Thanks

A: Change the permissions on /chroot/home/highcali/highcaliberline.com/html/media/eblasts/temp/ to 777.

redpajama_set_name: RedPajamaStackExchange


I'm not a fan of BT but I was willing to deal with it when we had trinket snapshotting because I really enjoyed that.
Now it just feels like a straightjacket along with the new SR.
Topic: Is feral fun this expansion?
Re: Is feral fun this expansion?
I don't like quite a few things about Feral mechanics in this expansion.
The expansion has numerous dealbreakers as well. I'm not sure who their target audience is but it is the opposite of me.
World of Warships is amazing though so I am still playing quite a bit of WoW.
So looks like the change to Regrowth broke the script.
The issue I am having is it seems to forget Savage Roar exists with some regularity. I can compensate with other addons but seems strange.
Can you update us on the current status of Ovale and Claw. Is any more work being done on Claw? It seemed a little better. I have to override more of Ovale's suggestions which are clearly wrong even not factoring in the meta situation.
Topic: Sim dps vs reality?
Re: Sim dps vs reality?
Hunters are near the very bottom on simulationcraft and #1 on Warcraftlogs.
I believe that is correct but most guilds don't leave it on personal loot for very long.
I was mistaken. FerAffDots is what I have been using.
Feral now peaks at the 10th percentile.
Whetheror not it is in Blizzard best interest I think it is safe to say we know what their opinion is.
To be more specific on the things a raid looks for from a DPS.
Also not sure what you would call it but between single target and AoE there is 2-4 target DPS which can be extremely important.
I believe the complaints are toolkit, Raid CDs, and personal CDs. The toolkit was outdated by several expansions but the increase to Shred damage and Brutal Slash should help. Raid CD's and personal CD's are still pretty weak.
I meant the difference between good play and bad play not good Rip uptime vs bad Rip uptime.
It's a built in scaling issue if some specs have secondaries that are good at both single target and AoE and some specs like Feral are the opposite. Pretty tired of sacrificing gameplay for scaling when they don't actually fix scaling.
It seems like a design flaw that Mastery would go from worst to best depending on single target vs AoE. Do other specs have this dichotomy?
I would consider 80% uptime to be pretty horrific, the difference should be much greater than RNG.
Last build, feel free to post it again.


Sir Percy learns that Helene de Rochambeau remained in hiding in the Vendee of France after an attack. Robespierre sends Chauvelin to find her. The town of Cholet, however, is controlled by Gabrielle Damiens aka Mlle. Guillotine.
"Take my wife - please!"
This is 'based on' at least three of Orczy's 'Scarlet Pimpernel' series - 'Mam'zelle Guillotine', 'The Elusive Pimpernel' (Marguerite being used as bait), and 'Sir Percy Hits Back' (Chauvelin's past) - but only very loosely. Which is why I prefer it to the first Richard E. Grant 'Scarlet Pimpernel': it isn't a retelling of a familiar story, it's a new screenplay working from the key plots of three lesser known novels. I therefore couldn't object as wholeheartedly as I did to the dreadful 'interpretation' of the main story. Overall, this was very exciting and beautifully filmed, but there is still something lacking with the main characters. Richard E. Grant is a very good actor, but he is not Sir Percy - he's far too energetic as the foppish baronet, and too arrogant as the Pimpernel. Anthony Green, here lurking in the supporting cast as Sir Andrew Ffoulkes, would have been a better choice. And Elizabeth McGovern does not live up to the role of the beautiful and impulsive Marguerite: I know the actress had to concentrate on a stiff British accent, but even when she isn't speaking, she struggles with portraying strong emotions (the inane smile as she nursed somebody who was dying, for instance - tears? Anguish?) McGovern doesn't even look delicate and graceful in the lavish costumes she got to wear, thus even failing as a clothes horse! The other cast members, particularly Denise Black as Mam'zelle Guillotine and Ronan Vibert as Robespierre, were much more successful, managing to nail Orczy's descriptions and portray strong characters on screen. I was relieved to find the scene where Sir Percy announces himself as Chauvelin to Mam'zelle Guillotine - a return to the spirit of the book, if a little lacking in creative disguise (leaning heavily on bluff and bluster, rather than dressing the part), although the tension was rather let down by the 'interaction' of McGovern's Marguerite. And the 'seduction' was not out of character for Sir Percy - or rather, the character Sir Percy was playing - as the Scarlet Pimpernel gets rather too close to Gabrielle (albeit in a Victorian sense) in the book as well.


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An everyday lentil curry cooked with onion, tomato and tempered with tadka of ginger, garlic and red chili. Yellow Dal is the most popular everyday lentil preparation in Indian Household. Indian restaurant menu is incomplete without Dal Tadka Recipe. You can make this dal tadka with only one split lentil or a mix of three four lentils. I make this dal recipe with a mixture of chana, masoor, moong and urad dal. This Dal recipe served along with any side vegetable, steamed rice, jeera rice or rotis make a perfect, healthy and delicious weekday lunch or dinner.
Step 1: Take chana, masoor, moong and urad dal. Mix them and rinse well.
Step 2: Add them to the pressure cooker. Also, add onions, tomatoes, turmeric powder, hing, salt to taste and 2.5 cups of water. Cook the lentils for about 2-3 whistles till they become soft. If dal looks thick, you can add some water to get medium consistency.
Step 3: For tempering, heat 2 teaspoon ghee in a small pan. Add cumin seeds, fenugreek seeds and allow them to crackle. Add crushed ginger, garlic and red chili. Mix well and let the garlic turns golden brown.
Step 4: Turn off the heat, allow the tempering to cool a bit and then add red chili powder, coriander powder, garam masala and mix well. Pour this tempering over cooked dal and stir well.
Step 5: Garnish with fresh coriander leaves and serve hot with steamed rice.
Thanks. Tasty and light recipe for lunch or dinner.


Inside Spring Studios, under a sea of colorful paper decorations, Prabal Gurung presented his fall 2019 collection. As one of his most colorful shows yet, the designer referenced some of his recent travel to concoct fall 2019 pieces that had elements of both east (and his own heritage) and west (his current location, and the American sportswear icons like Bill Blass, whom he referenced as inspiration). Here's everything you need to know about the show.
Gurung capitalized on his recent trips to India and Nepal for his fall 2019 show inspiration. That, combined with a celebration of his own multicultural roots as filtered through a New York view, impacted the wide range of colors, textiles and silhouettes.
South Asian landmarks, such as the Taj Mahal, were hand painted on silk fabrics. There was sari draping and ikat prints. But they were seamlessly paired with garments such as pinstripe blazers, or quilted pea coats — the ultimate statement in east meets west.
It was hard to ignore the statement earrings worn by models. In fact, some of them trailed down to the waist. Others crawled from the earlobe to the top of the ear in the form of pearlescent beads. All of the jewelry was by Japanese jewelry brand Tasaki, of which Gurung is currently creative director.
One thing was clear — this was a collection about color. Fully saturated turquoise, egg yolk yellow, scarlet, burgundy, candy pink and brilliant hues of green were stacked on top of one another to create an explosion of color and movement.
Some of the biggest names in the modeling business walked the show. Candice Swanepoel and Bella Hadid closed the show, one after the other. Ashley Graham, Winnie Harlow, Dilone, Duckie Thot and Taylor Hill were also there.


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I shared all of my favorite places in my hood with my old college pal Meghan Markle's new lifestyle site The TIG. Find out where I love to eat, shop, hang and experience culture in Harlem.
Inc discusses how high achievers accomplish a lot by knowing where to focus their attention…great advice for anyone who wants to succeed at anything!
Fantastic Note on the Kitchen Designs… definitely will be following your blog from hereon. ^_^ Great Work!


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Huvudbild: Piper Perabo. Foto via The Movie Database. Jump to Copyright Notice
Piper Perabo är en skådespelare. Hon föddes i Dallas, Texas, USA den 31 oktober 1976. Hon är känd för bland annat Looper (2012), The Prestige (2006), Coyote Ugly (2000), Fullt Hus (2003) och Chihuahuan från Beverly Hills (2008).
Läs mer om Piper Perabo
Huvudbild: Piper Perabo. Foto via The Movie Database.
Lisa Garvey
Chihuahuan från Beverly Hills
Rachel Ashe Lynn
Indie Sex: Teens
Sig själv
Julia McCullough
Fullt Hus Igen
Nora Baker-McNulty
Willow Summerfield
Imagine Me & You
George and the Dragon
Princess Luma
The I Inside
Perfect Opposites
Julia Bishop
Fullt Hus
Nora Baker
Slap Her... She's French
Genevieve Le Plouff
Lost and Delirious
Pauline 'Paulie' Oster
Girl at Party
Violet Sanford
Rocky & Bullwinkle På Äventyr
Karen Sympathy
Knuckleface Jones
Whiteboyz
Single Spaced
The Dame
Född 1976-10-31 (42 år sedan) i Dallas, Texas, USA.
Längd 166 cm.
Mer om Piper Perabo
IMDb Netflix Wikipedia The Movie Database
MTV Movie Award for Best Musical Sequence (Coyote Ugly)
2001 MTV Movie Awards 2001 Coyote Ugly
Golden Globe Award for Best Performance by an Actress In A Television Series - Drama (Covert Affairs)
68th Golden Globe Awards 2010 Covert Affairs
Teen Choice Award for Choice Movie: Liplock (Cheaper by the Dozen)
2004 Teen Choice Awards 2004 Fullt Hus
MTV Movie Award for Best Breakthrough Performance - Female (Coyote Ugly)
Typ av förhållade
Stephen T. Kay(Gifta: 2014-07-26–)
2014-07-26 Gifta
George William Perabo, Mary Charlotte Ulland-Perabo
Adam Perabo, Noah Perabo
Bilder på Piper Perabo
Klicka på bilderna för att visa i full storlek
Vad du tycker om Piper Perabo?
Starta en diskussion om Piper Perabo med dina vänner på Facebook eller Twitter!
Piper Lisa Perabo (born October 31, 1976 height 5' 5½" (1,66 m)) is a Golden Globe Award nominated American stage, film and television actress. Since her breakthrough role in Coyote Ugly (2000), she has appeared in films such as Lost and Delirious (2001), Cheaper by the Dozen (2003), Cheaper by the Dozen 2 (2005), The Prestige (2006), Beverly Hills Chihuahua (2008), and Looper (2012). Since 2010, she has played Annie Walker on the USA Network series Covert Affairs, for which she has been nominated for a Golden Globe Award for Best Actress.
Perabo was born in Dallas, Texas, the daughter of Mary Charlotte (née Ulland), a physical therapist, and George William Perabo, a professor of poetry at Ocean County College. She is of English, German, Irish, and Norwegian descent; while her surname is sometimes described as Portuguese, it originates in Germany, where her paternal grandfather's family came from. She grew up in Toms River, New Jersey.
Perabo's parents named her after actress Piper Laurie. She has two younger brothers: Noah (born 1979) and Adam (born 1981). She graduated from Toms River High School North in 1994, and earned a bachelor's degree in theater from Honors Tutorial College at Ohio University in 1998. She also studied Latin, physics, and poetry in her final year.
Perabo was first noticed a year before she graduated from university. She was in New York City, visiting her then-boyfriend, and accompanied him to an audition. Casting director Denise Fitzgerald spotted her and asked her to read for a part. She was not cast, but when Fitzgerald found out that she didn't have any representation, she made phone calls on Perabo's behalf and found her an agent.
Personal life Perabo has been close friends with actress Lena Headey since they starred together in the 2005 films The Cave and Imagine Me & You. She speaks fluent French, and is an advocate of LGBT rights. As of 2013, she is engaged to Stephen Kay.She is the part-owner of the prohibition-themed bar Employees Only in West Village, Manhattan, which opened in 2005, and the restaurant Jack's Wife Freda in SoHo, Lower Manhattan, which opened in 2012.


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Why 90% of customers still want their Note7
Replacement Note7s pose no safety concerns, Samsung says
The Note 7 is dead: What Samsung must do now
Samsung ships 500,000 replacement Note7s for recall exchange
Samsung faces lawsuit from Note7 owners who couldn't use their phones
The users claim they lost money in charges from carriers
By John Ribeiro
Bangalore Correspondent, IDG News Service | PT
Martyn Williams
Samsung's problems with lawsuits from alleged victims of overheating batteries in the Galaxy Note7 smartphone could get compounded by consumers suing for compensation of carrier charges.
The three plaintiffs in a proposed class action lawsuit in a New Jersey federal court are not suing for compensation for personal or property damage from the at times overheating and even exploding Note7 smartphones.
Instead, they are asking the South Korean phone maker to compensate users for the time it took Samsung to replace and eventually discontinue the Note7s, which resulted in users having to pay for device and plan charges to cellular operators "for phones they could not safely use."
Samsung initially introduced an exchange program for the Note7 on Sept. 2 and eventually withdrew the product on Oct. 10 after problems were found in the replacement phones as well.
The company has tried to retain Note7 customers by offering bill credits of up to US$100 to users exchanging their phones with its own smartphones. It also offered users of the phone a refund or an exchange for a Galaxy S7 and S7 edge, besides the option of a replacement with a new Note7. Interestingly the lawsuit does not refer to the bill credits and the option of a refund, which was introduced under a recall announced by the U.S. Consumer Product Safety Commission on Sept. 15.
The consumers discontinued using their Note7s only to find that Samsung did not have replacement smartphones available, according to the complaint filed in the U.S. District Court for the District of New Jersey, Newark division by users John Waudby, Robert Spuntak and Mohamad Ibrahim.
Samsung instead informed consumers that they would have to wait several days, and even weeks in many cases, before receiving a replacement smartphone, the complaint said. "It was not until September 21 that Samsung announced that it would begin the Note7 exchanges nationwide. And even on that date, only an estimated 500,000 replacement devices had arrived in the United States," according to the complaint, which claims that as of Sept. 27, about 40 percent of the unsafe Note7s sold in South Korea and the U.S. still had not been replaced with new devices.
[ Take this mobile device management course from PluralSight and learn how to secure devices in your company without degrading the user experience. ]
For about three weeks or more, consumers were left without the safe use of smartphones that they had purchased, during which period they continued to incur monthly device and plan charges associated with their Note7s, the complainants state in the filing. By Oct. 10, Samsung announced that it was discontinuing the Galaxy Note7 and a few days later announced an expanded recall of all Note7 phones.
The plaintiffs are seeking to represent a nationwide class of persons and entities in the U.S. who purchased or leased a Samsung Galaxy Note7, or in the alternative separate state sub-classes of users in Nevada, Pennsylvania and California, the three states of which the plaintiffs are residents.
The complaint, which seeks an unspecified damages award from the court, charges that Samsung made "material misstatements and omissions" about the availability of replacement Note7s, and as a result the three plaintiffs and class members "were fraudulently induced to continue incurring and paying monthly charges and fees for their Note7s, which they could neither use nor replace." Samsung did not immediately comment on the lawsuit.
John Ribeiro covers outsourcing and general technology breaking news from India for the IDG News Service.


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Lives In Progress
Creativity is the energy of change. Lives In Progress explores ideas about how to have more of this energy and its relationship to health and happiness. We are trainers who integrate the most current research with creativity-and-innovation-generating experiences.
Breaking Through Barriers To Change Through Applied Improvisation
Workshop design and facilitation by Jude Treder-Wolff, LCSW, CGP, MT
Change - happens through a combination of will and skill. When the conditions are right and the timing is right the process of change cannot be stopped. But if the conditions and the timing are not right, the change process cannot be forced. The therapeutic process is, ideally, about making change that will improve a person's life or coming to terms with a change that has occurred. In many ways, growth and change can be viewed as a creative process.
The barriers to change are sometimes conscious but often are not, and can be linked to the unknowable impact that one change can have. We can be ready for one kind of change only to discover there is a ripple effect to other areas of life for which we are not fully prepared.
Researchers James Prochaska, John Norcross, and Carlo DiClemente — developers of the ground-breaking Transtheoretical Model of behavior change — share an astounding insight into a core dilemma in the fields of counseling and psychotherapy. Their studies found that 80% of people who show up for treatment are pre-contemplative in terms of readiness to change, but that nearly 100% of treatment approaches are geared to people who are in the contemplative or action stage. This means that as a whole our training and our thinking as mental health and addiction professionals prepares us to meet the needs of 20% of the people who present themselves for help. As a result many people are labeled "resistant" and "help-rejecting" when the reality is that our methods are sometimes simply not adequately matched to their needs and degree of readiness.
We might see clearly that a change is urgently called for, and we might be right about the best way to go about it. Information and techniques that are highly effective with people who have the will and skill to move toward something new are too much for people who are not ready.
THE CONDITIONS FOR CHANGE: Improvisation training has a dual value for therapists and agents of change. The games and exercises are ideal methods for attuning closely to others, for receiving and accepting whatever a person is expressing without judgment. From that open and ready mindset, we enhance the ability to stay in the moment, slow down overthinking and assumptions and respond to a person exactly as they are.
In addition, improvisation exercises can be used in clinical situations to promote trust, stimulate creative thinking and strengthen the ability to see things from different perspectives.
Improvisation is fueled by positive emotional connections between players and a sense of fun that is ideal for skill development. Every new experience forms new neural pathways, and the more exciting, positive and emotionally rich an experience, the more powerful its impact on the brain. The social bonds and positive emotion combined with imaginative activity are a way to explore ideas - including ideas about change and its challenges - while producing the brain chemistry associated with reward and success. The social-emotional and thinking skills learned through Applied Improvisation can be directly applied to the therapeutic process of change. They strengthen the ability to consider new ways of thinking and navigate the unknown. Improvisation turns on the ability to create and sustain effective, supportive relationships and build something new with others.
Applied Improvisation trains us to a new way of thinking that is quite different from the conventional world we engage in day to day, a way of thinking that emphasizes a positive and receptive mind set that redirects automatic self-protective habits of mind to connection with a supportive group. They are designed to bypass the internal "editor" and heighten awareness of what we bring to the unpredictable and unplanned experience. This awareness offers sometimes dramatic insight into what interferes with readiness to make an important change. The experience of improvisation cultivates the emotional and psychological conditions for thinking new thoughts and discovering previously unknown capabilities, and demonstrates the power of our creative mind to shape our experience and discover our lives moment to moment.
THINGS YOU CAN TELL JUST BY LOOKING
Practice receiving an unpredictable idea from another person and completely saying "yes" to it;
Experience what it is like to surrender to an interaction and co-create rather than try to control it;
Experience letting go of the need to know what is going to happen next as a barrier to change;
Strengthen skills in creative thinking moment to moment;
ROUND 1: In pairs, player 1 imagines a specific detail about their partner, a completely made up detail that does not exist in reality. Player 1 assigns this detail - floor-length hair, for example, or an eye patch - and expresses it by saying, for example "I see by your eye patch that you are a pirate." Player 2 then immediately assumes the identity of a pirate with an eye patch and responds as such, e.g. "Yes, I am here to pillage this town and I'm starting with you!" Each interaction is just those 2 lines with possibly a third line by Player 1 in response.
ROUND 2: 2 players stand up. Player 1 strikes a strong physical pose. Player 2 then labels that pose and assigns ameaning to it by saying a line in response. E.g. Player 1 stands with arms outstretched toward the sky looking up. Player 2 says "Just a little longer Moses, we're still crossing over but I'm sure we'll be done soon." Player 1 then responds as Moses, e.g. "I have to go to the bathroom sometime." Player 2 can complete the scene with a third line.
One barrier to change is simply fear of the unknown and discomfort with the unavoidable periods of uncertainty that accompany it. The principle of this game to is to accept what another person tells us is our role in that moment and play with it.
I AM A TREE - Story picture edition
Develop a story moment-to-moment;
Replace over-thinking and planning with moment-to-moment responsiveness;
Collaborate with others to create a story without planning or over-thinking;
Focus awareness on developing an idea or a story beat by beat;
Player A stands in the center of the circle and says "I am a tree." Next player adds something to the tree, e.g. "I am a bird in the tree," taking a pose that expresses this. Next player adds something to the scene, e.g. "I am a bird-watcher" striking a pose that suggests this. Next player adds something to expand the story, "I am the bird-watcher's binoculars," also striking a strong physical pose. The addition of new elements to the scene continues until the group feels the story is complete. The person who initiated the scene choose a player to remain, starting a new scene from the same pose they are holding, making that pose into something else entirely. Play continues from there, building stories beat by beat, players making strong poses that are then reframed into something new for each scene.
BLIND LINE
Practice managing uncertainty;
Practice skills in accepting the unexpected and letting go of control;
Collaborate with a partner in real time;
Let go of the idea of control and replace with flexibility and creative courage;
Before the workshop begins, as people gather, ask participants to write 1-sentence lines of dialogue that might be used in ordinary conversation on separate slips of paper e.g. "Go to bed" "That's going to hurt" "I'm not a mind-reader" "Life is short so lets just do it." Each slip of paper is folder up and put into a bowl or basket. The game begins with a 2-person interaction based on a suggestion of a relationship or 2 people in a specific location. A third person holds a chime and at any moment rings it. At that moment the person who was last speaking must pull a line from the bowl, use at the next line of dialogue in the scene and justify it. In whatever way the line impacts the characters' interaction, both players must adjust. This continues in this way until "scene" is called.
VARIATIONS - with teens for example. The group could be asked to write lines of good advice, bad advice and worst advice, and set up the scene to be one between best friends talking about a serious problem, a teacher/student, parent/child, or counselor/client. Or the lines could be made up self-help books or seminars - good ones, bad ones and completely terrible ones. It is important to play with the ideas so that players in the scene have something interesting to react and adapt to.
INNER THOUGHTS
Practice collaboration and close listening;
Experience co-creating an interaction moment-to-moment;
Accept conditions that parallel the process of change - the environment or other people impact us to behave and there are times we must adapt and explore;
Play with the process of moment-to-moment spontaneity and change;
Two players agree to be the characters in a scene. These players do not speak. They relate to each other through behavior and facial expression. Each player has a partner whose role is to vocally express his/her inner thoughts. The scene unfolds as the "inner thoughts" are the directives for the players to behave, and to relate to one another. Also, the way the "inner thoughts" guide how the players express themselves through behavior and facial expression can inspire the partners expressing the "inner thoughts."
Experience spontaneous interaction with other players;
Co-create within a time limit, which forces choices to be made on the fly;
Experience the process of picking up cues from a partner at a fast pace;
Have an experience that prevents overthinking, editing or predicting;
Two players are assigned a relationship or a location by the group. Based on the suggestion, they improvise a scene for 1 minute. After time is called, they improvise the same scene, including all the moments and transitions, in 30 seconds. Then they do it in 15 seconds, then in 5.
Debrief - what was it like to speed up the scene? What happens to the editing/censoring functions in your thinking when doing this? What happened with your scene partner? Were you on the same page about the beats in the scene? What is it like to discover you are on the same page with a partner but didn't discuss it ahead of time? Does this experience challenge a preconception that you had? If so, how might we apply this to breaking through the barriers to change that involve holding preconceptions about what our capabilities and potential to move through it, or to do something we have not previously imagined.
NEW GUY IN TOWN
Collaborate with a group to co-create a dynamic interaction;
Explore the ripple effect of change in a group;
Explore how social relationships are impacted by change;
Look at the impact of social networks on choices and decisions;
The group objective is to create a town comprised of stock characters - as would be found in a soap opera or other specific genre - one character at a time. Play begins with a participant stepping into a role and introducing him/herself by name and fleshing out his/her identity, e.g. "I am Rosemarie Heinz, the town beauty. I'm 40 years old but I tell everyone I'm 32 and I'll always be 32 and I'll always look 32. No one comes close to my beauty and desirability in this town. I am married to the mayor."
This sets the tone for future characters to be created in relationship to this one, e.g. "I am Rick Heinz, the mayor of this town. I was the football hero in high school and I married the lead cheerleader. We run this town."
The next character might be the football coach who used to be the mayor's hero but now has a lower status, Rosemarie's hairdresser, Ron's mechanic, etc.
When all but one of the players has a role inspired by the town dynamic as it develops, the final player becomes the "new guy in town." Based on the drama and dynamic established as these characters were identified, a new character is introduced who throws a curve to the group, e.g. "I'm the FBI agent who's here to investigate Ron Heinz for fraud," or "I'm the child Rosemarie gave up for adoption when she was in high school." The out-of-town character can have individual scenes with each player, setting up a narrative of change and how each change impacts other relationships.
This game can look at how relationships create networks and how networks are made up of alliances both hidden and visible. Change in one area of a network has a ripple effect into many others. The soap opera or genre-specific approach makes the scene work fun and intense while providing material for looking at how a social world can itself present barriers to change.
Jude Treder-Wolff, LCSW, CGP, MT is a consultant trainer, and writer/performer. She is host/creator of (mostly) TRUE THINGS, a game wrapped in a storytelling show that is performed monthly on Long Island and NYC. She will perform her new solo storytelling show This Isn't Helping in the Speak Up! Rise Up! storytelling festival at The Connelly Theater in NYC.
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Improvisation Games & Exercises For Developing Emotional Intelligence
Since September Lifestage has been offering a monthly training workshop exploring the use of improvisation to develop Emotional Intelligence . These workshops have been geared toward the work done by clinicians, educators and trainers who guide the process of personal change or professional development, but as it turns out we have enjoyed some interesting diversity among the participants - managers, business owners with both employees and customers, community activists, and performers. Below is a collection of the exercises we have used in the workshops, accompanied by some studies that supports their use. by Jude Treder-Wolff, LCSW, RMT, CGP Why Improvisation? Improvisation is a powerful way to become aware of mental habits and patterns. Reflecting on our inner experiences after engaging in an improvisation exercise provides an opportunity to decide whether our mental habits are effective and useful or self-limiting and obsolete. The tensions of the crea
WARM-UP EXERCISES FOR GROUP WORK - For Therapeutic, Educational or Training Groups
Nicholas Wolff, LCSW, BCD, TEP , Director of Training at Lifestage, Inc and Jude Treder-Wolff, LCSW, RMT, CGP, Trainer/consultant and writer/performer. Follow on twitter @JuTrWolff "To begin assembly one must have the right attitude," goes a Japanese instruction for assembling a particular object, as quoted in Zen and the Art of Motorcyle Maintenance. The "right attitude" is one that best serves the action we are preparing to engage in, j ust as an athlete warms up his/her muscles before using them in the stress of a work-out or game. Psychological and emotional "muscles" that are properly warmed up will perform more effectively and make it less likely that we will experience strain or allow fear to produce a shut-out when things get rolling. The right warm-up makes everything learned in a training situation or classroom more accessible and immediately useful to the trainee/student. New skills and knowledge - in education, personal growth or a profe
The Emotional Intelligence of Nelson Mandela
by Jude Treder-Wolff, LCSW, RMT, CGP @JuTrWolff Nelson Mandela famously forgave the people who imprisoned him, an extraordinary thing especially since they were willing actors in an abusive system, one that imposed decades of indescribable suffering and violence on millions of his people. He forgave Ronald Reagan and Margaret Thatcher for doing business with the apartheid regime and would probably forgive members of the U.S. Congress and political pundits who labeled him a Communist and terrorist even upon the announcement of his death. There were American diplomats who ignored the ignored the brutality and violence of the apartheid government and supported his imprisonment. Most of us would find that hard to take. Most of us struggle to accept being misjudged or unfairly labeled even when the consequences are simply emotional tensions. And i n our sound bite culture, there is a rush to idolize a person with such a remarkable emotional capacity.
About Lives In Progress
Jude Treder-Wolff
Breaking Through Barriers To Change Through Applie...
(mostly) TRUE THINGS
21 st century learning
21st century workplace
A.D. Pearson
A.D.Pearson
action methods
amygdala-hijacking
applied improv in the classroom
applied improvisation
applied improvisation and emotional intelligence
applied improvisation workshop
art and life
art and personal growth
art as healing
art-as-connector
arts and healing
arts-as-connector
Beth Boynton
biochemistry of stress
brain-based learning
Brotherkeeper
CEUs for social workers
changie
changing mindset
chicago fringe festival
children of alcoholics
Chris Stamp
cognitive-behavioral techniques
Confident Voices
continuing education for social workers
coping with uncertainty
Crazytown
crazytown: my first psychopath
creative arts therapy with veterans
creative confidence
creative exercises for emotional agility
David Kelley
David Laude
David Yeager
disaster counseling
documentary form
Ed Catmull
effects of war
emotional competencies
emotional power of story
emotional recovery
esponsive classroom
events on Long Island
experiential methods
fail fast and often
fixed mindset
Frenk van Harreveld
George Walton
Greg Tavares
group conflict
group warm-ups
holistic thinking
humanizing power of music
imagation
improv games and exercises for groups
improv in business
improv warmups for emotional intelligence training
improv warmups. Jude Treder-Wolff
improvisation exercises
improvisation in real life
improvisers tool kit
Inc Jude Treder-Wolff
innovative education
innovator's dilemma
Interpersonal Neurobiology
Jack Canfora
Jo Marchant
John Hockenberry
John Lennon & Paul McCartney
Jordan Culbreath
Kevin Allison
Kevin Dutton
Lawrence Winters
Long Island comedy
Long Island stories
Martha Kahan
Matthew Lieberman
medical improv
mental fitness and creativity
mostly true things
Moth-style storytelling
music and healing
music and learning
music and speech
music for stress
music in cancer treatment
narrative forms
neurology and music
neuroscience of storytelling
new artistic directions
Nicholas Wolff
Nick Wolff
NYS social worker CEUs
one-person show
Parkinsons disease and music
Patchogue Theater
Paul Tough
Paul Z Jackson
Performing Arts Studio of NY
Pixar Animation
precontemplative stage
process of change
psychotherapy and art
RISK!
RNC 2012
role-reversal
role-taking
Rollo May
Running Through
Running Through The Jordan Culbreath Story
san francisco fringe festival
science and story
Sean Carrol
self-reinvention
Shoshana Rubin
smoking and stress
sonia sotomayer
status games
Stevie GB
stories change behavior
storytelling for personal growth
storytelling in education
storytelling in health care
storytelling in professional training
storytelling skills
storytelling slams
stress and nicotine
stress-resilience
stress-resilience and smoking
stroke patients and music therapy
The Diary Of A Mensch
the good psychopath
The Pit-The Peoples' Improv
theater games
therapeutic storytelling
therapy with teens
Tom Kelley
transformative storytelling
Veteran-Civilian Dialogues
Viet Nam veterans
Viola Spolin Jude Treder-Wolff
VOICES of Sept 11
warm-up exercises for group work
Who Gets To Graduate
why we hate change


text:
Huntingdonshire History Festival
Discovering Huntingdonshire's Local History
Plough Monday across Huntingdonshire
Jan 6, 2020 Dec 30, 2019 huntshistoryfest
Circular Issued to Superintendents – Cambridgeshire, Huntingdonshire – from the Chief Constables Office, Cambridge 2nd January 1865
"Numerous complaints having been made as to the drunken disorderly, and in some cases, intimidating conduct of the Mummers on the last year's Plough Monday, the attention of the respective Superintendents and Inspectors is directed to the suppression of the same … [the mummers] are liable to be treated as vagrants, rogues and vagabonds"
The Origins: Pagan and Christian
The origins of Plough Monday (the first Monday after Epiphany, on January 6th) are not entirely known. The tradition is found almost everywhere north and nowhere south of the border which divided Danish England from Saxon England. Plough Monday could have originated as a pagan tradition to ensure good harvest. It has also been suggested that the origins could be a tax gathering custom as the plough was taken house-to-house to ensure that the tariff was paid by all who used the communal plough.
This communal plough would often be kept within the parish church. During the medieval period "plow lights" are recorded, these were candles burning in parish churches to seek divine blessings on farmers, fields and their equipment (most obviously the communal plough). By the 15th century ploughs were being led around communities in a procession ending in a church service (similar perhaps to Rogation Sunday where Parish boundaries are walked and blessed). Needless to say the Reformation and Puritan leanings of the 17th century did away with these "superstitious and Papist customs", and yet, the custom did not fall away…
Whether the traditional giving of pennies, parish procession and church service (with or without plough) continued with the secular and ecclesiastical authorities turning a blind eye is unknown.
There is an account of manslaughter in 1684 where the defendants argued their ancient right to charge a 1d toll on Plough Monday! Almsgivings by local landowners occurred sporadically on Plough Mondays throughout the long eighteenth century, at Kimbolton, Stonely and over the border in Barnack. These are the only hints that the custom was not entirely extinct.
The Raucous 19th Century
The first reference to Plough Monday in the local press was in Godmanchester in 1840, where an
assemblage of six "ploughboys" (with an average age of 78.5 years!) met at the Wheatsheaf. No further details are given and so whether the celebration of Plough Monday or the great age of these individuals was the newsworthy item is unknowable.
Plough Monday celebrations in the 19th century seem to have reached a heyday; generally speaking the Huntingdonshire celebrants were 'Plough Witches', although on the Northamptonshire border 'Plough Bullocking' also occurred. Both required those taking part to be in disguise, usually in female attire with soot blackened faces, it was also normal to fashion grotesque humps and breasts with straw stuffed under clothing.
The Plough Bullocks would fasten themselves into a Plough team and drag the plough through the town soliciting "donations" from passersby and businesses, most of which would end up being reinvested into the local ale houses before days end, if the local press can be believed!
The Plough Witches would carry brooms and likewise drag their plough through towns, knocking on the doors of houses and businesses, and asking for donations of money. In the event that these donations were not forthcoming the front gardens or paths would be ploughed up before the witches proceeded to their next victim – a form of agricultural trick or treating!
By the 1850's the celebrations in Godmanchester were being repressed, with the local press discouraging people from giving donations or taking part; in 1858, constables arrested some of the Plough Witches. During the 1860's the actual participants seem to have no longer been farm labourers for whom "the thing don't pay" and instead were itinerant workers, and increasingly truant school children. The only exceptions to this were years which are reported as being hard winters; the coldest of these were 1888, 1892 and 1897. On these occasions the celebrations seem to have been much larger and presumably included labourers struggling to make ends meet or without work as the weather was not good enough to work the land.
To add to the spectacle of their Plough Monday processional, the Ramsey Plough Witches borrowed heavily from the traditions of Whittlesey over the border in Cambridgeshire and brought one or more "straw bears" along. This was a member of the troupe bedecked out in a bear suit made from straw, first recorded in 1880 and attending every Plough Monday until 1893. These straw bears "grotesquely dressed in straws" were accompanied by older men who would play instruments for the bears to dance to, in the way that bears would have done for entertainment in the medieval period.
"Remember the poor Ploughboy"
By the 20th Century it was mostly children honouring the traditions of Plough Monday.
By the very late 19th century, the traditions of Plough Monday were in an almost terminal decline, the exception being only the harshest winters, which saw "a slight revival of these moribund practice[s]". By the turn of the century the sight of a plough being taken through the streets on Plough Monday was unknown and even the straw bears so popular in Ramsey were no longer to be seen.
The Plough Mondays of the early 20th century were the sole remit of school boys. The celebration in Godmanchester in 1904 saw a dozen boys with neither disguise nor plough begging house to house, the final Godmanchester Plough Monday in 1914 saw; "a few farm lads going the rounds with a collecting box soliciting donations".
Generally speaking the First World War saw the final end to this custom in most corners of the county. The final recorded Plough Mondays in St. Ives, Alconbury, Kimbolton, Yaxley and Farcet falling in the decade before WW1. Some places maintained the custom longer yet with children leading Plough Monday celebrations at Great Gidding (1928), Holme (1931), Ramsey (1934), Earith (1934) and Warboys (1937). The children still dressed garishly, blackened their faces and begged passersby and homeowners for copper pennies with cries of "Remember the poor Ploughboy" or "Just one copper, just one" shaking their tins and driving their plough.
The final nail in the coffin was the Second World War, although one enterprising group of Plough boys from Holme in 1940 used Plough Monday as an opportunity to raise 11s donated to the "Comforts to the Troops Fund", the final hurrah for a centuries old tradition.
A modern day Straw bear from the Whittlesey Straw Bear Festival.
Throughout the latter decades of the 20th century there were abortive attempts to reinstate Plough Monday within Huntingdonshire. Events were held in St. Neots, Gravely and Fenstanton with Morris Dancers, Plough processions, Plough blessings, Traditional Folk Songs and donations gathered for local good causes. Ramsey (with funding from the Heritage Lottery Fund) held a series of Plough Monday celebrations from 2008 including reintroducing traditional Ramsey folk songs.
The best known Plough Monday celebrations in the region are over the old county border in Whittlesey, where the annual Straw Bear Festival is celebrating its 41st year in 2020!
All the details can be found here if you wish to attend: http://www.strawbear.org.uk/
Matthew Calleway is a reader, writer and all round creative type. He can often be found behind a desk planning things for the Huntingdonshire History Festival or else in the Cambridgeshire countryside walking, cycling and swimming in rivers.
Cambridgeshire County Council, "An Introduction to Plough Monday", 2019, via: http://www.enidporterproject.org.uk/content/cambridgeshire-traditions/plough-monday/plough-monday, Accessed: 28th December 2019
Frampton, G,. "Vagrants, Rogues and Vagabonds: Plough Monday Tradition in Old Huntingdonshire and the Soke of Peterborough", 1996, George Frampton Publishing, Tonbridge, First Edition
Hunts Post, "Ancient Plough Monday custom remembered in Ramsey and Hail Weston", 2012, via: https://www.huntspost.co.uk/news/ancient-plough-monday-custom-remembered-in-ramsey-and-hail-weston-1-1173104, Accessed: 28th December 2019
Irvine, R. D.G., "Following the Bear: the revival of Plough Monday traditions and the performance of rural identity in the East Anglian Fenlands". 2018, EthnoScripts: Zeitschrift f ̈ur aktuelle ethnologische Studien, 20(1) pp. 16–34
Ridgway, C., "Plough Monday", 2016, via: https://www.tudorsociety.com/plough-monday/, Accessed: 29th December 2019
Roud, S., "The English Year", 2006, Penguin Publishing, London, First Edition
Whittlesey Town Council, "Whittlesey Straw Bear Festival", 2019, via: http://www.strawbear.org.uk/ Accessed: 29th December 2019
Published by huntshistoryfest
Welcome to the Huntingdonshire History Festival site. Following the success of the first festival in 2018 we will be returning as an annual event in July this year, exploring the fascinating local history of the county of Huntingdonshire. We have some exciting plans for this years festival, so look out for details on our free public events throughout July and throughout the area!	View all posts by huntshistoryfest
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wellbeing remaining as key issues impacting those in the sector.
pass, and the negative impact on wellbeing for both staff and students.
and learning conditions of students.
functions and work organisation of academic and general staff.
training enterprises, REAP and crown research centres (1.5% of sample).
– Adverse impacts upon student learning and their health and wellbeing.


Bachelor Thesis. At the end of the Bachelor's study there is a final thesis, the module 9100_B. The bachelor thesis is the proof that a graduate can apply his learned knowlegde and is able to scientifically acquire complex topics. Beside the written report a bachelor thesis is publicly defended.


text:
Edition No. 246 March 30 – April 5, 2019
Talking process with Sydney Theatre Company's resident director Jessica Arthur. By Sarah Price.
Theatre director Jessica Arthur
Before Jessica Arthur can direct a play, she needs to research. She is interested in reading into patterns and why things work. She spends hours, weeks, months even, thinking about a play's ideas. Something about early research – when it is just her and the script – anchors her to the world of the story and to its characters. Later, when production meetings and rehearsals are under way she feels equipped to know what decisions to make.
Arthur has always been interested in why we tell certain stories, she tells me. "That's what has been fed back to me about my work: it's always speaking very directly to a certain kind of experience. It is a lot to do with connections – how we connect, how we operate as humans. I find that really interesting. I think a lot of people who see my work come out and have to reassess the ways in which they live their life: whether that's a relationship, or decisions they make, or just what's important to them. That's why I love art – because that's what it does."
Arthur started directing plays in 2013, at age 21. She used her formal education at the National Institute of Dramatic Art to think through who she was, and what kind of artist she wanted to be. She knew straightaway she needed to understand other people's processes. She watched Andrew Upton direct, and spent time working in any theatre that would have her. Sometimes it was hard; she didn't always get paid, "but when it came to soaking things up, I said yes to everything". In her current role as resident director at Sydney Theatre Company, Arthur is working on Lucy Kirkwood's Mosquitoes, and later in the year, Van Badham's Banging Denmark.
Directing a play, she says, is like a marathon. Planning starts far earlier than people realise. Your role is to create a concept and to oversee the entire process. You have to understand every aspect of theatre: lighting, sound, musicality. You have to be an intense collaborator. You need to facilitate, mediate and read people and relationships. "A lot of my direction is asking questions that kind of lead to a point that makes sense – it's like digging … or kind of diagnosing. You do want to get everyone on the same page when it comes to the world of the play, but you don't want to set up too many rules. You want the actors to play within that realm – it's so much more interesting to have the people in the play pushing it in every direction until it falls into place. Sometimes it goes way against logic, which is great, because that's how humans work."
There are certain stories Arthur doesn't want to tell: kitchen-sink dramas with really pleasant people living really pleasant lives. She doesn't want a script to have all the answers, either. She likes plays that leave an audience thinking. Plays that reflect the world right now or those that involve the things that affect us. There needs to be space. She loves it when form is broken, when a playwright messes with what we know. "I always come from a place where I ask myself: how can I break this play open so that it does something more than just present a story? That's what I strive to do in a lot of the things I make. You want to explore as many options as possible and explore the parameters … I love surprise. I make decisions about the concept, but I want people to be allowed enough space in the room to experiment."
She continues: "Sometimes in the creative process you think you have to know all the answers but, really, it's about allowing enough space for not having all the answers – that's important. It's about energy. Getting everyone on the same page and giving them the tools they need to bring the thing to life."
Arthur enjoys the immediacy of theatre: the challenge of needing to deal with things straightaway. You can't press pause, she says. You can't rewind it or close your laptop and walk away. You might make mistakes, but you refine your process every time you do something. She says it's hard to teach directing because so much of it is about being adaptable and reading vibes. Instinct is important: knowing when to give and withhold information or directions, and how to use time most effectively at precise moments. "You can come into the room wanting to do something and someone could be in a certain mood, or you could be in a certain mood, and you know it just won't work. It's about knowing when to cut your losses and when to push things. Directing is something you need to practise and observe. For the first few days of rehearsal you are just trying to understand everyone in the room.
"You need to believe in the people you've brought together to make this thing," she says. "And you need to have a vision or a reason to make the work you do – otherwise you are just telling hollow stories."
This article was first published in the print edition of The Saturday Paper on Mar 30, 2019 as "Arthur's range". Subscribe here.
Sarah Price
is a Sydney-based writer.


Soft cloth embroidered blouse all sewn by hand in traditional workshops.
Long sleeved tunic with delicate silk motifs. A statement for purity and beauty.
This is an authentic traditional item. The design belongs to Romanian traditional folklore.
The blouse is sews according to traditional crafting technique.
Time of execution 15 working days.


text:
package code.solutions;

import java.io.BufferedReader;
import java.io.File;
import java.io.FileReader;
import java.io.IOException;

public class LowerCase {

	public static void main(String[] args) throws IOException {

		File inFile=new File(args[0]);
		String data;

		BufferedReader in= new BufferedReader(new FileReader(inFile));

		while((data=in.readLine())!=null){

			System.out.println(data.toLowerCase());

		}
	}

}

redpajama_set_name: RedPajamaGithub


What a MAMMOTH weekend i just had!! I went along to the Scrapbooks etc. 'create-a-weekend'. How great is it having so many scrapbook shops around!!! There's pretty much something on every weekend :) The 'create-a-weekend' was kinda like a retreat, but it was based at the shop. We scrapped 6pm-midnight on Friday night, then 10am-midnight Saturday!! I was exhausted by the end of it!!
Calvin enjoying his first lollypop - there was green drool EVERYWHERE!!!
Grace looked just adorable with her little fluffy pig tales!!
Although these photos aren't very good (they were taken on my iphone), i just HAD to scrap them. These were photos from Friday morning - Jeremy had been away for 4 days, and Calvin just missed him so much. As i said, terrible photos, but the message is so clear.
I did a double LO about this weekend too. It's using some of the yummy October Afternoon Thrift Shop range. I told you i was crazy about flowers this weekend. I think almost every layout had them on them!!
Last share for this post - this LO was for a PageMaps competition, but i never managed to submit it in time. Shame, because i'm really happy with this one! I've used a Kraft background and some MME PP's. Forget what the range is, but it's last years with dinosaurs all over it.


Quirky Kid enjoyed a few whirlwind trips in May for three exceptional conferences in the field of education. One in Sao Paulo, one in Fremantle and one in Melbourne and they were all excellent for different reasons.
'Educador' in Brazil with over 14000 people in attendance was a major event with a very social atmosphere. It was an exciting opportunity to meet other speakers and to experience using translators for the first time in the context of a seminar with 400 kindhearted participants.
I was overwhelmed to have a line up of lovely teachers asking for a photo together after my presentation. After months of preparation, it was one of most unique highlights of my life to be a part of this thriving education community! QK are thrilled to accept their invitation to return in 2013.
The local media and prestigious local magazine the Revista Veja, also spoken with Kimberley. Kimberley also discussed the conference topic with a post on Families-school relationship.
Positive Schools in Fremantle was a great opportunity to talk with teachers working in Western Australia, many of whom are based in remote communities working with indigenous children with limited classroom support. I was pleased to hear the visual resources developed by QK have been well-received and there was particular interest in the new "Tickets" reward system to revamp old behaviour management patterns.
This conference was also an opportunity to connect with the lovely ACER representatives selling our resources and to provide more tips on how to apply them in diverse settings.
The Melbourne Positive Schools conference was held at the exquisite Melbourne Convention Centre and the auditorium was absolutely slick! Positive Schools was my chance to listen to Michael Carr-Gregg and Andrew Fuller, Bernadette Black and other similarly inspiring colleagues I rarely meet in person. I look forward to delivering more video footage of young people on the big screen next year. Overall, the May conferences were an adrenaline boost with an ample serving of special new contacts – Thank you!


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Landlab Citation Registry
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TruckStore is represented across Europe, including in Abrunheira. Here in south-western Portugal, you'll find us right in Abrunheira, in the immediate vicinity of the A16. Awaiting you at TruckStore Abrunheira is a competent advisory and sales team as well as an extensive range of used trucks. TruckStore Abrunheira is always there for you!


Diagnoses and treats dental disease, injuries, decay and malformations of the teeth, periodontal tissue (gums), hard and soft tissue found on the mouth and other dento-facial structures using surgery and other techniques. Registration or licensing is required.
Diagnose and treat dental disease, restore normal oral function using a broad range of treatments, such as surgery and other specialist techniques, and advise on oral health.


You know that word-of-mouth marketing is effective, but how do you do it well? We've distilled really good tips from Dan Martell's "Breaking Down the Methodology Behind Word of Mouth Marketing" and Paul Jankowski's "4 Tactics to Build your Word of Mouth" and illustrated them with case studies and statistics. Enjoy!
You've spent 12 months building the most wicked product in the world.
Now what? Now, you need customers, revenue, and growth.
Step 3: You start promoting your writing to your fan community of 50.
Then you wait. You've built it; why aren't they coming?
Just think about why you share: Most likely, it's made you laugh out loud, saved you time, solved your most pressing problems.
Make sure you are speaking to leaders and influencers in your space. These can be journalists, public figures, bloggers, or even trendsetting fans.
DO: It is a good idea to make a target list of influencers that appeal to your key demographic and make sure that they know about what you do.
DON'T: Badger them with calls and emails—but rather take the time to learn about them and why they are influential, then open up a dialogue by engaging with their content in ways that are relevant to your brand.
Example: P&G's Thank You Mum If you held back some tears while watching that video, the ad has worked. It not only touches us, but also gives us a heartwarming reminder to be grateful to our mothers. P&G is well known for producing household products, of which mothers are likely their biggest consumers.
Build a Close Knit Social Media Community—The easiest way to directly communicate with your audience is to engage with them via social platforms.
Example: Will it Blend? Will it Blend is a viral marketing campaign consisting of infomercials. With a good blend (pun intended) of humour, quirkiness and bright smiles all around, Will it Blend became an instant hit with people. They also involved customers by asking for things to blend and in the process, creating a community.
Not only do you want to target the influencers in your space. You want to be one! DO: Figure out what makes you and your business unique, and tell people about it. Figure out the medium that best supports your ideas and develop a strategy to grow your presence there.
Example: Camp Gyno Hello Flo managed to market female sanitary products without coming across as patronising (remember the cringe-worthy "Have a happy period"?). Instead, they tapped into a sense of shared humor and sisterhood among all women, making this campaign refreshingly honest about that time of the month.
The success of Word of Mouth marketing depends on customer's trust of the brand. You have to earn enough merit to become a worthy topic of conversation.
DO: Maintain integrity across online platforms (your website, social media, and mobile).
DON'T: Underestimate your audiences. They can smell fluff from a million miles away (especially from a computer screen).
Example: Dollar Shave Club Dollar Shave Club succeeded by leveraging the skepticism surrounding the high price of razors. Men were told that they needed three blades for a comfortable shave. Then it was four, then five, and six. As Dollar Shave Club points out, Your handsome grandfather had one blade". It seems that their simple model of providing good blades at a low price every month is doing well.
Word-of-Mouth can't be bought; it has to be earned.
Christine Neo is the co-founder of WOLF Magazine. An accomplished illustrator and designer, her work has been featured in exhibitions in Singapore.