text:
Adam's World / My Way
presenting Adam Donaldson Powell's visual art and literary works. MY INSTAGRAM: http://instagram.com/osoparavos/
Adam Donaldson Powell as visual artist
Paintings by Adam Donaldson Powell
My published books to-date
Adam Donaldson Powell as literary critic
Adam Donaldson Powell as book author
Poems by Adam Donaldson Powell
Gay literature
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(1) that and the other (2) The creative process (1) The future of Art (1) Thoughts on fame (1) Time to say no (1) Tor Vågli (1) Transgender (1) transsexual (2) transvestite (2) Travesti (1) Truth (1) Twisted texts (1) Two tales of horror (1) Unbreaking the Rainbow (1) Under the Shirttails of Albert Russo (1) Verdens AIDS Dag (1) Verdens aids dag 2013 (1) Violette Leduc (1) War approaching (1) Water crisis (1) Welcome! (1) White paintings (1) with occasional guest appearances of another colour (1) women and sex (1) Women's issues (1) World AIDS Day (2) World aids day 2013 (2) Yanis Marshall (1) Zdenka's suicide note (2)
About Adam Donaldson Powell About writing Abstract Nature Paintings Activism Adam's thoughts about this Adam's thoughts about this, that and the other Adam Donaldson Powell Adam Donaldson Powell's latest print book Adam Donaldson Powell - All about Adam Adam Donaldson Powell as literary critic Adam Donaldson Powell as visual artist Adam in pictures Art Art photography Criticism of Adam's books Fictional letters Gay literature great artist Great video! Jisei - Death Poems My published books to-date Paintings Photography Poemas de Adam Donaldson Powell Poems by Adam Donaldson Powell Poetry by Adam Donaldson Powell poèmes en français Robert Mapplethorpe Selected poems Spiritual messages
Books by, and about, Adam.
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Categories Select Category #ArtSafari 2019 About Adam Donaldson Powell About success and luck About writing About writing in a digital age abstract figurative paintings Abstract Nature Paintings abstract painter abstract portraiture Abuse Activism Adam Donaldson Powell Adam Donaldson Powell – All about Adam Adam Donaldson Powell as literary critic Adam Donaldson Powell as visual artist Adam Donaldson Powell in selfies Adam Donaldson Powell's latest print book Adam Donaldson Powell's main blog Adam Donaldson Powell's paintings Adam from Norway Adam in pictures Adam Powell Adam's thoughts about this Adam's thoughts about this, that and the other Adam's rant Addiction After the rapture Aids activism Albert Russo Albert Russo interview Aliens Amazing artist! Anette Trettebergstuen Animal rights Apocalypse Armageddon Art Art Aesthetics Art and social change Art criticism Art fraud Art photography Art plagiarism Art reviews Ascension Azsacra Zarathustra Ban'ya Natsuishi Between us poets Bilingual and Multilingual literature Bilingualism and code switching Bisexuality Black paintings book review Boring art Boxing gloves – photography Cellphone photography Censorship Chakra balancing meditation Children and war Choices and decisionmaking in a creative process Cloud photography Cocteau Coming attractions! Criminalization of HIV/AIDS Criticism of Adam's books 絶命詩 Daido Moriyama Death Poem Depression Digital art Dikt på norsk Disposable Art Documentation photography Dogs Don Herron Dr. Anuj drag queen Environmental issues erotic gay poetry erotic poetry Essay on bilingual writing essay. Excerpts from my novels extreme sci-fi Extreme sci-fi novels 辞世の句 Fictional letter from Pinochet to Franco Fictional letters Flirtation Flora erotica Foot fetish For the lulz Freedom of Expression french poetry Gay bashing Gay culture gay culture today gay Japan Gay literature Gay macho gay novel gay poetry gay sex Gay youth Good article! Graffiti Great article! great artist Great blog! Great concert pianists Great documentary! Great film! Great interview! Great performance! Great photographer! Great photography! Great video! Great website! Greek myths in verse Gregory Corso Growing older Haiku Health and fitness Heterosexual literature in English and French Heterosexual love Hiroshi Sugimoto homoerotic books homoerotic poetry Homophobia Homosexuality Humor Identity idolatry. In quest of fame Indoor photography Inspiration Instagram Art Interesting article! Interlife and Incarnated Life Is this the best we can do?!! James G. Skinner Jean Genet Jewellery Jisei Jisei – Death Poems John R. Fyfe Jyothirllata Girija Kathmandu Kazuo Ohno Larry Kramer Le Paradis – a novel set in French Polynesia Les Ballets Trockadero de Monte Carlo Les femmes ripostent Les hommes sont des cons lesbian Lesbianism Letter to Anna Ardin Letter to Bertrand Letter to David Icke Letter to Jacques Brel Letters to a French Photographer Lettre d'une prostituée à la retraite LGBTQQIA Authors Life between lives regression therapy Literary criticism Magickal garden Male cat-callers and predators Marina Abramovic Marina Abramovic The Scream Marta Knobloch Maurice Ravel Men and sex Men can be such cunts Men in porn Meredith Monk Merry Christmas 2014 Miniature paintings Mishima Mixed Reality books My ancestors My published books to-date Nature photography New New painting-in-progress New world consciousness NEW! Nobuyoshi Araki norwegian poetry On death and dying painting about #metoo Paintings Paintings for social awareness Paintings of portals Paintings with words and texts. Philosophy Photo criticism Photo documentation of street art in Oslo in 2011 Photo-documentation of street art in Oslo photographer Photography Photography – Nepal Plant and tree photography poèmes érotiques gay poèmes en français poèmes gay en français Poem by Robert H. Hardoen poema erotico Poemas de Adam Donaldson Powell poemes erotiques Poems about AIDS Poems about writing Poems by Adam Donaldson Powell Poet poetry Poetry and paintings by Adam Donaldson Powell Poetry by Adam Donaldson Powell Poetry criticism racism Rant on changes of consciousness Reviews of Adam's books Richard Mathews Robert Mapplethorpe Rodolfo Stefanon Rumi Sayumi Kamakura Selected poems Selected reviews of Adam Donaldson Powell's books Sex Sex with Clark Gable Sexism shemale Shomei Tomatsu Shout out to Kalosf Shout-out to Mars spanish poetry Spiritual development Spiritual messages Spirituality split personality Stories from French Polynesia Street art Street photography Suicide Summertime paintings Survivors' Guilt T. Wignesan Tango terrorist! that and the other The creative process The future of Art Thoughts on fame Time to say no Tor Vågli Transgender transsexual transvestite Travesti Truth Twisted texts Two tales of horror Unbreaking the Rainbow Under the Shirttails of Albert Russo Verdens AIDS Dag Verdens aids dag 2013 Violette Leduc War approaching Water crisis Welcome! White paintings with occasional guest appearances of another colour women and sex Women's issues World AIDS Day World aids day 2013 Yanis Marshall Zdenka's suicide note
Adam's World — an introduction to the art and published books of Adam Donaldson Powell.
Adam Donaldson Powell April 16, 2019 June 11, 2019
New painting: « Fluorescent Buddha », 65 x 90 cm., oil on canvas. This painting is designed for meditation on peace and healing.
"Rothko gone rogue", oil on canvas, 65x90cm., 2019 is another of my explorations of the exciting, and over-copied, Rothko-style — here limiting myself to usage of the three primary colors (red, blue and yellow) together with scratching in order to finds new approaches to the study at hand. It is easy to think that the prolific and obsessed Rothko executed absolutely every possible color combination and variation on his main themes. But did he, actually? By the way, don't miss the two figures rowing in the boat in the blue section of this colorfield painting. The scratching blue waves which overflow across the red background are then perhaps perfectly understandable.
"Burbujas — Fiesta en Málaga", oil on canvas, 65×90 cm., 2019. This crazy work attempts to unite my passions for colorfield exploration and abstract geometric expressionism. There were many technical challenges involved as well as brush technical acrobatics. I always say that I will never again subject myself to paintings circles but I cannot resist the challenge … or the magic of the Circle.
Winds of Hell, 65 x 90 cm., oil on canvas.
"Les vents de l'Enfer", 65 x 90 cm., Huile sur toile; basé sur les six faces par lesquelles nous percevons la mort —
La mort en tant qu'ennemi,
La mort en tant qu'étranger,
La mort en tant qu'ami,
La mort en tant que mère,
La mort en tant que voleur et
La mort en tant qu'amant.
💀💀💀💀💀💀
Writing about Death is not foreign to me, but I have only approached the theme once before in my paintings. Thus, I have made a new painting about Death (which for we who survive others becomes a personal Hell for a time). And regardless of how we see Death, the Hell of loss is still there gnawing away at us … underneath the masks we put on to shield ourselves and others in our grief.
Here is my previous painting about Death:
Soul evacuation, oil on canvas, 100x150x8 cm.
"In the thicket", 40×50 cm., Adam Donaldson Powell, 2019: This painting is another oil painting with a "watercolour effect", attempting to counteract the solidity of classical landscape paintings with an abstract lightness using various brush techniques and colour combinations to allow the focus of the viewer to simply allow oneself to "walk right into the background and become enveloped by it". There is no central or overbearing motive … just the experience of being here now. #Naturalistic colourfield
Reflection: "Some misunderstand me when I emphatically rebel against categorization and pigeon-holing, and against being expected to paint and write in the same styles and genres forever … or to slavishly follow 'the rules of writing, or painting.' What I intend to communicate is the constant importance of being original and new-thinking. However, knowledge of historically significant styles, techniques and art movements is fairly (in today's art world) vital to knowing what innovations one wishes to explore … and why. You do not need to 'master' old styles and techniques in order to paint or write in your own new style, but understanding of them technically and in social/art historical contexts will make your new works much more dynamic and powerful. Art involves constant decision-making — and in order to make decisions we need to have some rudimentary understanding of art history in technical and social contexts. This includes creating 'art' from accidents." — Adam Donaldson Powell
"Toltec Archetype", 65×90 cm., oil on canvas, is an exploration of the shamanic/primitive roots of Jackson Pollock's "Dripping/action painting". The painting is both "in your face" and subdued by the jungle green splattering which — although hiding the image through the forgetfulness of Time — is not quite powerful enough to prevent the haunting Spirit of the archetype from invading our Consciousness.
"Tribute to Mars: The Great Source and Center", oil on canvas, 50 x 50 cm.
«La mia Svizzera», 65×90 cm., oil on canvas, 2018. This abstract geometric painting is based on my travels around Switzerland in 2018 — visiting lakes, mountains, cities and countryside.
I am accomplished and recognized in many areas, including art, literature, performing arts and activism. My life as an activist: my activism began when I was a teenager in USA — as a strong opponent to the war in Vietnam and a conscientious objector to the draft. I was even thrown out of the courtroom of Judge Julius Hoffman (of the Chicago Seven case fame) for misbehavior.
Since then I have engaged myself in the rights of several social groups including the homeless, gays, artists, immigrants and persons with AIDS. I have represented Norway internationally and at the UN in NYC, I have debated with several government ministers in Norway on tv, radio, newspapers, delivered public speeches, and started organizations to preserve and secure the rights of artists and of unemployed immigrants. While I am now retired from activism, I am proud of my almost fifty years of public service as an activist — complemented by my literary and artistic works in support of these issues. I started and ran the organization Artists in Motion (for artists of all artistic disciplines in Norway) and the Norwegian World AIDS Day Art Exhibitions, among other initiatives. I have made notable and documented contributions in Norway and internationally through debates and speeches, music (I studied piano under several renowned concert pianists in NYC), theater and dance stage performances, art exhibitions, publications, literary engagements on four continents, and more. You will no longer find me on Facebook, Twitter, English Wikipedia (Norwegian Wikipedia, yes) etc. I have pulled out of several accounts on all (and also two previous Instagram profiles) despite having maximum « friends/followers ». I prefer space to be myself, and to set my own artistic, literary and socio-political agendas. I market my ideas more than my art and my literature. My art and my literature are representations of my philosophies, my ideas and my politics about Life, the world, art and literature. My art is found in several countries, and my fourteen published books (in all major genres) are written in several languages and published on three continents.
«Le regard … dedans / dehors », 65×90 cm., oil on canvas. Study of integrating several abstract disciplines and techniques, including underpainting, hard edge vs. free hand, figurative plus geometric, Picasso's earth colours etc., model: Richard Mathews (NYC). «Le regard … dedans / dehors» is about how we see ourselves vs. how we think the world does (and how we want the world to) see us. The scaly/primal-reptilian background is reversible — serving both as a covering as well as revealing our inside moving texture. When I suggest that the reptile scales are reversible I am talking about the dual functions of the skin as a protective facade which enables us to find protection but blending into our environment AND serving as a tight "diving suit" which makes our explorations easier. I find the exercise of changing skin colour and ethnicity of the paintings featuring my models to be liberating — an artistic commentary on the universality of Man. My triptych on Robert Mapplethorpe taught me this. I realized that the color scheme for this painting had to be with Picasso earth colors (from his beginning Cubist period – similar to the work of Braque). All other colors would potentially draw away from the balance which allows the portrait to remain a main focus and still tell the story of "the process" of being oneself in personal and social environments which are constantly changing and challenging us. It has to be both finite and also a blurred portrait image in a blurred background, giving a "near-sightedness " feeling — at the same time; because that is how we experience ourselves and our surroundings, and are experienced by others. The geometric areas all have bright colors as underpainting so that the black and grey forms are not flat and lifeless, even though intentionally two-dimensional. The illusion of depth comes from the layering of forms — both underneath and over one another. This was an interesting challenge for me. I even forced myself to allow a few graphite sketch lines to remain unpainted — something I have always wanted to try.
ARTIST'S/AUTHOR'S COMMENTS:
« What is the importance of attention to background in painting? Ha! The concept of background as a separate entity is an illusion — even in minimalistic art it is both an important protagonist on the stage, as well as the cast of supporting actors. Context Baby … context defines the entire painting. »
— Adam Donaldson Powell
ADAM DONALDSON POWELL (Norway) is a multilingual author, literary critic, and art photography critic; and a professional visual artist. My 'style'? I react to being conveniently labelled as 'this, or that' as vehemently as I rebel against the so-called 'rules of painting', or 'rules of writing' … or 'political correctness' etc. Actually, it is the audacity of these concepts that annoys me. The need for others to classify me, my art, my writing … or anything, is surely an indication of their own egotism, insecurities, limitations and weaknesses. The closest relevant generic style classifications might be perhaps 'abstract', 'colour field', 'geometric', 'abstract expressionist', 'minimalist' etc. But I always find my own 'mix' … with limitless variations. My art and writing are meant to be different and new; and pleasing, challenging and annoying — at the same time. I have resided several places in the USA, as well as in Spain and (currently) in Norway. My art often addresses cultural, political, social and spiritual issues relevant to our day and age.
My aim is not necessarily to produce art that "is ornamental" but rather to challenge ideas, ideals, behaviour patterns etc. that often pass by uncommented. I am further interested in questioning the relationships between politics and art, social media and art and social dynamics in a globalised context which often prioritises (in my opinion) social media short cuts to celebrity-status, politically-correct trends, blatant artistic style copying, and lack of creativity as regards current and future relationships between artists, art galleries, art museums, street art and art on the internet. My perspective is that creativity is now a "human right and a vital resource", and that the truest value in art today lies not in a long curriculum vitae or social media hype, but rather in the art that is freshly-/newly-produced and the contexts in which it is presented and marketed. The function of art today and in the near future is (again, in my opinion) directly related to the degree in which art inspires and encourages all persons to embrace creativity in their lives, rather than to create individual "icons".
"Inspiration is for amateurs — the rest of us just show up and get to work."
— Chuck Close
Sitat: "Det er viktig å ha gode tekniske ferdigheter men kunst krever publikumstekke, publikumsvennlige ideer, budskap og evne til å bevege mennesker — enten til glede og inspirasjon eller forakt etc. God kunst formidler ut fra hjertet og tankene til kunstneren som beboer på planeten. Det tekniske blir ingen erstatning for dette."
Quote: "It's important to have good technical skills, but art requires crowd appeal, ideas of public/social interest, messages and the ability to move people – either to joy and inspiration or contempt etc. Good art conveys from the heart and mind of the artist as one who lives on the planet. Technical skills alone will not compensate for lack of this."
"Wanted: for breaking the rules of Art and Writing!", caricature/self-portrait, 65×90 cm., oil on canvas, 2018
"Every new painting is like throwing myself into the water without knowing how to swim."
— Edouard Manet
"Like Vincent van Gogh, I am an impasto painter. My painting tools include brushes, knives, plastic, rags, sponges, credit cards, pieces of wood, leaves, fingers, hands, feet … basically, whatever it takes to create the effect, textures and spirit of the idea to be conveyed. I paint on everything I can find: canvas, paper, wooden boards, cardboard, cloth, styrofoam, rocks … It is both a passion and an addiction. Lots of dopamine in my brain, I guess."
"Straight to Hell" — Mapplethorpe in triptych, oil on canvas, 2018.
MAPPLETHORPE IN TRIPTYCH.
I decided that it was best to depict Mapplethorpe in an expressionist style – and almost like a charcoal and chalk painting. This to depict the simplicity he has hidden behind in his public appearances, and in his art photography. The wisdom of that choice is apparent in the picture in the middle, which deals with his internal perceptions of himself, and where the spectator's eye goes straight to the majestic Cala Lily – The flower of Death – which Mapplethorpe was so keen on. And the flower is so calm and majestic that the drama of the expressionist style is immediately reset in a single glance.
Robert Mapplethorpe triptych – a work-in-progress. Keywords: Mapplethorpe, tabloid (lurid, sensational) art, guns as penises, penises as guns, splattered blood, blood stains, sex, AIDS, crosses, Calla lily (flower of Death), sado-masochism, fetish, narcissism, pecs and nipples, the body as a living sculpture, perfection vs. the glory of the imperfect, Don Herron's iconic Tubshot photo. Each panel measures 40 x 50 cm.
NB. Yes, I address Mapplethorpe's obsession with Black men and their bodies / genitals by featuring Mapplethorpe himself in mirror image — as both Caucasian and Negroid. In this way his desire to completely embody and define ultimate personification of sexuality will finally be complete.
The iconic Don Herron Tubshots photo of Mapplethorpe was chosen as my model because I actually met Mapplethorpe at his loft when Don and I delivered the photograph to him. This triptych is my "tribute" to both Don Herron and Robert Mapplethorpe.
And here is Don's portrait of me (in our bathtub in the East Village, NYC in 1978):
Eclipse/craquelure, oil on canvas, 40×40 cm.
Fishing net embracing glowing bits of plastic, 40×40 cm, oil on canvas:
This abstract painting is about environmental problems related to pollution of the seas — both with waste such as plastic, but also with abandoned fishing nets. The colourful plastic attracts fishes, which consume it.
"Cracking up (Craquelure)", oil on canvas, 40 x 40 cm.
Aged stone (Oil on styrofoam).
Roses and a teardrop for Las Ramblas, 15×15 cm, oil on canvas, 2017. This miniature abstract painting was inspired by the terror attack upon the people at Las Ramblas in Barcelona. It depicts a rose-floral wallpaper-like background with a line/queue that is broken — interrupted by a single teardrop.
ADAM AS PAINTER:
"My 'style'? I instinctively rebel against being conveniently labelled as 'this, or that'; just as I rebel against the so-called 'rules of painting', or 'rules of writing' … or populistic black-and-white classifications such as 'political correctness vs. incorrectness' etc. Actually, it is the audacity of these concepts that annoys me. The need of others to classify me, my art, my writing … or anything, is surely an indication of their own egotism, insecurities, limitations and weaknesses. Alas, we live in a world of labels, ratings, and quality judgments based on popularity and price. The closest relevant generic style classifications of my own art might be perhaps 'abstract', 'colour field', 'geometric', 'abstract expressionist', 'minimalist' etc. But I always find my own 'mix' … with limitless variations. My art and writing are meant to be different and new; and pleasing, challenging and annoying — at the same time."
"Vertigo", 50×50 cm., oil on canvas with "watercolour effect".
"Toxique / Toxic", 40×40 cm., oil on canvas, is an abstract painting which uses colourfield and geometric styles to induce feelings of the "disgusting" which is beautiful. Here "the disgusting" is created by color combinations and the dizziness of the geometric images seemingly twirling about in atmospheric bile. The painting gives a sense of elegance in its overall balance and technical precision, while at the same time requiring quiet acceptance of discomfort.
Nightfall – with Winter giving way to Spring, 50×50 cm., 2017.
"White night no. 1", oil on canvas, 50 x 50 cm.
Meteors in the night, oil on canvas, 50 x 50 cm.
Not seeing the forest for the trees, oil on canvas/mixed media, 60×50 cm.
Bokstavelig talt (literally speaking), oil on canvas, 30 x 30 cm.
Emptiness giving birth to Nothingness, oil on canvas, 100×80 cm.
"Being = Nothingness", 40×40 cm., oil on canvas, 2017.
Ascension, oil on canvas, 30 x 30 cm.
In an age when oil paintings have little chance of competing with the internet, television and video games, I decided to paint an abstract depiction of a video game shooting gallery against a concrete background — no penetration.
Spleen.
"Tears flowing while walking through the city", oil on canvas, 40 x 40 cm.
Sunset reflecting through Venetian blinds, onto wooden floor.
Equilibrium, oil on canvas, 50×50 cm., 2016.
Tale of three colour fields, oil on canvas, 81 x 100 cm., 2016.
A Wrist-cutter's Glow, oil on canvas, 50×50 cm.
SEE SEVERAL OF MY RECENT PAINTINGS HERE!
«Sunrise in early Spring», oil on canvas, 65×90 cm., 2018.
REGARDING MY INSPIRATION AND IDEAS …
"I see poetry everywhere. In fact, each and every one of my paintings is a poem or a story … with hints of a song, an opera, a dance, a theater performance."
THE YOUNG MAN AND DEATH.
Redefining Cocteau's interpretation of "The young man and death":
My painting — entitled "The young man and death" – represents a violent and hazardous order; whitewashed mental chaos with the conviction of purification and with cutting knife marks of self-harm … and swirling depression with so many overwhelming rhythmic atonalites that the blue electricity of pulses and currents are stifled by a huge blanketing whiteness that gives a general impression of calm and control – as long as we follow each breath religiously. It is an atmosphere of violent beauty; the inner environment that cleanses and consumes all the perceptions of the outside world which drives us to the ultimate act of correction and glory: suicide. The whiteness of depression is the light at the end of the tunnel of death – promise of rebirth, new virginity and ultimate seduction. The thick slabs of paint represent the mud walls we erect to keep ourselves safe in our cocoons – in our fortress. Depression does not concern sadness, but rather the construction of our castle in heaven, where our indifference to success and failure can finally flourish. Nirvana. Here, death is not a woman, but the young man's own psyche. The misogynistic vision of Cocteau will be whitewashed and exposed as a void that disguises itself as male self-victimization. Once the many layers of oil paint are completely dry, I will cover the minimalist painting with camouflage netting, this in order to force the viewer to want to look at the discomfort in the pictures. To look under the veil and then to identify oneself sufficiently in the Mind to be able to look for the veil of Emptiness that is under the veil. Of course, no one really wants to know about another person's depression – especially if they are suicidal. We are all fighting the same depression and nothingness. It's only a thought away. The result will be a two-dimensional sculpture painting.
Jean Maurice Eugene Clement Cocteau was very talented, very brave, very "gay", very famous … and very misogynistic. Only the unfortunate or idiots would be stupid enough to try to make him angry.
"The young man and death In a workshop, a young man alone is waiting. In comes the girl who was the cause of his distress. He rushes towards her, she pushes him away, he begs her, she insults him, scoffs at him and tells him to go hang himself. He hangs himself. Only the body of the hanged man remains. Through the roofs, death then returns in a prom dress. She takes off her mask: it's the girl. So she puts her mask on the face of her victim. Together, they go through the roofs.
— Jean Cocteau"
More than seventy years have passed since this work had its world premiere. And the idea still haunts me. The story is too thin … a cheap shot designed to shock. The cheating woman has the coldness of a man, and the desperate man (the cuckold) hang himself as the woman demands. The irony is that a number of men today commit suicide after their wife's infidelity or divorce. But what else is behind this suicide? Surely there are problems of depression and relationship within man before this development? Was the woman really responsible for his death? Is the infidelity of another person really the cause of suicide – or is it just a symptom, the result of a long-standing illusion that can no longer be denied? Is not this another expression of misogyny in the age of Romanticism? And how can I recreate this story / painting – penetrating more into the young man's psyche – far beyond this woman representing death, who can so easily be blamed?
It's the same for both or all genders (there are more than two now). Because depression and suicide are taboo subjects, I want to force the public to commit to watching and walking inside the painting. These problems need to be normalized – like cancer and other syndromes and lifestyle diseases.
"It is important to understand and simply accept that all our past experiences, whether joyful or sad, continue to accompany us throughout our lives and greatly affect the way we feel today. Problems can only trigger feelings of insecurity, shame, envy or revenge if we deny that they are part of us. To be overwhelmed by such feelings in the most difficult situations requires us to recognize them and consciously integrate them as natural parts of our psyche. Only then will we be able to develop a loving acceptance of ourselves with all our flaws and shortcomings." — from www. astro.com
As I always say, a lot of fiction is more factual than readers realize. Cocteau was very misogynistic and obsessed with wanting a son, and had great anger when the woman of his choice (Princess Natalie Paley) rejected him: he said that women were "the killers of poets' children", there had been many suicides in his life, and so on – all of which indicate his psychological problems at work in this story.
"Le jeune homme et la mort", 65×90 cm., oil on canvas. This is my re-interpretation of Cocteau's idea for the famous ballet. See my notes about this HERE!
Democracy by gun (We the People), oil on canvas, 100×80 cm., 2016.
"Entre Nous et Eux", oil on canvas, 90×65 cm. is about keeping a frozen smile and trying to remain "politically correct" in a Western world that is literally under "cultural attack" by the sheer numbers of refugees and immigrants, and further complicated by European countries' relative naivité and unpreparedness for multiculturism. It is therefore that the background resembles the Norwegian, Czech, Russian, French, Dutch, British, US etc. flags with the red, white and blue colours … but which are are increasingly inundated with falling leaves which eventually become lively foreign objects, cultures, traditions, religions etc. — and all the while with more and more persons competing for celebrity, money, resources, ideologies and power etc. It symbolises an irreversible shift in cultural and social values and traditions, and the tensions churning and burning underneath. It is about the new "n-word" which is socially and legally forbidden to express in public forums. The penalty is being stamped as "a racist", and prosecution.
Letting go (of love), 40×40 cm., oil on canvas is about the process of trying to move on — without a loved one. The memories of that person become blurred, the pain is romanticised, the sense of betrayal and anger gradually becomes replaced by arrogant self-pity and then denial that love ever was (in fact) mutual. Solace and personal redemption are found written as graffiti on the wall — in the words of Jean-Paul Sartre: "We are condemned to be free" (here in Spanish: "Estamos condenados a ser libres").
"Faceless animus" asks us how well we really know another person, and how much we really want to know — the stereotypical or racial countenance … or the faceless animus that lies behind it?
"Talking heads / Social media", 65 x 90 cm., oil on canvas, 2018, is all about "the buzz" (slander and gossip, #hatersgonnahate, #lookatme etc.) in black and white.
Miniature series — This miniature oil painting series is comprised of 18 small paintings (15×15 cm and 20×20 cm), which have various contemporary themes, including fame and death, love gained and lost, climate change, moving on in Life, #metoo, terror, sex, emotional vampires, nuclear storm weather forecasts and more.
The paintings include: 1) "Endless Winter/Climate change", 15×15 cm., oil on canvas, 2018;
2) "Spleen – love dissolving", 20×20 cm., oil on canvas, 2018;
3) "Roses and a teardrop for Las Ramblas", 15×15 cm, oil on canvas, 2018. This miniature abstract painting was inspired by the terror attack upon the people at Las Ramblas in Barcelona. It depicts a rose-floral wallpaper-like background with a line/queue that is broken — interrupted by a single teardrop;
4) "Trou de la gloire/Gaufres bleues; Oui, l'amour est bleu … et la véritable gloire est un trou dans un mur qui s'effrité, («Gloryhole/Blue waffles; Yes, love is blue … and real glory is a hole in a crumbling wall»)", 15×15 cm., oil on canvas, 2018. I accidentally stumbled over photos of "blue waffles" on the Internet. They were so disgusting and glorious that I had to challenge myself to interpret the magnificent phenomenon;
5) "Ghosts no. 1 — Climate change sucks the life out of Spring", 15×15 cm., oil on canvas, 2018;
7) "Love between vampires: Yeah, Baby — let's tear off a piece! (L'amour entre les vampires: Viens m'enculer!)", 15×15 cm, oil on canvas, 2018. Whether our needs for giving and receiving love bring out the vampire or the angel in us, it is all an expression of our evolving humanity;
8) "Niqab — of love and fetish in an age of terror", 15×15 cm, oil on canvas, 2018. Keywords: niqab, AK47, roses, blood, hidden passion, discomforting eyes, risks, fetish, love, 15×15 cm, oil on canvas, 2018;
9) "Pissing on our parade", 15×15 cm, oil on canvas, 2018. "Pissing on our parade", is a commentary on gay violence — i.e. violence, murder and terror committed both by and against gays. LGBTQ-persons are "people", and prone to the same problems and personality issues as all others in society. However, whenever an LGBTQ-person commits an act of terror (Orlando), sexual violence and harassment (by the way, these harassments are seldom investigated as #metoo, or even hate crimes), murder plus cannibalism, or other acts that feel like a violation of what many consider to be basic humane and civilised values, it feels as embarrassing to me as a gay person as muslims must feel when yet another act of hate-inspired terrorism is committed in the name of Islam. It is also embarrassing to me as a human and as a soul in active incarnation. These individuals — regardless of whether they are disturbed, or just hateful — are pissing on our parade. Keywords: pissing, parade, #stopthebleeding, wounded hearts, rainbow, #stopthehate;
10) "Silence.", 15×15 cm, oil on canvas, 2018. "Silence." is about the news and important information that we do not receive, or that is kept hidden from us by politicians, corporations, scientists and the mainstream media. It is also about what most of us are thinking but do not talk about due to social controls on thoughts, speech and actions. Silence should be a beautiful thing — a reprieve from the noise of everyday life and stress … but sometimes the silence is something to be feared. When we fear it, silence is the new noise;
11) "White Noise.", 15×15 cm, oil on canvas, 2018. "White Noise" is about the constant chatter of mainstream media — spitting out and vomiting the same news stories ad nauseum; in all newspapers, radio and television stations, on the internet … all over the world, 24 hours a day. The noise keeps us company when we are alone and trying to escape the silence of loneliness … and we eventually neither listen to nor hear the warnings, worries and hatred broadcasted and echoed from high and low. The noise is our new silence;
12) and 13) "Broken Hallelujah in the Landscape of Life.", 15×15 cm, oil on canvas, 2018. "Broken Hallelujah in the Landscape of Life" interprets the crevices, rips, tears and shattering we all experience, expected or not; i.e. those moments and periods where our hopes and dreams, infatuations, marriages, friendships, ways of perceiving the world and other people etc. fall apart, unravel and demand re-adjustment — with new vision. Although often quite painful, these adjustments provide us with opportunities to re-invent and re-define ourselves. The choice is ours: to suffer for an indeterminate period of time … or to climb down from the cross and explore "the new", seeking balance — with a positive sense of moderation."Ariston metron!" ("Moderation is best!);
14) "#metoo: Men's room — the writing on the players' wailing wall", 15×15 cm, oil on canvas, 2018. This graffiti painting reveals the angry and dissatisfied murmurings of some men on social media and (as here) on a men's room wall. It is generally considered to be politically incorrect for men to voice concern over matriarchal feminism and the #metoo movement, and the fear of loss of basic rights for men. When these voices are restricted to hidden enclaves and not allowed to be measured and discussed openly then the ensuing negative consequences can be devastating. The frustrated graffiti text includes: matriarchy; man-haters; Fuck #metoo; Fuck no sex; men prefer 1) whores, 2) men, 3) sex dolls; custody rights; lonely; feminazi; dutch treat etc.;
15) and 16) "Weather forecast — Warning, High Probability of Nuclear Storm; Part One: Alert" and Part Two: Perfect Storm", 15 x 15 cm., oil on canvas, 2018. Perhaps the most immediate threat of annihilation of the planet and humanity is the threat of nuclear war and a serious nuclear accident. This work predicts a future where such threats becomes part of the weather and terror threat warning system. Colour code: yellow and black; the smoky grey background tells the rest of the story;
17) and 18) "Memento Mori — Fama (Starry Night)" and "Memento Mori — Damnatio Memoriae", 15 x 15 cm., oil on canvas, 2018: These two simple, if not "pseudo-naïvistic", paintings are about the naive personal quests for fame after death, i.e to live forever through our children's or others' minds — by way of recorded fame in this lifetime and myths; and the opposite and more likely reality: of being dead forever/being forgotten. In "Fama" the subtitle "Starry Night" functions as a Hollywood star reference as well as is a commentary about Vincent Van Gogh's failure to achieve notoriety and artistic recognition before after his physical death. His own personal "starry night" is rather a quiet internal burning and ember-like glow — without spectacle. For artists, authors and musicians this notoriety is often established and maintained by way of representation, archives and mention in museum collections, published books, recordings, Wikipedia, the internet, history books etc. However, with ever-developing technology and increasing limited space in libraries and museums these hopes of living forever are being thwarted. For others who try to establish themselves as television hit show stars, as bloggers and as reality stars the goal is perhaps even more unattainable. We cannot take worldly acclaim with us to the afterlife, but to ensure that we still maintain a presence in this world after we leave it physically has been a dream of many for ages. The looming question is: "What is the purpose of Life and achieving notoriety — do we live for the 'now', or forever?" Another important question is "Should all art be made with the intention of it living forever; what is the value of temporary, performance and disposable art?" And of course, "Memento Mori — Damnatio Memoriae" reminds us that — should we fail to achieve lasting fame — we will not only remain "still dead" but we will disappear … forever, and without a trace, save possibly a short-lived grave and tombstone.
These paintings comprise a series of miniature abstract oil paintings that are about feigning indifference in a crazy and brutal world because there is simply so much that seems out of our control and we must often pretend to be indifferent in order to survive from day to day.
"Love illusion", 65×90 cm., oil on canvas.
ADAM AS PHOTOGRAPHER:
See my Oslo Street Art Documentation Photography (including documentation of works by The London Police, Galo, Shepard Fairey, Logan Hicks, D-Face, Will Barras, Faile, Martin Whatson and many unnamed graffiti artists) HERE!
ART CRITICISM:
I have reviewed art and photography: art photography appearing in photography book publications, paintings in public exhibitions, and art photography collections made for / on the internet. Here are two examples of my photography criticism using an epistolary format:
LETTRES À UN PHOTOGRAPHE FRANÇAIS
LETTERS TO AN ITALIAN ART PHOTOGRAPHER
Atlantis Ritual Bracelet, silver and gold, with symbols from the Universal Language of Light.
Lemuria Ritual Necklace, silver, gold and brass, with precious and semi- precious stones.
"TRANSFORMATION PENDANT": design channeled by Adam Donaldson Powell, in silver and gold with aquamarine. Note the Eye of Horus and the Six-pointed Star (symbolizing that there are many ways to God/Enlightenment but that all are based upon Wisdom) and the "A"-tone as the mantra device.
Nepali Necklace, turquoise, lapis lazuli and silver.
SEE MY JEWELLERY DESIGN HERE!
ADAM'S ART IS IN SEVERAL PUBLIC AND PRIVATE COLLECTIONS (in Europe, USA and South America):
"The day after 9/11, oil on canvas" —
In the permanent collection of Rikshospitalet in Oslo.
A FEW OF MY PREVIOUS PAINTING STYLES:
Y yo pienso aun en ti, oil on canvas, 100×100 cm.
Tainted dreams, oil on canvas, by Adam Donaldson Powell.
Beetlemania / Bugging out! (Oil on canvas, 30×30 cm x two paintings).
The decay of society (Oil on canvas).
Galaxy (Oil on canvas).
Autumn foliage (Oil on canvas, 60 x 50 cm.)
Tribute to Malevich (Oil on canvas).
See several of my previous paintings HERE!
"Crumpled paper, oil on canvas, 50×62 cm."
"Austin, oil on canvas, 80×80 cm.»
"Tribute to Yukio Mishima: Spring Snow", oil on canvas, 50×50 cm."
"Seascape I" (original of a series), oil on canvas, 120×120 cm."
"Hope", oil on canvas, 50×50 cm.
My two latest published books:
SHORT AUTHOR BIO:
ADAM DONALDSON POWELL (Norway) is a multilingual author, literary critic, and art photography critic; and a professional visual artist. He has published several literary books (including collections of poetry, short stories, and novellas, two science fiction novels, a biography, and a collection of essays) in the USA, Norway and India; as well as numerous works in international literary publications on several continents. He writes in English, Spanish, French and Norwegian. He has previously authored theatrical works performed onstage, and he has read his poetry at venues in New York City (USA), Oslo (Norway), Buenos Aires (Argentina), and Kathmandu (Nepal). His book "Gaytude" (co-authored with Albert Russo) won the 2009 National Indie Excellence Award in the category gay/lesbian non-fiction. Powell was also the winner of the Azsacra International Poetry Award in 2008, and the recipient of a Norwegian Foreign Ministry travel stipend for authors in 2005. Powell also took initiative to planning and organizing the "Words – one path to peace and understanding" international literary festival in Oslo, Norway in 2008. He has been an author under the Cyberwit label since 2005, and he has published 13 literary books since 1987.
GREAT QUOTE:
"There are some people who feel that fiction should be easy to read, that it's a popular medium that should communicate on a somewhat conversational wavelength. On the other hand, there are those who feel that fiction can be challenging … that it's okay if a person needs to work a bit while reading …
"Much in the way that would-be civilized debates are polarized by extreme thinkers on either side, this debate has been made to seem like an either/or proposition, that the world has room for only one kind of fiction, and that the other kind should be banned …
"But while the polarizers have been going at it, there has existed a silent legion of readers, perhaps the majority of readers of literary fiction, who don't mind a little of both."
— Dave Eggers, foreword to David Foster Wallace, Infinite Jest
Dr. Santosh Kumar's book on the poetry of Adam Donaldson Powell.
Read some excerpts from the book HERE!
ADAM DONALDSON POWELL – WIKIPEDIA NORGE
Under the Shirttails of Albert Russo: an alternative biography, l'Aleph — Sweden, ISBN 978-91-7637-401-6, © Wisehouse 2017, Sweden.
Entre Nous et Eux: contes de fées pour adultes, Cyberwit.net, ISBN 978-93-85945-77-9, © 2017, India.
Jisei: death poems and daily reflections by a person with AIDS", Cyberwit.net, ISBN 978-81-8253-403-2, © 2013, India.
The tunnel at the end of time" (co-written with Rick Davis and Azsacra Zarathustra), Cyberwit.net, ISBN 978-81-8253-160-4, © 2010, India.
Malerier og fotokunst, a short 38-page retrospective overview of some of Adam Donaldson Powell's best known oil paintings and photographic art works". Published by Cyberwit.net as a special limited and numbered full-color, soft cover edition (55 copies only), ISBN 978- 81-8253-154-3, India, © 2009.
GAYTUDE: a poetic journey around the world, co-authored together with Albert Russo 1[1], bilingual (French and English), gay poetry, 334 pages, Xlibris, ISBN 978-1-4363-6395-2, 2009, USA 6 [2].
2014: the life and adventures of an incarnated angel, 135 pages, Cyberwit.net, ISBN 978-81-8253-118-5, 2008, India.
Critical Essays, literary and photobook criticism by Adam Donaldson Powell and Dr. Santosh Kumar 2[3], 108 pages, Cyberwit.net, ISBN 978-81-8253-110-9, 2008, India.
Le Paradis (Paradise), 80 pages, Cyberwit.net, ISBN 978-81-8253-103-1, 2008, India. Inkluderer bilag med symboler fra Universelle Lysspråket, som opplevd av Laila Holand.
Rapture: endings of space and time (86 pages), Cyberwit,net, ISBN 978-81-8253-083-6, 2007, India.
Three-legged Waltz, (80 pages), Cyberwit.net, ISBN 81-8253-058-X, 2006, India.
Collected Poems and Stories, (175 pages), Cyberwit.net, ISBN 81-8253-028-8, 2005, India.
Arcana and other archetypes, (special limited edition – hardback collection of poetry), AIM Chapbooks ANS, 2001, Norway (now out-of-print).
Notes of a Madman, (hardback collection of poetry), Winston-Derek Publishers, Inc., 1987, ISBN 1-55523-054-7, USA (now out-of-print).
(Above photos of Adam taken in NYC when he was writing his first published book: "Notes of a Madman")
And here is a quick recap/overview of my published books. For more information, please see the next pages of this blog.
MY AMAZON.COM AUTHOR PAGE: HERE!
MY CYBERWIT.NET AUTHOR PAGE: HERE!
"Death is creative, but not picky — she will claim us according to her time schedule and whims, regardless of cause of Death. Don't obsess over Death. Live each moment as if it were your first and last."
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Albert Russo says:
marvellous unbound energy. Bises
Albert Russo http://www.albertrusso.com
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Thanks for today everyone, there's some good questions coming in, hope I've answered them to your satisfaction. Catch up with you next week, and don't forget to watch our video preview of round six in Footy Fix .
Who would be in the All-Australian team, if it was picked after the opening five rounds of 2009?
We've had a go, but our selections are sure to draw your ire. Criteria for selection was current form, and being the best player for the position. The team was picked as if it would be coming up against an opponent.
You can also view a photo gallery of the nominated 22 players.
In order to give some perspective to our selections, we also had a go at picking a second team, of players that just missed out.
A match between these two teams would be well worth watching. But there are sure to be players you feel we have missed.
Gary Ablett has seemingly risen to another level. The star Geelong midfielder turned in another imperious performance on the weekend, gathering another 40-plus possessions as the Cats destroyed another opponent.
After stand-out seasons over the past two years, the 24-year-old appears to be reaching the peak of his playing powers, the consensus emerging that he's the No.1 midfielder in the competition, if not the best player overall.
With five matches under his belt in 2009, the Top Cat would certainly have at least 10 Brownlow Medal votes. This could finally be his season to take out the individual award.
There are so many questions surrounding the elite midfielder. Is he as good or has he even surpassed his famous father? What tactics should an opposition team employ to negate this influence? Is he a better player because he's in a great team? Let's hear your thoughts.
Thanks everyone, great fun, great questions today. Keep 'em coming next Thursday. Don't forget to check out the Footy Fix video for this week, too. Have a great footy weekend, talk to you soon.
Hi Charlie, I don't think you should be jumping ship yet! With a touch more accurate kicking the Blues could easily be 4-0 now. I'm not overly convinced by their defence mind you, but that midfield is gold-plated and their defensive systems good enough to provide sufficient cover. And up forward, Fev just needs to get his kicking boots on.
Hi Bruce, I'm not big on knee-jerk responses. I guess if they got to 0-11 or something and were getting pumped every week they'd have to step in. But I reckon it's pretty hard to make the "not playing for the coach" call after four games, particularly seeing in one of them they pushed Geelong to within a few goals. Let's see what unfolds over the next few weeks.
G'day Rock, Superficially, I'd wonder whether he racks up enough touches to get enough votes, as good as he is. Think he's only had two 20-plus disposal games to date. But his use is just so good, and his impact so profound, eg. last year's grand final, that you'd think it's impossible not to notice him. Would love to see him win a "Charlie", he's the sort of player you go to the footy for.
Hi BJ, I'm pretty sure Wells is still a week away with his hip injury, and Richmond has said Raines will come back via Coburg.
Hi Brett, To be honest, I think the whole umpire contact thing is blown right out of proportion. You make a reasonable point about setting the tone. But I actually like that familiarity. I suppose I'd just hate to see things get to a point where there couldn't be any sort of decent dialogue between the players and umps. Personally, I had no problem with what Heath Shaw did, and I reckon you'd find the umpires privately weren't too worried about it, either.
Hi JS, I think the Pies will win well on Saturday, just don't think Essendon has the cattle to match them. No question dropping games they shouldn't was an issue last year, not so sure it's been behind two losses this year, one to the best team in the comp., the other to a side in Adelaide that is always at least dangerous. Think they're definite top four chance.
Hi SM, Good point. Carlton might argue the same thing about the "double goal" Essendon got against them in round three, particularly seeing the initial goal was from a free kick that was very questionable, and that they lost by a kick. I don't think it's very often that the umps can actually dictate whether one team or another wins, but it does happen. Don't you if you remember, but any Fitzroy fan would point out what happened to them over in Adelaide in 1991.Umpiring cost them what should have been a win. Simple.
Hi Paul, Look, I think they've clearly bitten the bullet in list terms, but I was thinking watching them against the Saints that for all the talk about development of kids, who was out there as proof? Hill, Suban and .....??? There's too many guys I think who have been there long enough without showing enough, so I suspect there'll be a lot more list shaping to be done over next 2-3 years. The problem is the (as much as I hate using this word) brand might be damaged further by then. It's a pretty impatient business, AFL football. I've hope and all Dockers fans have got some more of it, because I suspect you'll need it.
Hi Peter, That's an interesting theory. I tend to think it might have been more a consequence of the Lions having to play Sydney the previous week in greasy heavy conditions. Playing the Swans is always physically taxing, that night would have been harder still. Collingwood, remember, also had two extra days preparation as they'd played Geelong on a Thursday night while Brisbane had played on Saturday night.
Hi Michael, I have to be honest, I'm a big fan of the rushed behind rule, think it's made things a lot more exciting near goal. Re your ruck scenario, my argument would be if the umpires pay deliberate against ruckmen thumping the ball back over the line from a ball-in, surely they have to be consistent if the ball is knocked over the goal line. I spoke to Jeff Gieschen about this today, and he tells me that in the Carlton-Essendon game, Matthew Kruezer should have been penalised for such a situation, but wasn't.
Hi Troy, Valid point, think there are a few teams who flirt with styles their abilities really can't sustain. Sydney, in contrast, cops a lot of flak but remains competitive because it does play within its limitations. I think the "apeing" of the top sides is founded largely on defence, the rolling zone has definitely caught on, and recent history does say its more important in terms of flag-winning potential to have a strong defence than a strong attack. Would love to see someone buck that trend though!
Throughout 2009, follow the fortunes of four young AFL hopefuls as they negotiate their final season before the AFL national draft. This week, Australian AIS skipper Koby Stevens tells us what an impact the trip to South Africa is having on his team.
At the start of 2008 I was embracing the chance of finding myself in the midfield for Gippsland power in the TAC Cup. Now a year later I find myself touring South Africa with 30 of the most talented footballers in the country with the 12th intake of the AIS AFL Academy .
The 2009 pre-season was possibly the hardest time of my life, the hunger to be better than any other opponent I face in 2009 was driving me to push my body to the limit day-in-day-out. The fact that I had one of the most determined men who has ever played the game on my back, Nathan Buckley, as my mentor influencing me to reach my goals was a success in its own.
A full pre-season under my belt had me confident and enthusiastic about taking on a fully manned Williamstown in the tour's first game. Running onto Etihad stadium (formally Telstra Dome) in an Australian jumper and leading the boys as captain was the biggest thrill of my life.
The challenge of the bigger bodies and intensity of the game was something the team wasn't accustomed to and took some adapting, but the amount of pressure and determination the less mature AIS squad showed was amazing and surprised some of the 16 AFL-listed Williamstown players.
The game did not have a fairytale ending but to finally get the chance to play together against a strong opposition was very rewarding. The 14-hour flight staring us in the eye didn't shatter the group's enthusiasm at all.
At 3.30 am the enthusiasm some showed the night before had been forgotten, as a sluggish group of players, coaches, medical staff, admin staff and supporters made their way to the Melbourne airport. We flew via Sydney on the longest trip of our lives to Johannesburg, a journey consisting of movies, movies and more movies on the in-flight entertainment.
The tour was ensured to throw up its difficulties and cultural differences. On the first Tuesday after our arrival, a bus trip to our restaurant indeed did that. Who could have known that one bus trip could change an individual's outlook on life?
Driving past tin sheds would not fuss the ordinary traveller but what about when these tin sheds define a whole area code? They housed a massive amount of people, most sleeping up to at least six to a shed.
The poverty I witnessed had made me appreciate life and its privileges we enjoy in Australia. This hit home even more when I found out this was not the worst poverty in South Africa.
Later in the week we were to be attending a safari but some of the boys already believed they had done this - the restaurant we made our way to served beef, lamb, crocodile, ostrich, wilderbeast, antelope, chicken and warthog, our waitress Pumba explained.
The night did throw up its difficulty - making our way up the stairs of the accommodation with a whole safari of animals inside us.
The trip is just over half-way through and I feel like I've travelled half the country in buses and witnessed more culture than I thought I could consume.
The fun is yet to come, during the next week and a half we will be taking clinics with underprivileged children living in poverty, taking on the South Africans, climbing Table Mountain, supposedly as the toughest thing most have ever done, and playing against Perth's Peel Thunder on Subiaco, another challenge that the team is now more ready for.
The tour has changed the person I am after just a week, and the AIS program has changed attributes in me that will benefit me for life.
Richmond coach Terry Wallace appears unlikely to be coaching the club next year following his team's 0-4 start to 2009, so should he see out the rest of the season? Should Richmond bite the bullet and give a new man most of the season to invigorate the playing list? Or would a coach sacking now just cause more problems for the troubled Tigers?
Richmond coach Terry Wallace appears unlikely to be coaching the club next year following his team's 0-4 start to 2009, so should he see out the rest of the season? It is argued that a mid-season change of mentor is a stop-gap measure of a desperate administration keen to be seen to be taking action, and not worth the turmoil. On the other hand, if the Tigers get 18 games to assess an interim coach, they may start turning their fortunes around. Paul Roos took over at Sydney from Rodney Eade in 2002, and in ten games, managed to begin a new era for the club, one that culminated in a drought-breaking premiership, in 2005. Should Richmond bite the bullet and give a new man most of the season to invigorate the playing list? Or would a coach sacking now just cause more problems for the troubled Tigers?
Thanks everyone. It was good fun again. Particularly good to see so many Saints jumping on the bandwagon (just kidding!). Thanks for your insightful questions, keep them rolling in next week. See you next Thursday.
PS: make sure you catch this week's Footy Fix video, just click here.
Hi BJ, The word from the Swans this week is that Pyke is a pretty good chance to be picked against Carlton. They've been super-impressed with his athleticism and insiders reckon he could play at least a dozen or so games by year's end .... and a few of us just want the chance to call his name!
As it happens, we've just spoken to Paul Roos and Mike Pyke won't be playing in the seniors this week. The Swans are really happy with his progress but they want to give him more education in the lower levels.
Hi Rohan, I was referring to him being allowed to push in the back during marking contests. And the fact that if an opposition player has the gall to spoil the footy, he gets a free kick.
Since entering the competition in 1995, the Dockers have been a miserable flop. The spread of success that the player draft is designed to eventually bring to all clubs has eluded them. Failure, which the system is also designed to impose on clubs in a roughly cyclical way, has been their byword, writes Tim Lane.
Statistically, the Dockers should, over 14 completed seasons, have had seven top-eight finishes. They have had two. They have finished in the bottom four seven times - double the number according to mathematical probability. Fremantle should by now have played in a grand final, or even two; the closest it has come was a 35-point preliminary-final defeat in 2006.
Each new season brings a false dawn over Fremantle. If you tipped Essendon to beat the Dockers last Sunday, ask yourself why. It couldn't have been because the Bombers had the better team; chances are it was purely because you suspected a lack of fibre in their opponent. If you tipped the Dockers to win, well, just move on and hope no one knows about it. So, why?
Thanks for your contributions everyone. From next week we'll be doing this on Thursdays, so keep the questions rolling in. Have a great Easter break, enjoy round three, and we'll chat again soon.
Can the bombers knock over those pretenders from Princes Park on Saturday?
Throughout 2009, follow the fortunes of four young AFL hopefuls as they negotiate their final season before the AFL national draft. And ask them about their thoughts as they take the journey.
It's a big year for these young men as they balance schooling, training, playing and managing their expectations of playing the game they love for a living.
First up: a young Tasmanian who has found the past year a 'bit of a blur' as he set himself to make the AIS-AFL Academy.
Draft Dream no.1: Maverick Weller.
Looking back, the past eight months have been a bit of a blur. It all started on the Gold Coast for the Under-16 national carnival last July. We knew we had a strong side and headed north with confidence that we would be competitive. Being a second year player in the under 16s I took the first year for granted a bit, but this time around I knew it would be a good chance to test my skills against other players my age. I had set myself a goal to make the AIS-AFL Academy.
During training for the carnival my team and our strength and conditioning coach put a focus on heat training. Being from Tasmania - where it rains nearly half the year and rarely gets over 25 degrees - we thought that we were in for a hot 10 days, but funnily enough the practice game scheduled against South Australia was washed out and we had nothing but rain for the first three days.
Shortly after the carnival I had the shock of my life. Along with my best mate who I'd played football with since we were eight years old (Luke Russell), we were offered a scholarship with the AIS/AFL Academy that included an international tour of South Africa. I knew a little bit about the academy and that some of the graduates included Chris Judd, Joel Selwood and even Jack Watts just last year.
As part of the carnival, we played on the MCG on grand final day which was one of the greatest experiences of my life being that Tassie won the division two championships and me being a die-hard Hawthorn supporter. But the celebrations were short-lived because I had to get on a plane to Canberra the next morning - not the longest of off-seasons!
Funnily enough, in a time that went so quickly, the wait to actually get to Canberra was almost unbearable. On the plane I felt very happy in the way that I had finished off the season and that I had achieved the goals I set for myself. I then however realised that I would be faced with another hurdle, in that I would have to overcome a groin/hip injury.
Once we arrived and settled in, I thought it was quite weird to suddenly be teammates with boys I had been playing against - some as recently as the day before, like Steven May and Curtly Hampton.
Yet on the other hand Tassie had the most representatives it has ever had so it wasn't as though I didn't know anyone. For the first hour or so all the boys were pretty anxious about each other and didn't know what to expect, but it didn't take long for us to mingle and start to really bond.
We are continually told that being selected in the AIS does not guarantee that you'll go on to play in the AFL and that it is a stepping stone and just the beginning of a lot of hard work. However the AIS is a great chance to work with elite people and learn things that you wouldn't elsewhere, things that go into such depth like mental toughness, character building, decision making and psych testing.
In a week's time I leave for South Africa and I'm anxious about the challenges that will be thrown my way in my path to one day hopefully becoming an AFL player.
Thanks everyone for your questions today, sorry to those I didn't get around to answering. Let's do it again next Wednesday at 12pm!
It you've got any comments or want to run a question by Rohan, go to the 'Post a Comment' section at the end of this blog.
your maths are bad. it's round 89 for Wallace, not round 1.
Riccuito for the Tigers? I prefer his mix of skillful mongrel to the monotone of a Buckley, or the false hope of SheedyMatthewsMalthouse. he seems smarter than Voss. views?
no signs yet from Alan Didak that he has taken another step this year. he is quality, but needs to start dominating games. what do you think of his early year form?
Is there really much difference between the Carlton team that played last Thursday to the side that got regularly thrashed over the past couple of years? A few kids, sure, but it seems as though they now just believe in themselves. What do you think has provoked the change?
What chance are North this week against the doggies? With the doggies being a strong running forward team, can they be caught out on a turnover?
See my comments above about the forward fallacy - Rohan.
With untold riches from the Gold Coast on the horizon, the sacrificial act that premiership clubs demand is a player accepting several hundred thousand dollars less to stay, writes Jake Niall.
If Lance Franklin holds true to his word and never leaves Hawthorn, he will immediately sacrifice astonishing sums of money. For his club is in the position of having to accommodate not one, but two of the game's best players, with a third, Jarryd Roughead, a potential elite.
Hawthorn, like Geelong and the Brisbane Lions before it, will require acts of financial sacrifice, and its situation is arguably more challenging because of the Gold Coast factor and the prospect that the Swans, soon to lose Barry Hall, will surely be seeking a marque name, preferably a goalkicker, to return as a marketing and football force.
Something's gotta give. Either Hawthorn will lose a quality player or two - from the second tier of stars - or those players at the top will give up small fortunes.
Have your say on the looming salary cap crunch at Hawthorn and the impact of Gold Coast FC joining the competition in 2011.


text:
SEAT heads to China
10th July 2018 Amanda Hein
SEAT is heading to China. Volkswagen Group China and Anhui Jianghuai Automobile Group Corp Ltd (JAC) and SEAT have signed a memorandum of understanding by way of which the Spanish company teams up with the joint venture and will be the Volkswagen Group's lead brand in this project.
The agreement was signed by SEAT president Luca de Meo; Volkswagen Group China president Dr Jochem Heizmann; and JAC president An Jin, in the presence of German chancellor Angela Merkel and China's prime minister Li Keqiang, at a ceremony held in Berlin, Germany.
The signing of this memorandum of understanding signals a turning point for SEAT. Since the creation of the joint venture in 2017, SEAT has contributed in the areas of design and R&D. Under the agreement, SEAT will become a shareholder of JAC Volkswagen, which will result in the introduction of the SEAT brand in the Chinese market targeting 2020-2021.
After signing the agreement, Luca de Meo stated, 'Our participation in this new phase of the joint venture is a milestone for SEAT. Today will be remembered in the history of the company, as we are entering a new era that will enable us to globalise the brand and boost the development of electric vehicles.'
The memorandum of understanding also includes an agreement that SEAT, together with Volkswagen Group China and JAC, will establish an R&D centre in China to develop electric vehicles, connectivity and autonomous driving technologies, including relevant parts and components and core technologies, with operational use planned for 2021. In addition, the joint venture will launch a competitive BEV platform based.

redpajama_set_name: RedPajamaCommonCrawl


Only half of employees believe their workplaces are prepared for a severe emergency, according to the third annual workplace safety survey by Staples Inc. And nearly two-thirds of those polled said recent natural disasters have not led to their employers reassessing company safety plans.
The survey, in honor of National Safety Month, also reveals that in the past six months, nearly half of businesses have closed due to severe weather, costing the economy nearly $50 billion in lost productivity.
"Safety is a top priority for employers, but there is still more planning and training that can be done to improve safety in the workplace," said Bob Risk, national safety, health and wellness manager for Staples.
Slips, trips and falls: One in five report slipping, tripping or falling at work as their biggest concern. Accidents involving slips, trips and falls send 9 million people to the hospital each year and are a leading cause of workers' compensation claims, costing an average of approximately $20,000 per injury.
Natural disasters and storms: Less than half of employees say their employers have the plans or equipment in place for snow and ice storms, or catastrophic events such as tornadoes, hurricanes or earthquakes. According to the Institute for Business and Home Safety, an estimated 25 percent of businesses do not reopen after a natural disaster.
Fire: Fire is one of the most common safety incidents, but most employees feel their companies are well prepared. Three-fourths say their employers have a plan and equipment in place for a fire emergency.
The survey finds workers at businesses with fewer than 50 people are less aware or less sure who is in charge of emergency planning than employees at larger companies. Employees from smaller companies report having less emergency equipment or plans in place, are less likely to do safety reviews or drills, and are less prepared for severe emergencies than their counterparts at bigger organizations.
Businesses should assess and make sure they comply OSHA regulations. While exact safety products may differ between businesses, a good starting point of must-have safety products includes first-aid kits, fire extinguishers, crank-powered cell phone chargers and flashlights, personal protective equipment (such as protective clothing and respiratory protection), and the following emergency items: water/food, blankets, and exit signs.
A good safety plan includes procedures to respond to various emergency situations, methods to recover and maintain business continuity, securing adequate resources and supplies for crisis events and employee training.
To help limit slips, trips and falls in the workplaces, businesses should be vigilant about cleaning up spills immediately and posting signs identifying hazards, such as wet surfaces or areas that are being cleaned. Electrical cords often are an overlooked hazard – make sure these are not laid out in heavily foot traffic areas.
Find out how your company compares by taking answering five questions in the interactive infographic, How Safe Is Your Company?
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text:
Spirit of the Century
RPG published by
FATE System
Rob Donoghue, Fred Hicks, and Leonard Balsera
Spirit of the Century or "SotC" is a Pulp action Pick-up role playing game by Evil Hat. It is intended primarily for quick one-shots or a couple of serials, although nothing is stopping you from playing whole campaigns with it. It uses the third iteration of the FATE System - SotC has been written as a sort of playtest for the third edition (finally coming out after the company finished the Dresden Files RPG).
The core rules revolve around Aspects which are as much what your character can do as who he is. Examples of Aspects would include 'Fedora and Whip' for Indiana Jones or 'Always in the nick of time', 'Sucker for a pretty face', 'Man of Steel' and so on. These Aspects give you a bonus when activated with Fate points, or earn you a Fate point when they get you in trouble, so it's just as good to have bad Aspect as it is to have good ones. Everyone and everything, including the environment can have Aspects, so a player can use a Fate point to activate the bridge's "Crumbling mortar" Aspect and make the pursuing goons fall into the abyss.
This game plays into the Pulp genre in such a way as to promote EXTREME plots. Time traveling aliens from Atlantis are here to steal Nikola Tesla's Death ray while gorillas armed with Tommy guns raid a museum to steal the ancient artifact of Klizgorr'rb and ninjas rain from the sky in a blaze of black fury and the heroes fight undead Prussian soldiers with jetpacks on top of a Zeppelin...which is ON FIRE. The game gives many advice on how to keep the action smooth and running - a famous example suggesting that if the players get stuck on discovering clues or don't know what to do next, just throw ninjas at them, something is bound to come up and the action doesn't stall.
SotC received the Silver Ennie award for best rules, Indie RPG of the year 2008.
Its mechanics have inspired many recent games, from homebrews to high-opera Houses of the Blooded or Flash Gordon Starblazer Adventures to crunchy sci-fi Diaspora.
Brown-nosing by Critics[edit]
Indie RPG writers, reviewers, and neckbeards love to go on and on about how awesome SotC and the FATE 3.0 system is. However, these are people who read the rules about games more often than they actually play the games, so the validity of all this sunshine being blown up their ass remains to be seen.
Aside from the "zomg, this is the best RPG ever!" generic praise -- which this game has been getting more than the usual flavor-of-the-month RPGs -- one reoccurring point of praise is how much fun character creation is. "Character creation alone can be more fun than a regular session of most other games" is often heard in reviews and on /tg/.
Useful Links[edit]
Fudge dice because Wizards ate all the d20s
SotC Ruleset
Retrieved from "https://1d4chan.org/index.php?title=Spirit_of_the_Century&oldid=560799"


The ability of water hyacinth (Eichhornia crassipes) to adsorped polycyclic aromatic hydrocarbons from contaminated soil leachate was examined. Results obtained from analysis using GC/FID indicated that naphthalene (8.350 ?g/g) was the overall highest polycylic aromatic hydrocarbon adsorped at pH 4.0, while pyrene (0.057 ?g/g) was the least adsorped polycyclic aromatic hydrocarbon overall at pH 6.0. In ascending the pH from 2.0 to 6.0, there wasn't any trend observed in PAH degradation, though, it was noted that polycyclic aromatic hydrocarbons degradation increased from pH 2.0 to 4.0, and then, sharply decreased at pH 6.0. This results thus lend credence to the fact that E. crassipes is a potential phytoremediator in removing polycyclic aromatic hydrocarbons from contaminated waste streams.


Making a resolution for the New Year is like pulling teeth for me. I avoid it at all cost. To me, resolutions mean putting a label on something in my life that needs fixing. At 40 years old, I would rather do more accepting than fixing. And this applies to my own life, my kids, and the students I work with every single day who are applying to college.
I think my aversion to resolutions stems from how often I see people taking the easy road and simply doing what others want them to do. A prime example of this is college bound high school students. I ask them what they want to major in when they go to college or where they want to go. Their heart says one thing, but they know what's expected of them. So they follow a path driven by status, prestige, or predetermined by somebody else. This leads them to a college right for others, but not necessarily right for them. They major in something "practical" instead of what they love. And, they take a job to impress.
It takes a self-aware and self-actualizing kid to step off this prescribed path and set his or her own course. Self-awareness and self-actualization evoke the feeling of resolution-like terms, yet they have nothing to do with fixing anything. I call them anti-resolutions. They are something we need to embody and teach our kids so that we all live the life we want to live. Applying to college is when we are first tested.
Going to a brand-name college is often the goal for many students. When I ask students why they are applying to a particularly prestigious college, they often don't have a good reason. They list the common buzzwords like the opportunity to do research or the world-renowned faculty. It's almost like they're just spitting out perfect marketing lingo. The most telling piece is their supplemental essay for the prestigious college. Oftentimes, they write an essay that reads more like an admissions brochure than a personal statement about why they are truly attracted to the college.
If push comes to shove, should students just be honest? Should they write, "I'm applying to the University of Pennsylvania because it's an Ivy League school" or "because my parents want me to?" Of course not. But if they can't come up with a better reason, they should mark this moment of self-awareness, and make a self-actualizing decision to apply to colleges that are much better matches for them. Students will thank us in the end not only because they will have a better chance of admission, but they'll be much happier in the long run at a college that will accept them for who they are.
Most people just assume that I want my own kids to go to a brand-name college someday. But that's the farthest thing from the truth. I want my three wonderfully distinctive kids to end up where they belong. They can get a great education almost anywhere. If they accept who they are and strive to be the best versions of themselves, everything else will fall into place.
Self-awareness and self-actualization are learned behaviors. If my kids see me doing this, there's a good chance they will do the same. That's part of the reason I don't like to make resolutions to fix things. I like to embrace my anti-resolutions of accepting things and being honest with myself.
My own path wasn't perfect, but it was all mine. I like to tell my kids about the missteps and magical moments I experienced. I am living proof that brand-name colleges don't define us; we define ourselves. I went to the college I wanted to attend, but it wasn't a brand-name school. I changed my major to the one I wanted. I dropped out of law school to pursue the field I truly felt passionate about. When I stopped living other people's dreams, my own dreams seemed a lot more possible.
My 10-year-old daughter thinks I'm a rebel. Rebels accept who they are even if it doesn't fit a mold, and they go after what they want. I never thought of myself as a rebel, but maybe she's onto something. I'd say that's a pretty good anti-resolution for me to remember. If resolutions were made to be broken, anti-resolutions guide us when we lose sight of who we are and what's important. Let's stop fixing ourselves and those we love. The sooner we start accepting, the more we will appreciate and maximize the opportunities presented to us in 2016 and beyond.


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Born in Ottery St. Mary on October 21st, 1772, Samuel Taylor Coleridge, though more commonly known to his friends as Col or "Estese", was the youngest of ten children to a minister, John Coleridge, and Ann Bowden Coleridge. Being quite distant from his family, Coleridge often ran away; the most crucial incident occurred when he was seven. The events of his runaway became the imagery that was incorporated into his poems, with horrific night outdoors that would later haunt him in his nightmares. One of his first poems, "Monody", was inspired by his sister Ann. He was ill quite often, which was why he probably took laudanum, which later resulted in his opium addiction. His opium addiction grew worse when he was later separated from his wife Sara.
In trying to make money to support his family and to feed his addiction, Coleridge set out to publish other works, including Poems and The Watchman in 1797, Biographia Literaria in 1817, and Aids to Reflection in 1825. All in all, his published works gave him an income of £120 per year. He and his friend, William Wordsworth, would create the Romantic Movement through their published collaboration Lyrical Ballads in 1798. However, as his opium addiction got the better of him, he began to reach a point of isolationism, where he would not see his children for periods as long as eight years.
Coleridge died somewhat peaceably near London on July 25, 1834, after publishing unfinished poems such as "Christabel", "Kubla Khan", and "Sibylline Leaves".
The Mariner with the albatross around his neck.
"The Rime of the Ancient Mariner" speaks of the story of a Mariner doomed to travel the earth, telling those he meets the fate he dealt upon himself. The poem opens with the Mariner meeting a Wedding Guest, subsequently leading to the Mariner retelling his travels to the Wedding Guest. The Mariner's tale begins when he departed on his journey with his ship, which met with an unfortunate fate and was blown off-course to Antarctica by a storm. The crew of the ship encounters an albatross, which led the crew out of the Antarctic. However, instead of showing gratefulness, the Mariner shot the albatross, blaming it for causing the storm that blew them off-course in the first place. The bloodletting of the albatross arouses the spirits around the area, whose wrath led them to pursue the ship. The wind that led them south sent the ship into uncharted waters, where it marooned and made the ship stop in its tracks. The crew, getting angry at the Mariner, forces him to wear the albatross around his neck as punishment.
As the ship traveled through an eerie passage, it encountered a ghostly vessel, where Death and the Nightmare Life-in-Death played dice for the souls of the crew. Death won the lives of the crew members while the Mariner was forced to face a fate worse than death as his punishment. One by one, the crew members die off, leaving the Mariner the only survivor. As the Mariner's curse is slowly lifted, he began to see the sea creatures' true beauty and blessed them, causing the albatross to fall from his neck when he managed to pray. As his guilt is partially redressed, good spirits possessed the dead bodies of the crew members and steered the ship into a whirlpool, leaving the Mariner behind with a hermit on the mainland. The tale ends the Mariner, driven by guilt, to wander the earth and tell his story to teach a lesson to those he meets as part of his penance. The Mariner then leaves and the Wedding Guest returned home, waking up the next morning a changed man.
The Mariner's arrow towards the albatross.
Some themes that appear in "The Rime of the Ancient Mariner" include redemption, respect for God's creations, and guilt and justice. As part of his punishment for killing one of God's creations, the Mariner is haunted by his guilt and must redeem himself by wandering the Earth and passing on his story to everyone he meets. Through his adventures, the Mariner is able to see the worth within every one of God's creatures, even the lowly serpents of the sea.
By unknowingly destroying one of God's most harmless creature, the Mariner must learn to redeem himself so that those following his footsteps would not repeat the same mistake. As punishment, he carries the albatross around his neck as punishment (an image that makes Christians recall the Stations of the Cross where Jesus is made to bear the cross in order to save mankind).
Through his journey, the Mariner is able to respect God's creatures, even the slimy sea serpents, which are now recognized as being beautiful. His punishment allows him to see the true beauty underneath the surface, and teaches him beauty comes from within.
Justice prevails when the Mariner's guilt consumes him and takes on the form of the albatross around his neck. If not for redemption, this guilt would eventually corrupt his whole being and the Mariner would never be able to face his Creator.
Oftentimes, science becomes an albatross on the scientists, with its many setbacks and unexpected disastrous outcomes. At times, even the profit the scientists make off of their works become a burden on both their conscience and their physical body. Within Shelley's Frankenstein, the reader can see that the monster Frankenstein created in hopes of success and fame became his albatross, a burden in which he must carry to his graves as he relives the savage deaths of the people close to him in his final moments. In the same way, Moreau's puma in Wells' The Island of Dr. Moreau, along with Marlowe's Dr. Faustus' hidden knowledge that was bestowed upon Faustus, Matt in Farmer's The House of the Scorpion, and Mr. Hyde in Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, act as the albatross to their creators, resulting in the creators' inevitable death. Unable to escape the burden of their experiments, the creators must die in order to relieve themselves of the guilt that would eventually crush their mentality.