Do you know what hand mudras are? Have you ever used them?
They can be used daily for just a few minutes at a time, so like Reiki et al, they are a portable form of healing. Based on yoga and the connections we make when we touch one or more fingers to another finger (or fingers), they have a healing effect on your physical body and energy system. If you are sensitive to subtle energies like Reiki then you will probably find that each mudra feels a little different from the others. Some are lighter, some are more "earthy" or even "buzzy". Some help you to feel calm, others give you a little energy 'boost'.
I also use a book by Gertrud Hirschi which is a very good reference, particularly for the lesser-known positions. It is a thorough guide.
If you're just starting out with hand mudras, I recommend you begin with the positions using thumb and one other finger (Gyan, Akash and Prithvi) – just hold each one for a couple of minutes until you get used to the process. You'll soon find that you'll want to hold a position for longer. If a mudra causes you to feel a bit edgy or over-stimulated, perhaps stop that one for the moment, and use another; or just come back to it another day. Just play and see which ones help you to feel more healthy or balanced.
Mudras can be done anytime and anywhere (although you may wish to do them discreetly!) I often do them when in the car as a passenger, and usually when meditating or watching television. They will benefit you most when you are quiet, and in a state of allowing.
I am not an expert on hand mudras, but I do use them daily. I created The Hand Mudra Empowerment so that I could draw on the specific energies of ten of the mudras when it wasn't practical to form the hand positions. Etheric hand mudras are just as effective as physically-held ones.
If you would like to try out one of these energies, then clicking this link will take you to an encoded image, which has been programmed with the Gyan mudra energy. You will receive the energy of Gyan for 5 minutes each time you open the image.


Dominic, aged 10 months: He took his first steps yesterday. He was just standing by my mom and let go of her and took a casual three teetering steps towards her and she squealed louder and louder with each step. It was a moment. We all witnessed it, but of course he didn't repeat it for me to get on camera. Another time I'm sure, and it won't be long I'm afraid.
David, aged 3 years: He's starving himself slowly. The end.
Letteria, aged 5 years: There is something about jeans and sneakers on her, flares no less, that just ages her instantly. She's been really into wearing the denim lately, and while it makes her look more grown up, I am definitely enjoying the lack of daily knee holes.
all so adorable as usual. david not eating still is no surprise. discipline is unmatched.
first steps?!!! oh my gosh!! that's awesome. and bittersweet!! how fast his babyhood has gone!!
Yay Dom! I can't wait to see it! I love the first steps babies take. So wobbly and adorable :) and wow Letty looks so grown up in those flare jeans! She's a cutie!
First steps! sigh. Aria cooperated nicely and got hers on film. I think that was our good timing for the rest of our lives though.
Aria always eats so little for dinner and then doesn't want breakfast until she's been up for about 3 hours. I'm like how? I'm starving! I have to eat before her in the mornings these days or I die. I thought kids had to eat when they woke up as a general rule or hungry hippos.
She does look so big! So grown. So jean-y.
First steps, hunger strikes, and flares!!! I don't even know where to begin. What a bunch of cuties!!


text:
Eddie Huang's Memoir, Fresh Off The Boat, to Be Made into ABC Pilot
"THE CHINKSTRONAUTS HAVE LANDED!"
It wasn't enough for Mr. Eddie Huang to simply host a new food-reality TV series on MTV. Now, the Baohaus chefs' memoir, Fresh Off The Boat, is being made into a put pilot for ABC by Don't Trust The B—- in Apartment 23 creator Nahnatchka Khan. Khan is writing/executive producing the pilot and Huang will serve as producer.
The show is set in the '90s and revolves around a Chinese family that moves to Orlando. (Although, Huang's real-life family is Taiwanese.) "This is a setup Khan can relate to as she too is a first-generation American whose parents were 'fresh off the boat,'" reports Deadline Hollywood. We can only hope the network's put pilot commitment translates into a full TV series, if only to see who gets cast as lil' Eddie.
Huang seems happy about the news, and Instagrammed this picture of the Deadline Hollywood's announcement with the caption "THE CHINKSTRONAUTS HAVE LANDED! CC:@chineseguy88 @baohausnyc #Deadline":
[via Deadline Hollywood]

redpajama_set_name: RedPajamaCommonCrawl


text:
Joseph Eustache Crocé-Spinelli () a fost un inginer și aeronaut francez, care a murit în cursul unei ascensiuni cu balonul prin care se urmărea depășirea recordului de altitudine.

La 22 martie 1874, împreună cu Théodore Sivel, el a făcut o ascensiune în balon, până la o altitudine de 7.300 de metri, la bordul aparatului l'Étoile polaire.

La 23 și 24 martie 1875 a participat la zborul cu o durată record al balonului Zénith (22 ore și 40 de minute).

El a murit asfixiat pe 15 aprilie 1875, împreună cu căpitanul Théodore Sivel, în timpul unei noi ascensiuni cu balonul Zénith. Singurul membru al echipajului care a supraviețuit a fost Gaston Tissandier (1843-1899), care a rămas surd. Balonul a aterizat forțat lângă Ciron, în departamentul Indre.

A fost înmormântat în cimitirul Père-Lachaise, parcela 71, sub un gisant executat de sculptorul Alphonse Dumilatre care îl reprezintă culcat pe spate, ținându-l de mână pe camaradul său, care i-a împărtășit soarta, Sivel.

O stradă din arondismentul 14 al Parisului, rue Crocé-Spinelli, a primit numele său în 1896.

Note

Nașteri în 1845
Decese în 1875
Aeronauți
Francezi din secolul al XIX-lea
Decese cauzate de accidente aviatice

redpajama_set_name: RedPajamaWikipedia


text:
NYC Top Comedy Choices for Sunday 11/20/16
Matt Higgins, David Lawson, and Meghan O'Malley
The fourth and final day of the annual solo comedy festival curated by Peter Michael Marino includes such talents as Darcy Burke (who will teach you how to bake bread and love yourself 11:00 am-1:00 pm), Alex Gallafent (3:00 pm), Meghan O'Malley (5:15 pm), Stephanie Gould & Ashley England (7:00 pm), David Lawson & Joe Albano (7:30 pm), Matt Higgins & Molly McGaughey (9:30 pm), and Jaene Leonard & Peaches Rodriguez (9:45 pm) playing at all four PIT theatres: Solocom 2016 (11:00 am-11:00 pm; $10 per show or $30 for an all-you-can-watch festival pass; The PIT Upstairs, Downstairs, and Attic Theatres at 123 East 24th Street and The PIT Loft at 154 West 29th Street)
6:00 pm ($7): "Who knew that the nerd you were casual acquaintances with in high school was secretly a famous elf warrior? Or that the quiet girl in math class was a 1,000-year-old witch? In fact, all those weirdoes you never talked to were secretly battling the forces of darkness in their mother's basement. This show flips back and forth between fantasy and reality, magic spells and homework anxiety, the bravest campaign against evil ever fought and the hopes and dreams of the kids who imagine it all" at The Magnet theatre: Dragons & Dungeons
6:30 pm ($5): Three NYC improv groups that are independent (i.e., not a house team of any particular improv school/theatre) compete for audience member laughs and votes at UCB East hosted by superb improvisors Amey Goerlich & Ryan Karels (half of revered improv group Krompf): Indie Cage Match
[TOP PICK] [FREE] 7:00 pm: A stand-up who's performed on MTV, is the sharp co-host of Hot Soup and We're All Friends Here, and runs the award-winning blog Sandpaper Suit tries out new material every night through Monday at The Creek upstairs theatre in Queens' LIC (10-93 Jackson Avenue): Week at the Creek: Matt Ruby
7:00ish pm ($5): Dylan Marron (Ridgefield Middle School Talent Nite, Seriously.tv, Welcome to Night Vale podcast), Nick Vatterott (Conan O'Brien, Jimmy Fallon, Comedy Central's The Half Hour, MTV, Second City), Samantha Ruddy, Daniel Simonsen, Alise Morales, and Wes Haney performing stand-up or sketch at Brooklyn's Shea Stadium (20 Meadow Street) hosted by Brett Davis & Sally Burtnick: The Macaulay Culkin Show
7:00 pm ($5): Three scripted shows for the price of one at Brooklyn's The Annoyance Theatre (367 Bedford Avenue; take J/M/Z to Marcy Avenue or L to Lorimer Street): Triple Feature
[TOP PICK] 7:30 pm ($10) and 9:30 pm [FREE]: UCB Chelsea's signature improv comedy extravaganza, which typically includes superstars in the improv world such as Shannon O'Neill and Anthony Atamanuik, and sometimes network TV & movie stars such as Amy Poehler and Horatio Sanz: ASSSSCAT 3000
[TOP PICK] [$] 7:30 pm, 8:00 pm, 9:30 pm, 10:00 pm, and 11:30 pm ($14 per show, plus 2-item food/drink min.): Some of the finest stand-ups in the country spread among five shows, with three shows at Comedy Cellar (117 MacDougal Street, between 3rd Street & Minetta Lane), and the 8:00 pm & 10:00 pm shows at Village Underground (130 West 3rd Street, off Sixth Avenue): Comedy Cellar Sunday
7:30 pm ($7): A four-person group that describes itself as performing "pop-punk cabaret" at The Magnet theatre: My Dark Little Corner: Quad Fest
7:30 pm ($5): Stand-ups Greg Stone (America's Got Talent, TruTV's Friends of the People) and Anthony DeVito (Adam Devine's House Party) each perform a 30-minute set that they'll be recording and submitting to Comedy Central in hopes of landing half-hour specials. Your laughter may determine their careers at Astoria Queens' QED: A Place to Show & Tell (27-16 23rd Avenue): Greg Stone and Anthony DeVito
[TOP PICK] 8:00 pm ($10): A fundraiser show for Haiti hurricane relief starring stand-ups Michelle Wolf (star stand-up who's also a star writer/correspondent for The Daily Show, and previously for Seth Meyers; MTV's Girl Code, IFC), Sasheer Zamata (cast member of Saturday Night Live), Michelle Buteau (VH1's Morning Buzz and Best Week Ever, Comedy Central's Key & Peele, FOX's Enlisted, Craig Ferguson, Last Comic Standing, @midnight, comedy album Shut Up), Tanael Joachim, Nathan McIntosh, and Kareem Green performing at Brooklyn's Littlefield (622 Degraw Street; take R subway to Union Street): Jokes For Haiti
8:00 pm ($5): Liz Miele (David Letterman, Conan O'Brien, Comedy Central, Damaged), Erin Jackson (Last Comic Standing), Karl Hess, Dave Ross, Rob Little, and Paul Oddo performing at UCB East guest-hosted by Robert Dean: If You Build It
[TOP PICK] 9:00 pm ($10): Duo improv from Louis Kornfeld & Rick Andrews at The Magnet theatre: Kornfeld & Andrews
9:00 pm ($5): Stand-ups Nate Fridson (host of Dark Spots, comedy album Best Guy So Far) and Shalewa Sharpe (co-host of Thug Passion Presents, comedy album Stay Eating Cookies) each perform a 30-minute set at Astoria Queens' QED: A Place to Show & Tell (27-16 23rd Avenue): Nate Fridson and Shalewa Sharpe
9:00 pm ($7): Typically solid stand-ups perform at Brooklyn's Knitting Factory (361 Metropolitan Avenue) hosted by Will Miles, Clark Jones, and/or Kenny DeForest: Comedy Night at the Knit
[TOP PICK] 9:30 pm ($8): "Do you ever leave a comedy show saying 'Hmm, that was pretty funny but not enough reading'? Literati is a night of comics in character performing hilarious readings—sometimes while wearing wigs," with comics Jo Firestone (exceptionally inventive and irresistible rising star; The Chris Gethard Show, radio host of WFMU's Dr. Gameshow, live-on-stage host of The Unexpectashow and The Incredible Game Show Showcase, co-author of #1 bestselling Punderdome: A Card Game for Pun Lovers), Michael Wolf (showrunner of MTV series After Hours with Josh Horowitz; sketch comedy groups O.S.F.U.G. and Nancy), Colin O'Brien (sketch comedy group O.S.F.U.G.), Matt Strickland (host of I'd Rather Be Weird Than Good), Zach Cherry (sketch group Richard), Marcia Belsky, and Aimée Lutkin at Brooklyn's Union Hall hosted by Colin O'Brien & Michael Wolf: Literati: A Comedy Show About the Greatest American Novels Never Written
[FREE] 9:00 pm: "Bringing all the excitement and passion of professional wrestling to stand-up comedy, your clueless announcers Kelsey Caine & Jack Comstock invite you to get up and throw down for comics entering the ring for glory! Who will survive? Who will be there? Who actually cares about wrestling? Come on out and get Ready 2 Crumble" at The Creek upstairs theatre in Queens' LIC (10-93 Jackson Avenue): Ready 2 Crumble
Notable Ongoing Theatrical Comedy Shows
[MEGA-TOP PICK] [$] [DISCOUNTED] 7:30 pm, or 4:30 pm on Sundays, through 1/8/17 ($28-$48; use code BBOX20 for discounts): Comedy genius Chris Gethard performs his superb one-man show about anger, depression, perseverance, and the healing power of laughter, seamlessly blending stand-up and storytelling in a way that creates a deep, poignant, and hilarious experience at The Lynn Redgrave Theater (45 Bleecker Street, right next to the #6 subway's Bleecker Street stop): Chris Gethard: Career Suicide
[TOP PICK] [$] 7:30 pm, plus 3:00 pm matinees on Sundays, through 11/27 ($25): UK-based comedy genius Daniel Kitson is briefly gracing us with his presence to gloat about Brexit no longer being the stupidest choice a major country has made in the 21st century ("You seem distracted. Has something happened recently? Maybe you stubbed your toe?"). He's also here to perform his haunting one-man play Mouse, about which The Scotsman wrote: "There's no end, let's face it, to the evolving brilliance of Daniel Kitson, who may have started out in stand-up comedy, but is now one of the most remarkable exponents of solo theatre in the UK, if not in Europe." To be entirely honest, stand-up at its best is a higher form of art than virtually any kind of theatre, and it saddens me that Kitson has been visiting us for the past few years to perform plays instead of maximizing his gifts as one of the greatest stand-up comics alive. (Imagine Louis C.K. restricting his new works to episodes of Horace and Pete. No matter how great those might be, our losing Louis' voice as a stand-up would be wrong…) That said, any form of Kitson as brilliant writer/performer is worth experiencing; and while this show at Brooklyn's St. Ann's Warehouse (45 Water Street) takes a long, twisty path, its conclusion packs a wallop: Mouse: The Persistence of an Unlikely Thought
[$] [DISCOUNTED] 8:00 pm; plus 2:00 pm matinees on Saturdays; or 3:00 pm & 7:00 pm on Sundays, through 1/15/17 ($37-$139; use code OHBOX111 for discounts): I haven't seen this, so can't comment on its merits; but you should be aware that two of the sharpest and funniest comics in the biz, John Mulaney and Nick Kroll, are performing as their old men characters in this Broadway show at the Lyceum Theatre (149 West 45th Street): Oh, Hello
Sunday Open Mics & Open Stages
[FREE] 3:30 pm: An improv jam celebrating diversity in comedy that lets audience members—whose names are drawn from a bucket—perform with sharp improv/sketch group Astronomy Club (which includes Keisha Zollar and Jonathan Braylock) at the UCB East theatre: Diversity Improv Jam
[FREE] 4:00 pm: An unusually early walk-in open-mic stand-up show (put your name in the bucket) at The Creek downstairs lounge in Queens' LIC (10-93 Jackson Avenue) hosted by Sam Rose: Bucket! We'll Do it Live!
[FREE] 5:00 pm: Walk-in stand-up lottery style open mic that provides 4 minutes per comic at Astoria Queens' QED: A Place to Show & Tell (27-16 23rd Avenue) hosted by Andrea Shapiro & Chris Gersbeck: Bunk Bed Time Open Mic
5:15ish pm (no cover, 1 drink min.): Weekly open mic stand-up, with comics selected from names tossed into a bucket starting at 4:55 pm, at Brooklyn's Legion Bar (790 Metropolitan Avenue) hosted by Aaron Glaser, Irene Hartmann, and/or Carlos Delgado: Sunday Open Mic
[FREE] 10:00 pm: An open-mic stand-up show (sign up is at 9:45 pm) providing 5 minutes for each comic whose name is pulled from the bucket at The Creek upstairs theatre in Queens' LIC (10-93 Jackson Avenue) hosted by Ian Kitchen: The Grandstand
[FREE] 10:00 pm: The only open-stage show for entire groups of improvisors and sketch comics, running weekly at UCB East hosted by Austin Rodrigues: Bring Your Own Team: Improv/Sketch Team Jam
This entry was posted on Sunday, November 20th, 2016 at 9:51 am and is filed under Best New York Live Comedy Shows.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


JOE PLASKO/TIMES NEWS Robert A. Miller, president of the Tamaqua Blue Raider Foundation, addresses the crowd at the foundation's kickoff reception Saturday night at The Restaurant at The Station.
The Tamaqua Blue Raider Foundation is off to a good start.
The foundation held its kickoff reception Saturday evening at The Restaurant at The Station, Tamaqua, with over 100 in attendance.
"We sold out, and we're thrilled. It's absolutely a success," said Walter E. Kruczek, vice president of the non-profit foundation, which was created to support the Tamaqua Area School District. "People have commented that this is long overdue and it's a great thing for the school district."
The kickoff also served as an inaugural fundraiser for the foundation. "We had some generous donations from people who came, and even from some that couldn't make it," noted Kruczek.
According to its mission statement, the foundation has been privately established to assist the district in funding projects that are outside the district's budget.
The foundation, which was officially announced at the Tamaqua Area Board of Education's November, 2009 meeting, will act autonomously to enlist individuals, corporations and other foundations in charitable fundraising activities to assist the district's students in achieving their maximum potential.
Robert A. Miller III, former president of J.E. Morgan Knitting Mills, Hometown, is serving a president of the Raider Foundation board of directors. Miller welcomed the crowd at the reception and recognized board members Kruczek, treasurer Michael W. Fegley, secretary Jeffrey P. Bowe and trustee James R. Zigmant.
Miller also thanked Mauch Chunk Trust Company for sponsoring the reception and Nick Zigmant, branch executive of the Tamaqua YMCA, for assisting with the audio-visual presentation, which included a slide show of images of the school district.
Miller noted that Tamaqua Area students and staff provided creative help by designing logos and brochures for the foundation.
"Yes, we involved the students from the start," said Miller. "This foundation is as much theirs as the community's. The whole scope of this endeavor is to assist in providing the children of the Tamaqua school system the tools needed to learn and grow through their years of education.
"We want them to be viewed as assets to the local business community upon graduation, and assets to the institutions of higher learning. Either way, they become an investment in the future of our community and its industry.
"Our students are products of us, and they learn and experience from us. The environment that surrounds them is the environment that influences them and sets the pathway for the future. Tamaqua's commerce now and in the future depends on the molding of their education. We need the graduates to stay, we need them to return after their higher education. We need their ideas, their entrepreneurship and their youth to grow this community," added Miller.
Miller noted the foundation operates as a 501(c)3, tax free charitable organization, and while it acts independently from the school district, it enlists its counsel in the expenditure of funds. It is also not affiliated with the district or booster clubs such as those for the Raider Band or for spots teams.
Tamaqua Area School Board President Larry A. Wittig said the foundation has been an idea that has been in the works for about five years as research was done into the best ways to go about its formation.
"It was designed to be separate from the school district," Wittig said. "It's a great way for the community to help education. If people want to direct their donations, it won't go into that general budget black hole. It will allow someone to leave a legacy in perpetuity for specific educational endeavors."
"I'm impressed with the support we've had from the community so far," said Tamaqua Area Superintendent Carol Makuta. "Our district is looking forward to recommending some projects that will benefit our students in the future."
Miller issued an invitation for anyone interested to become part of the undertaking to provide the tools needed to enhance the school system and inspire its youth.
"If they believe in us and we can keep them, they in turn will lead and motivate the Tamaqua community," stated Miller.
For contact the Blue Raider Foundation, phone (570) 668-1241 or email blueraiderfoundation@gmail.com.


One of the main benefits of H-1B status is its tolerance of "dual intent" — the ability of an H-1B worker to apply for and obtain permanent residence in the US without having to leave the US and wait abroad for an immigration visa to be approved. It is even possible to continue working without a break if you are careful about preparing and filing your application. The petition process involves quite a bit of paperwork, however. Following is a brief overview of the process.
For many if not most H-1B employers, their sponsor is their H-1B employer who wishes to retain their services permanently. In any case, it is your sponsor who must initiate the permanent residence procedure on your behalf — you cannot do it yourself. Although the entire process takes quite some time and can vary greatly on a case by case basis, you will be in legal immigration status as soon as your sponsor receives a USCIS Receipt Notice.
The Program Electronic Review Management (PERM) system is an electronic system that allows you to obtain a labor certification from the US Department of Labor. Like the LCA that the H-1B employer obtained as a part of the H-1B petition process, PERM certification is designed to assure the Department of Labor that the employment will not adversely affect US workers.
Obtain a prevailing wage certification from State Employment Services or the State Workforce Agency and file it with the DOL. This certificate sets the minimum wage that your employer is allowed to pay you.
Conduct recruitment to seek a US worker for the position and show that no qualified US worker was willing to accept the position. Recruiting involves placing a newspaper ad and at least one other form of recruitment (a website ad, for example). The process takes about three months, and your employer will have to fill out a report for the DOL.
Fill out and file ETA Form 9089, Foreign Labor Certification. There is no filing fee.
Obtain a favorable decision from the DOL. The entire process, from registration to approval, takes about six to ten months.
The employer must file Form I-140 with the USCIS. The employer will probably file the I-140 in the second or third employment preference, because it is these two preferences that generally correspond to the skill level of an H-1B worker. In many cases, this means no special delay before processing begins. Workers from China, Mexico, India, or the Philippines can face delays of several years before a visa number is issued and processing begins.
The filing fee for Form I-140 is $700, and approval means that the USCIS has classified the employee as eligible for permanent residence. It does not grant permanent residence by itself, however.
The H-1B worker himself must file Form I-485 with the USCIS to adjust his status to permanent resident. The total filing fee, including the biometric services fee (for fingerprinting), is $1,225. Once this petition is approved, an employee located in the US is allowed to live and work permanently in the US. The employee must be in legal status at the time he files Form I-485.
The USCIS permits Form I-140 and Form I-485 to be filed together, at least for most H-1B visa holders and certain other applicants. If you file Form I-140 and the USCIS replies that you will have to wait for a visa number to become current before processing can begin, you can file Form I-485 as soon as your visa number becomes current. Once you file the I-485, you can apply for advance parole, which will allow you to leave the US temporarily and return.
The USCIS must issue a Receipt Notice for Form I-485 while you are still in legal immigration status for the employee to remain in legal status.. Once this occurs, the employee may remain in the US while waiting for the I-485 to be approved. If the employee's status expires earlier, he will be expected to leave the US and wait for approval of the I-485 while located abroad. In this case, an additional step will be required — the employee must apply for an immigration visa at a US embassy or consulate abroad. This step will involve a significant amount of preparation.
Since the transition from H-1B to permanent resident can take anywhere from a year to over a decade, committing a serious mistake in the application process is not an option — the stakes are simply too high for that. It is critical that you contact an experienced immigration lawyer well before your current H-1B status expires.


On August 12, Minneapolis Mayor Betsy Hodges addressed the city council summarizing her proposal to transform the city into what she calls the "city of the 21st Century." She said, "Being a 21st Century city means we transform our work to meet the needs of the people and economy of the new century. So today I presented a budget based on that premise." She began with the basics; the elemental needs of the city and its citizens that can meet the challenges of the 21st Century. She believes the city will grow as long it grows for everyone equally. It is a simple premise that is anything but simple, and will take revenue to achieve, which is the crux of her address.
Hodges calls it a down payment for the future success of the city. She maintains the budget originally called for a 4.4 percent levy increase, but as a result of shrewd budget decisions, non-property tax revenue increases, and city departments that have tightened their budget belts, she can now propose a 3.4 percent increase instead. She also asserts that two-thirds of property owners will enjoy a decrease in their taxes.
For Minneapolis to keep pace with the future, to stay competitive and become a city of choice, we must make a commitment to invest. How does North Minneapolis fit into this future? The Mayor is committed to equity and how it is linked to the advancement of Minneapolis. She believes it will take all the citizens to make Minneapolis the city of the 21st Century. In order for this to happen everyone must have an equal opportunity for personal growth and success. It is no secret that Mayor Hodges feels that investment for the future begins with its youngest citizens, which is why she is proposing $13 million be allocated for affordable housing as part of her Cradle to K initiative. It's a basic need for children–to live in a safe and healthy environment, and a home offers that stability. When childrens' lives are stable they can then focus on school and learning.
Education as an investment for the future is not just relegated to the very young but can be applied to adults as well. The Mayor's budget proposal includes funding for 30 TechHire Initiative scholarships that is targeted for women, and people of color who will be trained in coding and other technology jobs by employers who agree to hire them at the end of their training period.
Since 2013 young men of color are mentored and guided to prepare them for positive leadership roles through Broader Urban Involvement and Leadership Development (BUILD). The Mayor would like to expand this vital program by dedicating $112,000 to BUILD.
And lastly another proposal is the formation of the EMS Academy that will partner with the fire department with local healthcare facilities to train adults from age 18 to 25 to become Certified Emergency Medical Technicians. Not only will this provide them with a profession but will give them an opportunity to serve their community. In addition, residents age 15 to 21 will be given a hands-on opportunity to serve as they explore a career with the Fire Department through the Fire Explorer program. Funding for these civil servant initiatives will cost $200,000.
We are nearly 16 years into the 21st Century, so Mayor Hodges' plan is like a beacon leading Minneapolis into a new era of inclusion, expansion and prosperity. Minneapolis has long been a leader as an example of diversity and progressive reform but now with innovative leadership, we can become the city of the 21st Century.


text:
Q: Is there a word to describe an individual who has complete control over his negative and positive emotions? Let's say examples of negative emotions are sadness and despair, and
example of positive emotions are happiness and pride.
So is there a word that describes a person who has total, complete control over his negative and positive emotions? I'm talking about someone who can manage his emotions in a long-lasting way, not just temporarily. Generally speaking I'm looking for an adjective, but a noun will also be useful.
Example Sentences:
1.When images of scenes that normally trigger strong emotions were shown to him he demonstrated no emotion
2.His face did not display any emotion despite the [sad]news just relayed to him.

A: I'd suggest,
poker-faced

pok′er face`
n.
a face that shows no emotion or intention.
  [1880–85, Amer.]
pok′er-faced`, adj.
Random House Kernerman Webster's College Dictionary

deadpan

deliberately impassive in manner WordNet by Farlex

A: Informally, a person with complete control over emotions is often described as "very Zen," an adjectivized version of the Zen Buddhist religion (which prizes emotional control).  This is a slang usage, however.
A more formal term is impassive:

1c: unsusceptible to or destitute of emotion
  2: giving no sign of feeling or emotion
http://www.merriam-webster.com/dictionary/impassive

However, this describes either someone who feels no emotions, or someone who gives no sign of emotions, neither of which is exactly the same as having complete control over emotions.

A: You might describe them as a "Vulcan", after the fictional race in Star Trek. Vulcans attempt to live by reason and logic with no interference from emotion.

A: There are several appropriate terms. Assuming that all emotions could be described as positive or negative(is there such a thing as a neutral emotion?)
Stoic In the classical sense this meant adherents to the stoic philosophy which was a philosophy emphasizing the importance of the appropriate behaviour, in modern usage it would be used to describe someones demeanor.
"Angela Merkel is of very stoic character"
Similar terms would be "unflappable" and "impassive".

A: Equanimous
from Wikipedia:
"(Latin: æquanimitas having an even mind; aequus even animus mind/soul) is a state of psychological stability and composure which is undisturbed by experience of or exposure to emotions, pain, or other phenomena that may cause others to lose the balance of their mind."

A: Is Objective. Objectivity carries no emotion, just observation and stating.
For a more direct approach, composed and calm.

A: Context can easily change the word that will answer the OP - is the person saintly or pyschopathic, a powder keg of buttoned up frustration and anger, or averagely content and sociable?
Someone who is able to experience positive and negative emotions without either self-harming or acting sociopathically might be said to have balanced their emotions, in the sense that neither good nor bad emotions disrupt their ability to maintain an 'even keel' and go about their daily business.
Alternatively, you could say that this same person is self-aware, unreactive, in good mental health.

A: The dictionary doesn't quite agree with my connotations of the word, but I might use
Measured (from this website):

(Of speech or writing) carefully considered; deliberate and restrained:
  his measured prose

This word always reminds me of the title of a Roscoe Holcomb album, An Untamed Sense of Control. That's really quite tangential, but I never get to mention it to anyone.

A: The main question in choosing a word is what you want to say. Complete control over emotions, taken at face value, means that you completely control what you feel. I doubt there is a word for that because I doubt there is a person who can do it.
I would assume that you meant complete control over own reactions to emotions. In that case 'phlegmatic' might do.

A: "Emotional Maturity" answers your question.  One of the definitions of Emotional Maturity is the ability to redirect your negative feelings into a positive, constructive direction.  https://www.google.com/search?q=Emotional+Maturity has many matches.  If you want a single word, then try "Maturity."

A: "Complete control over negative and positive emotions' - in other words, this person feels exactly what they want to feel, irrespective of the situation or stimulus. I think 'narcissist' is the word you need.

A: Another possibility, although perhaps more impersonal than what you seek, is "dispassionate."
Here's the online Oxford definition:

Not influenced by strong emotion, and so able to be rational and
  impartial

A: The most apt, I believe, are these:
Stern

(Of a person or their manner) serious and unrelenting, especially in the assertion of authority and exercise of discipline.

Ascetic

Describing a person who practices severe self-discipline.

A:
Example Sentences:

*

*When images of scenes that normally trigger strong emotions were shown to him he was stone-cold.

*His face was stone-cold despite the [sad] news just relayed to him.

stone-cold
The American Heritage® Idioms Dictionary

Unfeeling, insensible, as in That sad story left her stone cold. This analogy was already used by Shakespeare in Henry V (2:3): "Cold as any stone."

A: There is a difference between 'controlling your emotions' or ignoring them and - allowing them - not judging them. If you are able to allow your emotions without judging them as good or bad, then you should be able to just be with them, without needing to react.
That, I would describe as 'saintly' or 'non-judgemental' or 'wise'.

A: So I've been briefly looking into this subject not thinking much about how rare it is to have high control over personal emotion and more for a literal term for someone like this. But from  what I have read it seems to be most humans feel at least some emotion and have little control over them (when I say control, I mean literal complete control like playing a video game not calming yourself down).
The reason I was interested in this is because of my girlfriend, she is very emotional and I have a very hard time keeping up and understanding her reasoning for that emotion, yes I have gotten many responses like: "well she is a girl" or "maybe it's her period" or her personal favouring "I don't know" usually followed by crying and it always confused me as I seem to be a relatively low emotion person but through recent personal events I have gained a pretty well rounded grasp of my emotion.
Now while I am not in complete control for example I cannot just make myself switch between emotions in seconds effortlessly happy, sad, depressed, lost, ecstatic and back to happy not at all but what I can do is loose my emotion. It seems grim but this is usually think of it. When I know I'm currently in one emotion I can picture or I dare to say feel a kind of connection, and it's relatively malleable, as I started to understand this and learn about myself I started to paint myself a picture I my head which helps me switch h between.
To be honest all I picture is a kind of wire or connection, all I see is the middle though and if I relax I can move it or disconnect it. Afterwards I don't feel any specific emotion. Contrary to how I picture it I don't belive I completely break the connection though for 2 reasons.

*

*Being that my personal thoughts and choices are still effected by my personality, I do think more rationally and usually seem vary selfish but there are some choices I make that are not completely robot like.

*Being I still possess the ability to return to my emotional self so there must be some form af connection somewhere.

This also gives me a pretty happy lifestyle as if I ever feel genuinely upset or feel a strong negative feeling (including depression) I can switch over fo nothing which then gives me the rational thought process to understand what's happening and as long as I can understand it or come to peice I can switch again and be happy.
It comes in handy and my personal best for switching states states is: since early morning wad riddled with deep depression, anxiety and pain and it didn't help that the previous 2 nights I did not sleep at all. Around 8 in the morning I hadn't eaten in over 24 hours and was at a very slow mental functioning speed. I had no real thoughts for about 2 hours and only plan was not to let anyone know about how I feel. Luckily I must have looked relatively ok and managed to get to work unbothered by the people who care about me and would want to help.
Luckily that morning in work was quiet and I had jobs that required very little attention. The perfect environment for me to think. For the next hour roughly I had thought over what had happened in the previous couple days and managed to sort it all out and by this time I realised I wasn't as sad. I was now af a neutral level, emotionless, I was then given a good 20 minutes without being talked to by Co workers (Luckily in the sense that it helped me think, I enjoy working with them) and had now completely mapped out in my head: what happened, why, what I should worry about, what was not worth me worrying about, and what and how I had to think to change. The rest of the day went very smooth and j spent most of it singing outside haha.
Although I belive this new found ability is my reward for going through certain experiences in the past and learning from them Including: depression, disassociation, disassociative bipolar disorder and probably more. These are things I went through alone but that's not a sub story or a cry for help its a hero arc. I went through all of that pretty stupidly tbh, most of the things I listed I didn't notice myself but by people around  me and my friends, which I then pieced together myself. So it's all worth it now

redpajama_set_name: RedPajamaStackExchange


Tundraland Home Improvements, proud partner of the Green Bay Packers, brings you the Go Pack Giveaway 2017. Register now at www.gopackgiveaway.com and you could win $10,000 toward a home makeover (cost of labor and material included).
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This role supports the Product & Data Management teams with the launch of new products and maintenance of product data for our portfolio. Delivering commercial data to customers in new platforms to meet ever changing 21st Century customer needs.
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Understand the customers' need for product data in a 21st century format.
Responsible for creating Product Change Notices and working with the Product Management team to communicate the changes to internal and external stakeholders.


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Hyland RPA named a Strong Performer in The Forrester Wave™: Robotic Process Automation, Q1 2021 report
A massive shift to remote work environments revealed broken manual processes that require digitization and automation to run smoothly. As more organizations turn to robotic process automation (RPA) — not only for classic desktop-based tasks but also for more complex processes — vendors are responding their offerings with additional features and capabilities. But in an increasingly diverse RPA market, it can be difficult to know what to look for in a vendor.
To help enterprise architects select the right RPA partner for their organization's needs, this Forrester Wave™ report has identified 14 of the most significant providers in the market, including Hyland RPA. Download the report to explore:
A high-level overview of the top vendors in the RPA market
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Named a Leader in The Forrester Wave™: ECM Content Platforms, Q3 2019, Hyland added RPA to our intelligent automation suite in 2020. With an ecosystem that includes RPA, process orchestration, low-code capabilities and integration with line-of-business systems, our intelligent automation platform empowers staff to focus on high-value work by removing slow, manual and repetitive tasks.
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text:
Q: Calculate time difference between fields I am doing some time calculations in a TEMP table.
I have the following fields: DATE_FROM,DATE_TO,TIME_FROM,TIME_TO.
The fields are all DateTime.
To calculate the difference between TIME_FROM and TIME_TO I have added a calculated
field called TIME_DIFFERENCE which is also DateTime field.The database is absolute database. So on my TEMP's oncalculate fields event I have added:
procedure TForm1.TEMPCalcFields(DataSet: TDataSet);
begin
TEMP.Fields.FieldByName('TIME_DIFFERENCE').AsDateTime :=
          (TEMP.FieldByName('TIME_FROM').AsDateTime) -
          (TEMP.FieldByName('TIME_TO').AsDateTime);
end;

Time difference works ok but I have run into a difficulty: The calculation only works between time fields. I don't know how to link the TIME_FROM to a DATE_FROM field. Because if I select TIME_FROM to be 22:00:00 and TIME_TO to be 06:00:00 I get the 16 hour difference (It should be 8). How can I accomplish this so my TIME_FROM starts from (with) the DATE_FROM ? And the end part as well ...

A: Write sql query where you calculate time difference.
SELECT Field1, Field2, (TIME_FROM - TIME_TO) AS TIME_DIFFERENCE FROM SOME_TABLE

A: In Sql and also in Delphi a Date/DateTime variable/field contains a numeric value.
Suppose that the value is 1.0, then this represents 1 Day. 1.5 will represent 1 Day and 12 Hours.
So, when you put 22:00:00 into Time_From it will have a value of 22/24 in it. And if you put 6:00:00 to time_to the variable will have the value 06/24 when you subtract these you will get normally 16/24.
What I understand from your question is that you are asking for the difference of tonights 22:00 and 06:00 in the next morning. To have the right calculation you should add 1 day to Time_To variable. ( 06+24=30 ) 30/24.
And a small note, make the operation otherway round. Time-To - Time-From. Assuming that Time-From is in the past.


EP211: Should I Pay off Debt or Invest in Real Estate?
Should you pay off debt before you begin investing in real estate? Is being debt-free a requirement for investing? On this encore episode of Investing in Real Estate, Natali and I are answering these questions, and sharing how you can make the right decision for your particular situation.
This topic is one of our most frequently asked questions, and we're excited to address the topic. Many people understand the value of real estate investing, but are concerned about approaching investing when weighed down by debt. Listen in to this episode of Investing in Real Estate to hear how to address your debt, assess your expenses, and how to be creative in real estate investing!
Deciding how to approach real estate investing when you have debt is not always simple and straightforward. There are a few factors to consider. This is a decision you'll have to make for yourself, but we want to help you weigh your options.
The first thing you should do is write down all of your debts, so you have a clear picture of where you stand. Assess the kind of debt, as well as the interest rate for each. Then calculate how much money you have each month to allocate toward paying off debt.
Sometimes, debt is necessary. Perhaps you had to take out a loan to buy a car, or maybe you have some student loan debt. Typically, anything under 4% interest is not a priority to pay off immediately.
For us, all of our real estate investments accrue a minimum of 10-12% return on investment. It's all about determining which rates are higher. For example, if you have a store credit card with 22% interest, you will likely want to consider paying that off as quickly as possible.
Next, weigh what you're paying monthly in interest against a potential investment. For example, if you have $500 each month to allocate either toward paying off debt or investing, you'll have to assess how quickly that $500 can help you reach your goals.
You should also consider that it's not an all-or-nothing approach! You can split the money up and approach the situation creatively. Investing is not black and white, it's about what finding what works for you and benefits your specific situation. LendEDU also has an excellent guide you can use to gauge your options.
To learn more about achieving financial freedom through real estate, find your Freedom Number! It's a simple step-by-step process to help you find the exact number of properties you'll need to obtain. This idea changed the way our family looks at finances, and helped us find financial freedom.
What is the difference between good debt and bad debt?
What does it mean to treat your interest rates like a teeter-totter?
What is high interest status debt?
How can you stop accruing more debt?
And much more about real estate investing!
What would your life be like if you had no mortgage? Would you accelerate your investing strategy, pay off debt, or take more family vacations? A few years ago, Natali and I discovered an incredible means to pay off our primary residence. Now we utilize this strategy consistently in order to meet our ultimate goal: purchasing more buy and hold real estate.
On today's episode of Investing in Real Estate, we're sharing the proven system you can use to pay off your mortgage in just a few short years. We'll discuss the step-by-step system that can help you save hundreds of thousands of dollars in interest payments. We'll share the importance of dedication, and why banks don't want you to know about this strategy!
Have you ever thought about using a HELOC to pay off your primary mortgage? When I first discovered this strategy, I was fascinated, and decided to put it to the test. With enough discipline, I discovered how quickly and effectively it works.
Using a HELOC, or home equity line of credit, to pay off your mortgage is a way to create equity in your primary home. Doing so allows you to pay down your balance quickly. More importantly, it allows us to leverage our funds in order to purchase cash flowing real estate.
The reason this works is because the loan on your house is amortized, meaning the value of the home is gradually paid off. Typically on a mortgage, you're paying off the interest for the first years of the loan. Principle is not paid off until later.
But if you're able to put a large amount of funds from a HELOC toward your mortgage, you can designate that money to go specifically toward your principle balance. Then going forward, a larger percentage of your monthly payment can be applied toward principle, instead of primarily interest.
So instead of paying off your mortgage in 15 or 30 years, you're able to do so in less than five! On today's show, we'll map our all the details of this strategy. We'll talk about utilizing your HELOC as a checking account, and running the numbers of your amortization schedule. Please join us for episode 181 of Investing in Real Estate!
If you want to learn more about this payoff strategy, we'd love to share our new book with you! It just launched on Amazon, and you can pick up either the Kindle or paperback version. We wanted to share this to help you free yourself from the dead weight of your mortgage so that you can enjoy your monthly income however the heck you want to!
How can you use your HELOC as a checking account?
Why is it important to designate your payments toward principle?
Typically, how much can you take out of a HELOC?
EP178: Should You Pay Off Investment Properties Quickly?
On this episode of Investing in Real Estate, Natali and I are discussing the four questions you should ask yourself in order to determine if you should quickly pay off a mortgage or note. We'll talk about evaluating interest rates, covering your expenses, and more! Don't miss episode 178!
How can you purchase an additional property if you need your rental income for personal expenses?
How can you determine if it makes sense to funnel funds toward interest?
How can you learn about quickly paying off a mortgage?
What information should you put on a spreadsheet in order to determine if you should pay off your property?
This summer, many Americans could see a boost in their credit scores as the result of a new change in credit scoring. Beginning on July 1, 2017, public records such as tax liens and judgments will be removed from the credit scoring system.
Returning to the podcast to discuss this change, and what it means for consumers is Wayne Sanford! On today's show, Wayne is sharing why this change is happening, how to stay informed, and more! Don't miss episode 176 of Investing in Real Estate!
Since the last time I spoke to Wayne Sanford, much has changed in the world of credit scoring. A new lawsuit, initiated by the New York State Attorney General, has concluded that public records should be removed from credit reports. Wayne explains that there are many arguments on both sides, but the conclusion rests on the fact that sharing a consumer's Social Security number is a privacy issue.
According to Wayne, this is a vast change. However, just because a deficiency or judgment is gone from a consumer's credit report, doesn't mean it's completely erased from history. These debts must be satisfied.
If a consumer wants to work with a bank, not much can be done if they have a deficiency or lien. A judgment supersedes the first lien position, under any circumstance.
With the new changes to the tax reports, banks will have to go directly to the companies that report these public records. And for many people, this could be an issue when applying for a big purchase, such as a mortgage.
On today's show, Wayne is sharing more about this shift in the credit scoring system. He'll discuss contacting credit bureaus, and how to handle deficiencies and judgments. We'll talk about why this change is happening, what it means for consumers, and much more!
What is an offering compromise?
How long does a consumer have to respond to a judgment?
Currently, how long does a judgment remain on a credit report?
What is an affirmation of debt?
What is the main question that baffles debt collectors?
Sometimes being a real estate investor can involve making serious decisions about how to most effectively run your business and manage your finances. On today's show, Natali and I wanted to pull back the curtain once again and discuss how to best move forward in our real estate business.
On today's show, you'll hear Natali and I discuss the constant revision of our Freedom Number, and how we've leveraged our assets. We'll also talk about how to move forward with our new business credit cards, and how to evaluate financial products. Please join our conversation on this episode 142 of Investing in Real Estate.
On episode 115, I interviewed Mike Banks from Fund&Grow about using business credit cards to purchase rental real estate. This is a fantastic strategy, because it's not tied to your personal credit score. Using these credit cards allows you to purchase properties at no interest for an introductory period.
We decided to employ this strategy on a personal level. We applied jointly, and were approved for five different business credit cards. These lines of credit total $176,000, and are zero interest. We are able to request credit access checks, and treat these credit lines as cash!
Clearly, $176,000 could help us grow our portfolio rapidly, especially since the all-in cost of our properties is right around $50,000. We do have aspirations of reaching our Freedom Number, but we've also seen great success in making large payments toward our primary mortgage.
In fact, earlier this year we applied a large payment to our mortgage by accessing a home equity line of credit. We were able to shave an entire year off the life of our loan, as well as $34,000 in interest. Doing this is so rewarding. It's liberating to strive toward owning your home free and clear.
On today's show, you'll hear us navigate this decision making process. We'll talk about our acquisition strategy, and how many properties we plan to purchase in 2017. We'll discuss creating financial freedom through real estate, and how you can access your own business line of credit! Don't miss episode 142 of Investing in Real Estate!
Should you revise your Freedom Number?
Why is rental real estate so powerful in case of emergencies?
How can you qualify for a large amount of business credit cards?
Why do 401k providers discourage borrowing?
EP127: Buying Rental Properties with Credit: Good or Bad?
Deciding how to finance your rental properties can be a complex decision. Unless you have cash on hand, you'll have to assess your credit, debt, and more.
On this episode, Natali and I are sitting down to answer listener questions about credit and financing. We'll talk about buying real estate investments with credit, and how to evaluate financial products. Join us for episode 127 of Investing in Real Estate!
One mantra that has stuck with me throughout the years is the idea that "free and clear is the promised land." Obviously, if you can purchase a property without a financial product, you forego interest rates, fees, and other expenses.
However, using cash up front for every single deal isn't always an option. Luckily, there are many alternatives if you're willing to be creative. And there are ways to pay with cash, even if you don't have $50,000 sitting in a savings account.
You can take a 401k loan, take out a HELOC, partner with other investors, or structure private notes. Wholesaling is another great option. Business credit cards may be available to you. Traditional mortgages, or refinances are options as well.
It all comes down to evaluating these products. You have to assess financial products, and determine if they are worth it to help you meet your goals. On today's show, we're explaining how to properly assess financial products, and answering more of your questions!
How can you meet like-minded real estate investors?
How can you determine whether or not you should refinance?
Is there a difference between good debt and bad debt?
Should you get out of debt before investing in real estate?


text:
The Extended Bernadotte Family, News Part 1: March 2017 -
Countess Sandra Bernadotte has posed in a dirndl for Christmas photo shoot in Mainau.
https://www.instagram.com/p/BbUE_lJD...ged=bernadotte
Countess Bettina Bernadotte gave the welcoming speech at Jahrestagung 2017 of Die Deutsche Gesellschaft für Tourismuswissenschaft e.V. (German Society of Tourism Research) on 9th November in Mainau Island.
https://pbs.twimg.com/media/DOM7jOBXkAEMU9q.jpg
Today at the Mainau Castle starts the winter exhibition "Skandinavischer Winterzauber" (Scandinavian Winter Magic), which will be open until 11th February.
Winterausstellung 2017_18 - Insel Mainau
Countess Diana Bernadotte and Mainau Garden Club help people make Christmas wreaths today, 24th November and 1st December.
Under the expert guidance of countess Diana Bernadotte and the Mainau Garden Club, you can tie up your own wreath with us in the exhibition rooms of Mainau Castle and creatively design it.
Kränze binden mit Gräfin Diana - Insel Mainau
On 17th November-23rd December in Mainau is Schwedisches Weihnachtsbuffet 2017 (Swedish Christmas buffet), Christmas with Swedish delicacies
In November and December, the chefs of the island of Mainau spoil their guests with a traditional Swedish Christmas buffet, the "Julbord".
Schwedisches Weihnachtsbuffet 2017 - Insel Mainau
Count Björn Bernadotte attended about ten days ago at the delivery of the Lennart Bernadotte Prize and Sonja Bernadotte Medal. The Lennart Bernadotte Prize 2017 (5000 euros) was awarded to Claudia Hehn from the Technischen Universität Berlin and the Sonja-Bernadotte Medal 2017 (with 1000 euros) to Tobias Sitarek from the Leibniz Universität Hannove in a festive ceremony on Mainau Island. The prizes awarded by the Lennart Bernadotte Foundation are awarded annually to extraordinary scientific work at German-speaking universities in the fields of landscape conservation and gardening.
The Lennart Bernadotte Prize was awarded for the first time in 1980 on the occasion of the 80th birthday of Lennart Count Bernadotte by the Lennart Bernadotte Foundation. The Sonja Bernadotte medal for garden culture was commended on the occasion of the 60th birthday of Sonja Gräfin Bernadotte in 2004 by the Lennart Bernadotte Foundation.
Preise für Landespflege und Gartenkultur auf der Mainau verliehen - Insel Mainau
Nathalie Bernadotte af Wisborg, the wife of count Edward Bernadotte af Wisborg (son of count Bertill and countess Jill Bernadotte af Wisborg), is a director and partner at Kensington Mums.
https://uk.linkedin.com/in/nathalie-bernadotte-09804b10
https://www.instagram.com/mamma_nathalie_bernadotte/
An article of Nathalie at Séraphine blog last year.
Maternity Style with Nathalie Bernadotte of Kensington Mums
Countess Marianne Bernadotte's interview at the latest Svensk Damtidning.
Countess Diana Bernadotte, her husband Stefan Dedek and Diana's children at Mainau's traditional Christmas photoshoot.
Beautiful photos. Thanks!
I wish them a baby together!
Article with countess Diana Bernadotte about the exhibition "Skandinavischer Winterzauber" (Scandinavian Winter Magic) at the Mainau Castle.
Countess Diana celebrates Christmas with her family in a mixture of German and Swedish traditions. Already her father had read the Christmas story from the Bible - in German and in Swedish. "I still remember his voice while reading aloud, which is a very, very nice memory which will stay on me permanently", she says. She is happy when she receives gifts. "But I would much rather give gifts. The shining children's eyes are the most beautiful."
Konstanz_ Schwedischer Winter auf der Insel _ SÜDKURIER Online
Dana press photo has a gallery of countess Marianne Bernadotte
Ein Leben in Bildern - Marianne Bernadotte
Countess Marianne Bernadotte on 27th November at Gula Änglarna's traditional winter concert for charity in Oscarskyrkan, with Ethel Dahlman, co-founder of Gula Änglarna. Photo from Gula Änglarna's Facebook.
https://scontent-arn2-1.xx.fbcdn.net...b2&oe=5AD67108
Countess Monica Bonde (the daughter of count Carl Johan Bernadotte af Wisborg) hosted a dinner to her friends at Svensk Damtidning's serie.
Monica tells that when she was a child, neither she or her brother Christian were allowed to go to the kitchen. The housemaids took care of cooking and of the household. Only when Monica got married and got children she really started to cook more. She has made simple food, her children have eaten a lot of panncakes and macaroni, and casseroles. Monica worked 27 years for Svensk Damtidning. She tells that she was raised at a home where order was important. Monica says that her father could not even cook an egg, but he was extremely careful about the food. They had always mealtimes and then the table was set fine with inherited porslin and napkins in napkin rings. They got to learn an exemplary table manners and to thank for the food. And they had many fun parties at home with fine food. There were always exciting celebrities visiting, like Greta Garbo, Jarl Kulle, Holger Löwenadler, because Monica's parents had a wide network and gladly had their friends at home for a nice meal.
Monica (called Mica) was sent to a boarding school for girls in Switzerland, where she would learn both languages, housework and good conduct. But the only thing she learned was to dance, Monica tells with a smile. She instead went into her mother's footsteps and became a journalist. She has three grown children - Ebba, Marianne and Carl Johan - and three grandchildren. She lives beautifully in a villa on Djurgården in a home that contains royal memories, with lots of art and with a lot of things Monica has inherited from her father. The table is decorated with a silver saucer from Gustaf VI Adolf, and the napkins come from Prince Eugen. The porcelain from Gustavsberg she inherited from her father. The champagne glasses are also from Carl Johan Bernadotte. On a table in the lounge there are a variety of silver items which belonged to Queen Louise, and on the walls hangs art, also from Prince Eugen and Crown Princess Margareta.
One of Monica's guests for this dinner was countess Marianne Bernadotte.
Countess Sandra Bernadotte at a photoshoot in Mainau
https://www.instagram.com/p/BdDfiDbh...y=zauberdirndl
Originally Posted by LadyFinn
This interview was done on 16th October in Hotel Diplomat. Countess Marianne with Svensk Damtidning's reporter Maria Roswall.
Countess Bettina Bernadotte was appointed as the honorary member of The German Association of University Professors and Lecturers (Deutscher Hochschulverband) last autumn.
Ehrenmitglieder DHV
Count Björn Bernadotte has hosted singers and musicians Anita and Alexandra Hofmann in Mainau. The visit was shown yesterday on ARD at a TV program of Anita and Alexandra.
https://www.prisma.de/cdn/img/defaul...ff_1280re0.jpg
Musikalische Reise mit Anita & Alexandra Hofmann - SR Fernsehen _ programm.ARD.de
From Instagram of Hans Hjelmqvist, CEO, Senior PR Adviser & Design Expert at Grand Relations, on 6th January.
Celebration Twelfth Night with our dear friend Design Princess Marianne Bernadotte, widow of the late Prince Sigvard Bernadotte.
https://www.instagram.com/p/Bdmvw1jF...annebernadotte
Countess Marianne Bernadotte attended Carl Hansen & Sons cocktail reception a couple of days ago. Here talking with Carl Philip's design partner Oscar Kylberg.
https://www.instagram.com/p/Be6Vdm3n...grandrelations
Hans-Rickard
Incredible woman for being 93. She is like our swedish version of QEII
The 68th Lindau Nobel Laureate Meeting: 600 Young Scientists to Encounter a Record 43 Nobel Laureates
The selection process for participation at this year's Lindau Nobel Laureate Meeting has been completed. A total of 600 outstanding students, doctoral candidates and post-docs under the age of 35 will come to Lake Constance from 24 to 29 June. This year's meeting is dedicated to physiology and medicine and will set two records: 43 Nobel Laureates – more than ever before at a medicine meeting – will take part, and the field of participants, with 84 countries of origin, has never been so diverse.
"This summer we will once again welcome the next generation of top researchers. I find it remarkable that we will bring together more than 80 nations in Lindau and in so doing will not only be able to enjoy an intensive exchange between generations but also one that crosses national boundaries", says Countess Bettina Bernadotte, President of the Council for the Lindau Nobel Laureate Meetings. "It is particularly gratifying that 50 percent of the young scientists are women."
68th-Lindau-Nobel-Laureate-Meeting_600-Young-Scientists-to-Encounter-a-Record-43-Nobel-Laureates
Here is a photo from last year's 6th Lindau Meeting on Economic Sciences, countess Bettina in her traditional Sweden dress.
https://c1.staticflickr.com/5/4578/2...f6cd1420_h.jpg
Katrianna
Location: Omaha, United States
Lady Finn
I always love to read about the extended Bernadotte family and their accomplishments/dedication to the causes they wholeheartedly support. I'm sorry to say I've never thanked you for all your work and your dedication in contributing to this topic. Thank you so much!
Originally Posted by Katrianna
Thank you. I admire countess Marianne Bernadotte and I'm very interested in the extended family members in Mainau. About their work for the Mainau Island and what kind of effect they have on the business life of the Konstanz area and Germany
Countess Bettina and count Björn Bernadotte took part at the Sunday Parade of the Konstanzer Fasnacht (Carnival in Konstanz) on 11th February.
Großer Konstanzer Sonntagsumzug (Teil 1) 2018 - Konstanzer Fasnacht
Countess Marianne is remarkable.
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4. Curriculum Committee: 1967-68; 1977; Womens Study Advisory Comm.
7. Dean: Alderman, Change of Name of "Liberal Arts" to "Arts and Science"
10. Assistant Dean: Kreger, C.W.
2. Publications: "Careers in College Teaching", "Journalism"
10-11. John H. Eicher "Chemistry at Miami"
27. University Round Table Discussion: "The Place of Women in the Post-War World"
15. Tests (1927/28-1947/48 [complete], 1962-63).
2. Single Bound Typescript Text; Spine Title--"I. A. B. Exec Com. . . ".


text:
The Shock of the OldAdam Phillips
Vol. 16 No. 3 · 10 February 1994
The Shock of the Old
Being a Character: Psychoanalysis and Self-Experience
by Christopher Bollas.
Routledge, 294 pp., £14.99, April 1993, 0 415 08815 1Show More
Psychoanalysis and the Future of Theory
by Malcolm Bowie.
Blackwell, 161 pp., £35, October 1993, 0 631 18925 4Show More
For the patient in psychoanalysis the most disabling insights are the ones he cannot forget; and for the psychoanalyst, by the same token, the most misleading theories are the ones he cannot do without. Mental addictions, that is to say, are supposed by psychoanalysis to be the problem not the solution. People come for psychoanalysis when there is something they cannot forget, something they cannot stop telling themselves about their lives. And these dismaying repetitions – this unconscious limiting or coercion of the repertoire of lives and life-stories – create the illusion of time having stopped. In our repetitions we seem to be staying away from the future, keeping it at bay. What are called symptoms are these (failed) attempts at closure, at calling a halt to something. Like provisional deaths, they are spurious forms of mastery.
The paradox of living in passing time and craving durable truths (or symptoms) as the best equipment for this predicament has traditionally been the province of Western metaphysics. But the practice of psychoanalysis, like the practice of ordinary life, raises 'philosophical' questions in rather immediate form. How long is something true for, and why should duration over time be a criterion for the validity of a so-called insight in psychoanalysis, or anywhere else? After all, the repetitions from which the patient is suffering, and which for psychoanalysis define the realm of pathology, are extremely durable, unlike the 'insights' used to explain them. For Freud these repetitions are the consequences of a failure to remember. Psychoanalysis, as Malcolm Bowie writes, 'is overwhelmingly concerned with the production and transformation of meaning'. Whatever cannot be transformed, psychically processed, reiterates itself. A trauma is whatever there is in a person's experience that resists useful redescription. There is no future in repetition.
But if, as Freud says, we repeat only what we cannot remember, what is the psychoanalyst or literary theorist doing when he learns a method of analysis that itself involves a repetition of certain skills? A method is only a method because it bears repeating; and yet from a psychoanalytic point of view it is repetition itself that is the problem, that signifies trauma. This is one of the paradoxes that Christopher Bollas and Malcom Bowie examine in their differently eloquent and intriguing books. Embarrassed alike by the subtlety and complexity of the work of art and of the patient, can the theorist and the analyst do more than repeat what they already know? Is theory always more of the same, just Where The Tame Things Are? If theory is, by definition, what we already know, what are its prospects? The future, after all, is the place where our prejudices might not work.
Psychoanalysis may begin with Freud but what it is about does not. Malcom Bowie and Christopher Bollas have been writing some of the most innovatory psychoanalytic theory of the last few years but out of significantly different traditions. There is an unusual stylishness in their writing and an exhilarating ambition. Bollas's prose, immersed in the poetry of Romanticism and the 19th-century American novel, allows him to be grandiloquent on occasion while being at the same time quite at ease with the tentativeness of his project. His prose often has the evocative resonance that his theory attempts to account for. And as his theory describes psychic life as a kind of haunting, we have to be alert to the echoes in his writing (and sometimes in his overwriting). When, for example, he says about the process of observing the self as an object, 'emerging from self-experience proper, the subject considers where he has been', it is integral to the process being described that we can hear the cadence of Coleridge's glosses on 'The Ancient Mariner'. And echoes work both ways. Bowie, too, has the virtue of his quite different intellectual affinities, something that is particularly rare in mainstream psychoanalysis, as anyone who has read the specialist journals will know. Though his writing is far too idiosyncratic for pastiche, it is Proust and Mallarmé that we can hear most often in his work. 'The language of psychoanalysis,' Bowie writes, 'offers clues not solutions, calls to action for the interpreter but not interpretations.' Yet prudence is the unlikely virtue that he keeps promoting in his increasingly subtle readings of Freud and Lacan.
For both Bowie and Bollas it is one of the difficult ironies of psychoanalysis that as a theory it seems to pre-empt the future it is attempting to elicit. Freud's 'account of human temporality', Bowie writes, 'serves ... to place the future under suspicion, and to keep it there throughout a long theoretical career'. Like Bollas's definition of a trauma – 'the effect of trauma is to sponsor symbolic repetition, not symbolic elaboration' – it is as though, from a psychoanalytic point of view, the future can only be described as, at best, a sophisticated replication of the past, the past in long trousers. Theory itself becomes the symptom it is trying to explain. If in psychoanalytic theory the past, the undigested past, so to speak, is that which always returns – as both symptom and interpretation – how can we return to the future, or get beyond the interminable shock of the old that theory and therapy too easily promote?
In Being a Character Bollas suggests that the future – future selves and states of mind – arises through a process of evocation. Starting with the mother we unwittingly use the world and its objects to bring parts of ourselves to life. A combination of chance and unconscious intention, even our most concerted projects are forms of sleep-walking. 'Without giving it much thought at all.' Bollas writes, 'we consecrate the world with our own subjectivity, investing people places, things and events with a kind of idiomatic significance ... the objects of our world are potential forms of transformation.' Our chosen objects of interest – anything from the books we read to the way we furnish our rooms or organise our days – are like a personal vocabulary (or even alphabet); we are continually, at our best, 'meeting idiom needs by securing evocatively nourishing objects'. It is as though we are always trying to live our own language, hoping to find 'keys to the releasing of our idiom', what Bollas calls, in one of many felicitous phrases, 'potential dream furniture', as we go about setting the scene for the future. Objects – like different artistic media – have very different 'processional potential': the object's 'integrity' – whatever it happens to be, what it invites and what it makes impossible – sets limits to its use. The world in Bollas's view is a kind of aesthetic tool-kit; and unlike most psychoanalytic theorists he doesn't use a hammer to crack a nut.
It should be clear by now that Bollas has to draw on a repertoire of vocabularies to describe his new psychoanalytic landscape. Orthodox psychoanalysts are not in a hurry to use words like 'consecrate' or phrases like 'idiom needs'; or, indeed, to take the outside world on its own terms. In Bollas's work the language of Winnicott and of American Pragmatism – of 'use-value' – meets up with Wordsworthian Romanticism: the world is sown with, and so made up by, bits of self, and yet retains its separateness, its sacrality, its resistance to absolute invention. In Bollas the self is at once disseminated – all over the place – and intent, in relentless pursuit of 'props for the dreaming of lived experience', as he calls them. The articulation of the self, as psychoanalysis has always insisted, is the transformation of the self: to speak is to become different. For Bollas the self is like a rather meditative picaresque hero, the unwitting artist of his own life. Bollas is extraordinarily adept at describing the moment when a person confers significance on an object and is transformed by doing so: and it is whatever baffles this moment that is pathology. The enigma of these meetings, these reciprocal appraisals – their sheer unconsciousness – is Bollas's overriding preoccupation in this book. And his paradigm for these processes is dreaming. Since 'a day is a space for the potential articulation of my idiom,' then, he suggests, living a day may be more like dreaming a dream than waking up from one.
In any one day, Freud showed, quite unbeknown to our conscious selves, we are picking things out to use as dream material in the night ahead. So in what Freud calls the 'dream-day' we are living out a kind of unconscious aesthetic; something or someone inside us is selecting what it needs for the night's work. Things in the day have a significance for us, are meaningful, in ways we know nothing about until we work them back up in the quite different context of the dream. A perceptions, a thought, something overheard is noticed and then transformed by an exceptionally furtive artist. 'In a very particular sense,' Bollas writes, 'we live our life in our own private dreaming.' Bollas is able without fabricating mysteries to convey an ordinary day as a dream landscape full of unexpectedly intense significance. In its account of living a day as a form of dreaming Being a Character becomes a truly startling book. Without being spooky or vague, Bollas gets us close to the ordinary but absolutely elusive experience of making a dream; showing us how, quite unwittingly, it the most ordinary way, we are choosing objects to speak our secretive languages of self.
Psychoanalytic theory has always had problem keeping the unconscious unconscious: it usually becomes a nastier, or more ingenious consciousness, a wished-for or a dreaded one. What is distinctive about Bollas's work is his commitment to the unconscious – the unconsciousness of everyday life – without becoming speechless or too mystical in the process (the best and the worst of psychoanalytic theory always verges on the mystical). But how much real unconsciousness can one allow into the picture and still go on practising and believing in psychoanalysis? If psychoanalysis is really a sleep-walking à deux, what is the analyst and, for that matter, the patient supposed to be doing? Taking Freud seriously (which doesn't mean taking him all or taking him earnestly) involves acknowledging, as Bollas writes, that 'most of what transpires in psychoanalysis – as in life itself – is unconscious.' Since for Bollas dreaming is the model, patient and analyst use each other as part, though an intense part, of each other's dream day. The official emphasis is on the patient using the analyst as a transformational object, but in Bollas's model the reciprocity of the analytic process cannot be concealed. And the aim is not so much understanding – finding out which character you are – but a freeing of the potentially endless process of mutual invention and reinvention. For Bollas, pathology is whatever it is in the environment and/or the self that sabotages or stifles both a person's inventiveness, and their belief in this inventiveness as an open-ended process. It is a psychoanalysis committed to the pleasures and the freedoms of misunderstandings, and which Freud called dream-work; distortion in the service of desire: not truth, except in its most provisional sense, but possibility. The core catastrophe in many of Bollas's powerful clinical vignettes is of being trapped in someone else's (usually the parents') dream or view of the world: psychically paralysed for self-protection in a place without the freedom of perspectives. Here what Bollas calls 'that instinct to elaborate oneself' is thwarted: one is fixed in someone else's preconception. Bollas's use of the word 'instinct' is another instance where he joins the language of psychoanalysis with the languages of Romanticism.
In four remarkable, linked essays in the book – 'Cruising in the Homosexual Arena', 'Violent Innocence', 'The Fascist State of Mind' and 'Why Oedipus?' – Bollas explores the causes and consequences of stifling a person's internal repertoire of states of mind. For Bollas, so-called mental health (or rather, his version of a good life) entails the tolerance and enjoyment of inner complexity: the ability to use and believe in a kind of internal 'parliament', full of conflicting, dissenting and coercive views. There is no final resolution here but rather a genuinely political and psychic vigilance in the face of the insidious violence of over-simplification. 'Whatever the anxiety or need that sponsors the drive to certainty, which becomes the dynamic in the fascist construction, the outcome is to empty the mind of all opposition (on the actual stage of world politics, to kill the opposition).' This essay makes one wonder which parts of the self need to be expelled to sustain any kind of political allegiance; what happens to greed in left-wing sympathies or empathy in certain versions of Toryism? Unusually activist for a psychoanalyst, Bollas offers us both ways of recognising the seductions of apparent political and psychic innocence – being on the side of Goodness, Truth and Logic – and actual strategies for managing them. One of the bemusing things about this remarkable book is that it is at once genuinely radical and curiously comforting.
Bollas's lucid commitment to complexity – which never degenerates into a stultifying relativism – has, as it were, its own complication built into it. For Bollas, the 'achievement' of the Oedipus complex is that the 'child comes to understand something about the oddity of possessing one's own mind'; and this means being a mind among others. The child inherits, or wakes up to, the notion of point of view: I'm not only my mother's son and possible lover, but also my father's, and my mother looks different from my father's point of view, and my desire for my father looks different from my mother's point of view, and so on. The superego – the internalised paternal prohibition – 'announces', Bollas writes, 'the presence of perspective ... the child discovers the multiplicity of points of view.' And this ever proliferating multiplicity, informed by desire, will become the 'it' he will call his mind. It is easy to see, as Bollas intimates, how it can begin to feel overwhelming and persecutory: too much music on at the same time. In one of the best speculative moments in the book, Bollas suggests the possibility that many people cannot bear the complexity of their own minds and so take flight into the collusive solace of coupledom, or family life, or group allegiance. The 'madness' of being insistently with others is preferable to the 'madness' of one's mind. 'Given the ordinary unbearableness of this complexity,' Bollas writes, 'I think that the human individual partly regresses in order to survive, but this retreat has been so essential to human life that it has become an unanalysed convention, part of the religion of everyday life. We call this regression "marriage" or "partnership", in which the person becomes part of a mutually interdependent couple that evokes and sustains the bodies of the mother and the father, the warmth of the pre-Oedipal vision of life, before the solitary recognition of subjectivity grips the child.' In Bollas's terms this proposal itself might function as an 'object with evocative integrity'. What would it be like to live in a word in which people welcomed their own, and therefore other people's, complication: in which people did not allow their children to be simplified by conventional education, or coercive belief systems? Traditionally, the numinous thing has been to simplify the moral life.
For Bollas, trauma is that which oversimplifies the self; that which, because of the suffering entailed, leaves people with an aversion to their own complexity. Some people, Bollas writes, for good reasons of their own, 'insist that the invitational feature of the object be declined ... they may narrow the choice of objects, eliminating those with high evocative potential.' Curiosity is a threat to the self as idol; each new person we meet may call up in us something unfamiliar. So from Bollas's point of view psychoanalysis, as a form of therapy, has two implicit aims: to release – to analyse the obstacles to – the internal radar a person needs in order to locate the objects he requires for self-transformation. And to elicit, and enable a person to use, their essential complexity. It is part of the subtlety of this book to make these projects seem compatible.
Like Being a Character, Psychoanalysis and the Future of Theory is about metamorphosis, the pull of the future against the drag of the past. For Bowie works of art are 'transformational devices' (for Bollas anything might be, though art is always a promising candidate); and the Freudian unconscious 'prevents meaning from reaching fullness, completion, closure, consummation'. This does, indeed, exempt meaning from a lot of different things, and leaves it with an unenviable fate. It is, of course, very difficult now to write interestingly about an aversion to closure, a world in which because nothing stops nothing starts either. All modern theory is written in the shade of Heraclitus. But however inclined we are to the idea of process, our language seems to need punctuation. A provisional stop makes a difference. Bowie manages to find, in his shrewd prose, interesting ways to describe this relationship between the fluent and the fixed that theory cannot avoid confronting. It was Bowie's regard for this tension in Lacan between, as it were, the will to mathematical formulation and the compulsion to pun that made his book on Lacan so exhilarating and intelligible. By not taking sides he avoided being evasive. In Psychoanalysis and the Future of Theory, elaborating these same dilemmas, Bowie concentrates on what he calls the 'world of unstoppable transformational process' which 'Freud's new psychology brought into view'. Unstoppablity, of course, is only visible if we know what a stop looks like. For Bowie, the future of theory, not unlike the future of the psychoanalytic patient, depends on this, on the 'irreducibility, the uncontainability, the unstoppability of the signifying process'. Words do stop somewhere, but psychoanalysis, like literary theory, should not be the art of having the last word. Last words are a different thing entirely.
But having said that about 'the signifying process' what is there left to say? In the essay that gives the book its title, Bowie shows how Freud, by prioritising the past, made the future a virtually redundant category in psychoanalytic theory. It is one of the important paradoxes of psychoanalysis that for Freud wishes lead one into the past and not the future. 'Human beings,' Bowie writes, 'are devoted to the optative mood. This is the time dimension that all desiring creatures inhabit, and "if only such and such were the case" is its characteristic syntactic structure.' But as 'such and such' is in the past the future comes out as more of the same (though this more is always becoming less). In Bowie's view it took Lacan's brilliant enquiries into human temporality (inspired by Heidegger) to reveal how 'past, present and future will always stand outside each other, unsettle each other, and refuse to cohere.' Bowie's unusual image of those quasi-allegorical figures Past, Present and Future 'standing outside each other', squabbling like an unhappy family, is easy to miss in a writer who, unlike Lacan, keeps his artfulness under wraps.
Though Lacan, as Bowie says, was committed to the 'rediscovery of a futurity intrinsic to the structure of the human passions', and, therefore, to the unknowable in human experience, he also had the fatal weakness of all those who are fanatically against all forms of totalisation (the complete picture) in the so-called human sciences: a love of system. On the one hand, Bowie writes, Lacan is 'fascinated by the sciences of exact measurement' and, in his theory, by 'dreams of a perfectly calculable human subject', while on the other, he is committed, as a form of virtual revelation, to 'astonishing time-teasing syntactic and semantic display'. When Blake proposed that he should build his own system or else be enslaved by another man's, he was, of course, acknowledging the powerful fascination of systems, not paying tribute to the individual's freedom. So what can the system-building theorist do with this dilemma, and with Lacan himself? Either stick to the scheme and make it more rigorous, copy the exhilarating rhetoric; or, as Bowie rightly prefers, 'learn to unlearn the Lacanian idiom in the way Lacan unlearnt the Freudian idiom'. This is a salutary suggestion in so far as it might help some people avoid the humiliation – the awful prose style – of the disciple. To be a follower in psychoanalysis is to miss the point. Disciples are the people who haven't got the joke. And historically, in psychoanalysis, disciples enact the catastrophe their leaders were trying to avert; Freudians become ascetic prigs, Winnicottians become rigorously spontaneous, Kleinians become enviously narrow-minded, Lacanians mirror the master, and so on.
Bowie proposes that the future of psychoanalytic theory depends on an interanimating relationship with other disciplines and a new fashion of old-fashioned values; 'perhaps the best hope for the psychoanalyst,' he writes, 'lies not in theory at all, but in the old-fashioned arts of speaking opportunely and knowing when to stop.' And a tactful psychoanalysis sufficiently alert to futures could teach literary theorists to perform, 'flexed, tensed, desirous and prospective critical performances'. The critical question might be: what do I and this text/patient want to be next? What are we going to use each other to become? Most literary and psychoanalytic theory spends its time establishing its ground and finding positions. Bowie proposes that they find what they did not know they were looking for. As a critic he is interested in the moment – in a sense, the psychoanalytic moment – when a person seems 'suddenly to be speaking or behaving from an alien region'.
Bowie wants the complexity of art to replace, or become the paradigm for, what have become the stultifications of theory. No theory, not even the addictive theory of psychoanalysis, can 'still the rage of a literary text'. Sounding for once more like Carlyle – or perhaps Arnold – he prophesies that 'by the year 2000 "theory" will have rediscovered art and the threatened but glorious futures that art contains.' For some people, of course, this begs all the questions – whose art and whose futures? – but it also confronts the absurd omniscience and righteous indignation that goes on passing for much critical theory. There is no reason that a plea for the value of complexity should in itself be reactionary or complacently knowing.
Bowie's second essay in the book, 'Freud and Art, or What Will Michelangelo's Moses Do Next?' is likely to modify the suspicions aroused by his prediction about the forthcoming death of the theorist. This brilliant chapter functions as the critical consciousness of the book as it teases out Freud's perplexed and contradictory relationship to art and artists. In Bowie's view, Freud idealised the past; Bowie himself seems to idealise art: in this chapter these acts of psychic denial are themselves analysed. For Freud, Bowie writes, art works represented 'the psychical life lived in a triumphant mode': 'by way of art the human being could remove himself for a time from his wretchedness.' It is Freud's 'strangeness' about art, his 'impatient' and 'appropriative', and particularly competitive dealings with the art of the past, that exercise Bowie. Once again it is the war between excess and conclusiveness that he is quick to notice. Freud's relationship to literature in The Interpretation of Dreams – a 'thinning out' Bowie calls it – is mirrored in his relationship to his dreams. The dreams, Bowie observes, have this 'constant air of semantic overflow and dispersal', while Freud himself insisted 'upon parsimony in his interpretative procedures'. Theory or interpretation are all we are left with after the artwork or the dream have been made habitable. Literature is what gets lost in interpretation. 'From an extremely parsimonious set of causes,' Bowie writes, 'springs a glittering array of effects.'
Bowie is on the side of the effects. To satisfy Freud's scientific superego, 'the grammar of interpretation had to be purged of merely wish-bearing constructions.' For Bowie, a good interpretation is one that re-enacts or discerns the temporal complexity of the object, its mobility of wish and retrospection. It is the bizarre meshing of the future with the past that Bowie wants to recuperate for the act of interpretation. If it fails to do this, 'analysis explains the work of art, and immobilises it in the process.' Art becomes merely an integral part of the larger self-fulfilling prophecy called psychoanalysis, which by explaining everything finds nothing new under the sun. Art is then 'granted no higher privilege ... than that of accrediting psychoanalysis all over again by adding an aura of cultural value and prophetic grandeur to its scientific claims'. It is the Freud of interminable, digressive meanings, not the Freud in search of causes, that both Bollas and Bowie in their separate ways promote.
The 'new' Freud Bowie recommends here is 'a dramatist, a novelist, a fabulist and, above all perhaps, a rhetorician'. Bollas's Freud is the exemplary and inspiring human subject who 'becomes the dream work of his own life'; who found a way of describing this banal and enigmatic experience. But both these books, committed as they are to a more 'literary' psychoanalysis, make continual reference, by analogy or allusion, to music – the art form Freud is known to have disliked. It may also be useful, Bowie and Bollas intimate, to think of the unconscious as structured like a piece of music. If we were to think like this what would psychoanalytic interpretation have to become? Perhaps the function of psychoanalysis in the future will not be to inform but to evoke.
Adam Phillips's new book, Attention Seeking, is due in the summer. In Writing: Essays on Literature is out in paperback.
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In a Garden in Milan: Augustine's Confessions
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More by Adam Phillips
The trouble for the layman when reading about psychoanalysis is that so much of the theorising is obfuscating, however clear it may be to the professional. I was puzzled by Adam Phillips's review of books by Christopher Bollas and Malcolm Bowie (LRB, 10 February). What does he mean when he writes: 'For the patient in psychoanalysis the most disabling insights are the ones he cannot forget?' If they are disabling surely the analyst has failed. In my experience of Kleinian analysis some thirty years ago insights into one's own character are often surprising, even shocking, but not disabling for they enable one to recognise character defects, come to terms with them, sometimes even change them for the better. Then (in parenthesis): 'The best and the worst of psychoanalytical theory always verges on the mystical.' In my experience 'the mystical' is the reverse of the truth. My analyst was very down to earth. Equally confusing is the statement that psychoanalytical 'disciples' – a term oddly suggestive of religion – 'enact the catastrophe their leaders' (another odd term) 'are trying to avert.' I don't know about 'Freudians becoming ascetic prigs' and Winnicottians becoming 'rigorously spontaneous', but I do know that Kleinians do not 'become enviously narrow-minded' – whatever that term may mean. And who, anyway, does the envying? Adam Phillips speculates in the last sentence of his review: 'Perhaps the function of psychoanalysis in the future will not be to inform but to evoke.' Evocation is one way of informing the patient about himself and coming to know oneself is not a had concise definition of the function of psychoanalysis.
James MacGibbon
Manningtree, Essex