By the time the Suez Canal opened in 1869--speeding and enhancing the shipping trade between Western Europe and Asia--photography had joined the cultural conversation of a world that was gradually growing smaller. Inevitably, photographic images of the industry's marvelously varied vessels began to proliferate, as boats and boating became a timeless motif for realistic depictions of global commercialism, exotic passage and, most of all, the picturesque.
From the mastless battleships of the Royal Navy to the fishing craft of Nova Scotia, the gondolas of Venice and the junks of Cathay, the business of boats has provided endless fodder for photographers, and the images in this exhibit are among the best. They offer much of what photography does so well, capturing the moody massing of ocean clouds, a sense of wave-borne motion and the scale of the great ships, against which human figures are often arrayed in their dwarfed pride.
The tranquility and grace of these nautical images is also an aspect of their charm. The reflection of ships on rippling harbor waters, and the oceanic waves through which the grand ocean liners plow are potent pictorial aspects seen in the shipping photos of noted 20th-century photographers, such as Jean-Marie Auradon and W.H. Bettle. There is also the strong modernist play of geometric forms: the smoke-belching steamboats, the triangular sails and bisecting spars, the oars and ovoids of small craft. Images of boats at anchor in the quaint harbors of Europe evoke time and place, while the eternal contrast between sky, sea and land presents a range of photographic challenge which the best photographers face with creative approaches to composition and exposure.
Often, this results in evocative chiaroscuro effects, with large ships shadowed against a far horizon, or modernistic images that capture the complex, cubistic play of reflections on the water. If anything, these images of ships moored or on the move provide fascinating nautical detail on one hand and, on the other, explorations of pictorial space that suggest the painterly influence of Cezanne and other modernists who often sought, in the classic sight of boats on the water, a blend of the formal and the metaphoric in depicting the natural and man-made worlds.
Indeed, in their transition from Pictorialists to documentary photographers, such artists as Doris Ulman, Edith Gerin, and Paul Douglas Anderson made good use of nautical themes to transcend merely decorative picture-making and thus deepen their imagery via the muscular textures and visual intricacies of shipping-industry motifs. Late 20th-century photographers also drew inspiration from the industry, especially in their use of saturated color techniques, as in the work of Edward Burtynsky and Vladimir Birgus, two photographers whose large-scale contemporary emphasis speaks to our global commercial moment, and for whom--like all of the photographers represented in this exhibit--going down to the sea in ships is a journey to the heart of things.


text:
Study Design, Data & Analysis
Conducting Clinical Research
Research Space
Our Mission and Partners
What is Translational Research?
Use of services policy
Cite the grant
UNC Health:
UNC Chapel-Hill:
Chancellor's Message to Students, Research Community
UNC-Chapel Hill is developing a plan to reopen the university's research operations in June and July, and to have students back on campus in August.
Dear Carolina Community,
Students, congratulations on finishing exams. To our seniors, be on the lookout for special messages as we recognize your graduation.
Yesterday, Governor Cooper approved a $29 million appropriation to the N.C. Policy Collaboratory based here at Carolina to conduct vital research on the tracking, prevention and treatment of COVID-19. We are grateful for this generous funding from our state legislature that will enable us to deploy our researchers and resources to find more solutions for North Carolinians.
As we look ahead to this summer, we don't know what the future holds. With safety as our first priority, we are preparing for a phased reopening of the University and working alongside Carolina's world-class infectious disease experts to develop a plan that would prepare us to reopen the university's research operations in June and July, and to have students back in August. We will be making an announcement with details of the plan later this month.
Take a moment to watch this week's video. And be on the lookout for additional messages from me in the coming weeks to keep you informed of what's happening here on campus.
Go Heels!
Kevin M. Guskiewicz
Originally posted at news.unchealthcare.org
Brinkhous-Bullitt, 2nd floor
160 N. Medical Drive
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The content of this website is solely the responsibility of the University of North Carolina at Chapel Hill and does not necessarily represent the official views of the NIH accessibility | contact

redpajama_set_name: RedPajamaCommonCrawl


Let the Mom or Grandma-to-Be feel special in this adorable baby footprints sash. Lets everyone know who the Mom and Grandma are! Your mother or mother-in-law will beam with pride when she wears this sash at your celebration!
Comes with pink, blue, yellow, and green baby feet.
66" around. One size fits most.


Tonight at 6 PM, we'll be gathering for our Good Friday service at Sojourn Church. We'll walk through the whole account of Jesus' road to the cross, beginning with the Upper Room and ending with the tomb. We'll sing some songs that help us enter into the passion story, we'll listen to words of Scripture as they recount the passion story, but we'll also reenact part of the passion story by participating in the Lord's Supper.
"So these words that Jesus speaks about bread and wine are surrounded on the one side by words of betrayal and on the other side by words of denial. Here we have most beautiful words spoken from the lips of Jesus, words of life-giving self-sacrifice and love, words we have come to repeat so often - and yet they are placed in between words of deceit coming from the mouth of Judas and words of denial and boasting coming from Peter.
As we confront this dark backdrop, this sin-filled framework, both in the world around us and in our own hearts, don't turn away from it too quickly. Instead, look at it deeply - then hear Jesus' words and remember Jesus' acts of love and sacrifice. Let the sinfulness around you and within you sober you, then let the preciousness of Jesus' sacrifice move you to wonder and praise.
And if you'd like to do that with others (which is highly recommended, by the way), then come join us tonight at 6 PM!


text:
module.exports = {
  webpack5: true,
};

redpajama_set_name: RedPajamaGithub


Ford Explorer Sport 2016. 2016 ford explorer sport. 2016 ford explorer reviews and rating motor trend. 2016 ford explorer first look photo gallery motor trend. 2016 ford explorer sport front three quarter 02 photo 5. 2016 ford explorer sport review photo gallery autoblog. 2016 ford explorer sport side photo 6. 2016 ford explorer sport white color autocar pictures. 2016 ford explorer sport rear three quarter photo 7. one week with 2016 ford explorer platinum. new 2015 2016 ford explorer for sale chattanooga tn cargurus. [Apriliasxv.com].
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text:
A geeky amusement park with nothing built by hand

Admission is free, but the cost of leaving can be quite high...


These Boho bags are just beautiful. Designed by Senegalese brand Belya, the rattan bags were handmade by local artisans in Bali, with the high-end Winta Wax from Togo as lining. The round Boho bags are blending Indonesian craft with a high quality African textile. The brown leather strap is long enough to wear them cross-body, if desired.
- Grid design version: Small, elegant grid design in the front, that allows the color of the African print textile to shine through only slightly (6 in pictures).


text:
package de.codesourcery.jasm16.compiler.dependencyanalysis;

import java.io.IOException;
import java.text.ParseException;
import java.util.ArrayList;
import java.util.Collections;
import java.util.IdentityHashMap;
import java.util.List;
import java.util.Map;
import java.util.Set;
import java.util.concurrent.atomic.AtomicLong;

import de.codesourcery.jasm16.Address;
import de.codesourcery.jasm16.WordAddress;
import de.codesourcery.jasm16.ast.ASTNode;
import de.codesourcery.jasm16.ast.IncludeSourceFileNode;
import de.codesourcery.jasm16.ast.OriginNode;
import de.codesourcery.jasm16.compiler.CompilationUnit;
import de.codesourcery.jasm16.compiler.ICompilationUnit;
import de.codesourcery.jasm16.compiler.ICompilationUnitResolver;
import de.codesourcery.jasm16.compiler.SymbolTable;
import de.codesourcery.jasm16.compiler.dependencyanalysis.DependencyNode.NodeVisitor;
import de.codesourcery.jasm16.compiler.io.IResource;
import de.codesourcery.jasm16.compiler.io.IResourceMatcher;
import de.codesourcery.jasm16.compiler.io.IResourceResolver;
import de.codesourcery.jasm16.compiler.io.IResource.ResourceType;
import de.codesourcery.jasm16.exceptions.ResourceNotFoundException;
import de.codesourcery.jasm16.exceptions.UnknownCompilationOrderException;
import de.codesourcery.jasm16.lexer.ILexer;
import de.codesourcery.jasm16.lexer.Lexer;
import de.codesourcery.jasm16.lexer.TokenType;
import de.codesourcery.jasm16.parser.IParseContext;
import de.codesourcery.jasm16.parser.IParser;
import de.codesourcery.jasm16.parser.IParser.ParserOption;
import de.codesourcery.jasm16.parser.ParseContext;
import de.codesourcery.jasm16.scanner.Scanner;
import de.codesourcery.jasm16.utils.Misc;

/**
 * Analyzes dependencies between compilation units (source files)
 * created by include directives.
 *
 *
This class does not do full parsing using a {@link IParser} but instead just uses an {@link ILexer}
 * and looks for {@link TokenType#INCLUDE_SOURCE} tokens,parsing only those.

 *
 * @author tobias.gierke@code-sourcery.de
 */
public class SourceFileDependencyAnalyzer
{
    // debugging only
    private static final AtomicLong DOT_IDS = new AtomicLong(0);

    private static class ParsingResult
    {
        public final List<IResource> includedSources=new ArrayList<IResource>();
        public Address objectCodeStartingAddress=Address.wordAddress( 0 );
    }

    /**
     * Calculates the root set for a given set of ICompilationUnits.
     *
     *
The root set consists of the dependency graph's root nodes (=the compilation
     * units that no other files depend on and thus may be the starting point of a compilation run).

     *
     *
Use {@link linearize(DependencyNode)} to determine the order in which all compilation units
     * of a root node need to be visited
.
     *
     * @param units
     * @param resolver
     * @param resourceMatcher
     * @return
     * @throws UnknownCompilationOrderException
     * @throws ResourceNotFoundException
     */
    public List<DependencyNode> calculateRootSet(List<ICompilationUnit> units,IResourceResolver resolver,IResourceMatcher resourceMatcher) throws UnknownCompilationOrderException, ResourceNotFoundException
    {
        if ( units.isEmpty() ) {
            return new ArrayList<>();
        }

        // create dependency graph from units
        final List<DependencyNode> graph = new ArrayList<>();
        for ( ICompilationUnit unit : units )
        {
        	if ( ! unit.getResource().hasType( ResourceType.SOURCE_CODE ) ) {
        		throw new IllegalArgumentException("Refusing to parse non-source-code file "+unit.getResource()+" with unrecognized type "+unit.getResource().getType() );
        	}
            ParsingResult parseResult;
            try {
                parseResult = getIncludedSources( unit , resolver );
            } catch (IOException | ParseException e) {
                throw new UnknownCompilationOrderException("Failed to parse "+unit,e);
            }
            final List<IResource> sourceFile = parseResult.includedSources;
            final DependencyNode node = getOrCreateGraphNode( unit , graph);

            Address address1 = unit.getObjectCodeStartOffset();
            Address address2 = parseResult.objectCodeStartingAddress;

            node.setObjectCodeStartingAddress( address1 != null ? address1 : address2 );

            for ( IResource r : sourceFile )
            {
                final DependencyNode dependency = getOrCreateGraphNode( findCompilationUnit( r , resourceMatcher , units ) , graph );
                node.dependencies.add( dependency ); // A -> B
                dependency.dependentNodes.add( node ); // B <- A
            }
        }

        // linearize graph root set
        return determineRootSet( graph );
    }

    private ICompilationUnit findCompilationUnit(IResource resource , IResourceMatcher matcher , List<ICompilationUnit> units)
    {
        for ( ICompilationUnit unit : units )
        {
            if ( matcher.isSame( unit.getResource() , resource ) ) {
                return unit;
            }
        }
        throw new RuntimeException("Unable to find resource "+resource+" in "+units);
    }

    /**
     * Extracts compilation units from a dependency graph so that dependencies come before the
     * unit that depends on them.
     *
     * @param dependencyNode
     * @return
     */
    public List<ICompilationUnit> linearize(DependencyNode dependencyNode)
    {
        // resolve so that dependencies are compiled before the
        // unit that depends on them
        final List<ICompilationUnit> result = new ArrayList<ICompilationUnit>();
        recursiveAdd( dependencyNode , result );
        return result;
    }

    protected void recursiveAdd(DependencyNode node,List<ICompilationUnit> result)
    {
        for ( DependencyNode dep : node.dependencies ) {
            recursiveAdd( dep , result);
        }
        result.add( node.unit );
    }

    /**
     * The root set contains the graph nodes that no other nodes depends on.
     *
     * @param graph
     * @return
     */
    protected List<DependencyNode> determineRootSet(List<DependencyNode> graph)
    {
        List<DependencyNode> result = new ArrayList<DependencyNode> ();
        for ( DependencyNode n : graph ) {
            result.addAll( determineRootSet( n ) );
        }
        return result;
    }

    protected List<DependencyNode> determineRootSet(DependencyNode n)
    {
        final List<DependencyNode> result = new ArrayList<DependencyNode> ();

        final NodeVisitor visitor= new NodeVisitor() {

            @Override
            public boolean visit(DependencyNode node)
            {
                if ( node.dependentNodes.isEmpty() ) {
                    result.add( node );
                }
                return true;
            }
        };
        n.visitNodeAndDirectDependenciesOnly( visitor );
        return result;
    }

    protected DependencyNode getOrCreateGraphNode(ICompilationUnit unit,List<DependencyNode> graph)
    {
        for ( DependencyNode n : graph )
        {
            DependencyNode result = findNodeForUnit( n , unit );
            if ( result != null ) {
                return result;
            }
        }
        final DependencyNode node = new DependencyNode( unit );
        graph.add( node );
        return node;
    }

    protected DependencyNode findNodeForUnit(DependencyNode n,ICompilationUnit unit)
    {
        if ( n.unit == unit ) {
            return n;
        }
        for ( DependencyNode child : n.dependencies ) {
            DependencyNode result = findNodeForUnit( child , unit );
            if ( result != null ) {
                return result;
            }
        }
        return null;
    }

    /**
     * (DEBUG) Creates a .dot graph description from a dependency graph.
     *
     *
The generated graph description can be visualized using the fantastic GraphViz package by AT&T.

     *
     * @param graphName
     * @param graph
     * @return
     */
    public static String toDOTGraph(String graphName, DependencyNode graph)
    {
        final IdentityHashMap<DependencyNode, String> dotIds = new IdentityHashMap<>();

        final StringBuilder edgeBuilder = new StringBuilder();

        visitGraph( graph , edgeBuilder , dotIds );

        final StringBuilder graphBuilder = new StringBuilder("digraph \""+graphName+"\" {");
        for (Map.Entry<DependencyNode, String> entry : dotIds.entrySet() )
        {
            graphBuilder.append( entry.getValue()+" [label=\""+entry.getKey().getCompilationUnit().getResource().getIdentifier()+"\"]\n");
        }
        graphBuilder.append( edgeBuilder.toString() );
        graphBuilder.append("\n}");
        return graphBuilder.toString();
    }

    private static void visitGraph(DependencyNode graph, StringBuilder edgeBuilder, IdentityHashMap<DependencyNode, String> dotIds)
    {
        if ( dotIds.containsKey( graph ) ) {
            return;
        }

        final String nodeId = getDOTIdentifier( graph , dotIds );
        for ( DependencyNode child : graph.getDependencies() ) {
            visitGraph( child , edgeBuilder , dotIds );
            edgeBuilder.append( nodeId+" -> "+getDOTIdentifier( child , dotIds )+"\n");
        }
    }

    private static String getDOTIdentifier(DependencyNode node,IdentityHashMap<DependencyNode, String> map) {
        String result = map.get(node);
        if ( result == null ) {
            result = Long.toString( DOT_IDS.incrementAndGet() );
            map.put( node , result );
        }
        return result;
    }

    protected ParsingResult getIncludedSources(ICompilationUnit original,IResourceResolver resolver) throws IOException, ParseException
    {
        // create a copy since the parsing process may add compilation errors , symbols etc.
        final ICompilationUnit copy = CompilationUnit.createInstance( original.getIdentifier() , original.getResource() );

        final ParsingResult parseResult = new ParsingResult();

        final Set<ParserOption> parserOptions = Collections.singleton( ParserOption.NO_SOURCE_INCLUDE_PROCESSING );
        final ICompilationUnitResolver compUnitResolver = new ICompilationUnitResolver() {

            @Override
            public ICompilationUnit getOrCreateCompilationUnit(IResource resource) throws IOException
            {
                throw new UnsupportedOperationException("Should not be called");
            }

			@Override
			public ICompilationUnit getCompilationUnit(IResource resource)
					throws IOException {
                throw new UnsupportedOperationException("Should not be called");
			}
        };

        final String input = Misc.readSource(copy);
        final ILexer lexer = new Lexer( new Scanner( input ) );

        while( ! lexer.eof() )
        {
            if ( lexer.peek().hasType( TokenType.SINGLE_LINE_COMMENT ) ) {
                while ( ! lexer.eof() )
                {
                    if ( lexer.peek().isEOL() ) {
                        lexer.read();
                        break;
                    }
                    lexer.read();
                }
                continue;
            }
            else if ( lexer.peek().hasType( TokenType.STRING_DELIMITER) )
            {
                while ( ! lexer.eof() )
                {
                    if ( lexer.peek().isEOL() || lexer.peek().hasType( TokenType.STRING_DELIMITER ) )
                    {
                        lexer.read();
                        break;
                    }
                    lexer.read();
                }
                continue;
            }

            if ( lexer.peek().hasType( TokenType.INCLUDE_SOURCE ) || lexer.peek().hasType( TokenType.ORIGIN ) ) {
                parseNode(copy, resolver, parseResult, parserOptions, compUnitResolver, lexer);
            } else {
                lexer.read(); // skip token
            }
        }
        return parseResult;
    }

    protected void parseNode(ICompilationUnit unit,
            IResourceResolver resolver, final ParsingResult parseResult,
            final Set<ParserOption> parserOptions,
            final ICompilationUnitResolver compUnitResolver,
            final ILexer lexer)
            throws ParseException
    {
        final IParseContext context = new ParseContext(unit, new SymbolTable("SourceFileDependencyAnalyzer") , lexer , resolver , compUnitResolver, parserOptions , null );

        if ( lexer.peek().hasType( TokenType.INCLUDE_SOURCE ) )
        {
            final ASTNode node = new IncludeSourceFileNode().parse( context );
            if ( node instanceof IncludeSourceFileNode && ! unit.hasErrors()  )
            {
                final IResource resource = ((IncludeSourceFileNode) node).getResource();
                if ( resource != null ) {
                    parseResult.includedSources.add( resource );
                }
                return; /* RETURN */
            }

            try {
            	Misc.printCompilationErrors( unit , unit.getResource(),true);
            } catch(Exception e) {

            }
            String errorMsg = "Failed to parse .includesource directive in "+unit+", got node: "+node+" , unit.hasErrors = "+unit.hasErrors();
            throw new ParseException(errorMsg,-1);
        }

        if ( lexer.peek().hasType( TokenType.ORIGIN ) )
        {
            final ASTNode node = new OriginNode().parse( context );
            if ( node instanceof OriginNode  && ! unit.hasErrors() )
            {
                final Address addr = ((OriginNode) node).getAddress();
                if ( addr != null ) {
                    if ( WordAddress.ZERO.equals( unit.getObjectCodeStartOffset() ) )
                    {
                        unit.setObjectCodeStartOffset( addr );
                        parseResult.objectCodeStartingAddress = addr;
                    }
                    return;
                }
            }
            throw new ParseException("Failed to parse .org directive in "+unit,-1);
        }

        throw new RuntimeException("Unreachable code reached");
    }

}


This home is located in Gudayagiri Village: a "farmer's corner" so to speak. It is an outcrop of a town with two intersecting paved roads. Everything comes to a halt each evening as goat herders guide their flocks to the protection of the corals near town. The nearby forests are inhabited by wild animals. It's a picturesque scene that is increasingly interrupted by suppressive practices, such as the caste system and religious persecution of Christians. As a result, the Gudayagiri Church Orphan Home is a home to children whose parents have been victims of the violence.
Rural India is ravaged by the caste system. In general a caste can be described as any of the social divisions into which Hindu society is traditionally sectioned. Each caste has its own privileges and limitations, transferred by inheritance from one generation to the next.
Although generally identified with Hinduism, the caste system was also observed among followers of other religions in the Indian subcontinent, including some groups of Muslims and Christians. The Indian Constitution has outlawed caste-based discrimination, in keeping with the socialist, secular, democratic principles that founded the nation. Caste barriers have mostly broken down in large cities, though they persist in rural areas of the country such as Gudayagiri. Most recently, the caste system segregation has resulted in violent disputes.
The Gudayagiri Church Home provides a family to each of the children affected by such violence and discrimination. Here, they find love and acceptance. They are cared for by home parents and have siblings who have been through the same hardships. Here, they will thrive and grow in the knowledge of God, and will be protected from the persecution that has so far marked their whole life.
If you would like to join in providing these children with the love and protection we want to afford them, please click "contact us" on the left, or give us a call.


The uninsured rate dropped significantly after Obamacare came into effect in 2014, falling to an all-time low of 10.9 percent in the second half of 2016. But it's been rising since then, hitting 12.3 percent in the third quarter of 2017, according to a new Gallup report.
Nearly 3.5 million people have joined the ranks of the uninsured since the beginning of the year.
Gallup's data is based on more than 45,000 interviews with U.S. adults conducted between the beginning of July and the end of September.


text:
The New 'Toy Story 4' Trailer Debuts Key and Peele's New Characters
Two Toy Story 4 trailers in two days? What is this, Christmas?
Yep, just 24 hours after the first Toy Story 4 trailer emerged from the depths of the internet, a second is here, dubbed a "trailer reaction." This one introduces two more new Toy Story characters: Ducky and Bunny, voiced by Keegan-Michael Key and Jordan Peele. Yep, Key & Peele are now Toy Story characters. And they spend most of this trailer making fun of Woody and Buzz. Which is pretty great.
This trailer came with a slightly different synopsis as well:
Woody's journey in "Toy Story 4" includes a visit to a carnival where he meets Ducky and Bunny, two carnival prizes who are eager to be won. But when their plans are rudely interrupted by Woody and his friends, they find themselves on an unexpected adventure with a group of toys who have no idea what it feels like to be tacked to a prize wall.
Hmmm a carnival. Not sure how this affects our Woody Death Watch, but we'll see. It's certainly a clever tie-in with Disney's Toy Story Mania rides at Disneyland and Walt Disney World. Toy Story 4 opens in theaters next June.
Gallery - The Coolest Pixar Easter Eggs Ever:
Is Woody Going to Die in 'Toy Story 4'?
Source: The New 'Toy Story 4' Trailer Debuts Key and Peele's New Characters
Filed Under: Jordan Peele, Keegan-Michael Key, Toy Story 4
'Nope' Final Trailer Reveals What the Movie's Really About
Jordan Peele Announces Next Horror Movie, 'Nope'
Disney Becomes First Studio to Gross $10 Billion at Global Box Office in One Year
Disney Is the First Studio in History With Five $1 Billion Movies in One Year
Disney Recalls Forky Doll, Which Is Now Technically Trash
20 'Toy Story 4' Easter Eggs
How Does the New 'Twilight Zone' Compare to the Original?
The 'Toy Story 4' Trailer Introduces New Toys and a New Adventure
A Long Lost Toy Returns in the Latest 'Toy Story 4' Teaser


Our dentists work hard to provide high-quality, compassionate care to all of our patients. If you would like to see examples of the care Drs. Kinney, Musser, and Kinney have used to help their patients achieve their ideal smiles, feel free to browse our gallery. Please contact us at Art & Science Family Dentistry today if you are interested in learning more about our dental care in Woodbury, Minnesota.


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"As a way to ideal meet up with client's desires, all of our operations are strictly performed in line with our motto ""High Top quality, Competitive Cost, Fast Service"" for One Color Silk Screen Lanyards , Pantone Color Silk Screen Lanyards , Colorful Silk Screen Lanyards , We'd like to invite customers from abroad to discuss business with us. We can present our clients with high quality products and excellent service. We're sure that we'll have good cooperative relationships and make a brilliant future for both parties.


text:
Maria Petyt, also Petijt or Petiyt (1623–1677), was known as a "great mystic", Her writings have been cited as "unequaled in volume and mystical content within the historical context of the Flemish-speaking 17th century."

Early life
Maria Petyt was born in Hazebrouck on 1 January 1623, in the French part of Flanders near Dunkirk in present-day France, to parents who owned a fabric shop. Tragedy struck the young family numerous times: two sisters died while young, another died while only a teenager and her half-brother Ignace died by drowning. After a bout with smallpox at age eight, Maria was left with many facial marks, but despite these trials she remained an enthusiastic child, full of wit and joy.

It was while preparing for her first communion at the age of 10 that Maria made a vow to become a nun and to consecrate herself to God.

Spiritual life
In 1640, against her father's wishes, she lived for a time in a convent of Augustinian sisters in Ghent but did not join that order because, with her bad vision, "she cannot see the letters of the choral prayer." Instead she became a nun with Carmelite Third Order and took the name Marie of Saint Theresa (in French, Marie de Sainte Thérèse). In 1642, she entered the Beguinage of Ghent and took the sacred vows of obedience and chastity. In 1646, the direction of the Beguinage community was entrusted to a professor of philosophy, Michael of St. Augustine (born Jan van Ballaert), who became her spiritual director. Michael of St. Augustine, noticing Maria's spiritual work and mystical graces, suggested that she retire to a more solitary place. In October 1657 she moved to the beguinage in Mechelen near the Carmelite church where she began her solitary life of study and writing. In 1659, she took the vow of poverty and renewed her vows of obedience and chastity.

She read many spiritual works such as the writings of John of the Cross, Teresa of Avila, John of Ruusbroec, Eckhart von Hochheim and John Tauler.

In about 1662, Michael of St. Augustine asked her to write a memoir of her spiritual and mystical experiences. The resulting autobiography titled La vie de Marie Petyt (The Life of Maria Petyt) was published after her death.

Death and burial
After an extended sickness, Maria died on 1 November 1677, and was buried in Mechelen in present-day Belgium. During the years of the French Revolution (1789-1798), the convent was closed. It was ultimately destroyed in 1804, and at that time her tomb was opened but discovered empty. Researchers have proposed that the Carmelite sisters buried Maria's body in a safer, unknown place for security reasons.

Beatification
Maria Petyt was declared "venerable" by the Catholic Church. She is also considered a "mystic" of the Carmelite Order.

References

External links

De geestelijke Weg (The Spiriual Way) by Maria Petyt (in Dutch)
Introducing the Carmelite Mystics by Christopher O'Donnell

1623 births
1677 deaths
17th-century Christian mystics
Carmelite beatified people
Belgian Christian mystics
Nuns of the Spanish Netherlands
17th-century women writers
Roman Catholic mystics

redpajama_set_name: RedPajamaWikipedia


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Lily, Take My Money Already!!
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I recently was part of new employee orientation and had to sit through a whole day of listening to subjects I've had to teach to others during their new employee orientation. I guess I had a taste of my own medicine. However, while I don't claim to make the best presentations, I do know that I bring over better graphics that catch the eye and keep people awake.
While I started to daydream, I remembered the many times I went through TQM (Total Quality Management) training and other quality training that said TQM is wrong and another quality training that said it was the best thing under the sun. Then I woke up to the conversation about culture. I haven't taught culture. Mainly because I grew up in cultural melting pot. So yes, I was confused at why others might have a difficulty in having an openness to understand other people. There was a lot to cover about culture and there were so many crappy references and pictures to a point where I decided to make my own.
This is one way of defining culture and what we can see or not see when we meet a person. The inner circles are the visuals of what we see when we meet a person however there are a bunch of other things that make up a person's culture.
It is easy to see how the center circles identify you, but the outer circles, your inherited or adapted cultural traits, are also an integral part of your identity.
The rings are also a good reminder of how others see you. Some cultural aspects are more visible than others and a collection of these aspects make up employers', friends', colleagues', and family members' perceptions of who you are.
Many of us do not think of these aspects as "cultural," but culture can be anything which differentiates people and personalities–and on the other hand, which people share as commonalities which draw them together.
Remember that even though groups may align on a specific topic, it does not mean that they align in all topics.
Feel free to download the PDF version. The 2nd page is an exercise in exploring your culture and trying to understand another person's culture. Try it out and let me know what you think.


A kitten who was the only survivor of his muddle, discovered a brand new circle of relatives with 3 tom cat sisters.
Smokey, a grey kitten, was once present in a yard at the side of his siblings — one in every of them had handed and the opposite was once fading. An area TNR (trap-neuter-return) rescuer wasted no time and began bottle feeding the rest two kittens till they discovered them a foster house.
Shelbi Uyehara of Jin's Bottle Babies in Arizona took them into her care. In a single day, Smokey placed on 18 grams. "He began purring early. Like the primary day we were given him, he already had a ferocious purr. That is all the time a excellent signal to me," Shelbi informed Love Meow.
In spite of their best effort, Smokey's brother Bandit misplaced his combat. The little grey kitty was a singleton, repeatedly in search of consideration and love.
He clutched onto his snuggly teddy undergo each day and night time after feedings.
Whilst Smokey endured to develop larger and more potent, it was once transparent that he actually ignored having a sibling round. Their resident cat Nitro got here to supply a serving to paw to stay him blank and groomed.
A couple of days later, 3 tom cat sisters (Ana, Kristina, and Daniela) had been introduced in once they had been rescued from a troublesome scenario. The kittens had been coated in mud and wanted lend a hand to transparent their airlines.
After many days of round the clock care, the trio bounced again, placed on numerous weight and had been meowing and transferring round like champs.
In the meantime, Smokey had blossomed into an lovable package of fluff, however they knew he wanted a chum to thrive. Shelbi decided to introduce him to the sisters and was hoping they might settle for him.
"I used to be actually anxious to place him in with them as a result of they are much more youthful and smaller than him," Shelbi informed Love Meow.
However Smokey was once decided not to be a singleton any longer. He switched on his purr motor and was once very delicate and candy together with his new buddies.
The sisters in an instant gravitated towards him and rolled up on him for cuddles.
"In the beginning it kind of feels like they concept he was once mother. He was once so large. However now he is taken the massive brother function. They move slowly all over the place him, and he simply lays there on his again," Shelbi informed Love Meow.
Smokey has transform the protecting little brother to his 3 sisters from every other mom.
He adores them and not leaves their aspect.
In spite of a coarse starting, little Smokey is prospering together with his sisters and following them all over the place they cross.
Proportion this tale with your mates. Practice updates on these adorable kitties on Facebook and Instagram.


Printer settings were mostly Araspitfire's with a feed rate of 5, flow rate of 10 and max z speed of 2 (all mm/s I believe) as I didn't want to push things too hard just yet (i have heatsinks to bond to the pololu drivers for doing that!).
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text:
Female St. Sebastian: Parallel lines in the radical lesbian art of Gina Pane and Catherine Opie
Summary: This paper is a comparative analysis of works by two contemporary artists: Gina Pane, an Italian, and Catherine Opie, an American. Both use performance and autobiography and raise the subject of lesbian identity. Moreover, both share themes of suffering, pain and relationships between women. They were active in various cultural contexts, however. Pane worked in Western Europe during the moral revolution of the 1960s and '70s. Opie has been active in American art from the beginning of the '90s and she has been participating in political changes from the AIDS crisis and the radical queer movement to the present day assimilation of the LGBTQ community. The tradition and symbolism associated with St. Sebastian serves as the historical background the for the analysis in this paper, as both artists used the iconography of this male homoerotic idol in their subversive depictions of femininity and sexual dissimilarity. The works of the two artists are subjected to a comparative interpretation considering various contexts, similarities and differences, and evaluated in terms of contemporary artistic and political challenges of queer culture.
Fig. 1: Catherine Opie, "Julie (play piercing)." Girlfriends. New York: Barbara Gladstone Gallery, 2010.
The American photographer Catherine Opie is a star in the contemporary art scene. In 2008, the Guggenheim Museum in New York organized a retrospective of her art titled Catherine Opie: American Photographer. She is also present as an artist in the sphere of popular culture: the portraits she made in the lesbian, transgender, and S/M communities in the early 1990s were featured in such TV series as Six Feet Under and The L-Word. Like these ground-breaking HBO and Showtime cable channel productions, Opie's photographs have been crucial for the shaping of contemporary visuality, queer identities, and lesbian identity in particular. Opie's own identity has been central to her art and to her perspective on the American society.
Opie became a successful artist by using beautiful photographic images to document various American queer communities at the turn of the 20th and 21st century. Looking for the specificity of American differences, as well as for a sense of unity, she portrayed surfers, high-school football players, lesbian families and couples living across the US, but also American highways, shopping malls, and houses. It was in recognition of Opie's pursuit of the essence of Americanness that the Guggenheim Museum bestowed on her the status of a contemporary "American photographer," which she shares with such renowned artists as Dorothea Lange and Walker Evans.
Her early portraits of transgendered people collected in two series, Being and Having (1991) and Portraits (1993-97), are particularly memorable. They often served as illustrations for articles on the work of Judith Butler and gender performance at a time when queer theory first became influential across the world. Her portrayals of women performing a wide range of lesbian feminine and masculine identities, particularly those characterized by gender indeterminacy, built up her reputation both in the world of contemporary art and in gender and queer theory.
But the most dramatic works in the history of American modern art, next to Robert Mapplethorpe's Portfolio X (1978) are still Opie's three self-portraits made while she participated in the lesbian S/M subculture in Los Angeles. Those three subversive and shocking masterpieces are titled Self-Portrait: Cutting (1993), Self-Portrait: Pervert (1994), and Self-Portrait: Nursing (2004). The two former works are self-portraits representing a lonely S/M ritual in which the artist simultaneously performs the role of the sadist and of the masochist. All three are stylized to resemble Renaissance self-portraits, with decorative drapery as the backdrop for the centrally seated author confronting the viewer with her "painful" body.
To this day I find it difficult to look at Self-Portrait: Pervert. Opie is seated in the center, in a regal pose, against a backdrop of patterned fabric. Instead of a crown she wears a close-fitting black leather mask that reaches down to her neck. Her large breasts are bare. Above them the word "pervert" has been cut into the bleeding flesh. Her arms, however, present the most painful sight, perforated as they are with dozens of needles. Emanating from the image is excruciating pain, a ritual pose, and proud self-display. The bloody wounds seem to pierce the surface of the photograph.
Fig. 2: Catherine Opie, Self-Portrait: Pervert (1994).
This type of pain takes me back in time, to 1970s France, and to another artist who, though largely forgotten today, is a cult figure in the hermetic circles of radical performance art. Gina Pane (1939-1990) died around the time Catherine Opie began making her transgressive portraits and self-portraits. I would like to discuss Pane's art in relation to her reception by contemporary lesbian artists. Opie's 1990s photos, though firmly rooted in the American tradition of photographic portraits and the LA lesbian culture, seem to retroactively transform Pane's classic performances. The relation between the two lesbian artists who belong to very different generations has led me first to consider the durability of the motif of suffering in queer art, and second, to take a look at contemporary art as a lesbian and gay history archive.
Whereas sexual identity constitutes the main subject of Opie's photography, in Gina Pane's case the sexual significance of her performances has to be extracted from other meanings attributed to performance art in that period. The cultural and political revolt of the 1960s and '70s has been an important context for reading Pane. May 1968 in Paris is an important historical reference, while 1970s European body art is an artistic reference. By contrast, the contexts for reading Opie's art are American queer theory, lesbian sadomasochism and transgenderism of the 1990s and the AIDS epidemic.
Some artists allow us to arrive at the deep sense of the lives and works of their predecessors. So far, critics have only mentioned Pane's sexual identity in passing, choosing instead to concentrate on the broad categories of femininity, religion, or the politics of body art. Consequently, Pane's art remains closed and, as it becomes encrusted with legend, it is also increasingly difficult to understand. In her bloody self-portraits, Opie pays tribute to her forerunner and reveals layers of previously unrecognized yet still relevant meaning. Homosexual identity, which emerged in the 1960s as one of the great modern subjects of cultural and social discourse, to this day constitutes a wound on the body of civilization. Whose body is it most of the time?
All we have left are the photographs. We can only imagine the pain.
Close-cropped hair, plaid shirt, pants. A barefoot woman is climbing strange metal bars that look like a piece of gym equipment. Since the photos are usually reproduced in black and white, they may not appeal to present-day viewers accustomed to strong visual effects. Yet the shots are dynamic: the woman appears in several positions on various levels of the bars, climbing up and down more than once.
Fig. 3: Gina Pane, Escalade non Anesthésiée (1971).
When we look closely, we see that the rungs of this metal structure have sharp, jagged edges and the climber's feet and hands are bare. Only the photographs remain; the sense has to be deciphered. Climbing without anesthesia - Escalade non Anesthésiée (1971) - a classic work of 1970s performance art.
Gina Pane. Many pronounce her name Gina Pain, turning the Italian world for bread, "pane," into the English word "pain." Pane, the queen of European body art, is experiencing a renaissance in the 21st century, an age of virtual bodies. Her actions conceived forty years ago were a constant manifestation of suffering. Called by ironists "the mad woman with the razor blade," she repeatedly made incisions on the skin of her hands, arms, back, belly, lips, tongue, and eyelids. She used her own blood and wounds as a text, writing a "Letter to a Stranger" - her artistic manifesto. This 1974 "Letter" states: "If I open my body so that you might see my blood, it is because I love you." Her pain did not go to waste; subsequent generations continue to explore the meaning of her performance, climbing without anesthesia, time and time again.
But what if we attempt to look at Pane's art the way it was perceived and used by her successors? We can reenter the wound through later representations. Looking at Opie's 1993 self-portrait, it is difficult not to think of Pane. She interprets Pane for us in a direct and disturbing way, going beyond the critical interpretations published to date. Pane's and Opie's wounds are shallow yet deep enough to draw picturesque lines of blood. The incisions Pane made during her performances were tiny.
As befits the 1990s, Opie's Self-Portrait/Cutting (1993) is a large color photograph, quite unlike the Pane's ascetic performances and their photo-documentation. Opie sits with her back to the viewers, against a backdrop of decorative fabric. Like Pane, she wears her hair short. On the American artist's massive back a "childish" drawing has been cut: house, cloud, sun, and next to them two stick-figure women holding hands. The entire image consists of flowing red lines - the artist's blood flowing from razor-blade wounds. The wound cut into the body is a home for the love of two women.
Fig. 4: Catherine Opie, Self-Portrait/Cutting (1993).
Fig. 5: Gina Pane, Le Lait Chaud (1972).
Let us now move back in time. Opie's back. Pane's back. Nakedness. Whiteness. Paris 1972, Le Lait Chaud. Dressed in a white shirt, Pane sits with her back to the audience. She slices her back with a razor blade. The blood sinks into the fabric. The red stains stand out against the white, like a drawing. Aestheticism. At another point of the performance, Pane faces the audience and lays the razor against her cheek. Blood comes to the surface. The participants, always silent during Pane's performances, as if hypnotized, are suddenly aroused from their paralysis and scream, "No, not the face!" There follows an explosion of emotions and sense.
On November 9, 1973, at the Galleria Diagramma in Milan, Gina Pane is performing Azione Sentimentale. We enter the space of three rooms. On the floor of the first room there is a black velvet square with a white satin rose appliquéd in the middle. On the walls there are three photographs showing roses in a silver vase. "Dedicated do a woman by a woman" reads Pane's caption. In the next room a slide is being projected on a wall. It shows a portrait of the artist from the waist down, dressed in white pants, holding a bouquet of red roses in her lap. In the third room a performance is in progress. Rings have been drawn in white chalk on the floor, and inside them the word "donna" (Italian for "woman"). Only women have been invited to witness this performance. Pane, dressed in white, performed before an all-female audience seated in rings.
Fig. 6: Gina Pane, Azione Sentimentale, Galleria Diagramma, Milan (1973).
Pane lay on the floor holding a bouquet of red roses, which she alternately pushed away and held close. This was a series of carefully staged and repeated poses, which ended with Pane sitting curled up like an embryo, hugging the bouquet. In the next phase, Pane pierced her forearm with eight rose thorns and sliced her palm with a razor blade. The outstretched bleeding hand symbolized love passing from hand to hand. The artist offered this blood to the community of women present. Significantly, she surrounded herself with women and used the rose to say "I love you." Two female voices could be heard while Pane proceeded to cut her body; an Italian and a French woman reading letters addressed to each other; an epistolary dialogue of love, as well as a narrative about the death the mother of one of the women, whose lover had sent her a bouquet of roses as consolation. Then, Pane repeated all the initial gestures and movements with a bouquet of white roses. The performance closed with the sound of Frank Sinatra singing "Strangers in the Night" in the adjacent room.
Fig. 7: Gina Pane, Azione Sentimentale (1973)
Azione Sentimentale is characteristic of Pane's performances, which were long, usually lasting an hour or two, and carefully staged in an almost ritualistic manner. The repetition of certain meaningful gestures and movements, as well as the demonstration of objects played a central role in them. Pane's actions tended to combine multiple media: slides, texts read aloud, music, as well as the filming of the audience. Simultaneously, each performance was documented on film and photographs; Pane herself carefully planned the documentation, making drawings, so that the photographer she worked with knew exactly when to turn on the camera; Pane was the director. Although the cutting, wounding, and pain appeared only at specific points of the performance, it was on them that the photo-documentation was centered, for Pane's language was based on the wound and on pain, not on the body, which she rarely exposed. The pain and the wound awakened both herself and her audience from paralysis. Pane programmatically worked within and against an anesthetized society.
Based on the photo-documentation and film footage, Pane and her partner Anne Marchand created artistic representations which she called "evidence." These were usually geometric compositions of photographs showing the key moments of the performances: the body in religious poses, blood, wounds, the artist's self-mutilation and its demonstration. The "evidence" of Azione Sentimentale is especially beautiful. The artist's ritual poses, the whiteness of her clothes, the bouquets, the cuts, the thorns puncturing the arm, all in shades of white and red. White and red like white and red roses, body and blood, and finally, blood and milk, which often turned up in the performances. Milk in the artist's mouth is mixed with the blood of cut lips or tongue, as in the performance titled Autoportraits (1973).
The photographic compositions - artistic evidence of Gina Pane's performances, double up as self-portraits inscribed with subtle biographical traces. The evidence of Azione Sentimentale shows her in several frames, each time reduced to a fragment. We never see the full figure, only framed parts of the body and clothing. The artist curls up. Her face is invisible. The face disappears from many of the photographs which are designed to show fragmentation, to locate the wound or gesture. It seems that the artist's individuality is muted in the name of the sacrifice she makes of her suffering.
Because of this, critics find it so easy to universalize the radical gestures, interpreting them as paradigms of religious ritual, rebellion against the alienation of the individual, or opposition to the anesthetized society. Yet Pane is a performer of the 1970s, when the private was political, and when the creators of body art followed a code of ethical and social responsibility. The painful poetry of Pane's performances is filled with deep and concrete meanings. It was no accident that she rejected traditional art and began to perform after the May 1968 political and intellectual revolt in Paris. The social context and Pane's biography are subtly intertwined. She was born in France, lived in Paris, yet spent her youth in Italy. Her father was Italian, her mother Austrian. Italian and French cultures permeate her art, in which she makes use of both languages. This explains the dialogue of love conducted by the two women, one Italian, the other French.
European and American masochistic body art of the 1970s is usually discussed within the historical frame of the Vietnam War and western artists' identification with the victims of western imperialist military and political violence. Although all this is present in Pane's art, femininity is an additional element. Countless analyses of her art and internet entries on the artist herself restate the claim that Gina Pane externalized the self-hate that women living in a patriarchal culture are forced to internalize, or that she reenacted the violence against women present in this culture. Though her feminism is obvious, from a present-day perspective such a generalized feminism may cause meaning to be diluted and to disappear in the universal. Therefore Catherine Opie's contemporary lesbian self-portrait restores Gina Pane to us in her unique singularity.
Pane's art was not only about Vietnam. Critical commentaries on body art also emphasized that the risky and radical practices of 1960s and 1970s artists were suffused with the revolutionary spirit of various civil rights movements that shook western civilization and transformed it entirely. Risk-taking, exposing oneself to suffering, and confronting the aggression of the dominant system was the experience of those who fought in the name of women's rights, the rights of people of color and lesbians. Democratic civil rights were extended to those groups because someone took the risk of confronting injustice and discrimination. The story of minority movements in the history of humanity's development and humanization is also a story about the continuing sacrifice of human victims. A wound must appear on the social body for an awakening and a healing to take place. It was in this context that Pane spoke about making an intervention into an anesthetized society and climbed without anesthesia.
Azione Sentimentale was a confession of love between women. Homosexual rights and love stories were no less audible in the 1974 Action Mélancolique performed in Naples. Initially three couples sat on the stage: two women, two men, and a woman with a man, each couple holding a bouquet. Commenting on this performance, Pane wrote that by putting homosexual couples next to the heterosexual one she had pushed aside pathological associations and created a shared emotional space. Then Pane herself came on stage and drew hearts on her palm and shoulder, and then on the naked back of a woman holding a bouquet.
One might ask: Did Catherine Opie in her Self-Portrait/Cutting invoke that moment, paying tribute to her predecessor? The presence of Pane's partner Anne Marchant at the performance had been significant. It was through the photographs that Pane introduced the personal into her performances. Blood and wounds also appeared in Action Mélancolique, during which Pane cut her ear and pierced her arm with drawing pins. The homosexual emotional space had to simultaneously become the space of pain. Transformation was symbolized by the artist rinsing her mouth with cold milk, which she warmed in her mouth and spat out, feeding with warmth the cold and unfeeling world.
Likewise, Opie's Self-Portrait/Cutting was a masterpiece on the subject of violence, on the suffering that is the price of a relationship between two women in a hostile homophobic environment. This contemporary reading associated with homophobic aggression cut into Opie's back seems to bring out the private and social aspects of sexual identity in Pane's performances. Manifested in her work, suffering reflects not just the ever-present risk involved in the struggle for minority rights but also her private struggle and resistance. Pane often used the word "aggression." Asked about the central role of the wound in her works, she answered that the wound stands for a state of the body's extreme sensitivity; it is a sign of suffering, a sign of external aggression. The wound recalls the situation of being the object of aggression, of always being exposed to violence. The performances, which left the artist in a state of extreme psychological and physical exhaustion, were intended to break through the viewers' indifference or hostility, to expose their fear and disgust, to lead them to empathize with her pain. Pane internalized and exposed on her body the aggression towards homosexuals that exists in the outside world. Her performances render the state of the individual locked in a hostile structure, imprisoned in it as in a trap and subjected to torture. This explains the presence of the terrible prop - the bars - in many of her works. When she "climbed without anesthesia," the prop was a sharp metal ladder. In the first phase of Autoportraits (1973), for half an hour Pane lay on a metal frame with lighted candles underneath.
Pane came to believe in art as a political force that could serve as a catalyst of change. She may also have treated the spectacle of suffering as a means for transforming consciousness through sensitizing it to the pain of others. Sexual identity appeared in her work on the biographical level, when she made art together with her partner Anne Marchand and used her photographs in the performances; on the thematic level, when she introduced homosexual couples into the performances; and on the intellectual level, by declaring an affinity with other artists of the sexual avant-garde in her times.
Strategies of resistance
In Gina Pane's notes made in 1968 we read: "Cunningham and Cage were the initiators of new relations; they led to their explosion." This is a reference to both artistic and existential relations. The avant-garde composer John Cage and the dancer Merce Cunningham worked and lived together, transforming the conventions of music and choreography to produce works that became crucial for the history of performance art. Cage's famous composition 4'33" (1955) is 4 minutes and 33 seconds of silence, during which the pianist on the stage only made three movements with his hands over the keyboard without touching the keys. In Jonathan Katz's interpretation, silence for Cage was a metaphoric refusal to participate in the oppressive American culture dominated by McCarthy, who persecuted communists and homosexuals with equal fervor. Silence was a form of resistance and a refusal to participate in a repressive ideology, but also a form of self-concealment in that dark period. It also served as a commentary on the erasure of sexual difference in the 1950s.
Pane performed two decades later, at a moment in western culture when sexual minorities had come out of hiding and taken on the struggle to win civil rights. Therefore Pane substituted the struggle with pain for silence. Her self-aggression constituted a way of externalizing, of freeing oneself from the ages of violence and signified risk associated with gestures of resistance. Opie, in turn, in her transgendered and sadomasochistic lesbian portraits, documents another phase of suffering - as well as a pride in difference - the queer phase.
In Pane's art, the body and sexuality were not just political but, above all, intimate and psychological. Therefore critics emphasize the connections between Pane's art and French psychoanalytic feminism of the 1970s, associated with the bisexual Helene Cixous and the lesbian Luce Irigaray. Both these anti-patriarchal philosophers stressed the freeing of the feminine jouissance, meaning pleasure/pain, through lesbian desire which restores the denied union with the mother's body. Just like blood and milk in Pane's work, maternal and feminine metaphors were crucial for the invention of a new feminine language of art.
In her performances we find numerous references to the maternal body in the context of love between women, either direct, as in Azione Sentimentale, or oblique, made by way of erotic allusions. In the course of the performance titled Psyché (1974), Pane unbuttoned her shirt to lick and suck her own breast, and then made incisions around her navel.
Fig. 8: Catherine Opie, Self-portrait: Nursing (2004).
Catherine Opie, too, makes use of maternal imagery in her provocatively perverse manner. Self-Portrait: Nursing (2004) is her version of the Lesbian Madonna. Against ornate red drapery, the artist sits enthroned, exposing her ample body. Above her breasts the word "pervert" is still etched in scar tissue. In accordance with the title, she is nursing the naked child held in her arms, though she retains her transgendered "butch lesbian" looks. It is from this perspective that she emanates maternal symbolism as she nurses the child.
In Pane's art, the wound and blood connected with sexuality contributed to the masochistic element that is characteristic of many practitioners of body art. Masochism is no less forcefully present in Opie's openly lesbian early art. In Pane's work, the suffering additionally contains religious references associated with the Catholic iconography of martyrs. All the wounds are like stigmata. Religious martyrdom is a form of voluntary submission to violence in the name of faith, and as proof of faith. Sexual identity accounts for Pane's masochism and, to a certain extent, also Opie's.
Like many gay masochist performers, from Michel Journiac to Franko B and Ron Athey, Pane makes a sacrifice of herself on the altar of the homophobic civilization. These artists chose the language of the suffering body, dressing it up in the costume of Christian ritual. Imitating Christ, they reached for the symbols of the perverse religion that persecuted and wounded them, but that simultaneously placed at the center of its imaginary the rejected and humiliated victim with his beautiful tortured body. The figure of St. Sebastian stands at the center of the tradition of homosexual art, not only on account of the exposition of the naked masculine body but, more importantly, because the body has suffered unjustly. Gina Pane and Catherine Opie can be read as female St. Sebastians. They appropriate and reinterpret the gay icon of western culture. Thinking about the arms pierced with needles in Opie's self-portrait and the drawing pins in Pane's body, let us move on the arrows that wound but do not kill St. Sebastian.
St. Sebastian is Christianity's greatest homoerotic icon. How is it that a Christian martyr was able to take on this role, suspended between the sacred and the heretical? The responsibility lies with Italian art, whose practitioners took pleasure in portraying his attractive, naked, passive, and ecstatic body tied to a tree and penetrated by the arrows of other men. The basic elements of this homosexual pictorial myth are: youth, beauty, and nakedness combined with the physical strength of a soldier, as well as suffering and ecstasy. The arrows constitute an erotic and phallic symbol, while the entire drama takes place in the closed military world of men. In addition to this sadomasochistic scenario there is Sebastian's status of a lonely and unjustly persecuted man. Furthermore, as the saint responsible for plague victims, St. Sebastian acquired a special "gay" significance during the AIDS epidemic. Thus in the 20th century he became the patron saint of homosexuals.
However, the original story was somewhat different. As we learn from St. Ambrose, St. Sebastian's hagiographer, the martyr lived in the 3rd century AD. He was a middle-aged bearded Roman officer of emperor Diocletian's guard. He died a martyr's death in 287, at a time when Christians were being persecuted, because he had accepted the teachings of Christ and was converting others. The emperor had his archers tie his one-time favorite soldier and their companion to a post and pierce him with arrows. But St. Sebastian did not die. When a woman named Irene wanted to bury him, she found a spark of life in his body and healed him. St. Sebastian than returned to the emperor and accused him of barbarity towards Christians, whereupon he was sentenced once more, but this time his body was stoned and thrown into a sewer.
Medieval mosaics still showed St. Sebastian as a mature bearded man in full clothing, without arrows. But since the Renaissance he has become the Christian Adonis, usually shown as a naked youth bound with ropes and pierced by arrows, with an ecstatic facial expression and hips barely covered by drapery. His body tied to a tree is outstretched and exposed. In Christian iconography, he constituted one of the main excuses for artists to do detailed studies of the passive and sensuous male body.
In fin-de-siecle art, Sebastian became one of the decadent idols of perversion, symbolizing non-normative sexuality. His status of a gay icon was sealed in modern culture. As such, he was the subject of writings by Oscar Wilde, Gabriele d'Annunzio, Jean Cocteau, Thomas Mann, Jean Genet, Marcel Proust, Garcia Lorca, Tennessee Williams, and Susan Sontag. In 1976, Derek Jarman made the cult film St. Sebastian. In the photographic art of Yukio Mishima, Pierre et Gilles, and Wolfgang Tillmans, the martyr braces his body in an erotic trance of pain, even more obvious that in the baroque paintings of Guido Reni, the baroque master of the saint's thanatic ecstasy. Today, homosexual women are appropriating St. Sebastian's body.
The role of the contemporary American St. Sebastian is played by Ron Athey - the masochistic performance artist who literally becomes St. Sebastian in his painful performances. In 2000, Catherine Opie produced the famous series of photographic portraits Ron Athey. She presents the performer's body tortured with incisions, piercings, and tattoos, fainting, and laid in religious poses. These are monumental portraits, monumentalizing suffering and showing the muscular yet martyred male body. Athey's performances, which have acquired a cult status, are rituals of pain related, on the one hand, to the artist's HIV-positive status and, on the other, to the perversion of American religious fundamentalism. Athey was raised in the radical protestant Pentecostal church, whose psychophysical extremism inspires his art. This art is clearly political in that it refers to intolerance and sexual discrimination, violence and obsession harbored by American society. Opie's collaboration with Athey indicates that this subject is also important for the woman artist who created her early radical self-portraits to provoke but also to oppose the stigmatization of gender and sexual difference.
Pane-Opie
In 1981, after ten years of exhausting performances, Gina Pane abandoned this art form. Until her death of cancer in 1991, she focused on making poetic compositions combining sculpture and photography which she called Partitions. They are suffused with the iconography of three martyrs: St. Francis, St. Lawrence, and St. Sebastian. Traces of their martyrdom were already present in the suffering she imposed on herself during the performances - the piercing, cutting, and singeing. Thus Pane supplemented the wealth of feminine symbolism with masculinity, embracing both genders in her self-sacrificing embodiments and efforts to awaken the anesthetized society.
Opie's self-portraits are open to as many contexts in late 20th-century American culture as were Pane's performances in European culture of the 1960s and '70s. Probably Opie assigns a greater importance to participating in protests against American cultural conservatism, art censorship, homophobia, and the stigmatization of non-heteronormative identities and sexual subcultures. The suffering caused by the AIDS epidemic constitutes another important context. Finally, Opie is concerned with such issues as lesbian subjectivity, departures from the normative models of femininity, as well as transgressing the gender binary with the attendant stereotypes. The self-portraits share with Opie's other works a characteristic documentary quality. Opie belonged to a lesbian subculture in which S/M was a ritual, a sexual practice, and a search for an alternate image of lesbian sexuality beyond a delicate floral femininity. The writings of Pat Califia provided the theoretical underpinnings of this lifestyle.
Opie has come a long way in artistic terms from being a "pervert" on the margins of society and visuality to being a presence in The L-Word and making a portrait of its star, Katherine Moenning (Shane) with a dog in her lap. This is one of the images featured in the excellent new portrait series Girlfriends (2008). All the famous American women portrayed in this series have a "butch dyke" look and constitute objects of desire for the artist. The most famous lesbian photo series by Opie, which appeared right after her radical S/M and transgender portraits is called Domestic (1995-98) The title itself suggests a change. Rather than focus on individuals isolated by their difference, these images show couples and threesomes, lesbian relationships and families at home in many states across the US. This is a journey through a happy lesbian middle-class America.
Fig. 9: Catherine Opie, "Catherine, Melanie & Sadie Rain," from the Domestic series (1995-1998).
Opie explains that by photographing women's homes and families she pursued her own dream of happiness and love. In line with the best documentary art tradition, she also registered the way the society and the model of the family is changing and becoming increasingly diverse. These unusually private yet anthropological portraits of women and girls in love represent a world in which the archetype of St. Sebastian may fall into oblivion - for both women and men. This is a dream that Gina Pane could not have visualized in her performances which were fully subordinated to the idea of martyrdom. Thankfully, while martyrdom also influenced an early stage of Catherine Opie's artistic career, she has lived to see a society in which "queer" has become "normal." Hers is the friendly America of Ellen Degeneres.
Only Ron Athey would probably have disagreed and continued to diagnose the patriarchal, military, and religious perversions of gender and sexuality in contemporary western society. The times of St. Sebastian are not over yet. Sebastian is timeless, as is sadomasochism in sex, human relations, and politics - unless Domestic is a prophetic work that announces the gradual unfolding of a new feminine world.
Fig. 10: Gina Pane, Self-portrait.
Fig. 11: Guggenheim Museum poster for Catherine Opie's show, New York (2008).
Blessing, Jennifer. "Some Notes on Gina Pane's Wounds." Gina Pane [exhibition catalogue]. John Hansard Gallery, University of Southampton. Bristol: Arnolfini, 2002.
Blessing, Jennifer, Nat Trotman, Dorothy Allison i Russell Ferguson. Catherine Opie: American Photographer [exhibition catalogue]. New York: Guggenheim Museum, 2008.
Dykstra, Jean. "Opie: The Community of Difference." Art in America (December 2008): 128-135.
Katz, Jonathan. "John Cage's Queer Silence or How to Avoid Making Matters Worse." Queer Cultural Center March 24, 2010.
Linder-Gaillard, Inge. "Stigmata, Icons and Reliquaries: Messages from St. Gina." Gina Pane [exhibition catalogue]. John Hansard Gallery, University of Southampton. Bristol: Arnolfini, 2002.
Tronche, Anne. "If someone is here, they are present." Gina Pane [exhibition catalogue]. John Hansard Gallery, University of Southampton. Bristol: Arnolfini, 2002.
back print pdf
current issue 2018/13
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I was t-r-r-embling while chatting with Points Envy, because it really was such an honor! Sure, I've earned and burned millions of miles and points, but that's just a rounding error to Points Envy.
I've always admired how Points Envy has sources everywhere and gets the scoop on the Chase Sapphire Preferred Preferred, 40X Ultimate Rewards Points outside Costco, screenshots of Delta's best-in-class award booking process, not to mention writing fascinating human interest stories on divorces over credit card referrals.
Terrible Shirts, But Points Envy Paid Us 5 Million Points (Each) To Wear Them!
The Points Envy editors have been collecting points and miles since before we were born. By that we mean that in elementary school we inherited all of our parents' loyalty account balances after their untimely demises in a series of unrelated, yet strikingly similar, freak accidents, through which more than one billion points tragically yet conveniently became ours.
For some time we had been trying out different things to do while bored in first class, from challenging other passengers to drinking contests to sleeping. A few years ago, completely by accident, we discovered that blogging is a nice way to pass the time from when you get your welcome champagne to when the caviar is served.
We picked the travel hacking niche because we wanted to be the best in our field without having to really try. After all, we are gentlemen of leisure. The timing had nothing to do with the economic downturn and lack of job opportunities for Classics majors.
Our blog is patently amazing, but we can spell it out for your readers who either have not yet experienced Points Envy or who cannot actually read. In addition to a clever name, we regularly feature some of the most interesting and pragmatic content in the travel blogging world. We also have a fairly solid grasp of basic English grammar and a unique mannerism, in that we always use the plural form when speaking in first person.
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First, read our blog. Second, follow us on Twitter. Third, get an American Express Platinum card, which has no pre-set spending limit, and spend as much as you can in the first billing cycle. Then transfer the points as soon as they post and use your earnings to live a first class lifestyle abroad until the statute of limitations runs on the unpaid bill.
We've had success with this tactic numerous times.
Last year for spring break we flew to Cairo on EgyptAir. We remember it clearly because we found out the hard way that don't serve alcohol, not even champagne. Without our beverage of choice we understandably became furious very quickly. It was how we have always imagined prison.
Our anger was not quelled by the first class food or friendly flight crew and, when we arrived, we complained to such an extent that we inadvertently started a small riot in the airport. We immediately booked the next flight out on a different (alcohol-serving) airline. As we boarded, we noticed that the riot seemed to have grown substantially. Suffice it to say, our word carries weight in airports.
We avoid discussing our points hobby with our "friends" because we regularly open credit cards in their names to earn tons of points; points that we use to take luxurious first class vacations without them. And our parents don't think anything about it because they are dead.
But if the IRS or any bank asks, they are alive and happily spending large amounts every month on their dozens of credit cards. Our grandparents are more or less the same.
Don't be afraid to break the law, or any rules for that matter. For example, sometimes you can just sneak into first class if you are a white (or whitish) male dressed in a designer suit. It's helpful to check availability before trying this trick out though, in order to avoid an awkward situation.
As always, it helps to be rich.
On a whim, we once scribbled "For a great AMEX Platinum referral, call [redacted]" in a Lufthansa first class bathroom. The response was largely sickening, but we did manage to earn a decent number of points from the referral bonuses.
We also once came up with a great plan that required the purchase of elaborate, expensive machinery. The plan didn't work out as envisioned, but we earned a somewhat respectable amount of points in the process.
We recently discovered that Iberia Avios have become a legitimate form of currency in Spain since the economic downturn, and that merchants now accept the points at a rate of ten Avios per euro. Given the ease of transferability from British Airways, this has translated into a goldmine of jamón serrano and cava for us. But mostly, we just buy more Avios. Olé!
More importantly, three months ago we figured out our cousins' social security numbers.
On those rare occasions when we are not living semi-permanently in a hotel suite, experiencing a gluttonous existence in first class or relaxing in a premium lounge, we reside in a trailer. We should point out, however, that the trailer is a duplex, and that we put the entire purchase on our Starwood American Express.
For a great AMEX Platinum referral, email info@pointsenvy.com. And stay tuned for our next project: Billion Mile Secrets.
Points Envy– Thanks for sharing your thoughts on having Big Travel with Small Money!
Note: This interview was satire and you shouldn't follow any of Points Envy's suggestions, nor should you break the law. Any resemblance to the truth is purely coincidental.
11:35 pmNovember 11, 2012 Jacki T.
It's what your parents and grandparents would have wanted ; )LMAO….and I don't use the "A" type of words!
Is it for real? How can a person get too many points like this. It is impossible for me to reach this point level. This is Chase points. If I apply for all Chase bonus cards, I even would not reach this point level. It is impossible. Do you guys think that there is a photoshop in that picture?????
As I kept reading, I kept moving to the edge of my couch, and as I reached the end of the blog I started laughing and dropped my Laptop on the floor.


text:
Nintendo Wii Flash Games from Novel Games
Novel Games has released 76 Flash games for the Nintendo Wii. The games are all small, casual games that come from a variety of categories like puzzle games, action games and sports games etc. And as always, all the games released by Novel Games are healthy and family safe.
To play the games all you need is to use the internet channel of the Wii to load http://www.novelgames.com and then you can start playing right the way. The games are all free and you do not need to pay anything to play the games.
New games will be added once every few days so you will always have new games to play. All the games include a global high scores table so that you can compete with players around the world.
The Novel Games website is certainly a nice addition to the list of favorites to the Wii browser.
About Novel Games:
Since 2001, Novel Games has been developing and marketing family safe games of all kinds. It now offers 116 Flash games for online entertainment, with new games being added each month.
Website: http://www.novelgames.com
Contact: Peter Lee, enquiry@novelgames.com
Postal Address: Novel Games Limited, Rm 812, 8/F, Yick Tai Insdustrial Building, 650 Castle Peak Road, Kowloon, Hong Kong


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JCPEP is a pure, high molecular weight, polyethylene neutron shielding, frequently used as a moderator where it is desired to slow fast neutrons down to thermal energies for experimentation.
In these applications, it is highly desirable to maximise the hydrogen content and minimise any impurities, especially those that might absorb neutrons. We can supply high purity virgin polyethylene for this application in a variety of shapes and sizes.
JCPEP can be readily machined into complex shapes for applications involving neutron instrumentation, reactor physics, activation analysis or isotopic neutron sources. John Caunt Scientific can not only provide custom machining but can also pour JCPEP into custom-made moulds to provide application-specific shielding form.


The article above certainly gave you the basics behind interior design. It's not as hard as everyone says, and you can design your home to please your tastes. Don't settle for an ordinary home; instead, design something special for you and your family.


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When I was a little girl, my family and I often went mushroom picking. My parents would then marinate those mushrooms, dry them, make soups out of them or just saute them with onions and serve them over potatoes. What can I say? I love mushrooms.
Imagine my insane excitement, then, when I found out that I was the lucky random winner of four pounds of mushrooms from Marx Foods! Last Friday, I had a big box of mushroom goodness sitting and waiting for me by my door (I was so relieved my neighbors are honorable people and did not take possession of my box).
The box included 2 pounds of wild golden chanterelle mushrooms and a 2 pound fresh organic sampler. Let me just say that I don't think I've had chanterelle mushrooms in nearly 16 years! In Russia we call these mushrooms "little foxes" because of their beautiful orange color.
Above is a collage of the mushrooms I've received. Included: chanterelle, enoki, maitake, portabella and oyster mushrooms.
Friday night I sauteed some chanterelle mushrooms with onions and potatoes and added some garbanzo beans for a filling vegetarian meal. Over the weekend I made a mushroom omelet, mushroom pasta and mushroom filled phyllo dough. Stay tuned for these recipes, which I'll be posting later this week.
Meanwhile, here are some recipes you can make with mushrooms: polenta with mushrooms, bacon and onions; potato and mushroom potstickers and fried vegetable wontons.
Thank you again, Justin and Katy, from Marx Foods.
What an awesome package! I live where you just can't find any thing but portabello and regular button mushrooms and it is so depressing. I would love to try all these kinds!
Congrats on winning those beautiful mushrooms. I think all the variations of mushrooms are really so pretty. I wish i knew enough to pick mushrooms on my own, but i dont lol, so I have to stick to the supermarket. Love the idea of mushrooms in phyllo dough.
I just found out about Marx Foods a couple of days ago. I just need to find the time to spend on their web site. Beautiful pictures!
How lucky girl with these marvelous mushrooms!!
Lucky! Lucky! and Lucky again! Love mushrooms. Looking forward to reading your future mushroom posts.
Beautiful mushrooms. My son is addicted to any tye of mushrooms. Phyllo stuffed mushrooms sounds delicious.
I can wait to check out those delicious mushrooms recipes.
o wow, what an amazing collection of gorgeous mushrooms! I am jealous! I wish I had that many different varieties at hand... I am sure you will be making (or have made) delicious things with it!
ha! That's a lot of mushrooms. You've got to make a creamy mushroom soup!
I love mushroom too. Sometimes I think I am growing hairy feet, as a matter of fact.
I read your other posts and it looks that they were well-used.
Oh WOW I am SO jealous! I love mushrooms! That's awesome. Great recipe variety!


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Berkshire Jewish Voice Highlights
Jewish Taste: Asparagus goes, it's one of the most welcome sights of spring
By Carol Goodman Kaufman / Special to the BJV
Among the most welcome sights of spring are the tender and sweet asparagus shoots poking their heads through the sun-warmed soil. There is nothing quite so delicious as asparagus fresh from the garden. It's far superior to the sometimes-woody bundles sold in supermarkets, and not even in the same universe as that mushy, olive drab stuff in cans. You can eat it raw or just slightly steamed, marinated for a cold salad, or incorporated into any number of recipes.
But, fair warning: The asparagus season is short. Very short. If you can get three weeks of the veggie from your garden, you are doing well. And then you're dependent on the greengrocer.
Asparagus is native to the eastern Mediterranean and Asia Minor areas. However, despite the vegetable's origin, and Jews' love of food generally — can there be a Shabbat or holiday without a feast? — Israelis are just recently beginning to use it in their cuisine. In fact, of the many cookbooks I've reviewed for this column, only half the Israeli ones include recipes calling for asparagus.
The plant itself is a cousin to onions, garlic, and leeks, as well as to flowering bulbous plants. While the ancient Greeks and Romans adopted the name from the Farsi "asparag," or "shoot," the vegetable has also gone by the name "sperage" in the 16th century, "sparagus" in English speaking countries, and even "sparrow grass."
Legend has it that Egyptians revered the wild veggie so much that they offered it up to their gods, and images of asparagus spears appear on a frieze picturing the ritual, dating back to 3000 BC.
The Greeks also loved their wild asparagus and believed it to have medicinal qualities, but it was the Romans who first cultivated it over 2,000 years ago. They must have planted a lot of the veggie because what they didn't eat fresh, they preserved for winter enjoyment. Roman emperors were so fond of asparagus, in fact, that beginning with Augustus, they kept the "Asparagus Fleet" specifically for the purpose of sailing the seas to obtain it.
Muḥammad ibn Muḥammad al-Nafzawi, writing in Tunis in the 12th century, attributed aphrodisiacal properties to asparagus in his book, The Perfumed Garden of Sensual Delights, what many call the Arabic version of the Kama Sutra.
Asparagus has been called variously the "food of kings," "the king of foods," and "food of the gods," and for good reason. Although French monks had been cultivating it since the 15th century (luckily, their vows of poverty didn't apply to asparagus) back in the day, only the wealthy could afford such a rare delicacy.
For example, King Louis XIV of 17th century France, builder of that little cottage known as the Palace of Versailles, was so fond of asparagus that he ordered special greenhouses built so that he could enjoy asparagus all year-round.
We Americans came a little late to the game, not growing asparagus until the mid-19th century, but it has become as closely associated here with spring as old Robin Red Breast. But, of course, once we got involved, we were all in. The crop is so economically significant in some parts of this country that communities host festivals to honor it, at least one complete with parade and asparagus queen, are held every year.
And, many German cities host Spargelfests celebrating the harvest of white asparagus. One of the highlights of the spring season is the performance of the song "Veronika, Spring is Here," originally sung by The Comedian Harmonists, a pre-World War I group of German singers founded by Jews. Asparagus being shaped the way it is, at the time it was written the song was considered a rather racy tribute to the vegetable.
"Veronika, spring is here
the girls sing tra-la-la
the whole world seems bewitched
Veronika, the asparagus is growing
Veronika, the world is green,
so let's go into the woods.
Even grandpa is saying to grandma,
Veronika, spring is here!"
As you can well imagine, once the 1930s rolled in, the group disbanded and fled the country.
Now, upon reading this post, if you have decided that you want to grow your own, I have good news. Asparagus is a long-lived perennial plant so you will get about 20 to 25 years out of it. And maintenance is easy. Simply fertilize with 10-10-10 before the spears appear in early spring, and after the last harvest. When the ferns turn brown after frost, cut them down. Make sure to keep the area free of weeds. That's it!
Once the asparagus is established in its second year after planting (although some gardeners say the third year), you can begin to enjoy the delectable spears. To harvest, cut them on an angle close to the ground when they reach a height of about eight inches and are at least a half-inch thick.
The legendary general and statesman Julius Caesar is reputed to have had his first taste of asparagus in Lombardy, in what is now northern Italy. He then ordered it served with melted butter. Boy, was he onto something. When it comes to asparagus, I believe the simpler the better. In fact, I can eat it raw with nothing else added, straight from the garden. But, if you are in the mood for something a little fancier with no real work involved, try this recipe.
1 bunch fresh asparagus, the thinner the better
1 t. kosher salt, plus extra for sprinkling
2 T. Parmesan cheese
Rinse the asparagus under cool water to remove grit, and dry thoroughly.
Break off the tough ends of the spears.
Place the asparagus into a mixing bowl (or plastic bag) and pour in the olive oil. Toss (or shake) to coat the spears.
Place the asparagus on a baking sheet and sprinkle with the salt, pepper, and cheese. Roast the asparagus for 25 minutes, until tender but still crisp.
Carol Goodman Kaufman is a psychologist and author with a passion for travel and food. She is currently at work on a food history/cookbook, tracing the paths that some of our favorite foods have taken from their origins to appear on dinner plates and in cultural rites and artifacts around the world. She invites readers to read her blog at carolgoodmankaufman.com and to follow her on Twitter @goodmankaufman.
For more online stories from the Berkshire Jewish Voice, click here.
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Rabbi Reflection: Recognizing the High Stakes of Good Leadership