#Do my Perl Assignment Help

[learningfromthepastgp]

Dr Gisella Perl ⁺ The Angel of Auschwitz

Introduction

Dr Gisella Perl (10th December 1907-16th December 1988) was a Hungarian-Jewish gynaecologist whose courage and compassion undoubtedly saved thousands of lives during her time in Auschwitz-Birkenau. Although Dr Perl’s life involves witnessing some of the most depraved events in European history, understanding her life and challenges offers not only an important reminder of the brutality that the Jewish and other persecuted groups faced under the Nazi regime but also an inspirational insight into human willpower.

Early Life

Growing up in Máramorossziget, Hungary, Dr Perl was not just the only woman and only Jew to graduate but also finished at the top of her class. Despite her father’s worries that her pursuit of medicine would lead her to abandon her faith, she promised him that she wouldn't and, eventually, he permitted her to go. With her first paycheck, Dr Perl bought her father a prayer book, engraved with his name and assures him that she will always remain a Jew. 

Time in Auschwitz

After being captured and torn away from her parents, husband, and young son in 1944, Dr Perl was deported to the Auschwitz concentration camp. In her memoir, I Was a Doctor in Auschwitz, Dr Perl recalls that ‘(little children) were taken away, crying and screaming, with wild terror in their eyes, to be undressed, thrown into the waiting graves, drenched with some inflammable material and burned alive.’ 

After being assigned to work under Dr Josef Mengele, the infamous ‘Angel of Death,’, Dr Perl, despite a complete lack of equipment or drugs, dedicated herself to alleviating the suffering of anyone she could. After seeing the depraved surgeries and experiments that Dr Mengele would perform on pregnant women and their newborns, such as intentionally starving babies, castrating them, exposing them to disease, and then executing them, Dr Perl made the decision to secretly perform abortions, often with her bare hands, to save countless women from near-certain death.

 ‘I remembered all the pregnant women in camp whose life depended on my skill, courage and readiness to help . . . and suddenly I knew why I had been spared. I was responsible for those women ... I had to remain alive so as to save them from death . . . I was their doctor’ 

Despite the huge personal risk, Dr. Perl performed an estimated 3,000 abortions in less than 8 months. This course of action was hard for Perl, and the ethical dilemma she had been faced with followed her throughout her life.

Shortly after being moved to Bergen-Belsen, she discovered the bodies of both her sister and brother. 2 months later the camp was liberated by the British and Dr Perl delivered the first free child in any of the camps.

Post-War

After the devastating news that her parents, siblings, and husband had all been slaughtered by the Nazis, Dr Perl attempted suicide. After being cared for in a covenant Dr. Perl moved to the United States of America where she continued her compassionate care and expertise in women’s health and published her memoir, ‘I Was a Doctor in Auschwitz’ (1948)

In 1979 both Dr Perl and her daughter, Gabriella Krauss, who she’d since reunited with after hiding her during the war, moved to Israel, where she stayed until her death on the 16th of December 1988, aged 81.

Reportedly, before every birth, she would say the same prayer,

‘God, you owe me a life - a living baby.’

Further resources:

#learningfromAuschwitz #GisellaPerl #LearningfromtheHolocaust #Holocaustremembrance #lestweforget

[brief1redvsblue]

Brief 1: Red vs Blue (Reflection)

Figure 1 (First render of the artifact in Unreal, 2024)

Figure 2 (Second render of the artifact in Unreal, 2024)

Figure 3 (Third render of the artifact in Unreal, 2024)

This first brief was really fun to tackle and at times, while I did feel lost at how to approach what I had envisioned in my mind, I clawed my way through and created a decent 3D digital artifact despite the time counter. The one thing that really stood out when I was creating the asset was I should definitely focus more on proper topology flow and proper UV unwrapping as that definitely helps in improving and increasing the quality of the texture files.

I also strongly believe that my work in particular could have definitely been more refined. I think the references I collected for the entire project was sufficient but if I do tackle a big assignment, I need to collect perfect reference images to maximize what I create.

Figure 4 (Reference images collected in PureRef, 2024)

While texturing in Substance Painter, I felt more inclined to texturing the mesh in a stylized manner rather than a realistic manner. However, since I am very new when it comes to stylized meshes and textures, I will definitely work on improving my theoretical knowledge and practical application so that I can direct my focus onto stylized 3D assets. I have been inspired from a lot of strong stylized artists when I was browsing through their artworks in ArtStation and I strongly want to redirect my focus from realistic to stylized and create a stylized shader art style for myself that helps me stand out as an artist in the 3D space.

Figure 5 (Stylized town created by Pinktomato, 2022)

Figure 6 (Stylized streetcar scene created by Melissa Perl, 2022)

Within these 2 weeks of heavily investing my time into creating a model, unwrapping and texturing it and importing it into a game engine where I lighted and rendered out the artifacts appropriately and with a proper workflow, I feel even more immense respect for all of the 3D artists out there that keep their heads down and dedicate their blood, sweat and tears into perfecting their craft. I really learnt a lot during this brief 1 assignment and I am looking forward to the next one where I can push myself a step further as an artist.

REFERENCES:

Perl, M., 2022. ArtStation. [Online] Available at: https://www.artstation.com/artwork/JeD3qd [Accessed 09 October 2024].

Pinktomato, 2022. ArtStation. [Online] Available at: https://www.artstation.com/artwork/JeD3qd [Accessed 09 October 2024].

[eshangonzales7]

Perl Assignment Help

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[talkfastromance4]

Fractures– Calum Hood (Part III soulmate!au)

This is a work of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

Copyright talkfastromance4 © All works is intellectual property of the author. All rights reserved. Any redistribution or reproduction or any part or all contents in any form is prohibited. You may not, without written expression and consent from the author, distribute works amongst other social media platforms

Word count: 6.3k

Warnings: casual drinking, angst, smut and more angst

Song inspiration: Clementine by Halsey (because of the color imagery), In Your Eyes by The Weeknd, Hesitate by the Jonas Brothers, Deathbeds by Bring Me The Horizon

Author’s Note: yes the graduation is unrealistic to be done that fast but hey, that’s the magic of writing, anything is possible :)

donate to my ko-fi here :)

Masterlist

The Click (Part I) || Measured in Momentes (Part II)

Enjoy! :) feedback is always welcome

• • • •

With classes finally finished, Rose and Calum can finally spend more time with each other without the school curriculum hanging over their heads. To celebrate, they sat at their usual booth in The Dainty Dove where they had their first date nine months ago. Tracey is always their waitress when they come in and she even gave them a sundae for dessert, on the house for their classes being finished.

They tried eating at La Perle a few times but when they giggled a little too loudly and received one too many looks from the other guests, they decided that The Dainty Dove is their spot.

Full of their dinner and complimentary sundae, Rose and Calum arrive at his place satisfied and happy. Rose is excited to sleep in tomorrow as she doesn’t have a shift at the CBS until Wednesday, an end of school year gift from Teresa. The couple climb the stairs to Calum’s bedroom, their movements a bit sluggish as they brush their teeth and wash their faces. Calum makes a big show when Rose changes in front of him, he always lets out a low whistle of appreciation. Rose always responds with a blushed smile that he adores.

When they crawl under the covers, Duke climbs his own little stairs so he can lay curled at their feet, Calum pulls her close and kisses her forehead. He keeps his lips pressed there, inhaling her rose and rainwater scent that he loves so much.

“How does it feel finishing your first year of school?” she asks quietly, her fingers trailing to his neck so she can twirl the strands.

“Great, it was a lot of work but I’m glad I did it,” he grins in the dark. He kisses her forehead once more before shifting onto his pillow. “How about you, Rosie?”

“I’m proud of myself. When I tried college the first time, I couldn’t manage my time well and didn’t really have the motivation like I do now. I can’t wait to go back but I’m excited for the summer.”

“I am too. We’re going to do so much together I bet you’ll get sick of me,” he chuckles slipping his hand beneath his t-shirt she’s wearing. He rubs gentle circles on her lower back.

“I’m not sick of you yet,” she giggles then her voice turns serious with a twinge of hesitancy. “I’ll never get sick of you. Will you get sick of me?”

“Never, sweetheart,” he promises. “You’re my one love.”

“You’re my only love.”

Whenever one of them utters the ‘L’ word, the warmth in their chests glows a little brighter each time. Since that first night when they both said it, the glow seems to grow stronger. As their relationship grows, so does the light within them. Hers is a burning red while his is a warm golden yellow that only the two of them can see.

“Even your heart’s like a rose,” he’d told her one night while they laid under the moon, hands on each other’s chests, right over each other’s hearts so the light would shine through.

As time progressed, the glow began to hum quietly, their love growing stronger. A small vibration within their chests that synced their hearts perfectly.

If one of them were feeling an emotion strongly, the other could feel it as well. One time while Calum was out for a drink with Luke, he suddenly felt incredibly sad and the hum inside him intensified. Instinct made him call Rose immediately only to discover that she found out her grandmother had passed away.

Another instance was when Rose was working a night shift at the CBS and while she was wiping the counters, she felt white hot anger blooming inside her. It was so intense that she threw the sanitizing spray bottle against the wall with her chest feeling equally as hot as her temper. Intuition told her to call Calum. Turns out he was frustrated with one of his assignments.

While they were both in each other’s arms, lips traveling over skin, ragged breaths letting out gasps and moans, the hum became more of a racing flutter. As if their hearts sang to each other whenever they connected so intimately; the most intimate way you can connect with someone. It strengthened even more in that instant when they declared, ‘I love you’ and their bodies were paralyzed for the smallest moment as the euphoria was exchanged.

“Have you fallen asleep on me?” his deep voice pulls Rose from her thoughts.

“No, just taking a walk down memory lane.”

“Can I join you?”

They continue talking until Rose eventually falls asleep, she’s always the first one to fall asleep. Calum counts her breathing which usually helps him lull into his slumber, but he has music notes floating behind his eyelids. He hums the melody out loud, pair that with her breathing he does eventually slip into sleep.

The next morning, Rose awakens to an empty side of the bed. She feels a sort of melancholy in her chest, and it’s when she lifts her head up that she hears it. The soft strum of guitar strings harmonizing with the low tone of Calum’s voice drifts into the room. Curious, she follows the melody to Calum’s music room a few doors down from his bedroom.

She’s only been in there once when he gave her a tour of the house. Rose has never seen him in there then she’s suddenly filled with guilt that she took him away from making music. He took the year off, she knows that, but did that mean he took a year off from creating music? He wrote lyrics constantly, some he even shared with her, but she’s never heard him sing like this.

Rose peeks around the corner to see him sitting in his swivel chair, beanie atop his head while he sings his song. She can barely make out the words but picks up on a few . . . ‘home . . . calling me . . . back to you . . . my home . . .’

The wood creaks when she leans on it more, alerting Calum of her presence and his head lifts quickly. Their gazes meet, she’s filled with more sadness as she stares into his eyes and begins to cry.

“Why are you crying?”

“Why are you sad?”

Their questions overlap then Calum sets his guitar on the ground. He motions for her to join him with his fingers and she shuffles in, wiping the tears from her cheeks. Calum drags her onto his lap, his thumb drying her cheeks even more.

“I don’t mean to cry,” she blubbers as more tears fall against her will, “I can feel how sad you are.”

“I’m sorry baby,” he sighs. “I had this melody in my head, and I got to thinking of back home and had to let it out. I didn’t mean to make you cry.”

“I’m just too sensitive,” she giggles wetly. “We can go to Australia if you want, it isn’t fun being homesick.”

“You’re perfect,” he shakes his head then kisses her cheek. “Home is wherever I’m with you, sweetheart.”

***

Rose stands next to Ruby while Calum and the others are skirting around backstage preparing for the Friends of Friends show they’re putting on tonight. It’s a few hours until doors will open, and Rose is enjoying watching Calum in his element, it’s a side she hasn’t seen before.

He’s approached by a lot of people while he’s setting the stage with speakers and cords. She can hear the sense of authority in his voice as he instructs them on what to do or where to go. He catches her eye, shoots her a wink and Rose giggles while she waves at him.

“Can I ask you something?” Ruby asks swirling her black straw in her vodka soda. The ice clinks hard against the glass that her eyes are glued to.

“Anything,” Rose shifts so she can rest her elbow on the bar top. She and Ruby have become quite close, Rose considers her a best friend.

“When . . . how did Cal tell you the ‘L’ word?” her honey brown eyes lift to meet Rose’s dark blue.

“It was right before we were leaving to meet you and Ash for dinner, actually,” Rose starts, “I wrote a poem that had the word in it. He found it and I felt embarrassed but then he said it and I said it and . . . something changed when we did.”

“What changed?”

Rose glances up at Calum who is now lifting a large speaker onto his shoulder. The action made his shirt tug open revealing a triangular view of his chest, allowing some of his tattoos peek out. Even from this distance, she can faintly hear the hum of his heart, and see the glow in his chest radiating dimly. She feels her own heart leap at the connection.

“It’s like our hearts met,” Rose finally says turning her attention to Ruby. “They synced up somehow and we can really sense what the other is feeling.”

“Is there a glow? Or a light? I’ve been doing some research on soulmates and not many people are like you and Calum. I’ve only read about two others who have said the ‘L’ word and they spoke of a light.”

“Yeah, there is a glow. When we first said it, it was like it transferred between us, his is more of a warm yellow and mine is red. The hum has become more recent. We’re still trying to figure it all out ourselves.”

“That’s . . . interesting,” Ruby swirls her straw in her glass again. She’s not acting like herself; she’s being very reserved compared to her usual frenzy energy.

“Rue, do you want to say it to Ashton?” Rose asks softly.

“Yes. Maybe. I’m not sure,” Ruby sighs. “I’ve been feeling different lately. I think I almost said it yesterday while we were doing yoga. It might have just been the moment of calm or something but I... I felt it. In my chest.”

“Why didn’t you say it?”

“What if he doesn’t say it back?”

Rose rests her hand on Ruby’s shoulder, giving her a tight squeeze. “How could he not? You’re soulmates.”

When the show started, Rose and Ruby were near the front of the stage, drinks in hand while they watched other performers. The first act was an indie pop duo that used synthesizers in their sound. It made the whole room vibrate and combined with their voices you could really feel the emotion in their songs.

Rose snapped photos and took videos of each performance afterward, a DJ with intense transitions, a male singer that only used a ukulele as his instrument and then a small girl band that got the crowd hyped up for 5 Seconds of Summer to end the show.

Rose could feel her heart thumping against her ribs, it’s a mix of nerves and excitement and she knows it’s what Calum is feeling. The lights go down and she can see Calum and the others walk onstage while a few people cheer and clap in anticipation. Ashton snaps his sticks together just as the lights turn red, they’re under a hazy glow as Michael’s guitar tunes in place and their voices start harmonizing.

Her heart leaps in her chest as she watches Calum completely in his element.  His fingers work the bass meticulously and when he’s at the keyboard, he still finds a groove with the music, letting it work through his whole body.

Rose’s favorite part of the performance is Wildflower. She can’t take her eyes off him and he can’t take his eyes off her. He enjoys watching her dance and sing along just as much as she enjoys seeing him perform. Their hearts are in sync, their glow starts to grow, and their eyes stay locked on one another.

When the show is over, Rose and Ruby are ushered backstage to meet the guys. They’re all taking a final bow while also ending the night with their gratitude and love for the crowd joining them. Calum leads the pack offstage, his eyes searching for Rose.

Once they’re finally together, she springs into his waiting arms. His body is warm and a little damp from playing but his cologne tickles her nose in the best way possible as she praises him in his ear, Calum’s arms around her tighten in response.

“You liked it?” he asks in her ear.

Rose pulls her head from his neck to smile at him, her fingers wipe the small beads of sweat above his eyebrow. “I loved it, you’re so good, honey.”

Calum grins widely before pressing his lips to hers.

***

Calum wakes with a pounding headache. He wishes it were from a hangover but instead, his fight with Rose still replays in his head. He rubs his eyes with the heels of his hand, getting rid of the sleep and attempting to rub the pain in his head away.

He stares at the ceiling wondering how it all went wrong from such a perfect weekend.

Calum had reserved the whole restaurant of The Dainty Dove for Rose’s birthday Saturday evening so that all her friends, coworkers, and those close to her could celebrate her birthday. He wanted the whole day to be special, so he woke up early to retrieve her favorite coffee and cranberry orange muffin from below in the CBS from Teresa.

He placed one red candle in the center of the muffin then proceeded to sing ‘Happy Birthday’ softly until Rose roused awake. Her eyes widened at the sight before her, smile apparent on her face. When Calum finished singing, she blew out the candle then gave Calum a grateful kiss.

After sharing the muffin, the pair showered together where Calum presented her with intimate touches and wandering kisses. Rose’s moans echoed against the shower tiles while he gifted her three times. The rest of the day consisted of pampering and then a lunch with Calum’s sister, Mali-Koa.

He loves how well Rose and his sister get along, they clicked instantly—which is a little ironic on its own since that’s what Rose and Calum felt when they first met-- when she visited over the holidays. A friendship quickly formed between the two and they contacted each other frequently.

When dinnertime rolled around, the two soulmates walked hand in hand inside The Dainty Dove. Rose was shocked at the party he formed for her, tears in her eyes as everyone hugged her. The night was filled with laughter, food, drinks and dancing.

While he was speaking with Luke and Ashton about the direction they wanted to take with the next album, Rose slipped her fingers through Calum’s and pulled him to the makeshift dance floor. Michael was the DJ and the all too familiar intro to ‘In Your Eyes’ by The Weeknd started to play and Rose started to dance loosely against him.

Their fingers locked and unlocked when he’d spin her away from him only to hold her even tighter against his chest, her hips rotating with his. His lips pressed to her neck, smiling against her skin as he breathed her in. She spun around and laced her fingers behind his neck, their eyes met.

“Thank you for this, I love you,” she told him, and her chest bloomed in that warm red.

“I love you, sweetheart,” he grinned, the warm yellow glow came to life in his own chest. Their colors lit up their faces, as if the sunset were settled between them.

He held her hand while he led everyone in singing ‘Happy Birthday’ to her over a large cake decorated with blooming roses in every shade. After she blew out her candles, she kissed him, and  he could feel her gratitude from her lips.

Calum watches the coffee trickle into the pot as he thinks over the last 48 hours. After some cake, more dancing and drinking, Calum took Rose home. Then on Sunday, they went over to Ashton and Ruby’s for brunch. Rose moved sluggishly but as soon as she got a sip of coffee in her she was fine. Then the fight happened.

“I’m excited to get back into the studio after all this time, this was a good idea to take a year off,” Luke said shoveling more scrambled eggs on his plate.

“That’s great! Do you think you’ll tour next year then?” Rose said while she was buttering a cranberry muffin and then an awkward silence fell amongst the friends. Rose glanced up, looking from each pair of eyes until she landed on Calum who was pointedly avoiding hers.

“Uh, we were discussing touring towards the end of this year,” Luke informed, his fork still holding some eggs.

“Oh, right, of course,” Rose nodded then remained silent while the conversation picked back up.

She picked at her food, half listening and half in her thoughts. If they were planning on touring towards the end of the year, that’s in the middle of the school term. Rose felt Calum trying to catch her gaze throughout the rest of brunch, but she made sure not to meet his eyes. She’s hurt he didn’t tell her any of this and saddened that their summer of spending time together is now inevitably diminished. She hugged and kissed the others goodbye and gave Calum a cold, hard look before they exited the house.

“I’m sorry, I was going to talk to you about all this,” Calum said once they were in the privacy of his car.

“When?” Rose tried to keep her tone even.

“Definitely not on your birthday weekend,” he sighed then reached over to grab her hand. She pulled away. Defeated, he rests his arm on the center console, preparing himself for the aftermath of Luke’s slip of information.

“Then when Calum? I didn’t even know you were going back to the studio soon, or that you wanted an album to be released in what... the next four or five months? When were you going to tell me, you weren’t going back to school?” she tried to keep her tone even, but her anger quivered through her lips and Calum felt her anger shake in his chest.

“We all agreed to the one-year break, I love school, but I’ve given up a lot for this band. I can’t bail on them now.”

“You can’t bail on yourself either, you love school. I don’t think you should drop out.”

“I can’t do both. I don’t really have much of a say, Rosie.”

“Yes, you do! You have a lot of say! I know the band and music is important to you, it’s a part of who you are and what makes you, you. I don’t think you should drop out,” she shook her head.

“It’s not your decision to make,” he mumbled but Rose heard him.

She snapped her head in his direction, her heart jumped to her throat and her airway felt trapped from his words.

“Looks like you made the decision to not discuss anything with me,” her voice shook but this time with tears creeping up.

Calum felt the change within him, he’s never felt this way before, and he stared at her, but Rose kept her face turned out her window.

“Rosie—”

“Take me home.”

“Ro—”

“Please, Calum, take me home. . .” she whispered then sucked in harshly, keeping her tears in.

When he pulled up to the CBS, he tried to reach for her, but Rose fumbled her way out of the car as fast as she could then walked swiftly inside. She didn’t even turn around. Calum sat frozen for a few moments, paralyzed at their first big fight. He could still feel her emotions within him, his chest rattled when he finally pulled away to go home.

His own eyes filled with angry tears, he desperately wanted to turn around so he could comfort her, but he knew she needed to be alone.

Calum hasn’t heard from Rose since yesterday after he dropped her off. He’s tried calling and texting her, but he’s left on voicemail and on read. He goes through the motions of making his coffee, he even made Rose’s coffee how she likes it without realizing it.

His front door slams open and he rushes towards it, thinking it’s Rose and they can finally talk and make up. He sees his sister standing there instead. Although he’s happy to see her, he’s disappointed it’s not his Rose.

“Hey,” he mumbles.

“You’re an idiot, little brother. Why aren’t you over at Rose’s place apologizing?” Mali-Koa demands, arms crossed over her chest.

“I’ve been trying! She hasn’t responded back and won’t take my calls. She’s upset, she needs space.”

“Maybe last night but not right now. You really hurt her feelings by keeping all of this from her. She’s your partner, hell, she’s your soulmate, Cal. Your life and her life are intertwined forever, you shouldn’t keep things from her.”

“You don’t think I know that? I had no idea how to bring it up to her! I can feel exactly what she’s feeling right now…” he seethes as his emotions and Rose’s collide within him. Then he gives his sister a confused look, “How do you know we’re in a fight?”

“We were supposed to go shopping and get lunch, but she cancelled on me and I asked if she was all right and she told me everything. Find a way to finish school, it’s clearly important to her that you do,” she says earnestly. “I came here to talk sense into you. Go to her, Cal.”

In a split moment of hesitation, Calum darts upstairs to grab his shoes and change quickly into something other than just his basketball shorts. When he gets downstairs and grabs his keys, Duke is in his sister’s arms.

“I got Duke; you stay with her until this is resolved.”

“Thanks, you’re the best,” he huffs giving her a quick kiss to her cheek then makes his way to his girl.

Calum already had his key ready as he took the steps to Rose’s apartment two at a time. He’s breathless when he opens the door to find her exactly where he knew she’d be, in her bed with one of his sweatshirts on. As soon as she sees him, Rose bounds from the safety of her warm bed right into her arms. He caught a glimpse of her red face and swollen eyes before he held her tightly against his chest.

When they connected, Calum felt her emotions finally break. His own chest broke open while hers did. He took her sadness, anger, and frustration as his own and held her through the release. Hot tears sprung from his own eyes, they held each other tightly until the silent storm passed.

Once her body stopped trembling, Calum pushes her away slightly so he can look into her eyes. He frames her cheeks with his hands, his forehead knocks against hers.

“I’m sorry sweetheart,” he sighs, “I should’ve told you from the beginning what me and the guys were discussing about the studio and the album and touring. Touring isn’t even set in stone yet; I don’t know why Luke said that in the first place.”

“But what about school? What about me?”

Calum’s heart nearly broke at her last question. She doesn’t think he’d leave her behind does she?

“I’ll—we can figure this all out. Together, yeah?” he asks, and she nods before leaning up to press her lips to his. “Let me get you some water and we can talk about it.”

Rose went back to her bed while he poured her a glass of cold water, a trick he learned that when she’s upset, she either splashes cold water on her face or drinks a whole glass. He joins her in the middle of her bed, and she drinks half the glass before snuggling against him.

They discuss the pros and cons of quitting school, pros and cons of him being at the studio nearly everyday this summer and what touring would look like if it happened at the end of the year. As they talked, Calum felt her emotions lower and that hum in his chest became more of a steady vibration. Her hand rested on his chest with his own covering hers. Occasionally he’d lower his head so he could kiss her fingertips.

By the end of their discussion, he decided to finish school online and promised they would still spend a lot of their summer together. Touring was still up in the air but if it were to happen, she would fly out during breaks and he’d fly back to her when they’d have a longer lag between shows.

“Can I ask you something?” he asks while they’re still lying together in her bed. Their fingers lock and unlock on his chest. She nods against his shoulder. “Why do you want me to finish school so badly?”

“Because, it’s what brought you to me.”

***

One Year Later

Graduation day. A day that both Calum and Rose have been waiting for. Their friends watched them walk across the stage and toss their caps into the air. Ruby even snapped a photo of them giving each other a celebratory kiss as the caps fell around them.

Their graduation party is held at none other than The Dainty Dove where Tracey helped decorate the restaurant with streamers, balloons, signs and each table had their own centerpiece of a ‘Congrats Grads!’

It was a day of celebration of their endeavors, and for Rose and Calum, it was a night of reminiscing as they sat out on his patio once the festivities were over.

He’s sat on a chair, his dress shirt unbuttoned, his tie loose and hanging down his chest when Rose saunters out still in her dress but barefoot. A champagne bottle is clutched between her fingers.

“Hey grad,” she smiles and fits herself onto his lap comfortably.

“Hi beautiful,” he grins, arms wrapping around her body. He notices the cork is still in the bottle then glances up at her. “Need help opening this?”

“Please,” she giggles, “the pop scares me.”

Calum kisses her cheek before unwinding his arms from her then presses the bottle against his lower stomach. Rose covers her ears but still jumps and squeals when he pops the cork. It flies into the pool and a little bit of the bubbly flows over onto the concrete making Calum to lean forward and slurp some of it up. He doesn’t want it to get on Rose and make her sticky.

“Thank you, honey,” she praises resting her arm around his broad shoulders, her nails rub the nape of his neck as he hands her the bottle.

“To you, college graduate,” he toasts.

Rose holds the neck of the bottle and takes a hearty swallow; her eyes tear up a little from the alcohol and the bubbles. She holds it out to him.

“To you, college graduate,” she smiles, and he drinks the same amount as she did. He smacks his lips together leaning forward to give her a kiss. “I’m so proud of you.”

“Thank you. I’m proud of you, sweetheart, and us, we’ve accomplished a lot this year.”

“We did, didn’t we? I can’t believe I’ve been living here for six months,” she sighs resting her head against his temple, the champagne bottle nestled in her lap.

It was an easy transition of her moving in with Calum even if it was in the middle of their second school year. Nearly all her things were at his place anyway and she was always there after school. Or he’d be at her place a lot of the time, it only made sense to move into his place because the space was bigger, and Duke had a yard to run around it.

“It’s been an exciting six months,” he nods. His fingers tickle up and down her thigh. “Speaking of six months, Honey’s going to be that old next week.”

Rose glances over to their new family member behind Calum—a golden retriever named Honey—as she sleeps soundly against the glass sliding door inside the house. Duke is next to her, snuggled against her body and Rose giggles at the pair thinking of Calum’s nickname for them: Honey Duke’s like from Harry Potter.

“She’s getting so big; I wish she could stay the same size as Duke.”

“Yeah, I need to get used to having a medium sized dog now,” Calum chuckles. “But she’ll be his protector I’m sure.”

“Hey, you know what we should do?” Rose perks up, Calum looks at her expectantly, his dark eyebrows rising slightly. “Can we go to Paris again before the album release next month? I loved it when we went on spring break.”

Calum smiles at the memories of walking along the Seine and down the streets of Paris, Rose’s hand in his. The pictures from their trip are hung in a frame that resembles the Eiffel Tower in their living room. At the center is a photo of them kissing in front of the tower as it’s lit up in a dazzling light show behind them. To their surprise, somehow both of their glows in their chests appeared in the photo.

The other frames were of them in the streets of Paris, on a bridge, in front of the Notre Dame and other fun selfies they took. They were only there for a week because of spring break and if they went now, they would go for at least three. Rose fell in love with Paris which didn’t surprise him.

“Of course, we can, sweetheart. The bread and cheese here just doesn’t taste the same.”

They pass the champagne bottle back and forth, enjoying their moment of memories, happiness from the day and excitement for the future to come. Rose has interviews with magazines and a few publishing companies she’ll hopefully end up working for. But right now, it’s just the two of them.

“I actually have a graduation gift for you,” he says suddenly when the champagne bottle is half empty and pressed to Rose’s lips.

She splutters on her sip, wiping her chin of the dribble, eyes wide.

“Cal, we said no graduation gifts to each other,” she reprimands.

“I know, but I couldn’t help myself. C’mon,” he pats the side of her butt affectionately. “It’s in the bedroom.”

With their fingers loosely locked, they traipse inside to their room where the dogs follow them as soon as they heard movement. Rose takes one more sip of the champagne, feeling the bubbles dance inside her head as she watches Calum take a last sip before resting it on the dresser. He pushes her to sit onto the edge of the bed and he scrambles through his bookbag.

Rose watches him curiously when he pulls out a small black book. He holds it out to her, and she sees the words mon unique amour encrypted in gold lettering. Calum kneels in front of her as she opens the book gasping when she sees it’s filled with little poems and song lyrics that he’s written about her and for her.

Tears spring in her eyes as she pages through the words of his love then at the last page is a note from him that reads:

No amount of words will convey my love for you, but I’ll never stop writing of the love we have. It has powers to cross the deepest oceans, withstand any storm and shines brighter than the sun. You’re my light, my life, my one love and my soulmate. I will follow you to the ends of the earth. I have to ask you something, so look up at me with those beautiful eyes you have, sweetheart. . . .

She looks up at him and he’s holding a diamond ring between his fingers, she didn’t even notice he was knelt on one knee. Rose snaps the book shut setting it next to her on the bed, her attention on Calum

“Will you marry me, Rose?” he grins, his own eyes a little glossy.

Rose caresses his face as she gives out a shaky “yes” and then he slips the ring on her finger. She pulls him closer by the collar of his shirt so she can press her lips to his.

“I love you so much,” she sighs pulling him even more over her body. Her hands are making quick work of untucking his shirt from his dress pants. The vibration in her chest buzzes, Calum hoists her further into the center of their bed helping her remove his shirt and tie from his neck.

“I love you more than words,” he sighs when her nails grate down his chest then to the buttons of his pants.

Once he’s undressed, he helps her tug her dress off her body. Her chest is glowing red, illuminating her face in a rosy glow just as his own chest radiates the sun into his eyes. Their lips connect, he rubs himself against her core while his hand hooks her leg over his hip.

She sighs in his ear while he suckles on her neck and his fingers tease her entrance open meticulously. Her body moves like a wave beneath his as he works her over. When she orgasms, Calum situates himself more in between her thighs, his tip paused at her entrance.

Slowly and oh so gently, he laces his fingers through hers, both watching the diamond on her finger sparkle in the lowlight of the moon spilling into their room. He thrusts his hips forward slowly, filling her up inch by pleasurable inch. He watches in fascination as her mouth falls open, a quiet sigh slipping out and her chest blooms like the beautiful Rose that she is just as his own sunshine radiates outward.

Together, bodies moving in tandem with their love in a continuous loop, the colors of their hearts form an even darker orange. Their heart and soul reach a new level as the color bursts forth, exploding behind their eyes as they come together in a rush of passion. Their love is transcending, and it leaves them both breathless.

**

Calum just replied to Rose to drive safe on her way to the venue where they’re hosting another Friends of Friends show. He arrived earlier with Ashton and Ruby to help set up and go over last-minute things with the artists while Rose had some errands to run. She’s running a little late right now and a storm is coming; he knows how much she hates storms let alone driving in them.

It’s been a week since their graduation and engagement and Calum felt like he was walking on air. Since that night, their love has never felt more solid and their sixth sense of feeling each other’s emotions have changed to more selective sensations. Currently, they’ve both felt nothing but pure joy, but it radiated throughout their entire being.

While Calum is bringing in more equipment from the trucks out back, he notices the dark clouds approaching at a faster rate. Members of the crew offer their congratulations on the graduation and his engagement to Rose as they pass him by.

The stage is nearly set up when Calum scans the crowd that’s formed in front of the stage and has asked around of Rose has arrived yet. He’s met with disappointment that she hasn’t, and he checks his phone. She read his message twenty-five minutes ago, she should be here by now.

“She’ll be here soon,” Luke tries to console him, “you know how LA traffic is.”

“Yeah, but there’s a storm coming. She hates them and hates them even more while she drives. They make her nervous,” Calum stresses.

“Have you tried calling her?”

“I don’t want to distract her,” he shakes his head then hefts a speaker into his arms.

His mind is on Rose while he balances the speaker on the stand next to Ashton’s set as Ashton is securing the bolts.

Suddenly, Calum is filled with a heavy pain in his head and chest. It’s almost as if his heart is screaming and he’s blinded by a bright light that makes him collapse to the floor. The speaker is busted, and Ashton is by his best friend’s side immediately.

Distantly, Calum hears his friends calling his name, but he feels as if his head is about to split open, his chest already feels like it has. He doesn’t know how long he’s stuck in this pain filled moment of time but when he comes to, the bright light fades away and he’s staring at Ashton who is somehow still in dark shadows. He’s looking at him as if he were outside for hours without sunglasses on and his eyes are still adjusting to the indoors. He blinks rapidly trying to get normal color back.

Once he’s back in focus, his head is spinning uncontrollably, he feels nauseous from it all and dry heaves. He feels hands on him trying to push him back onto his back and others trying to tilt him over in case he does get sick.

As quick as it started, it all goes away. The burning warmth and constant hum he’s felt in his chest since he and Rose said ‘I love you’ is drifting away until he can barely feel it anymore. Panicking, he looks down at his chest, the new orange color that was created a week ago after they made love is changing back to his personal golden yellow.

“Cal! What’s happening?!” Ashton shouts shaking his friend, his voice and eyes filled with worry as Calum stares back up at him.

“Rose!” he chokes out then he hears ghostly sirens in his head and his world goes dark.

• • • •

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**if your url has a strike through it’s because your blog didn’t show up as a tag! :(

[weblord007]

Server Side Web Development

Server side web development is mostly used for creating dynamic websites such as user login or registration, booking of flight, hotel reservation and E-commerce websites and this usually involves the use of a database for data storage and access. Server side web development has undergone changes over the years and makes use of scripting languages such as PHP, ASP.NET, Node.js, Java, Ruby, Perl and Python. when a website built using server side scripting language is requested on the browser, the script is loaded  first, before the page is loaded to the browser. Unlike client site web development, which has a limitation of just creating contents  more like a static website. WordPress is an application that runs on the server and it makes use of PHP scripting. The downside to server side scripting is, whenever a request is made, it places a lot of burden on the server rather than the clients machine. This was seen in the Web authoring module and WordPress assignment. Making changes on the server doesn't reflect immediately until the page is refreshed several times. unlike client side, whenever changes is made it displays immediately. The most important aspect of server side scripting is it allows websites or content to be tailored to individual preferences, for instance I login Into my email and I see a display message "Welcome Smith". This can only be achieved through server side scripting. In server side users can "edit" the site and changes can be seen like Facebook, Twitter etc.

What can be done with server side web development?

Effective storage and delivery of information: users of ecommerce or social media sites receives different pages when these sites are opened and what is searched for, posted etc, look different from another person's page.

Tailored User Experience: websites built using Server Side Scripting have been built to suit the needs of users, from users login sessions to advertisement displayed and display name. We can say the website recognizes each individual differently.

Session Creation: websites that allows users to login do create sessions for individual users, this session allows access from the user until it expires and another session is created. This helps to improve security and limit access to users account from s third party or hackers.

[psychinfo]

Counseling Theories Series!

Hi everyone!  I’ve decided that I want to do a little series of posts regarding some of the different counseling theories!  Like every subfield of psychology, there are a lot of different theories regarding counseling.  These theories address things such as the counselor-client relationship, different methods or strategies used, and the underlying beliefs about the purpose of counseling!  I’m going to do a quick introduction of each of the theories I’m going to discuss under the “read more” (since I know no one wants to scroll a million miles to get past this post), so if you’re interested, go ahead and read the full post and stay tuned as I get more in depth about each theory and the psychologist(s) who helped develop it!

1. Psychoanalytic Theory

This is the theory that gets the most attention in ��pop psychology”.  This theory uses things such as transference, free association, and dream analysis to determine what in going on in a person’s unconscious mind.  The core belief is that these unconscious thoughts are what drive behavior, so when a person is behaving abnormally, the unconscious needs to be explored.  Key psychologists in psychoanalytic theory are Sigmund Freud, Carl Jung, and Karen Horney.

2. Adlerian Theory

One of my personal favorites, Adlerian theory believes in the importance of the individual perspective, a person’s social life, and striving towards goals.  This theory focuses on the subjective experiences of the client rather than being a technique-driven approach like most other theories.  The key psychologist in this theory is Alfred Adler.

3. Existential Theory

This is yet another theory that is not technique-driven, because it is typically utilized alongside another approach.  This theory addresses existential questions such as freedom, meaningfulness, responsibility, and death.  The focus is on the future and the client’s potential, and uses existentialism to help a person realize their potential.  Key psychologists in existential theory are Soren Kierkegaard, Friedrich Nietzsche, and Viktor Frankl.

4. Person-Centered Theory

As the name suggests, this theory is all about the client.  Rather than having sessions that are driven by a counselor where the client is along for the ride, the counselor acts more as a guide as the client explores his or her own thoughts and comes to his or her own conclusions.  This theory believes that all people are inherently good and are capable of growth.  The key psychologist in this theory is Carl Rogers.

5. Gestalt Theory

In Gestalt theory, the focus is on the “here and now”.  Clients are encouraged to be aware of everything that they do, from taking a deep breath to shaking their leg to rolling their eyes and every other action.  The ultimate goal of Gestalt theory is to allow for mindfulness and awareness of one’s experiences.  The key psychologist in this theory is Fritz Perls.

6. Behavioral Theory

Behavioral theory, as the name suggests, focuses on a person’s behaviors.  This theory is based on learning theories, such as classical and operational conditioning, and believes that maladaptive behaviors form from faulty learning.  Essentially, behaviorism strives to reteach the client to help them function healthily.  Key psychologists in behavioralism are E.L. Thorndike and B.F. Skinner.

7. Cognitive-Behavioral Theory

Perhaps the most widely used therapy in the treatment of mental disorders today, cognitive-behavioral theory is all about changing dysfunctional thinking in order to reduce maladaptive behaviors.  This theory uses homework assignments, education, and teaching coping skills (along with a multitude of other techniques) in order to help a client in a timely manner.  Key psychologists in this theory are Aaron Beck and Albert Ellis.

8. Choice/Reality Theory

This theory is known for being blunt and direct, because it uses direct questioning in order to help clients realize their responsibility for their thoughts and behaviors.  The client is given the opportunity to evaluate their own behaviors and relationships and to set goals that suit their needs.  The key psychologist in this theory is William Glasser.

9. Feminist Theory

Feminist theory looks at the sociocultural aspect of a person’s life when addressing maladaptive thoughts or behaviors.  The focus is on whether a person is a minority and is being oppressed by society and aims to empower the client.  While it is called feminist theory, it can also be used in racial, sexual orientation, and ethnic contexts as well as gender.  Some of the key psychologists that have contributed to feminist theory are Jean Baker Miller, Carolyn Zerbe Enns, Oliva M. Espin, and Laura S. Brown.

[codingparkny]

Why Python Has Come To Be a Market Favorite Amongst Programmers

With the globe tipping in the direction of a new age of modern technology advancement, it isn't hard to envision a future that will certainly contain screens. And if so be the case then, demand for individuals with solid programs abilities will absolutely rise with even more number of people needed to develop as well as support the applications. Python Training is always a great concept for those desires to be a part of this regularly creating sector. Python language is not only easy to comprehend, however stresses much less on phrase structure which is why a couple of errors occasionally doesn't give as much difficulty as a few other languages does.

What Makes Python a Preferred Selection Amongst Programmers?

Python takes place to be an easy programming language which supplies its support to various application types starting from education and learning to scientific computing to web growth. Tech giants like Google together with Instagram have actually additionally used Python and also its popularity remains to rise. Discussed listed below are several of the advantages supplied by Python:.

First Steps in the World of Programs.

Hopeful designers can utilize Python to get in the programs globe. Like numerous various other shows languages such as Ruby, Perl, JavaScript, C#, C++, and so on. Python is likewise object oriented based configuring language. Individuals that have thorough expertise of Python can easily adapt to various other environments. It is always suggested to acquire functioning expertise so as to familiarize the methods that are made use of throughout various applications.

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Easy and Easy to Understand as well as Code.

Many individuals will consent to the truth that, finding out as well as comprehending a shows language isn't that interesting as contrasted to a strained baseball game. Yet, Python on the other hand was particularly established keeping in mind newcomers. Even to the eye of a nonprofessional, it will certainly appear significant and also easy to understand. Curly brackets and tiring variable affirmations are not part of this shows language therefore, making it a lot simpler to discover language.

Obtaining Cutting-edge.

Python has actually aided in bringing real world and calculating a whole lot close with it Raspberry Pi. This affordable, card-sized microcomputer helps technology fanatics to construct numerous DIY stuffs like video clip pc gaming consoles, remote regulated cars and trucks and robots. Python occurs to be the shows language that powers this microcomputer. Candidates can pick from various DIY jobs readily available online and also enhance their skills and also inspirations by finishing such jobs.

Python likewise Sustains Web Growth.

With its significant abilities, Python is additionally a favored among internet programmers to develop numerous kinds of web applications. The web application framework, Django has been established making use of Python as well as acts as the foundation for preferred websites like 'The Guardian', 'The NY Times', 'Pinterest' and also a lot more.

Last Words.

Python gives aiming designers a solid foundation based upon which they can branch off to various areas. Python programming training guarantees that pupils have the ability to utilize this highly possible programming language to the best of its capabilities in an amazing and fun method. Those that are keen to make a wonderful profession as software program developers are precise to locate Python live up to their expectations.

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[dadjooka]

.7z mac

#.7Z MAC HOW TO#

#.7Z MAC INSTALL#

#.7Z MAC ZIP FILE#

#.7Z MAC ARCHIVE#

#.7Z MAC FULL#

Check the network whether involved in the failure of extracting ZIP files. Some compressed file files unable to be opened are caused by the instability of the computer network. Several reasons may cause the problem that you fail to expand ZIP files on your Mac. You may receive a message like "Unable to unarchive into Desktop" (Error 1 - Operation not permitted.) or "Decompression Failed" when you are unable to expand ZIP files on your Mac.

#.7Z MAC HOW TO#

Therefore, in this article, it is going to talk about how to fix the issue - unable to expand ZIP on Mac. You perhaps are once trapped in such a dilemma.

#.7Z MAC ZIP FILE#

However, some users complain that sometimes a ZIP file is unable to be expanded on Mac. Last but not least, it can increase the speed in conveying with ZIP files.Ī ZIP file is used in not only Windows system, but macOS system as well. When encountering a situation that your files are too large to upload, you can consider zipping your files. What is more, files could be compressed in a ZIP file. To begin with, a ZIP file helps to manage and organize plenty of files to avoid making a mess. For instance, when you need to email more than 5 or up to 20 files as attachments at a time to other people, it is convenient to add those files to a ZIP file before you send them out.

#.7Z MAC ARCHIVE#

ZIP is a frequently used archive file format in daily life. Extract Zipped Files with PowerMyMac - Unarchiver Part 6. Reasons Why Unable to Expand ZIP Files Part 3. Check the primary status of your Mac including the disk usage, CPU status, memory usage, etc. PowerMyMac Scan your Mac quickly and clean junk files easily. If you don't feel like help from third-party software, we have also collected some basic solutions below. Here is a tip: Download FoneDog PowerMyMac and use its "Unarchiver" feature to expand ZIP on Mac easily and quickly. While the 7-zip encryption is actually quite good and can make a password very difficult to crack, weak passwords will end up harming you in the end.Before We Fix Unable to Expand ZIP on Mac Issue:Īfter several years of coding programs for MacBook, we have created an all-in-one tool that is suitable for every Mac user. That’s it! Super quick and easy to crack this if you have a weak password. php files available to us in our present working directory! Let’s test this by running 7z x backup.7z again, but entering delete when prompted for the credential. Hashcat -m 11600 lightweight7z.hash /usr/share/wordlists/rockyou.txtĪfter some time, we see that our password is cracked. We find that we’ll need mode 11600Īs long as you have a wordlist ready, let’s throw this at hashcat! Let’s run hashcat -example-hashes and search the results for 7-Zip. First, we need to identify what numeric value hashcat assigns to 7-zip archives. With the hash in hand, we’re ready to pass the hard work over to hashcat. To write my changes and quit, I’ll enter :wq We should be left with only the hash now. With the cursor at the top, I’m going to enter 10x while still in command mode so that I delete the first 10 characters. Now let’s vi the file so we can remove the first bit. usr/share/john/ backup.7z > lightweight7z.hash I’m just going to rerun the command again and output the results into a file named lightweight7z.hash Now let’s run this tool against backup.7z.

#.7Z MAC FULL#

With that package installed, let’s locate 7z2john and copy the full path.

#.7Z MAC INSTALL#

Sudo apt install libcompress-raw-lzma-perl -y If you get an error when trying to run this tool, you may need to install the following package. To proceed, we’ll need a tool called 7z2john. We can start by using zip2john, but we find that the tool is unable to obtain the hash. When prompted, I entered password in the example below, but that did not work. We try to open the archive using 7z, but we’re prompted for a password that we do not know. Our goal is to crack the file named backup.7z. To begin, we already have the archive we wish to crack on our filesystem. Please note that this post does not intend to serve as a walkthrough for the box. I’ll use LightWeight from HackTheBox as an example for this guide. But what happens if you come across an encrypted 7zip archive? The 7-Zip encryption is actually quite good and can require a lot of time to bruteforce, but this guide will show you how weak passwords can still break good encryption. This post is a continuation from my last regarding cracking encrypted.

[eshangonzales7]

Perl Online Assignment Help

Perl Best Features

Perl sports many features from other programming languages. These languages include C, sed, BASIC, sh, awk, and many others. It has a database integration interface DBI that supports third-party databases, like Oracle, MySQL, Postgres, Sybase, among others. Perl similarly works well with other markup languages, such as HTML and XML. It also supports Unicode, while being compliant with Y2K.

If you use object-oriented and procedural programming, this can be of huge use to you. Meanwhile, it interfaces with external C and C++ libraries via SWIG or XS. Going further, this programming language is extensible. You can have more than 20,000 third party modules that are available from CPAN. CPAN means Comprehensive Perl Archive Network.

Lastly, it features an interpreter than you can embed into other systems.

More Trivia about Perl

In its heyday, perl was the most popular web programming language. This was because of its text manipulation functions and speedy development cycle. In addition, it’s also known as the duct-tape of the internet. One of its most attractive function is that it can handle web data that are encrypted. This is why it is also useful for e-commerce. You can embed perl into web servers if you want to quicken the processing by as much as 2000 percent.

In addition, mod_perl from perl enables the Apache web server to embed one perl interpreter.  Also, perl’s DBI package makes it easy for web-integration to happen.

Perl solutions Contact Us

What do we mean when we say ‘interpret’?

When we say that Perl is an interpreted language, we mean that you can run the code as is. You can skip the compilation stage, which builds a non-portable executable program. Meanwhile, conventional compilers translate programs into machine language. That means when you run a Perl program, it transforms first into a bytecode. This bytecode then transforms into machine instructions.

This feature makes it quite different from shells or Tcl. These shells and Tcl are strictly interpreted with no intermediate transformation. Furthermore, it’s not like many other versions of C or C++. C and C++ variations usually mix directly into a machine-dependent format. This puts perl somewhere in between, together with Python and awk.

[fm4439917]

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[eshangonzales7]

Perl Homework Assignments

Definition of Perl

Perl is a very stable programming language, being crossed-platform. Some people say that “Perl” stands for Practical Extraction and Report Language. However, the word “Perl” itself is not confirmed to be an acronym.

In the beginning, Perl’s function was only for text manipulation. However, as time went by, it became useful to a wide range of tasks. And these tasks include web development, system administration, graphic user interface development, network programming, and many more.

Created by Larry Wall, Perl made its debut to alt.comp.sources of Usenet in the year 1987. It is an open source software with a license from Artistic License or the GNU General Public License. Nowadays, Perl serves for mission-critical projects both in the private and public sectors.

Perl Best Features

Perl sports many features from other programming languages. These languages include C, sed, BASIC, sh, awk, and many others.

It has a database integration interface DBI that supports third-party databases, like Oracle, MySQL, Postgres, Sybase, among others. Perl similarly works well with other markup languages, such as HTML and XML. It also supports Unicode, while being compliant with Y2K. If you use object-oriented and procedural programming, this can be of huge use to you. Meanwhile, it interfaces with external C and C++ libraries via SWIG or XS. Going further, this programming language is extensible. You can have more than 20,000 third party modules that are available from CPAN. CPAN means Comprehensive Perl Archive Network.

Lastly, it features an interpreter than you can embed into other systems.

More Trivia about Perl

In its heyday, perl was the most popular web programming language. This was because of its text manipulation functions and speedy development cycle. In addition, it’s also known as the duct-tape of the internet.

One of its most attractive function is that it can handle web data that are encrypted. This is why it is also useful for e-commerce. You can embed perl into web servers if you want to quicken the processing by as much as 2000 percent.

In addition, mod_perl from perl enables the Apache web server to embed one perl interpreter.  Also, perl’s DBI package makes it easy for web-integration to happen.

Perl solutions Contact Us

What do we mean when we say ‘interpret’?

When we say that Perl is an interpreted language, we mean that you can run the code as is. You can skip the compilation stage, which builds a non-portable executable program.

Meanwhile, conventional compilers translate programs into machine language. That means when you run a Perl program, it transforms first into a bytecode. This bytecode then transforms into machine instructions.

This feature makes it quite different from shells or Tcl. These shells and Tcl are strictly interpreted with no intermediate transformation

Furthermore, it’s not like many other versions of C or C++. C and C++ variations usually mix directly into a machine-dependent format. This puts perl somewhere in between, together with Python and awk.

[prolifeargumentsessay755]

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GESTALT WORK ON AWARENESS WITH BEL pt 2 (HQ)

second part of a two hour session on awarenesss with actress bel baca. this is the “guided awareness” part of the exercise, since here i am giving lots of feedback immediately as things happen. in the “unguided” part i waited about 15 minutes before giving feedback. i continue this “guided” process in the 3rd and last part, the next video.

BY FRANKLYN WEPNER SEPTEMBER 1, 2006

HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY

GESTALT DREAM WORK AS PREPARATION FOR PERFORMING

Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.

My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.

During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).

Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.

WORKING OUT FROM YOUR CENTERS

After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book “To The Actor” labels “psychological gestures”. Perls calls them the “essences” of a patient’s personality, or we can say he is working from his “centers”, stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.

Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the theater, freely using his life as creative material. He needs to distance himself from the hot personal stuff using alienation techniques usually associated with the epic theater process of Bertold Brecht. Especially useful here is the “mocking your forms” exercise. First he performs one of his most personal forms, the movements and the sounds, and at the same time observes carefully (visually and kinesthetically) exactly what his body and voice are doing. Next he moves over about ten feet and from the new position looks back and imagines he is observing himself doing what he just did. Then, in as critical a manner as he can risk, he begins to mock that image of himself which is doing the form. He uses the form to mock the form by exaggerating it in as grotesque a way as he can risk. “I see you over there, Joe, you are flapping your arms just like a fish, like you don’t know what you are doing, etc., etc.” The more cruelty he can risk in his distortions and denunciations, the more he frees himself from being self-conscious and also the more the initial one physical and vocal form gives birth to a family of related forms. Other techniques which help expand and loosen up hot psychological material are (a) using various sorts of music as the basis of improvs, (b) stretching the forms into naturalistic short scenes, such as swimming or basketball, or (c) introducing a short text, such as “Yes, but”. GROUP TECHNIQUES

One he has his core of personal essences and after he has achieved some distance and flexibility in the use of his material, he is ready to work with other performers on improvs and scenes. I can direct several performers simultaneously since I know the sources of their personal material. I am directing them inside and out, so it is not just guesswork and wishful thinking as in most studios. Here again there are certain exercises which are particularly helpful in developing communication between performers and establishing a group improv structure that allows each person to use his personal material in a creative manner. Basic acting or dance improv exercises used by all studios work much better once each performer has a stock of essences to guide his explorations. The mirror exercise and funnyhouse mirror exercise are excellent to establish contact and get the process going. In the funnyhouse mirror exercise one performer, the lead, does a simple real life activity such a brushing his teeth, while the partner grotesquely parodies the lead. In the conductor exercise the lead does only movements while the group “orchestra” does only sounds that correspond to those moves. The puppets exercise is the reverse of the conductor exercise. The lead make sounds, while the group functions as marionettes suspended by strings. Each sound from the lead elicits corresponding jerky moves from the group, as though the sounds are tugging on the strings. The worlds exercise is an opportunity for one performer to explore using all his personal Gestalt material, while a group uses all the improv techniques above to work with the lead in his “world”. Once each performer has done the worlds exercise, the last exercise in the series is the leaderless worlds exercise. Here each performer is both lead and follower. The entire group seeks to function as one group organism following “it”. Each one actively takes turns as the lead and then passively gives up being the lead in order to enter into the world of each of the others. The result is a profound active-passive state known by philosophers as the middle way and by performers as the pure process mode.

THE IDEA OF A THEATER

So far we have a combination of four different ways of working: (1) individual Gestalt work as preparation for artistic experience, (2) alienation techniques for distancing oneself from hot personal material, (3) group improvs to make the transition from therapy results to artistic results, and (4) initial work on characters that are as close to one’s centers as possible This mix guides a student through a powerful and totally natural, organic introduction to the art of the theater. Each performer remains within the personal world he has discovered during the dreamwork, while simultaneously expanding and then interweaving this world with the worlds of the other performers. In a sense this process develops the sort of ritualistic space found in “primitive” tribal societies. The artform is congruent with the lives of its participants, such as was likely the case when the small world of a Greek polis gave birth to the classical Greek tragedies which corresponded to the fantasies and personal actions of the members of the community. In “The Idea of a Theater”, Francis Fergusson contrasts that ideal ritualistic function of a theater with the theaters of today which in most cases have lost that organic relation between a community and its artforms. We have today lost the encompassing “idea of a theater”, and we have to settle for productions that present only what individual blind men can fathom of the entire elephant. Fergusson writes,

Drama can only flourish in a human sized scene, generally accepted as the focus of the life or awareness of its time, and such a focus no longer exists . . . We do not have a theater in the classic sense nor do we see how we could have one. But we may still study the cultural landmarks – the drama of Sophocles and Shakespeare, the Divine Comedy of Dante – in which the idea of a theater has been briefly realized, so we may learn to recognize and appreciate the fragmentary perspectives we do have; collecting the pieces, keeping the idea alive in the tentative, fallible, and suggestive light of analogy. FF225

What we especially have lost is exactly that which Gestalt dreamwork gives us back, the ability to know objects by identifying with them totally, and then to “say it with your whole body”. Here is how Antonin Artaud put it in “The Theater And Its Double”.

We cannot go on prostituting the idea of theater whose only value is in its excruciating, magical relation to reality and danger. “The Theater And Its Double”, 89. To our disinterested and inert idea of art an authentic culture opposes a violently egoistic and magical, i.e., interested idea. For the Mexicans seek contact with the Manas, forces latent in every form, unreleased by contemplation of the forms for themselves, but springing to life by magic identification with these forms. ibid., 11

Fergusson and Artaud use theatrical and philosophical jargon to say what Perls says in psychological jargon. Fergusson uses the term “histrionic sensibility” to mean “identify with the image and say it with your whole body”. Fergusson also uses Aristotle’s notion of “perception before predication” to refer to Perls’ notion of awareness before aboutism. First get in touch with reality and then judge it or add your comments about it.

ARISTOTLE AND FRITZ

Fergusson quotes Butcher’s translation of Aristotle’s “Poetics”.

The plot is the imitation of the action – for by plot I [Aristotle] here mean the arrangement of the incidents . . . But most important of all it is the structure of the incidents. For tragedy is an imitation not of men, but of an action and of life, and life consists in action and its end is a mode of action, not a quality . . . Tragedy, then, is an imitation of an action . . . through pity and fear effecting the proper purgation of these emotions . . . The plot, then, is the first principle and as it were the soul of a tragedy. FF229

In the preparatory Gestalt dreamwork which I do with each performer, oftentimes a 3-hour session concludes with a committed action, profound insight or “existential message of the dream”. This is the “ahah” moment of a strong gestalt. From the point of view of this final idea or action, everything that transpired previously during the 3-hour session leads up to and is encompassed by this experience of integration. Fritz tells clients to “identify with the coming solution” as an act of faith. This is Fritz’s version of Aristotle’s insight that what is actual is prior to what is merely potentially the case. The action, in other words, is somehow already unfolding from the beginning of the session, even though it does not emerge full blown till three hours later. This same notion Aristotle carried over into his notion of action in the theater as a form of poetic art. When he says “the plot is the imitation of the action” he is saying that the series of conflicts and resolutions that lead up to the final choice or revelation in a tragic action are in a certain way an imitation of that final insight or action. They imitate the action in the sense that they are analogous to it or correspond to it. The idea or action of the drama exists on an ideal, Platonic level of truth, to which the stage action can at best only correspond as a code or symbol. Theologically this amounts to saying that while man is made in the image of G-d, he is not G-d and only can seek to intuit how G-d operates and strive to manifest that process in his being and actions. To the extent that he succeeds in this ascent, the performer is serving in the role traditionally assigned to prophets. Contemporary visionaries of the theater such as Fergusson and Artaud will settle for nothing less than a theater which actualizes our prophetic potentiality.

CONCLUSION

Aristotle’s view of the plot as the imitation of an action justifies my use of the Gestalt dreamwork action (the peeling of the onion), as the basis for the theater process (the reconstituting of the onion as a tragic action). For the dreamwork events that unfold over the course of three hours are, in a sense, the plot of a tragedy that is a code, overlay or symbol for the overall action, idea, or existential message of the dreamwork session. I am transferring the plot and action of the dreamwork from the arena of healing to that of art. But it is only in our schizoid, “fallen”, fragmented, de-ritualized contemporary society that art and healing are separate events. Humpty Dumpty has fallen off the wall, and utopian, holistic philosophers such as Hegel seek to put Humpty-Dumpty back together again. For Hegel the arts, religion and philosophy are subdivisions of the encompassing realm of Absolute Spirit, and their common dialectical framework allows free movement of theory and practice from one discipline to the other. Gestalt therapy, which leads clients from cliches and habits towards the realm of pure thought (the existential message of the dream) by means of the creative use of imagery, has similar holistic aspirations. Hence Gestalt dreamwork lends itself perfectly to the sort of interdisciplinary manipulations required to allow it to serve as the foundation of a theater which embodies the prophetic vision of “the idea of a theater”. VIDEO OF BEL BACA’S WORK ON AWARENESS

VIDEO AND ESSAY BY FRANKLYN WEPNER, 2005 fwep@earthlink.net

VERBATIM NOTES OF THE SESSION ARE INCLUDED AT THE END OF THIS ESSAY.

(A) INTRODUCTION

This essay is a companion piece for two DVD’s which I video-ed in April 2005 and completed editing in November 2005. The DVD’s present two hours of gestalt work on “awareness” performed by a young actress named Bel Baca, who recently completed a B.A. in Theater at the University of Central Florida. My audience is primarily those who have seen those DVD’s, but I will try to make myself intelligible to those who have not seen them. The particular process which I am describing here is a way of working which I pioneered in 1975 and have been doing in basically the same manner ever since, first in New York, then in Philadelphia, then in Israel and now in Miami, Florida. Therefore, what you are reading here represents the fruit of 30 years experience. Going back further than that, Fritz Perls developed the techniques of Gestalt Therapy around 1950. Going back much further than that, according my own research I believe techniques very similar to these have been used for many many centuries in healing and religious practices all over the world, for example in the middle ages in Judaism and Christianity by priests and rabbis who were exorcizing demons and dybbuks – which we now label “introjects” or “projections”. And back in 500 B.C.E. Heraclitus and other philosophers already were writing about the logos (dialectic or word) and self-interruptions of the river of awareness (self-interruptions which we now label “anxiety” and “neurosis”). Gestalt work also has roots in traditions of meditative practices, such as concentrating on your breathing in a Zen monastery. “Meditation” in this sense means to stay in the here and now and deal objectively with whatever comes along in your experience as it is happening.

I am stressing the long history of this process since I want to make it clear from the beginning that I am not doing what nowadays is called “therapy”. The “therapy” thing is a recent invention. It implies a formal and legal agreement whereby somebody takes responsibility to guide the life of someone else according to the rules of a certain group of people who have set themselves up as an organization to grant credentials to its members. This “therapy” item, which then can be marketed as a commodity, brings great financial benefits to its practitioners, whether or not it has much value for the consumers who purchase it. Not being grounded in any world tradition of wisdom and morality and with little accountability except to members of the same clique, these moral entrepreneurs set themselves up as self-fashioned gods driving around in divine chariots powered by platinum credit cards rather than true ideas. In my work, on the other hand, I ask people to sign an agreement stating that we are not doing therapy at all. I inform them that I walked out of medical school in 1963 and was thrown out of social work school in 1974, that I am not a licensed therapist and that I am not at all taking responsibility for their lives. I call my colleagues performers and not patients. I tell people from the beginning not to trust me any more than they decide they want to as we go along in the process. In fact, their not trusting me is an important part of our work, as you saw in these DVD’s of my work with Bel Baca. As of this moment in December 2005, to date I have done this particular 10 hour series of one-on-one gestalt workshops with about 610 people over the past 30 years, i.e., a total of about 6200 hours, in addition to the other performer training techniques I have been using.

(B) BEL’S AWARENESS WORK

Let’s summarize now the first hour of Bel’s work, what I label her work on “unguided awareness”. During the first hour I did not “direct” the work since I wanted to learn where Bel is starting from, how she usually operates when she is on her own in new, unfamiliar surroundings. Bel from the outset showed us clearly how she operates. In a few minutes already we saw overall a pretty well defined pattern (“gestalt”) beginning to emerge: Bel tended to implode in on herself, work herself up to a hysterical state of tension and anxiety, and then rescue herself with some sort of escape fantasy image, all within 15 minutes! At the beginning of the session Bel had a certain amount of contact with the outer zone, balanced by some emphasis on the inner zone. But by the end of the first hour we saw that even after my feedback most of her attention went inside. Gestalt directors talk about the “holes” in a person’s awareness functioning or map. In Bel’s case where there could be eyes and ears we found at the outset – to a certain extent – holes instead. Especially we saw how she tends to avoid looking directly at people, me (her scene partner) in particular.

Let me be very specific about this. At the beginning Bel limited her contact with outer zone objects to only a few seconds, whereas she felt comfortable spending much time inside. Outside she saw general properties of objects which did not elicit much interest, while inside she zoomed into compelling details. Keeping her eyes half closed much of the time fit into this pattern. For example, until I pointed it out she did not pay much attention to colors or give time for associations and fantasies regarding objects in the environment. Also, she tended to restrain the natural progression from sensing an object to reaching out and touching that object. Being aware of feeling cold, for example, did not connect to reaching out for something warm to wear until I made the connection for her! I did not call her attention to the nasal outpouring which went on throughout most of the session, and so instead of a handkerchief or a piece of toweling which no doubt was available within 10 feet of where she was sitting in her own apartment, Bel used practically every surface of her hands to deal with the problem during the two hour video! This tendency to remain within her cocoon was especially evident when it came to dealing (or rather not dealing) with me, her scene partner. Usually she waited till I turned away to glance quickly in my direction, but then when I turned back in her direction she was back inside again. I have never seen a prairie dog, but I can imagine they must have developed similar survival techniques to deal with marauding wolves on the prairie.

According to Gestalt theory, people who do not see or hear are likely to fill the empty space with imagination in a non-creative, self-destructive manner by cranking out critical judgments of other people and at the same time projecting critical eyes out onto others. They then imagine that these others are judging them critically. This habitual pattern of behavior below the level of awareness, or what Eric Berne labeled a “game people play”, is harmful for an actress, since she ends up being so busy worrying about what the audience thinks of her work that she is distracted from identifying with the role. In Bel’s case in the DVD we saw, in a classic manner, how after about 5 minutes of work Bel had propelled herself into a state of anxiety and gloom. Instant tears! Along with the tears came shame, as the merciless projected eyes demanded that she be ashamed even of crying. Soon Bel was worried about not being attractive enough (to satisfy the projected critical eyes), and then her associations led her to pop singer Kelly Clarkson and the words of Clarkson’s song “Because of You”.

SONG: “BECAUSE OF YOU” BY KELLY CLARKSON, DAVID HODGES, BEN MOODY

I will not make the same mistakes that you did. I will not let myself cause my heart so much misery. I will not break the way you did. You fell so hard. I’ve learned the hard way to never let it get that far.

Because of you I never stray too far from the sidewalk. Because of you I learned to play on the safe side so I don’t get hurt. Because of you I find it hard to trust not only me, but everyone around me. Because of you I am afraid.

I lose my way, and it’s not too long before you point it out. I cannot cry because I know that’s weakness in your eyes. I’m forced to fake a smile, a laugh, every day of my life. My heart can’t possibly break, when it wasn’t even whole to start with.

I watched you die. I heard you cry every night in your sleep. I was so young. You should have known better than to lean on me. You never thought of anyone else. You just saw your pain. And now I cry in the middle of the night, for the same damn thing. Because of you, because of you, because of you I am afraid.

Because of you I never stray too far from the sidewalk. Because of you I learned to play on the safe side so I don’t get hurt. Because of you I try my hardest just to forget everything. Because of you I don’t know how to let anyone else in. Because of you I am ashamed of my life because it’s empty. Because of you I am afraid, because of you.

Notice how the words in bold type are the result of feeling judged by critical eyes and how they led Bel more and more away from the real world and into an imaginary world of self-disparagement. In that cramped cocoon space Bel feels helpless to deal with the alien world “out there”, out there where she is afraid even to look. But this is at first no problem, since once she gets lost inside Bel has plenty to keep herself busy. She never tires of concentrating on body awareness, the “ickyness” for example that she contacts in her “tummy”. Also, most of her body movements are relating herself to herself, such as holding her hands, twiddling her fingers, curling up in the chair, wrapping herself in a towel (security blanket) and manipulating small objects close to herself. She plays on her body and her breathing as though it is an accordion, going back and forth between constricting her breathing and relaxing it just enough to get some air. All this retroflection (tension and overcontrolling of her body) contributes to her anxiety and after a while we find Bel in a state of despair brooding about Marilyn Monroe’s suicide in Los Angeles at age 36. Shortly after our Gestalt session Bel moved to L. A., to “Hollywood and Vine”, and like Marilyn Monroe once did, Bel now is making the rounds of auditions. Apparently, like Sheri (the character Marilyn Monroe plays in the movie “Bus Stop”) Bel has a straight line “direction” leading right to Hollywood. Now that she is there, her ability to generate instant hysteria and tears is probably a great asset to her as an actress – so long as she does not take it all too personally and end up like Marilyn Monroe did. One other result of all this imploding is that by overcontrolling her breathing and not making much use of her ears Bel started out our session with a very limited range of physical and vocal expression. Her physical moves were general and vague rather than focused and specific, while her voice most of the time was a soft monotone.

But fortunately, Bel has a way out of the cocoon she spins around herself. Like Cinderella or like Princess Jasmine in Walt Disney’s musical Aladdin, Bel has a heart and a head full of rescue fantasies. Her favorite themes are floating, flying and breaking away, and since she is very musical these themes often enter her mind in the form of song lyrics of pop songs she knows – especially those of Kelly Clarkson. First, the imploding and despair spiral inward like a whirlpool, transporting Bel helplessly into a dark, melancholy void, and then – “it’s all so magical!” – along comes the rescue fantasy transporting her – once again passively – “out of the darkness and into the light”, like a butterfly emerging from a cocoon. In view of all these parallels in the action, I took the liberty in my DVD of inserting into the scenario a scene from Walt Disney’s version of Aladdin. Aladdin in this scene arrives on his magic carpet, rescues Princess Jasmine from the castle, and whisks her off to “a whole new world” of out-of-this-world vistas. As an actress Bel, in her emotional and fantasy life, certainly can capitalize on this cyclical roller coaster ride back and forth from self-generated melancholy to self-generated euphoria, so long as she does not lose control of the machine and succumb to despair herself.

(C) GENERAL SUMMARY OF BEL’S ENTIRE SESSION

What overall observations can we make? First of all we can say that the work “worked”. Bel was open to my direction and despite the monumental obstacle I gave her by putting a Canon XL-2 video camera, with its blinking red light, about 8 feet from her nose she seems to have gotten to some sort of closure during the work. In the language of Gestalt theory we can say that she accomplished a certain “action” during the two hours she spent with me in the here and now. There was a sense of moving forward in all the three zones of awareness, and also there emerged a fluid relationship between the three zones: (1) the outer zone of objects in the environment, (2) the inner zone of body awareness, and (3) the fantasy zone of daydream images. This fluidity of awareness zones reveals a potentially healthy and creative individual, whereas lack of movement between the zones would characterize a brittle, very limited schizoid (“split”) personality. Now I’m going to be more specific about Bel’s progress and add a bit of interpretation concerning what it all means. But don’t worry. In this brief essay I will not say much about the philosophy underlying my work. I won’t try to force feed you any particular philosophical or religious system. Of course, to me personally the theory of this work is very important. So if you are interested in hearing more about my take on the process, I hope you will check out some of the interpretive essays I have written where I look at the gestalt process from the perspective of various sects – secular and sacred. Getting back to general observations about Bel’s work, here are some prominent trends that I noticed that emerged during the two hours of work on awareness.

(1) Balancing the three zones of awareness leads to “the big picture”.

First of all, Bel managed to balance the three zones of awareness by bringing more outer zone focus and a rich fantasy zone experience into her work. In the fantasies she began with small objects that flitted by and then gradually expanded her range to deal in a sustained manner with a particular person (Marilyn Monroe). Finally, she focused on an image of a kitten in some depth. At first Bel’s attitude toward other objects and creatures was distant and defensive, but by the end of the session she reached out, touched and acknowledged feeling a need for contact with others. At the end she said, “I need to be closer to people, so I can share a loving feeling.” In terms of the theory of drama developed by Aristotle and elaborated by Fergusson in “The Idea of a Theater”, we can say that this was an opening action and a reaching out for warmth and love, like the action of a flower when the sun shines in the morning. This need to open and reach out for love was, as Stanislavki would have called it, Bel’s “superobjective” in this tragedy. The character Sheri in Bus Stop and the character Blanche in “Streetcar Named Desire” share a similar superobjective. But while Bel and Sheri succeed in overcoming the obstacles and completing the action, Blanche does not succeed in overcoming the obstacles. Blanche is driven back even further inside herself to psychosis by overwhelming environmental factors – especially the obstacles imposed by character Stanley. Why would Aristotle or Stanislavski call the completed action of Bel or Sheri a “tragedy”? Because in some sense the main character undergoes a death and rebirth of ego, or discovers a new point of view about life. The non-contactful insect style ego which needs to spin a cocoon in order to survive in an alien environment must die, we might say, in order that the human child can be born into a loving world inhabited by other human beings, just like so many classical Greek tragedy heroes need to die in order to fulfil their dramatic function.

(2) Good contact results in a wider range of physical and vocal expression.

Another area where Bel demonstrated much progress was in physical expression. Contacting and then finding the voice of each body part led to excellent results. This carried over also into vocal expression. At first she was stuck in a soft monotone, but later she began – to some extent – to vary the pitch, dynamics and tempo. She did this not merely technically like a virtuoso musician, but contactfully in response to here and now momentary concrete physical and emotional needs. In her own life and as an actress this is a technique she also can apply to vocal readings to keep her audience from falling asleep – if she is willing to risk that!

(3) Bel moves from having abstract “ideas about the scene” to living concretely here and now in the moments.

As Bel balanced the outer, inner and fantasy zones of awareness, there was a shift from regarding herself as an ego style Self, a Self with a capital “S”, a Self which is a large precious thing that needs to be protected, towards a non-ego self, a self with a small “s”, a self which is merely a process of exploring and discovering reality. The Self with its deliberate “ideas about the scene”, such as “I am going to die one day” and “don’t you dare to reach out and touch strangers”, yielded to a less rigid “self as process” which could risk surrendering to the circumstances of each moment. The shift from Self as thing to self as process was an important result of Bel’s work today. We saw how this shift of point of view towards that of “the big picture” was, paradoxically, the result of dealing with tiny details of her experience. Her “faith in a grain of mustard seed” (each moment of concrete awareness) was rewarded by holistic progress as she became more and more grounded in reality. Like Sheri in “Bus Stop”, she discarded her childish rulebook with its rigid principles, and grasped more holistic ideas, such as “the whole is greater than the sum of the parts” and “a journey of a thousand miles begins with a single step” (of good contact). She discovered that in this wider frame of reference she could find her own support, her own grounding. Being more grounded in reality helped her to deal with the gloom that led to crying at the beginning of the session. As more and more moments of good contact converged into a rich encompassing contact boundary, she no longer had the need to implode into hysterical emotions and a sense of helpless despair.

(4) The “rhythm of contact and withdrawal” leads Bel to an overall action or idea of the session, a “superobjective”.

Aside from basic work on awareness itself, the major structural component of Gestalt work is known as “the rhythm of contact and withdrawal”. By “contact” in this context is meant awareness of specific objects such that one can say “I see that” or “I hear that”. By withdrawal is meant ceasing the “contact” experience and, one might say, “getting lost” without any specific focus. Usually this implies closing one’s eyes, going into one’s body awareness and allowing a daydream to percolate up from the “fertile void”. The new image oftentimes gives rise to personal associations to events from one’s life, especially events involving close family relationships in childhood. The Gestalt director then can guide the performer in an exploration of unfinished business involving that relationship. This all happens in the here and now, without stopping to analyze or talk about what is happening. The performer relives the important event as though it is happening in present time, putting himself in one chair and the other person in the other and going back and forth play acting the roles and the dialogue. One cycle of the rhythm of contact and withdrawal constitutes one “beat” of the underlying (dialectical) logic of the dramatic action. During today’s session on awareness I led Bel back and forth between the contact stage and the withdrawal stage, through several beats of the action. I do much more of this sort of work during the second and third sessions, where acting out the dream images and dialogues between them deepens the experience. During the first session on awareness I merely ask the performer to shuttle between outer zone and inner zone awareness and give an opportunity for daydreams to emerge along the way.

An indication of how well Bel’s work progressed today is the lovely manner in which each cycle of the rhythm of contact and withdrawal led her organically on to the next step and onto the superobjective in what turned out to be the final leap of the series. It was as though a higher or deeper force was propelling the inner logic that was unfolding from the outset. Why did it appear “as though” this was occuring? Answer: because it actually was occuring. There was, “in truth”, a higher or deeper force propelling the inner logic that was unfolding from the outset. This, again, is what Stanislavsi means by the word “superobjective”. Hence, we can see how dumb it is for actors and directors to expect to grasp the superobjective of a major tragic (or comic) action merely by fooling around with literary minutia or intricate cerebral analyses of a script. Even Brecht demanded that actors first contact their superobjectives before adding on layers of formalist devices and alienation effects to the acting score. Clever shticks, virtuoso technique, literary and intellectual erudition, and “knowing the business” certainly are important in the theater, but an actor (or dancer or singer or poet, etc.) who is floating on the surface of his life in a dinghy full of shticks, information and aboutism is merely paddling aimlessly on the great ocean when it comes to organizing these surface details into a coherent, credible artistic action (Aristotle) or idea (Plato). Rather, an actor needs to discover as many of his own centers as possible, and harness the powers of the great ocean (or whatever you would like to call it in your own cultural context) for his own purposes and the needs of his art. Later stages of this gestalt theater process attempt to do just that. My essays present my own particular way of finding a cultural context for this work within Judaism.

(5) The series of withdrawal images reveals the beats of the action, the “acts” of Bel’s tragedy (or comedy).

I will go through the series of withdrawal images with you now, so you can see exactly what I mean by the beats of a dramatic action or superobjective. At the same time, as we examine the content of the images we will notice that other changes also were happening in a way that moved the process more and more profoundly along the banks of an underlying river. At the beginning Bel’s images were fleeting, but they became more and more sustained and developed as the focus of her fantasy zone increased. Another gradual shift was from images that served passively as a release from despair to images that involved committed actions that Bel undertook as part of her existential, or some might say “spiritual”, attempt to grow. Let’s take these images one at a time.

Image 1: the song “Because of You”

During her work on unguided awareness Bel is quite proficient at talking herself into a quagmire of tension and despair. Soon she ends up feeling helpless and judged by critical eyes. Then suddenly pops into her head the Kelly Clarkson song “Because Of You”. Miraculously, Bel finds some release from her sense of constriction and helplessness. How does this happen? Certainly the words of the song are not all that cheerful and full of hope. My hypothesis is that suddenly Bel shifts her way of thinking from subjectivity (worrying about causes and effects) to objectivity (dealing with life here and now in a meditative manner). The strong image gives her here and now an objective contact boundary, a strong “gestalt” (pattern, focused idea) to grasp. This releases her from cause and effect style anticipations of painful judgments and imminent catastrophes which might occur in the future. “If”, for example, “I do not lose weight or get my lines just right (the cause), then soon people will see me as uninteresting (effect number one) or unattractive (effect number two), and then . . . (effect number three, etc.)!” But now, by involving herself in actually hearing the tune in her head, Bel frees herself from self-interruptions (projections, introjects, demons, etc.). She no longer is possessed. She now is able to use her mind and body in a natural human way to restore balance and homeostasis. Bel relaxes her muscles and soon she is breathing freely and concentrating on the task at hand, contacting the three zones of awareness.

Image 2: passively floating and flying away on a magic carpet

Next, as she begins to discover the power of this new awareness technique, Bel says “I am picturing myself flying”. The first time the flying image occurs it is merely a fleeting notion, but the image comes back a little later in a more developed form, and Bel now is able to sustain the focus and see herself lying on her back on the carpet, with her arms outstretched in the shape of what she calls a “cross”, passively floating out the window and flying through the air. Nevertheless, the image still is a relatively weak one. For example, there was no music accompanying the image. After the session I asked Bel if she had any musical associations to the image. What came to her mind was the Walt Disney musical animation “Aladdin”. But during the work itself Bel did not volunteer any particular musical background. Here is the text of the song Aladdin sings to Princess Jasmine as he whisks her on his magic carpet out of her palace and into a magical new world. I see this song as being entirely appropriate to Bel’s state of mind as it appears to me to be at this moment in her work.Therefore, I have taken the liberty of interjecting both the song and the magic carpet ride visual track that accompanies it in the Disney flick into my DVD’s of Bel’s work. Since my intent here is helping people to grow, and not to make a profit, I hope this use of the Disney clip falls under the heading “fair use”.

SONG: “I CAN SHOW YOU THE WORLD” FROM WALT DISNEY’S MUSICAL “ALADDIN”

ALADDIN: I can show you the world; shining, shimmering, splendid. Tell me, Princess, now when did you last let your heart decide? I can open your eyes, take you wonder by wonder, over, sideways and under on a magic carpet ride. A whole new world, a new fantastic point of view. No one to tell us “no”, or where to go, or say we’re only dreaming.

JASMINE: A whole new world, a new fantastic point of view. A dazzling place I never knew. But when I’m way up here it’s crystal clear that now I’m in a whole new world with you.

ALADDIN: Now I’m in a whole new world with you.

JASMINE: Unbelievable sights, indescribable feeling. Soaring, tumbling, we’re weaving through an endless diamond sky. A whole new world.

ALADDIN: Don’t you dare close your eyes!

JASMINE: A hundred thousand things to see.

ALADDIN: Hold your breath. It gets better. JASMINE: I’m like a shooting star. I’ve come so far. I can’t go back to where I used to be.

ALADDIN: A whole new world.

JASMINE: Every turn a surprise.

ALADDIN: With new horizons to perceive.

JASMINE: Every moment gets better.

BOTH: I’ll chase them anywhere. There’s time to spare. Let me share this whole new world with you.

ALADDIN: A whole new world.

JASMINE: A whole new world.

ALADDIN: That’s where we’ll be.

JASMINE: That’s where we’ll be.

ALADDIN: A thrilling chase.

JASMINE: A wondrous place.

BOTH: For you and me.

JASMINE: (spoken) It’s all so magical. ALADDIN: (spoken) Yeah.

Image 3: actively flying and breaking away with her own wings

A crucial parameter we need to monitor in regard to these daydream images is the extent to which the performer is actively involved rather than being a mere passive victim of circumstances. So far Bel’s imagination is becoming stronger, but at the same time so far these images of floating and flying still have Bel casting herself in the role of passive recipient of energies from forces outside herself. But soon another “flying away” image emerges, and this time Bel herself takes responsibility for the action. She daydreams the melody and words of another Kelly Clarkson song, “Break Away”.

SONG: “BREAK AWAY” by M. GERRARD, B. BENANTE, & A. LAVIGNE

Grew up in a small town, and when the rain would fall down I’d just stare out my window. Dreamin’ of what could be, and if I’d end up happy, I would pray, trying hard to reach out. But when I tried to speak out, felt like no one could hear me. Wanted to belong here, but something felt so wrong here, so I prayed I could break away.

I’ll spread my wings and I’ll learn how to fly. I’ll do what it takes till I touch the sky, and I’ll make a wish, take a chance, make a change and break away.

Out of the darkness and into the sun, but I won’t forget all the ones that I love. Want to feel the warm breeze, sleep under a palm tree. I’ll make a wish, take a chance, make a change and break away.

Feel the rush of the ocean, get onboard a fast train, travel on a jet plane, far away and break away. Buildings with a hundred floors, swinging round revolving doors, maybe I don’t know where they’ll take me, but gotta keep movin’ on, movin’ on, fly away, break away.

I’ll spread my wings and I’ll learn how to fly, though it’s not easy to tell you goodbye. I got to make a wish, take a chance, make a change and break away. Out of the darkness and into the sun, but I won’t forget the place I come from. I got to make a wish, take a chance, make a change and break away, break away, break away.

This time Bel herself is having thoughts of actively breaking away from her past and moving on to new adventures – though not without a certain need to hang onto her roots in the past. Her past she now sees as “darkness” and the freedom she is craving is the opposite, “light”. Jet planes and buildings with 100 floors are strong attractions to a young actress who is on the verge of pulling up stakes in Florida and heading for the big time in L.A. Also, here we have music with a strong personal connection for Bel. The song articulates two of Bel’s urgent needs: “I’ll spread my wings and I’ll learn how to fly. I’ll do what it takes till I touch the sky.” To breathe and think freely and to reach out to touch and find love are two objectives which are crucial components of Bel’s superobjective, two parts of the emerging whole. In terms of the overall tragic/comic action of this two hour gestalt session, we can say that we now are in Act Two of a five act drama. Bel now has a clear objective: to break away into the light. Her obstacles are the forces or demons symbolized by what she regards as “darkness” and “because of you”. The action still is far from complete.

Image 4: Marilyn Monroe as symbol of deep personal conflicts

It is only in the next image, that of Marilyn Monroe in “The Seven Year Itch”, that finally we have a fully human situation linking specific imagery and emotional needs. This is Act Three of Bel’s tragicomedy, and it is no longer just an adolescent cartoon scenario. Now the obstacle (“to disparage myself into a colossal flop”) seriously confronts the objective (“to overinflate myself into a superstar”). Bel is moving the action towards an X/-X impasse, a “stuck point” crisis in Act Four. At first Bel can identify superficially with Marilyn Monroe as a happy and attractive star, but soon depressing and ugly thoughts of Marilyn’s suicide at age 36 in L.A. intrude and turn the Hollywood dream into a nightmare with which Bel will not identify. From the point of view of her conflict and resultant misery at this point of the action, Bel concludes that the main thing, what she really wants, is “just to be happy”. This certainly is a superobjective that seems to resolve the conflict, but actually this superobjective is only a vague and abstract “idea about the scene”. Identifying with such an objective as “to be happy” is merely playing a quality of pumped up hysteria. The objective “to be happy” does not imply a series of specific concrete beats that can be used to articulate the action, either as Bel Baca or as any character Bel may want to play in her career as an actress. Marilyn Monroe herself plays a similarly muddled aspiring actress in “Bus Stop”. The character Sheri at first is fixated on getting to L.A. at all costs, for the relatively superficial goals of “getting some respect” and attaining lots of success and happiness. But by the end of the movie Sheri resigns herself to dealing with the specific circumstances occasioned by her new relationship with a young man named Beau. Sheri decides that despite all the obstacles it entails from the point of view of her initial program of being a superstar, the prospect of marriage, security and concrete here/now satisfaction with this specific person named Beau affords her a stronger objective than does the vague spectral lure of “Hollywood and Vine”. Sheri rips up the abstract roadmap which till then had been a rigid “story of my life”, an “idea about the scene”, and now she identifies with this emerging new concrete love relationship which here and no is giving her a rich, vital contact experience.

Image 5: a kitten as a love object safe to reach out and touch

Bel herself does not deal with a similar conflict until the next and final image of her session, the image of a blue-eyed very furry kitten. The content of this image is much less dazzling than either the Hollywood studio scene or the life of Marilyn Monroe, but what is new here is no less important in the deeper logic of Bel’s existence. For now, for the first time, Bel is no longer only a passive victim of tragic circumstances. She is no longer breaking away blindly in the manner of a teenie bopper. Rather, as a mature woman Bel now is reaching out to another living creature (be it merely a kitten or a grain of mustard seed) with full contact and emotional involvement. How does Bel feel about the kitten? “I love it”, she says.

The parallel to the “Bus Stop” movie is striking. When near the end of the movie Sheri’s lover “Beau” tries to grab her in the way men have been grabbing her since she was age 12, Sheri takes charge of her life and demands that “this time it should be different”, not just being grabbed as an object of someone else’s lust. Beau has a similar revelation when he discovers that “kissing someone for serious is scary”, scary because it involves authentic contact with another human being and not just blindly grabbing an object you plan to make use of. Like Sheri, who chooses motherhood over L.A., Bel associates reaching out and touching the kitten to holding her sister’s baby. The mothering/loving feeling soon generalizes and by the end of the session Bel feels a need to reach out to people in general in a loving way. Perhaps soon Bel will move beyond an either/or conflict in this area towards a higher integration of the opposite sides, but for now the issues are only just emerging into consciousness. Along with this new perspective on life comes a mild explosion into joy and optimism about her life as she anticipates the long journey that “begins with a single step”. This is Act Five, the denouement, of Bel’s drama, at least on the deeper (or higher) level of the superobjective. We do not have enough current information from Bel to know how this existential action is translating into specific events of her life as it is unfolding now at “Hollywood and Vine” in Los Angeles.

(D) CONCLUSION

If we look now for general technical terms to summarize Bel’s existential journey during our two hours of work, we can say there was a transition from imploding to exploding, from closing in on oneself to opening out to the universe. The session ended with what Gestalt people label a mild “explosion into authentic joy”, a shift from gloom to a mild euphoria, as energy tied up in tensing herself and imploding herself became available for living life creatively. This was a mini-satori or enlightenment experience. The implosion process was reversed merely by tuning into the larger context or envelope of here and now experience, the context of life itself. We did not need analytically to meddle with specific events in Bel’s childhood or present life. True, in later dreamwork sessions which Bel one day may undertake there would be a place for zeroing in on actual dream images, past relationships and unfinished business, but these individual events are in Gestalt work usually integrated into larger and larger envelopes as a performer or pilgrim gets more and more grounded in the contact boundary and reality itself. Each new conflict along the way leads to its own resolution on a higher level by means of a certain kind of deeper (higher) logic that goes by many names depending upon the point of view of the person doing the theorizing: induction (versus deduction), ascent (on the right side of the tree of life), translation (moving up Jacob’s ladder of angels), identifying with the coming solution (Gestalt), the final cause (Aristotle), return to origin via anamnesis (Plato), etc. And so we find that there is no way to avoid dealing with philosophical and religious matters in this work. Secular philosophers talk about how the two sides of a conflict – the thesis and the antithesis – get incorporated into a higher level idea called the synthesis. This way of thinking is known as dialectical thinking, and it forms the basis of most philosophical and religious traditions in the world, east and west. Religious leaders, such as Maimonides or St.Thomas, developed their own vocabularies to deal dialectically with the traditions of their own communities. For example, if we want to use the philosophical framework of Aristotle or Maimonides we could spell out Bel’s series of beats as an ascent from conflicted lower, smaller spheres, envelopes or heavens towards encompassing higher and broader spheres of the universe. But I promised not to force feed philosophy or religion in this account. For those who find pondering deep causes of things to be more trouble than it is worth, and for that reason will “pass” on my other essays, this, then, may be the end of our shared journey. I’ll conclude this essay now by quoting what Bel had to say about this session when a month or so later I asked her for a “reference”. She sent me the following email from L.A. “Be open to a Gestalt session and you’ll be amazed. I’d personally recommend Franklyn’s Gestalt work to everyone, whether you have a personal emotion or issue you want to work on, or not. Franklyn used this technique in showing me my own awareness paradigm, which in turn helped me in all aspects of my life, including my acting. It served to give me more emotional freedom and helped me grasp the power I have to influence my thoughts, emotions and hence my decisions. Bel Baca, actress, Los Angeles, California, September 2005.”

BEL BACA: AWARENESS CONTINUUM MY NEAR VERBATIM NOTES TAKEN DURING THE WORK

APRIL 17, 2005. THIS SESSION WAS CONDUCTED IN BEL’S APARTMENT. THERE WERE NO OBSERVERS. THE PRESENCE OF HER ROOMMATE MOVING ABOUT OUTSIDE THE ROOM MAY HAVE AFFECTED BEL’S SENSE OF PRIVACY. THE VIDEO CAMERA WAS LEFT RUNNING BY ITSELF THROUGHOUT THE WORK. WE HAD AGREED BEFOREHAND THAT I WOULD TAKE THE TAPE WITH ME AT THE END OF THE SESSION.

UNGUIDED AWARENESS: ONE HOUR

B: Now I am aware of cool air. My feet are on the ground. I’m aware of my tummy, ’cause I just ate. You want physical things? F: No questions allowed. B: I’m aware of seeing you all in blue. Now I’m aware of feeling a little anxious ’cause I’ve never done this. I’m aware of my center. My stomach is anxious. You want more? I feel I have energy, but also my energy is zapped. I feel that often. TWIDDLING HER FINGERS. LONG PAUSE. I’m aware that my eyes look red. I have an irritation. It’s from soap. SHE SPENDS MUCH TIME LOOKING DOWN AT THE FLOOR. I’m aware of feeling icky. I don’t know why. SLIGHT SMILE. Like I want to cry. SHE CRIES, SNIVELS. IN GENERAL MUCH OF THE TIME BEL’S EYES ARE HALF OPEN. Now I’m aware of feeling embarrassed that I cried. EXHALES DEEPLY, AFTER HOLDING HER BREATH A WHILE. AS A GENERAL PATTERN, I NOTICE THAT BEL SEEMS TO PLAY HER BREATH LIKE AN ACCORDION, HOLDING IT AND THEN RELEASING IT WITHOUT BEING VERY AWARE OF HOW THIS OVERCONTROLLING GENERATES A STATE OF PHYSICAL TENSION AND AN ACCOMPANYING SENSE OF ANXIETY. SHE LEANS FORWARD AND LAUGHS. NOW HER EYES ARE ALMOST CLOSED. I’m aware of thinking it’s funny that I cried. DEEP BREATH. I’m aware of feeling constricted, because I’m feeling stuck in my body. F: I AM CONCERNED LEST SHE WORK HERSELF UP INTO A STATE OF HYSTERIA, BUT I WOULD RATHER NOT INVERVENE. I AM HOPING THAT SHE WILL WORK HER WAY OUT OF THIS IMPLODING. Let me know if you need help. In the meantime go on with what you are aware of. B: LONG PAUSE I’m aware of the beautiful trees outside, blowing in the wind. I’m aware that I’m a human being, that I’m mortal and that I’ll die someday. That makes me feel helpless. I’m looking at my finger nails. Now I’m aware of the taste of this nail polish. It’s not good. I’m aware of feeling a little drowsy. I’m aware of the stress I’m putting on my toes. SHE IS PRESSING THEM AGAINST THE RUG. HER NOSE IS DRIPPING NONSTOP, WITH OCCASIONAL DROPS HANGING FROM THE END OF HER NOSE. I’m aware that I’m too aware of bodily feelings as opposed to higher concepts and ideas. MUCH SNIVELING. I’m aware that I probably have fears and anxieties that I need to release. OVERALL: MUCH HOLDING AND THEN RELEASING OF HER BREATH. I’m aware that I’m distrusting of myself and of others in life sometimes. F: I NOTICE THAT BEL MOST OF THE TIME AVOIDS LOOKING DIRECTLY AT ME. WHEN I TURN BACK TO HER AFTER LOOKING AWAY, SHE QUICKLY TURNS AWAY FROM LOOKING DIRECTLY AT ME. B: I’m aware that I’m hoping this exercise will help me in some way. PAUSE. I’m aware that I have a song playing in my head. F: What song is it? B: “Because Of You”. I’m aware that I took a deep breath. That felt good. I’m aware that I’m very conscious of how I look, my body image.

FEEDBACK: AT THIS POINT I STOPPED BEL’S AWARENESS WORK AND GAVE HER FEEDBACK. I WENT OVER ALL OF MY NOTES, POINTING OUT WHAT WOULD BE CONSIDERED TO BE “AWARENESS” ACCORDING TO GESTALT THEORY AND WHAT WOULD BE CONSIDERED TO BE SOME OTHER SORT OF FUNCTIONING, SUCH AS JUDGMENTS, PROJECTIONS AND AVOIDANCES. I POINT OUT THAT SHE IS AVOIDING CONTACTING HER “SCENE PARTNER”, WHO IN THIS CASE IS ME. BEL TOOK A FEW MINUTES TO REPLAY THE VIDEO TO SEE HOW WE LOOK DOING THE WORK. THEN WE RESUMED THE UNGUIDED AWARENESS EXERCISE.

B: LONG PAUSE. I’m aware of my face being itchy. I’m aware of you looking at me. AS A MATTER OF FACT, AT THE MOMENT SHE SAID THIS I WAS NOT ACTUALLY LOOKING AT HER. I’m aware of feeling more relaxed. I’m aware of some kind of sound outside. Cars maybe. I’m aware of your shirt. It says “Martin Guitars, Established 1833”. Now I’m aware of feeling tired. I’m yawning. SHE IS TOUCHING HER FACE QUITE A BIT. I’m aware that I’m sniveling. I’m aware that I’m more relieved. I’m aware that I am self-conscious, that I am annoyed that I’m sniffling a lot. BEL LOOKS DIRECTLY AT ME FOR PERHAPS THE FIRST TIME. LONG PAUSE. I see that you’re wearing glasses and white sox. They look clean. SHE CONTINUES LOOKING AT ME AS I WRITE, BUT WHEN I LOOK UP AT HER SHE QUICKLY LOOKS AWAY. SHE YAWNS. HER VOICE IS SO FAR AN UNEXPRESSIVE MONOTONE MOST OF THE TIME. I’m aware that my nails are pretty. I’m aware that my eyes might be half closed, that I’m smiling and that my shoulders feel sore. I’m aware that I am happy that I am doing this exercise. Now I’m aware that the fan is spinning. I’m aware that last night’s show may not have gone well. I was too much in my head. BEL IS AN ACTRESS PERFORMING THE LEAD ROLE AT A LOCAL THEATER EACH NIGHT THIS WEEK. I’m aware of how this bracelet feels on my arm. I’m aware that I am sniffling and that I am touching this bracelet. HER CURLED UP POSITION IN THE CHAIR HAS NOT CHANGED FOR A WHILE. I’m picturing myself flying. I’m looking at that purple back massager IT IS GLASS, ON A TABLE ACROSS THE ROOM. It is very pretty. Now I am picturing what it would be like to touch that piece of paper you are writing on. YAWNS. I’m aware that I just yawned. WITH HER LEGS STILL CURLED UP ON THE CHAIR SHE STRETCHES HER ARMS OVER HER HEAD. I’m aware that I’m stretching. Your pen is an interesting shade of blue. I’m aware of feeling uncomfortable in this chair. I’m aware that I’m trying to keep my eyes more open. RATHER THAN FOCUSING ON OUTER ZONE DETAILS SHE IS FOCUSING ON KEEPING HER EYES OPEN. I’m aware of blue circles on the file box. WHEN I LOOK AWAY BEL LOOKS AT ME. I’m aware that I’m a little tired. I’m aware of what that blanket feels like. SHE DOES NOT GO OVER AND TOUCH IT. I’m aware of how my toes look. I’m aware of your thing holding down your hat, your berette. I AM WEARING A JEWISH STYLE SKULL CAP. BEL IS CHRISTIAN. I’m aware of your curly hair, that your shoes look like they are made of suede leather. SHE MOVES HER TOES UP AND DOWN A FEW TIMES. I’m aware that I am thinking. I am aware that my forehead is probably wrinkled right now. I DO NOT SEE ANY WRINKLES THERE.

AT THIS POINT I STOPPED HER WORK, SO THAT I WOULD AGAIN HAVE TIME TO GIVE FEEDBACK BEFORE THE END OF THE FIRST HOUR. I REVIEWED MY NOTES WITH HER, POINTING OUT WHAT WAS AWARENESS AND WHAT WAS NOT AWARENESS ACCORDING TO THE GESTALT POINT OF VIEW. BREAK: 5 MINUTES

GUIDED AWARENESS: 1 1/2 HOURS

OUTER ZONE

B: I’m aware that I’m holding my hands. I’m aware that I am cold. F: What can you do about being cold? B: TAKES BRIGHTLY COLORED TOWEL TO WRAP AROUND HERSELF. CELL PHONE RINGS. I’m aware of my phone making noises. WIND BLOWS THE DOOR WITHIN ITS FRAME SO IT MAKES A THUD. The door made a noise. F: That’s the outer zone. Stay there a while. B: I’m aware of the green of that shelf. It’s a 70’s green. It feels smooth. BUT SHE DOESN’T GO OVER TO TOUCH IT. My nails are black. My bracelet is made of brown wood. I’m aware that I’m on camera being filmed. F: What do you actually see when you look at the camera? B: I see the red light blinking. F: Describe the camera. B: I see a microphone. F: A “microphone” is a complex idea. It’s not something you actually contact. Be like an aboriginal who looks at a camera for the first time. Describe the microphone. B: It’s a black object. It’s circular and long. It looks like it’s soft. F: Go and touch it. B: TOUCHING THE MIC. It’s not as soft as I had imagined.

THROUGHOUT THIS SESSION IN BEL’S APARTMENT I MYSELF AM AWARE OF THE SMELL OF CIGARETTE SMOKE SEEPING UNDER HER DOOR. HER ROOMMATE, WHO ALSO IS HER SISTER, SMOKES. WHEN AT THE END OF THE SESSION I MENTIONED THAT SMELL, BEL SAID THAT SHE IS SO USED TO THE SMELL SHE NO LONGER EVEN SMELLS IT.

INNER ZONE

F: OK, now let’s shift over to working on the inner zone. Close your eyes. What are you aware of now in your body? B: I’m uncomfortable in my gut. Maybe it’s anxiety. It’s my tummy. I can tell you why. F: No, not “why”. Just tell me “what”. What’s going on in your stomach? B: I’m uncomfortable with myself. F: That’s an abstract idea. What is going on physically? Does it feel like hunger? B: No. F: Do you sense something moving there? B: No. Now I’m letting myself breathe. I feel better. I’m aware that my shoulders are hunched. HER FINGERS ARE IN A FIST. F: Go into that. Hunch up some more, and make noise, like this. Squeeze your fingers also. I DEMONSTRATE HOLDING MY BREATH AND SQUEEZING, IMPLODING WHILE I BLOCK THE SOUND SO IT CANNOT COME OUT FREELY. B: FOLLOWS MY EXAMPLE AND CURLS UP ON THE CHAIR. F: The toes too. Curl your toes also. Now relax. Very good. When you are ready open your eyes and come outside.

OUTER ZONE

B: OPENS HER EYES. F: What’s your reaction now to coming outside into the outer zone? B: I want to go back inside. F: What is there that you need? B: I don’t know. F: What are you aware of now outside? B: The green cabinet. It has rungs in front, rectangular, like bamboo. And it has a handle that looks like a pinapple. It’s yellow, tilted. F: Good. Now that you see it, let’s go onto the next step. Do you have any associations when you look at it. Maybe it reminds you of something, or whatever. B: It reminds me of when I painted it. If I picked it up it would be heavy. Inside it are videos and jewelry. What do you mean by associations? F: It could be anything: memories, judgments, images, comments. B: Like I could imagine little midgets jumping on it? F: Right. That’s called “creative thinking”. You go from objectivity to subjectivity, not the other way around. If you do it the other way around it’s psychotic thinking. Like maybe you imagine somebody is out to get you and you don’t bother actually to see the person at all. OK, let’s go back to the inner zone again. This is called the rhythm of contact and withdrawal. The contact part is the outer zone and the withdrawal part is going back into your body and the void inside.

INNER ZONE

F: Close your eyes now. First of all, are you comfortable in your body? Any tension? B: I’m not comfortable. My thighs are sore from doing some exercises. If I stretch I’ll feel better. SHE STANDS AND STRETCHES, BUT KEEPS HER MOUTH TIGHTLY SHUT AND EMITS NO SOUND AT ALL. F: What was missing that time? The sound. Would you mind doing it again, but this time add the sound. Do it harder and open your mouth and throat. Let all the parts of your body find a voice. Move your fingers. How does that change the sound? Listen to the sounds. Now your hips. Now your toes. Good.

GRADUALLY SHE ESCAPES FROM THE FROZEN VOCAL MONOTONE SHE HAS BEEN IN MOST OF THE SESSION SO FAR. HER VOICE BECOMES MUCH MORE EXPRESSIVE.

F: Sit down again, please, and close your eyes again. Now we are going to work on the third zone of awareness, the fantasy zone. So far you haven’t used your imagination much today. If you don’t mind I’d like you to do a daydream. Go on a trip or imagine something. Take your time. You’re free to censer, but the more you share the more material we have to work with. B: I’m imagining I’m lying on my carpet, touching it with my fingers. Then I have my arms spread out like a cross and I float off the floor. I float through the walls and out the window. It’s like I’m flying. I land on the roof. I can see the road outside. F: If the daydream was a movie can you imagine any kind of music that would go with the movie? B: I am imagining a song, “Break Away” by Kelly Parkstone. F: Can you sing it? B: SHE SINGS THE SONG SOFTLY WITH HER EYES CLOSED AT FIRST. F: Keep your eyes mostly closed and stand up. Dance along with the singing. Find a sound that comes from each body part. Make the sounds as different as possible. High sounds, low sounds, fast sounds, slow sounds, loud sounds, soft sounds. Good. Now zero in on a few key words of the song and drone them over and over. Trip on them and see how they develop. B: SINGS REPETITIVELY ” . . . out of the darkness into the light . . . fly away and break away . . .”

OUTER ZONE

B: I burped. SHE CLOSELY EXAMINES ONE OF HER HAIRS. This hair is split in half. I just ripped it apart. It blew on me. Now I am aware of the red camera light blinking. That light THE CEILING LIGHT WITH FAN ATTACHED TO IT has a string hanging from it. SHE FOCUSES ON A SMALL “FAIRY” SHAPED DOLL ACROSS THE ROOM. The little fairy has feathers blowing on her head. There is a string hanging from her. I can picture touching that. F: Go over and touch it. B: It felt nice: hard, solid. F: Now that you really saw it and contacted it, do you have any associations or thoughts or judgments about it? B: Once I played a character that takes pleasure in little things. I wish I could be like that. She was not just concerned with herself. She lives each moment. F: That is what I call “creative thinking”. First you contacted the doll and then you got associations about it.

INNER ZONE

F: Now we’re beginning to get some integration of outer zone awareness and fantasy zone awareness. Let’s keep going with the rhythm of contact and withdrawal. Close your eyes and go inside one more time. Are you comfortable in your body? B: Yes. INSTEAD OF CURLING UP ON THE CHAIR BEL NOW IS SITTING UP STRAIGHT WITH HER FEET ON THE FLOOR IN FRONT OF HER. SHE APPEARS TO BE MUCH MORE RELAXED THAN UP TILL NOW. APPARENTLY SHE NO LONGER IS CONSTRICTING HER BREATHING. F: Try another daydream. Take your time. B: I see an image of Marilyn Monroe. She has red glittery shoes and smooth legs. She’s wearing her famous white dress, tightened on the waist. Her arms are straight. She has red fingernails. I see her collar bones. F: What’s your reaction to seeing this image? Is it pleasant or unpleasant? B: Pleasant. She seems happy. She’s smiling. She has pretty teeth and lips. F: What can you say about how this image relates to you? B: She seems happy but also sad. I know she ended up killing herself. F: Do you have any associations when you think about the image? B: I don’t know if I want to share them. BEL CRIES. SHE OPENS HER EYES. F: You have a right to censer and protect your privacy, but is there anything you feel you can share? B: It’s confidential. F: Does this image tell you anything about what you need in your life? B: I need to feel accepting of myself and like myself. F: Would you rather deal with that question today or let it go for now? B: That may be the area that affects everything. I try to help myself. I use all sorts of techniques, like yoga. I feel bad about myself. I feel I am unattractive. It’s due to how I was raised. I need to take responsibility. I don’t want to take medication for a chemical imbalance all my life. I just want to be happy.

OUTER ZONE

F: Since our contract today is to work on the awareness exercise and not go into specific problems I want to return now to the rhythm of contact and withdrawal. What are you aware of in the outer zone now? B: The sound of the wind outside and the door makes noises. F: Take the wind first. How does the wind sound? B: The leaves are rustling. It sounds windy. F: Describe the sound. B: It’s a swishing sound. Also there is the dull roar of traffic. F: Now the door sound. B: The door is moving back and forth with the wind. F: So they are related. What’s your reaction to these sounds? B: I don’t like the door noise. The swishing is soothing. F: You just closed your eyes. You keep wanting to run back into your box. Keep your eyes open for now. How do you encounter me? B: I’m grateful, but F: Wait a minute. I forgot to ask you for associations to the wind and the door. B: The door noise reminds me of people who are angry. The wind is like freedom, nature. F: What about nature? Do you deal with nature much in your life? B: I do not have much freedom or nature in my life. I don’t go outside. I’m either here in my room or rehearsing or driving. F: Do you think you should spend more time with nature? B: Yes. F: And what about the angry people? B: I think of my roommates. ONE OF BEL’S ROOMMATES IS HER SISTER. They are always cursing. Also, my parents were always angry. F: Was there a particular reason for that? B: They hated each other. There was no money. SMILES. Too many kids.

SHE REQUESTS A BATHROOM BREAK.

USUALLY I AM STRICT ABOUT LIMITING THE FIRST SESSION TO TWO HOURS TOTAL. BUT BEL SEEMS TO HAVE TOUCHED ON SOME IMPORTANT AREAS THAT NEED SOME CLOSURE BEFORE WE END THE SESSION. THEREFORE, I OFFER HER THE OPPORTUNITY TO GO ON A WHILE.

INNER ZONE

F: Actually our time is finished, but we can go on a while if your want. Do you want to stop now or do one more round? B: One more. I’m cold. SHE WRAPS HERSELF IN THE TOWEL AND CLOSES HER EYES. I curled my toes under. I’m taking deep breaths. I feel good. My head feels itchy. F: Any images coming? B: I’m picturing my stomach going up and down as I breathe. It feels pleasant. I feel fat and “icky”. F: Keep your eyes half closed, stand up and dance “ickiness”. SHE DOES A SILENT IMPROV WHILE WRAPPED IN THE TOWEL. Do it again. Add the sound this time. Open your mouth and your throat. Find the voice of each body part, for example the toes. B: CLOSES HER EYES. I see a kitten, soft with a lot of fur. It’s cute. It has blue eyes and white fur. F: In the image what is your relation to the kitten? B: I’m touching it. It’s the softest thing I ever felt. I love it. F: Just stay with the image and see how it develops. B: I’m holding it. F: Do you have associations to similar situations? B: I’m thinking of how it was holding my sister’s baby. F: Does this work tell you anything about what you need? B: I need to be closer to people, so I can share a loving feeling. F: Good. We need to end the session soon. If you look back over the whole session, can you find an overall message that you got from today’s work? B: I feel I’m getting a better understanding of myself. I need balance as far as awareness goes, the outer and the inner. Also I need to be closer to people and not so into myself. F: They are related. Seeing and hearing them helps to relate to them. B: I used to be that way. A year ago I moved here, to a place where I know no one. When we balanced the awarenesses, the whole is greater than the sum of the parts. F: I noticed that you stopped the crying by yourself. What is it about the big picture that stops the crying? B: We work on the little things and the big picture gets better. Usually I overdo it. I overload myself. A long journey begins with a single step. F: That’s what they say in acting classes. Go in for the moments, the beats. Don’t try to eat the whole turkey in one bite. Don’t play one big idea about the scene from the beginning till the end. Provide yourself with lots of real things you can contact here and now along the way, lots of outer zone environment objects and inner zone fantasy objects. You need that objectivity to balance all the subjectivity, all that emotional soup that you have a tendency to get lost in. The subjective stuff you are very good at, and a lot of the time that is what the audience wants, but if you do it too much it is overwhelming and boring. You need to give the audience all the realities in a balanced way. And you can’t give them what you don’t have yourself. Likes: 26 Viewed:

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Web Application Development - A Guide to Success

From the Fantastic old days of this Tag, into the XML-savvy Web services of now, applied Internet terminology has come a very long way. And nowhere is that more obvious than in the area of Web software development.

Since the Internet Grew to a significant player on the international financial growth, so did the variety of investors that were interested in its own development. Thus, you might wonder, how can the Internet continue to play a significant role in communications, news and media? The important words are: Web Application Projects.

Web applications are company policies and strategies Implemented on the Web via the use of User, Business and Data providers. These instruments are where the future is different. In the following guide, I'll take you through the vital stages in the life span of a Web application project, describe what choices you have, and allow you to formulate a strategy for effective Web application projects of your own. First, however, let us take a brief summary of Web software.

Who Needs Web Applications and Why?

There Are many things that need software for your Web-one example could be Business-to-Business interaction. Many businesses in the world now need to conduct business with one another over private and secure networks. This procedure is growing ever more popular with a great deal of overseas businesses who outsource jobs to one another. By the easy procedure for moving funds into a bank account, to deploying a large scale Web services system which updates pricing information internationally, the adoption of a Web software infrastructure is essential for many companies.

The Web Application Model

The Web Application version, such as many software development versions, is assembled upon 3 tiers: User Services, Business Services and Data Services. This version divides a program into a community of customers and providers of services.

The User Service grade Makes a visual gateway for your User to interact with this program. This can vary from basic HTML and DHTML to complicated COM components and Java applets.

The User services then catch business logic and processes from the Business Services. This tier can vary from Web Presence in ASP/PHP/JSP to server side programming like TCL, CORBA and PERL, which lets the user to perform complicated tasks through a Web interface.

The closing Grade is your Data Service layer. Information services store, retrieve and update data at a high degree. Databases, record systems, and writeable websites are examples of Data storage and recovery apparatus. For Web applications, however, databases will be practical. Databases make it possible for programmers to save, retrieve, add to, and upgrade categorical data in a systematic and organized manner.

Choosing the Right Project

Selecting the most appropriate kinds of jobs to utilize is an very significant part the Web application development program.

Assessing Your tools, technical abilities, and publishing abilities need to be your first aim. Taking the 3 tiers under account, devise a listing of available resources which will be assigned to each tier.

The following consideration must be the price. Have You Got a Budget with that to finish this job? Just how much can it cost you to design, build and produce a whole project using a reasonable amount of success? All these are questions which needs to be answered before signing any contracts or deals.

Let us look at an illustration. A company called ABC should create a Web application which will exhibit sales information made by different sales representatives. The information is updated every day via a completely automated procedure from all 3 support tiers. The customer tells you that this whole job has to be carried out in ASP/SQL server also you ought to host the program too.

After analyzing All of your tools, you and your staff come to some conclusion that the business is not able to do data backups on a daily basis. After additional discussion, you understand this is an essential part of the installation to your customer, and you shouldn't risk taking a chance with this undertaking. It is very possible you will be prepared next time round, when a comparable job lands on your desk, which means you decline the occupation and urge someone else that has the abilities to do it at this time.

The Phases at a Web Application Project

The Web application development process has 4 stages:

Envisioning the character and management of this project

Devising the Strategy

Development

Testing, stability and support

Let us look at each of them in more detail.

1. Envisioning the character and management of this project

In This stage, the direction and programmers assigned to the job come together and set the aims that the solution needs to achieve. This includes recognizing the constraints that are set on the job, scheduling, and versioning of this program. From the conclusion of the period, there needs to be clear documentation on what the program will reach.

2. Devising the strategy

Within this stage, you and your staff must establish the"how's" of this program.

What Scripting language is the most suitable, which comprises must be contained, and just how long can it take? These are a few of the questions that have to be answered by means of this planning stage. The principal tangents at this stage are the job program and operational specification. The job plan determines a span of tasks and events, while the operational specification outlines in detail the way the program will operate and stream.

3. Development

When the job Strategy and operational specification are prepared, a baseline is set to your development work to start. The programmer/s or Web developer/s begin testing, programming and publishing information. This stage determines the information variables, programming and entities processes which will be used during the rest of the undertaking. A landmark document is prepared by the development group, which is then passed to management to review.

4. Testing, stability and support

The Stability stage of the application project largely focuses on analyzing as well as the elimination of bugs, disagreements and system problems that can otherwise cause the program to fail. It's here that policies and processes are created for a successful service system.

Understanding Your Options and Using them Wisely Ok, now you have an understanding of the structure and processes supporting Web software development, let us look at exactly what technical choices you will have to consider for your evolution process itself.

Windows Web Servers

Microsoft has assembled a Loyal customer base on a single major factor - their easy-to-use applications. Windows NT/2000/XP Web servers are extremely fast and simple to administer. The simple fact that the working system is a Windows shell ensures that administrators and writers can easily enable the Web server to interact with all additional hardware and software tools to transmit and receive data over the Internet. Popular server side scripting languages combined with Windows servers are ASP/ASP. Internet, Java Server Pages, and PHP.

UNIX/Linux Web Servers

UNIX Has been famous for the reliability. It's a strong and robust Web server and operating system. Unix is the host of choice for many large scale Websites that require content management systems or get an extremely large volume of visitors. Popular server side scripting languages such as UNIX are Java Server Pages, PERL, PHP, and CORBA

Each Scripting language has its own advantages and disadvantages. As I'm not writing a novel Here, I'll make use of the ASP version as my speech of case. When Working with Windows servers, there are numerous significant parameters The programmer should throw in the equation, such as safety, Scalability, speed and program design. So below I'm going to help You invent a successful strategy to accomplish all sorts of Web jobs.

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The Rise of Python Programming Assignment Help Requests, Today

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Throughout your study, you may come across dozens of challenges with your Python projects. Do not be worried about this, as there exist forums ready to help you through with any problem you encounter. Also, with the use of the web, you can find previous Q & A’s related to your issue, that you can refer to.

-  Open Job Market

A study dated in 2015 showed that Python programming language came from position seven to five, as the most common programming language. Obviously, this has dramatically improved with time to the top spots over the last years. Why? Python programmers have open chances of landing into awesome projects and job offers due to its extensive use, nowadays. Due to this factor, we have received an increment in “Python programming assignment help” queries, daily.

Other reasons could be due to its versatility and regular upgrades, offering more significant experiences to learners and programmers.

However, should you be worried about “Who will help me do my Python Homework.” Reach us; Programming Homework Helper, for either assignment help, tutor services, or any other programming help you may be troubled with.

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Is there any service who can write my college assignments?

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