#i fail to keep working on them every day. my seeds are germinating etc etc but i Do Not Want a fourth

[fuzzyhairedfreak]

suddenly desperate to read a long slowburn garashir fic set entirely on the defiant in early season six but I have never Actually found such a fic

[astriddesign]

How to Start a Vegetable Garden from Seed

Starting your garden from seed?  It can seem like a daunting task, until you read some simple tips that can provide you with further guidance on your journey.  When I first started on this venture, in my community garden in Santa Monica back in 2008, I started with seeds.  At the time, I spent more time designing the spiral layout of my garden, rather than meticulously reading the backs of the packets or better yet picking up a local gardening book.  Granted I had been attending free gardening classes through Transition Town, but there was still a lot of science to understand.  Even experts are constantly reading up on how to best grow and support maximum plant growth. 

I had minor success and ended up buying starts.  Now, looking back 12 years later and a seed company under my belt, I can see where my shortcomings were and where I clearly failed.  

Gardening takes an understanding of some basic principals for optimal success, such as sun hours, soil, what you can grow,  when to plant and of course considering the critters that you share space with.

You will find two different kinds of seeds available at most nurseries, they will either be open pollinated (OP) or hybrid (F1).  Understanding the two will provide you the option for seed saving.  Open pollinated means that any seed you save and plant again, will result in the exact genetic of the parent plant.  Hybrids on the other hand are a completely different bag, as they were crossed with many other plants and will not breed true to type.  Heirlooms are often considered treasures as they have a name, a place and taste, coupled with compelling stories of their origin.  Heirlooms have been passed down and are usually over 50 years old and are open pollinated.  Hybrids will always be labeled as a hybrid or F1.  Both hybrids and heirlooms can be organic. 

Planting from seed provides you with plants that are more disease resistant and hardier. Growing from seed also opens you up to a larger offering of rare and heirloom plants, moreover you save money in the process.  Seed packets run about $3.50 and usually provide more seed than you need for a season and in some cases like tomatoes and peppers, you have enough seed for a few seasons.  There are small nurseries out there that provide wonderful starts that were grown with good soil and seed, unlike sourcing your starts from larger big-box nursery,   where starts were grown in large greenhouses where pathogens can easily linger and contaminate your seedlings.  

Understanding that seeds are a living breathing embryo helps you get a better understanding of what you are working with.  Seeds, innately have everything they need in order to create life.  They are constantly scanning their environment for a queue to begin germinating.  That is why temperature fluctuation, light, heat and moisture are detrimental to a seed.  Therefore never leave them in a hot car, by a heater or in the blazing sun.

Over the years of owning The Living Seed Company, I have realized that there are some simple tips for first seed sowers to understand in order for an optimal harvest. 

Understanding where you live and what you can grow, is the beginning of your journey in planning your garden.  Realistically not everyone can grow everything they want, due to a number of different factors such as sun hours, climate, space and critters.  Knowing who lives in your neighborhood and how to protect your garden from hungry friends is important.  Do you have vertical space you can use?  Taking advantage of vertical space is optimal when you are working in tight quarters.  Some plants grow vertically and others grow as a bush - knowing how your plants grow will help you plan your garden better.  Do not over-crowd your garden.  Initially, there will be a lot of room, but that room will quickly be filled up.  Plants, competing for nutrients will not thrive and will be more susceptible to disease and pests.

Choose a location that gets optimal sun, vegetables require at least 6 - 8 hours of direct sun.  A southern or southwestern exposure is ideal.  If you live in a hot climate and your garden receives a lot of sun, that is something you need to also take into account.  Using shade cloth can give your vegetables a break, during hot summer months.

What you are going to plant in is a consideration that will determine space and watering schedule.  There are many options such as in-ground gardens, pots, raised beds and alternative containers. What you fill those pots with is very important.  Vegetables need nutrients in the soil in order to thrive and produce nutrient-dense food. Familiarizing yourself with the many soil and compost options is a key to your success.   Knowing that the pots are made of and observe how quickly water evaporates is key to making sure your plants don’t fry in a black plastic pot (which I do not recommend), while you are at work.  Don’t forget to label your plants individually and take notes … trust me, you won’t remember.  

Once you have figured those key factors, begin by choosing varieties that you enjoy eating.  This is the fun part but starting small initially will prevent you from getting overwhelmed later on.  It is easy to get excited about all the great things that you want to grow, but gardens take time, energy, weeding, watering and maintenance. 

Plan your garden by how many people are in your household.  This will guide the quantity of plants and your need for planting in succession.  For example if you are a family of two and love eating salads every day, plant lettuce every week, so you always have fresh greens coming out of the garden.  The same could be said for the veggies like broccoli, cauliflower beans, herbs, etc.  Read the packet for guidance on what should be planted in succession and how often.  Once you get the hang of it, you will get into a rhythm.

Begin to understand how much fruit one plant provides.  For example, a tomato seed packet usually comes with 25 seeds.  You do not need 25 tomato plants, unless you have a very large household that loves everything tomatoes.  Usually a few tomato plants will suffice - perhaps a cherry, saladette and a slicer tomato?  Do the research, initially to begin to understand what your harvest will look like and how many plants you will need to feed your family. 

I usually recommend planting annual plants together and perennial plants together.  This facilitates things when you are clearing your bed, at the end of a season and can simply remove all your annuals together (perhaps tangled roots and all) and leave your perennials as is.  Annuals are plants that will not overwinter and will perish at the first frost.  Perennials, if properly cared for will return year after year.  Specific maintenance is beneficial to boast any nutrients that plant is requiring.   

Once you have mapped out your garden, what you are going to eat, begin to understand what seeds want to be planted indoors and kept in a warm dome with a heated mat and which ones want to be planted outdoors.  Plants such as tomatoes, peppers and golden berries, to name a few, want to be nursed inside, even if you live in a hot climate like Miami.  Other varieties like your root veggies, think carrots & beets, want to be directly seeded into the soil.  They do not want their roots disrupted and want to be able to send them down as soon as they are planted. For the seeds that you start indoors, it is key that they be hardened off.  This is a process that requires taking them outside, during the day, for a period of time before they are planted.  This acclimates your seedlings to the world outside, meaning the elements like the wind and sun.  One week minimum is recommended.  Just do not forget to bring them inside in the early evening.  We do it for several weeks to a month as this strengthens their stems and overall plant structure.  If you work from home and are able to keep in eye on them and constantly water them, we highly recommend this method.

Knowing your seed source is another key to a healthy garden.  Where are the seeds you are purchasing sourced from?  Many larger seed companies are sourcing overseas.  This means that the seeds are acclimated to a completely different zone.  There are family-owned or small seed companies, which usually grow their own seed and/or source it from good growers.  Whatever you do, avoid using seed that was taken from your favorite store-bought veggie.  Often times, these are hybrids and it may take months of caring for this plant, before you realize it is not what you were hoping it was going to be.  

Once you are ready to plant, don’t forget to keep the soil moist while the seeds are germinating.  This is a mistake that first time seed sowers make, including yours truly back in my LA garden.  Water is important to prevent your plants from wilting and using their energy to survive instead of thrive!  They also need even watering throughout most of their life.  Dry farming is an option if you are growing in the ground, have a high water table and think your veggies can reach it.  Nothing tastes better than a dry farmed tomato!

Seeds are sacred stories.  When you begin to unlock the magic of planting a garden from seed, it is hard to go back.  There is a mystery unfolding before you and it is the mystery of life.  A single seed can reproduce itself hundreds of times over - it is abundant and life-giving.  May your curiosity to plant a seed be piqued and may your life never be the same!

[toolsnotrules-blog]

Interview: Ryan Daniel Beck

Ryan Daniel Beck is a contemporary dancer, choreographer, and visual artist. I'm not sure if he'd describe himself as a philosopher but, after reading his interview, I'm sure you'll agree he's an active thinker on a whole bunch of levels.

How would you describe you what is it that you do?

I consider myself a visual art teacher, working through the medium of dance. Unlike the static forms of sculpture, photography, or painting, my medium is constantly changing and evolving, but the underlying principles of visual art remain constant.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Prior to teaching and choreographing, I was a working dancer, performing around the world. I danced for Beyonce, Black Eyed Peas, as well as concert work with MOMIX, Danny Ezralow, and Dario Vaccaro.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

The biggest challenge for choreographers and teachers relates to funding and time management. Fortunately, I have had some serendipitous opportunities that allowed me to pursue choreography and teaching in an unfettered way. I know many teachers and choreographers who simultaneously juggle multiple jobs just to continue practicing their craft. It must be a labor of true love, otherwise it would be too frustrating and unsustainable.

Do you still practice? If so, what do your practice sessions look like?

My personal practice sessions are primarily geared toward conditioning and maintenance of my own instrument (the body). I ask a great deal from my dancers, and I believe in leading by example. I would never ask a dancer to do something that I am not able to physically demonstrate (knock on wood).

Where do you find inspiration?

Inspiration for me comes in the form of a curious mind. I strive to maintain an attitude and environment of saying “yes” when a new experience presents itself.  Whether it is a food I’ve never tried, a location I’ve never seen, a film I’ve never viewed...whatever. As a visual artist, shapes, forms, textures, lines, geometry, symmetry, asymmetry all inspire my movement in different ways.  And all these things give me information when I am developing new processes of creation. The final dance is just a documentation of the process that my dancers and I conducted.

Where are you when you have the most a-ha moments?

Usually in the dance studio. There is a quote that says, “Creativity is making mistakes, Art is knowing which ones to keep.” When I am in the studio with dancers, we intentionally create a playful atmosphere, that allows us to make lots of “mistakes.” My job is to select a handful of these “mistakes” and mold them in a meaningful, mindful way.

What do you do to maintain a creative flow?

One of my personal favorite exercises, involves the Russian Turkish bath on East 10th. It is wonderfully shabby establishment, rich in history and culture. The heat is almost unbearably intense, and will “creatively meditate” in that warm darkness. Something about the tranquility of the flowing water and the visceral sting of the radiant heat, creates a highly sensory mental place that feeds my creativity immensely. My mind goes wild when I am there.

How much do you rely on feedback from others to help shape your ideas?

Feedback is helpful when I am creating an immersive environment for the audience. However, if I am making a statement through my work, I am more concerned with the authentic justification that I use as the foundation for my movement. And since this authenticity originates internally, I tend to disregard outside feedback, since it lacks the perspective that I have in the first person. Its like putting on noise cancelling headphones to create the sensitivity required to hear your inner voice.

What is the greatest obstacle to creativity?

If you work from a process-based approach, you must take into account that the process will yield a final product, but it might take some time. Its like waiting for a seed to germinate. The commercial market demands high productivity and prolific content. But the smart artist knows that each process is different, and sometimes quality takes time. For example, Pina Bausch would create just one show a year, since six months of rehearsal was dedicated to research. For Richard Serra’s first show, his process involved hundreds of experiments with different material combinations, resulting in just few, interesting “mistakes” that made the final cut and were included in the gallery exhibition. But it literally takes hours and hours to drudge through the “process” before the final product reveals itself.   

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

It depends on the client and the project. If I am working in a commercial environment, it is more important that the client is satisfied and happy with the result. So in this instance, I play a much more active role in making sure that the result falls within “industry standard.” Its as if a client says, “I want something that tastes like a Caramel Machiatto from Starbucks.” Well, in that instance, I am not going to generate a process that “might” yield a product that tastes like a dirty martini. It must fall within the client’s expectations, but with a “signature twist”. Using the coffee analogy, I would make sure that the product tastes like Starbucks, but was served in far more sophisticated glass, with an unexpected flourish of cinnamon garnish. In this way, the client is satisfied, and I can walk away from the project having improved the original concept. On the other hand, if I have the luxury of time and there are no pre-determined expectations to be met, I love to go on a wild adventure, without any notion of where the final product will take us!

How do you know when you’re done?

In the same way you know that you are done eating...you feel full and satisfied

How do you resolve creative differences with clients or creative partners?

If its a commercial client, the trick is to allow them to think that the idea was their own. This is especially true if I am dealing with a middle manager, who is trying to impress their superior (CEO, director, etc)  I am more than happy to lavish credit on someone for an artistic choice, knowing that the long term dividends are more valuable than short term validation. On the other hand, if I am collaborating with other creatives on project, I am careful to choose like-minded individuals, who understand that no one “owns” any idea, and we are all on the same mission to find the BEST solution for the show, no matter whether it originates from me or someone else. Leave the creative ego at the door.

What keeps you motivated even if you don’t connect personally with the project?

I probably wouldn’t agree to do a project that failed to resonate with me personally….I mean, what’s the point? I suppose I could do it for financial reasons, but to me, art is sacred and I would feel massively uneasy doing something “artistic” just to pay bills. I would rather do something non-artistic or gratis.

What do you do when you are stuck and have some sort of deadline or other pressure?

I am very proactive in making sure I don’t get stuck in the first place. I am constantly creating content and documenting it. I am perpetually writing down ideas for future processes I want to try. I don’t wait for a deadline to present itself and then create. I have a stockhouse and reservoire of ideas and concepts ready and waiting when the opportunities present themselves.

How do you achieve your creative vision with a limited budget?

One of the beauties of process based art, is that you become keenly aware and skilled in the art of “rules.” A creative process is like a game that you play for a specific project.  And like all games, it has “rules.” For example, I might say that today’s dance project has three rules: “all the movement must be related to the color green, it can only involve your elbow and your hips, and it must alternate between stillness and bursts of speed.” Interestingly, people generally associate “rules” with limitations, but in this sense, it gives my dancers a focused and specific area, within which they are able to play and explore. If I give them too many choices, it becomes overwhelming and unfocused. So to answer the question, if budget is an issue, I will simply incorporate it into the “rules” of that project. Humans have been creating works of art for thousands of years, with little to no “resources” at all. For the tenacious artist, a “limited budget” is just an opportunity in disguise.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

1. My passport

2. My music editing software

3. My five senses

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Constantly replacing self-doubting thoughts, with what I know to be true internally

2. Surrounding myself with non-dancers (designers, musicians, animators, physicists, etc)

3. Living everyday with a deep sense of gratitude and curiosity

If you could offer a single piece of advice to a budding professional, what would it be?

Originality is innate...you were “original” the day that you were born...therefore, since originality comes from within, it is not an external goal to be discovered….the more sensitive you are to your inner voice, your background, your heritage, the smell of your grandmother’s kitchen, the texture of your lover’s skin, the time you got stranded in Albuquerque, the moment you realized that you were no longer a virgin, the earliest memories you had from childhood, your most personal insecurities, your receding hairline, your cellulite, your bad ankle….every single thing that makes you who you are….when you bring all of this into your art, it is DEEPLY original and no one can deny you that….they might be able to critique your execution, but they can never argue your source….PERSONAL IS UNIVERSAL

[bradmack]

Interview: Ryan Daniel Beck

Ryan Daniel Beck is a contemporary dancer, choreographer, and visual artist. I'm not sure if he'd describe himself as a philosopher but, after reading his interview, I'm sure you'll agree he's an active thinker on a whole bunch of levels.

How would you describe you what is it that you do?

I consider myself a visual art teacher, working through the medium of dance. Unlike the static forms of sculpture, photography, or painting, my medium is constantly changing and evolving, but the underlying principles of visual art remain constant.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Prior to teaching and choreographing, I was a working dancer, performing around the world. I danced for Beyonce, Black Eyed Peas, as well as concert work with MOMIX, Danny Ezralow, and Dario Vaccaro.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

The biggest challenge for choreographers and teachers relates to funding and time management. Fortunately, I have had some serendipitous opportunities that allowed me to pursue choreography and teaching in an unfettered way. I know many teachers and choreographers who simultaneously juggle multiple jobs just to continue practicing their craft. It must be a labor of true love, otherwise it would be too frustrating and unsustainable.

Do you still practice? If so, what do your practice sessions look like?

My personal practice sessions are primarily geared toward conditioning and maintenance of my own instrument (the body). I ask a great deal from my dancers, and I believe in leading by example. I would never ask a dancer to do something that I am not able to physically demonstrate (knock on wood).

Where do you find inspiration?

Inspiration for me comes in the form of a curious mind. I strive to maintain an attitude and environment of saying “yes” when a new experience presents itself.  Whether it is a food I’ve never tried, a location I’ve never seen, a film I’ve never viewed...whatever. As a visual artist, shapes, forms, textures, lines, geometry, symmetry, asymmetry all inspire my movement in different ways.  And all these things give me information when I am developing new processes of creation. The final dance is just a documentation of the process that my dancers and I conducted.

Where are you when you have the most a-ha moments?

Usually in the dance studio. There is a quote that says, “Creativity is making mistakes, Art is knowing which ones to keep.” When I am in the studio with dancers, we intentionally create a playful atmosphere, that allows us to make lots of “mistakes.” My job is to select a handful of these “mistakes” and mold them in a meaningful, mindful way.

What do you do to maintain a creative flow?

One of my personal favorite exercises, involves the Russian Turkish bath on East 10th. It is wonderfully shabby establishment, rich in history and culture. The heat is almost unbearably intense, and will “creatively meditate” in that warm darkness. Something about the tranquility of the flowing water and the visceral sting of the radiant heat, creates a highly sensory mental place that feeds my creativity immensely. My mind goes wild when I am there.

How much do you rely on feedback from others to help shape your ideas?

Feedback is helpful when I am creating an immersive environment for the audience. However, if I am making a statement through my work, I am more concerned with the authentic justification that I use as the foundation for my movement. And since this authenticity originates internally, I tend to disregard outside feedback, since it lacks the perspective that I have in the first person. Its like putting on noise cancelling headphones to create the sensitivity required to hear your inner voice.

What is the greatest obstacle to creativity?

If you work from a process-based approach, you must take into account that the process will yield a final product, but it might take some time. Its like waiting for a seed to germinate. The commercial market demands high productivity and prolific content. But the smart artist knows that each process is different, and sometimes quality takes time. For example, Pina Bausch would create just one show a year, since six months of rehearsal was dedicated to research. For Richard Serra’s first show, his process involved hundreds of experiments with different material combinations, resulting in just few, interesting “mistakes” that made the final cut and were included in the gallery exhibition. But it literally takes hours and hours to drudge through the “process” before the final product reveals itself.   

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

It depends on the client and the project. If I am working in a commercial environment, it is more important that the client is satisfied and happy with the result. So in this instance, I play a much more active role in making sure that the result falls within “industry standard.” Its as if a client says, “I want something that tastes like a Caramel Machiatto from Starbucks.” Well, in that instance, I am not going to generate a process that “might” yield a product that tastes like a dirty martini. It must fall within the client’s expectations, but with a “signature twist”. Using the coffee analogy, I would make sure that the product tastes like Starbucks, but was served in far more sophisticated glass, with an unexpected flourish of cinnamon garnish. In this way, the client is satisfied, and I can walk away from the project having improved the original concept. On the other hand, if I have the luxury of time and there are no pre-determined expectations to be met, I love to go on a wild adventure, without any notion of where the final product will take us!

How do you know when you’re done?

In the same way you know that you are done eating...you feel full and satisfied

How do you resolve creative differences with clients or creative partners?

If its a commercial client, the trick is to allow them to think that the idea was their own. This is especially true if I am dealing with a middle manager, who is trying to impress their superior (CEO, director, etc)  I am more than happy to lavish credit on someone for an artistic choice, knowing that the long term dividends are more valuable than short term validation. On the other hand, if I am collaborating with other creatives on project, I am careful to choose like-minded individuals, who understand that no one “owns” any idea, and we are all on the same mission to find the BEST solution for the show, no matter whether it originates from me or someone else. Leave the creative ego at the door.

What keeps you motivated even if you don’t connect personally with the project?

I probably wouldn’t agree to do a project that failed to resonate with me personally….I mean, what’s the point? I suppose I could do it for financial reasons, but to me, art is sacred and I would feel massively uneasy doing something “artistic” just to pay bills. I would rather do something non-artistic or gratis.

What do you do when you are stuck and have some sort of deadline or other pressure?

I am very proactive in making sure I don’t get stuck in the first place. I am constantly creating content and documenting it. I am perpetually writing down ideas for future processes I want to try. I don’t wait for a deadline to present itself and then create. I have a stockhouse and reservoire of ideas and concepts ready and waiting when the opportunities present themselves.

How do you achieve your creative vision with a limited budget?

One of the beauties of process based art, is that you become keenly aware and skilled in the art of “rules.” A creative process is like a game that you play for a specific project.  And like all games, it has “rules.” For example, I might say that today’s dance project has three rules: “all the movement must be related to the color green, it can only involve your elbow and your hips, and it must alternate between stillness and bursts of speed.” Interestingly, people generally associate “rules” with limitations, but in this sense, it gives my dancers a focused and specific area, within which they are able to play and explore. If I give them too many choices, it becomes overwhelming and unfocused. So to answer the question, if budget is an issue, I will simply incorporate it into the “rules” of that project. Humans have been creating works of art for thousands of years, with little to no “resources” at all. For the tenacious artist, a “limited budget” is just an opportunity in disguise.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

1. My passport

2. My music editing software

3. My five senses

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Constantly replacing self-doubting thoughts, with what I know to be true internally

2. Surrounding myself with non-dancers (designers, musicians, animators, physicists, etc)

3. Living everyday with a deep sense of gratitude and curiosity

If you could offer a single piece of advice to a budding professional, what would it be?

Originality is innate...you were “original” the day that you were born...therefore, since originality comes from within, it is not an external goal to be discovered….the more sensitive you are to your inner voice, your background, your heritage, the smell of your grandmother’s kitchen, the texture of your lover’s skin, the time you got stranded in Albuquerque, the moment you realized that you were no longer a virgin, the earliest memories you had from childhood, your most personal insecurities, your receding hairline, your cellulite, your bad ankle….every single thing that makes you who you are….when you bring all of this into your art, it is DEEPLY original and no one can deny you that….they might be able to critique your execution, but they can never argue your source….PERSONAL IS UNIVERSAL