#pand does art

[hyperjellyfishfish]

@bxrningdragxn had the wonderful idea to have Steven and Lance raise a tyrunt together!

She doesn't know her own bite strength, which caused a few minor accidents when she first hatched, though she has since learned to show affection in other ways, like asking for head rubs! Her strong jaw ability def didn't help with this issue LOL

Like most of her species, Princess is prone to temper tantrums when something doesn't go her way-- though growing up under two master level trainers helped curb that trait pretty early on.

LOVES head rubs and getting her scales brushed. also she's an absolute clean freak-- in the organizational sense, that is! her toys are sorted into different cubbies dug into her rock den, which are large enough for her to stick her jaws into so she can resort them whenever she pleases. her den/room is simply never messy, everything is in the correct place... unlike her Aunt Shimmer's room! (Steven's skarmory)

'Princess' was originally a placeholder name but she started responding to it so it stayed! much to steven's initial disappointment, since he wanted to give her a cool gem name ... but in the end he's cool with it ofc because that's the name the lil dino chose <3

Princess is super smart... like really smart. Not like, Marbled-level smart (Steven's shiny metagross), but she is definitely more intelligent than the average wild-caught pokemon ... especially for a fossil pokemon!

Will often wear accessories! Lance has bought her way too many custom clothes, + custom capes to fit her! Her favorite accessory that she's almost always wearing is a fancy orange fabric rose!

Enjoys ramen to a concerning degree, especially when it's super spicy! Her favorite flavor of food is spicy while her least favorite is sour!

She will one day become the CEO of Devon when Steven inevitably gets tired of business meetings :P (/hj)

[khai-pandius]

hi sorry for not posting much, here's so practices

[pamist]

So, there's a "ask twst oc" on twitter and here's some silly art that I made as the answer for the questions people asked about Pande!! I've always wanted to make one of these Q&A with silly art

The questions were:

1. Does Pande know how to backflip or he'd fall

2. Least favorite professor

3. His routine

4. Someone at nrc that he likes and wants to get close to (if you came from my twitter you probably expected to be Cater 😭)

5. And the closest person on nrc, that allowed me to draw this:

[archerartgallery]

Pichwai: Paintings from the Gates of Heaven

Nathdwara painting refers to a tradition and school of artists that emerged in Nathdwara over 400 years ago, a town in Rajsamand district in the Western state of Rajasthan in India. Nathdwara paintings are of different sub-styles of which Pichwai paintings are the most popular. The word Pichwai derives from the Sanskrit words ‘pich’ meaning back and ‘wais’ meaning hanging. This is the cloth hung behind the image of the Hindu god Shrinathji.

Modern Nathdwara Pichwai

The tradition of painting the Pichwais had begun as an offering during auspicious occasions and festivals (mainly during monsoon). Soon the devotees who travelled from afar yearned to take the essence of the idol back home, and so the artisans started to paint the idol in the centre of the Pichwai making it a complete work of art.

Prakatya It is said that, amidst the bluish rocks of Mount Govardhan in 1409 CE, the uplifted arm of Shrinathji appeared, recognised as the raised arm of Shri Krishna which held up a mountain which gave villagers shelter when Indra punished them with rainstorm. In 1478, on the day that Vallabhacharya was born, Shrinathji’s face emerged in Govardhan. After which Saddu Pande’s cow, Dhumar, began slipping away from the herd to secretly offer her milk to Shri Krishna.

Pichwai depicting the story of Prakatya

In 1492 CE when Vallabhacharya was on a pilgrimage with his disciples in Jharkhand, Shrinathji appeared in his dream asking him to visit Govardhan. Vallabhacharya and his followers arrived Saddu Pande’s home in Govardhan. Next day whilst assisting Pande supervising his herd, Vallabhacharya noticed Dhumar detouring and decided to follow it. To his surprise Vallabhacharya witnessed the cow offering its milk to Shri Krishna. As Vallabhacharya approached the half buried idol, Shrinathji emerged and rushed to embrace Vallabhacharya like a long lost play mate.

This tale like many others of Shri Krishna, are documented and retold in various forms, including paintings of Nathdwara.

Nathdwara school of paintings Nathdwara, simply means ‘Nath’ God, ‘Dwara’ Gate, the gates of heaven. The Nathdwara school of painting is a sub-style of Mewar painting, including Udaigarh, Devgarh. The temple of Shrinathji is believed to have provided a boost to the art activities in the town of Nathdwara.

Temple Map of Nathdwara

It is recorded that to avoid the oppression of the iconoclast Mugal emperor Aurangzeb, the image of Shrinathji, a child manifestation of Krishna was installed in Nathdwara in 1670 by Goswami priests from Mathura. After this, many artists, including the famous Acharya Gopinathji, motivated by religious fervour came and created paintings of Shrinathji.

The paintings of Nathdwara are well balanced and use deep colours like blue extensively. The image of Krishna lifting Mount Govardhan is one of the most significant images of Nathdwara art. In this school, depictions of human figures usually follow a set pattern, the women are elderly, the men robust and heavily built; and Krishna's playmates are sportive and emotional. The white cows depicted in these paintings have their horns, legs and shoulder hump dyed with henna. These fair, doe eyed cows are a hallmark Nathdwara paintings. The Pushtimarg (path of grace) paintings became extremely popular in the 19th and 20th centuries, making Nathdwara paintings a continuing living tradition. 

Gopashtami (Shrinathji with doe eyed cows and Gopis)

For paintings of Nathdwara, the artists’ major sources of inspiration are the padas comprised by poets and devotees which describe Krishna Leela. Simple composition and a charming naiveté. Another source of inspiration for the artists was the Rasa Leela. Images such as Shrinathji at Nathdwara, which are stone reliefs with a rectangular background, clearly require slightly different treatment from that of three dimensional images.

Krishna Raas Leela with Shrinathji Swaroops

Pichwais are often a group effort, as several skilled painters of the similar cast work together under the supervision of a master artist. Nathdwara school of painting, an amalgamation of almost all the schools of Rajasthan and has emerged with a style and character of its own. The art itself has transformed throughout the decades. The Pichwais today are produced  with various techniques as they are painted, printed, woven, appliquéd, studded with mirrors and embroidered with pearls or semi precious stones.

[khaipandius]

some art commissions that i’ve done from last year im fully ashamed that i dont take actual money for these LMFAO

[fansplaining]

so... are you going to do a thing about tumblr's dumbass move of banning all sex content? And what is your prediction on where fandom will migrate to next?

So! As you might imagine, we have some feelings. 🙃 This is Elizabeth writing, by the way—I always mention this because I think it’s weird when entities speak in one unified ~brand voice~. Some links:

Flourish’s post yesterday, which concludes with the phrase “EITHER LEARN FROM THE PAST, OR GET OFF MY LAWN,” is now updated with some practical information in addition to the general message we both still stand by: “This is why the OTW owns the servers.” 

I wrote two Twitter threads yesterday—1 and 2—that spawned some great discussion about fandom, platforms, social media contracts, archiving, and the recent AO3 ~debacle~.

SPEAKING OF WHICH, if you somehow missed my recent piece on the OTW, speech, censorship, and fandom:

https://www.theverge.com/2018/11/8/18072622/fanfic-ao3-free-speech-censorship-fandom

Which goes hand in hand with our recent DISCOURSE TRILOGY: 

1) Purity Culture 2) Age in Fandom 3) The Money Question

But perhaps you are very clued into our various social media presences lol and have listened to all of this already. WELL. We don’t have plans to devote a full episode to it immediately, because our next guest will be Rukmini Pande (!!!) and the one after that will be our year in review. It will certainly come up! But we’re also planning on having @cfiesler back on for a proper full episode in January. She’s probably one of the best people to talk to about this specific topic—it’s one of her areas of expertise—and hopefully by then we’ll be able to dig in with a little more perspective than immediate reactions. In the meantime, she’s been gathering resources in this great thread, definitely check it out.

I think anyone familiar with our work, especially in the past year, talking about how the structures of fandom intersect with the structures of capitalism, will be aware that we are going to have Some Thoughts and Feelings about all of this. A few quick notes, under the cut: 

1) The history of fandom online is a history of purges, pure and simple. Whether it’s pressure from rights holders, pressure from ~concerned citizens~, pressure from the actual law (people get hand-wavey about this but they shouldn’t), fans, like all other users, are guests on any given platform. No social media site has promised to archive your stuff, forever, or to post whatever you want, forever. We’re aware that doesn’t make this suck any less! But it remains that Tumblr, a difficult to monetize or scale commercial platform owned by a very large corporation, was a bit of an outlier amongst big commercial social media sites, and now their policies are lining up with the rest. I’d argue this is a business decision, not a moral one, though then we get into whether capitalism’s amorality is inherently immoral, and life is short and I cannot do this right now.

2) But that brings me to the OTW, which was founded around the same time as Strikethrough—and around the same time that some fans, having seen what happened with LJ, still chose to migrate to Tumblr. The OTW does not have a social network and has actively resisted calls to shift in that direction. Nearly all of its projects are archival. The OTW is not the answer to questions of “what about my fannish conversations” right now, but it is an answer to “who will record our things if this platform won’t.” The answer is you, on AO3, which, they repeatedly stress, is not just for polished fic but also drabbles, meta, fanart, comics, etc, and on Fanlore. (Here’s Fanlore’s new user portal and a tutorial.) 

2a) Archiving will not capture the full extent of a conversation. It will not allow you to continue the conversation, either. But it also asks the question: what do I want to save? What should be preserved? Current social media structures build us limitless repositories for content, and rarely ask us to make these choices. But it might be worth thinking about these choices before they’re made for you.

3) While a lot of fannish activity is on Tumblr, we need to stress that LOTS OF FANS DO NOT USE TUMBLR. So we need to really pump the brakes on the “where will fandom go from Tumblr” line of discourse. Aside from barreling over the fact that lots and lots of fans never use Tumblr, it also presumes that your entire life on Tumblr is fandom, and for many people, myself included, it’s not that easy to pull it apart. Yesterday when people asked the “where do I go” question I asked them about behavior: what does fandom mean to you right now? Is it talking with a few friends? Is it making new friends? Is it discovering new art, or new meta, or new fic? Is it reblogging gifs from your 19 favorite TV shows? Plenty of people are fandoming elsewhere, so we really urge people to not treat “fandom on Tumblr” as some kind of monolith, from any angle.

4) Finally, take this one with a grain of salt, but I really urge people to think about their language a little in this conversation, and try not to conflate marginalized identities with “fan as marginalized identity.” Lots and lots of fans have marginalized identities, and obviously those identities are often integral to how they engage with fandom. But I really don’t know what to do with language that equates the oppression of fans with the oppression of peoples’ actual identities. It’s really messy! Which is why I’m suggesting that people take a look at how they frame things, rather than saying “DON’T SAY X, SAY Y.” (Also, lots of people do not do this, but I’ve seen enough of it in the past day that I just needed to say something about it.) FLOURISH ADDENDUM: One thing I’ve noticed is that a lot of people are feeling very despairing and very disempowered. It’s true that no individual can just be like, “OK, Tumblr, fuck you, I’m gonna start my own Tumblr.” BUT, there are some things that one can do to empower oneself on the internet more. This is a good wake-up call to remind people that they can and should learn to do some of these very low-level technical things, like buying a little server space and hosting their own images (not very expensive, and much more reliable than Tumblr, if not 100% un-takedown-able). Learning to do these things doesn’t solve the problems with Tumblr, but it definitely makes me feel more secure and empowered, personally—so I really want to encourage people to believe in themselves and learn how to take these baby steps towards owning their own online presence!

ELIZABETH ADDENDUM: Thank you, Flourish, that was a very positive note to end on. More TK. :-)

[queen-scribbles]

Starting Over

For @pillarspromptsweekly 70: Rebuild. Rather than focus on broad strokes of the whole city, my brain decided I needed a new OC and went in to focus on one person. :D

Josetta di Carro was used to starting over.

She’d already done it twice in her four-and-twenty years. Once with what remained of her family after Papa died--along with the business--and Mama decided to move them from the Republics to the Dyrwood. (”New opportunities, principenetta. It will be best for all of us, ac?”) And then again when her dreams for the future proved unsustainable in the small hamlet where they’d settled.

She couldn’t truly say she was surprised when it was required yet again--it fit the pattern of her fortunes--but it was something of a shock to watch Defiance Bay fall. Josetta was in some ways, still the wide-eyed provincial Alyse and Bennet teasingly accused her of being. Two years in the bustling city had not yet disabused her of the notion Defiance Bay was nigh impregnable. And given that it was riots and internal strife that laid the city low, part of her still clung tenaciously to that belief.

In the end, in didn’t really matter, she mused philosophically, staring at the charred shell of her home. Internal or external crisis, this sciòderie had gotten people killed, businesses looted, homes burned. Including hers. Apparently the woman renting the room next to hers had worked at Brackenbury. Animancer or no, it was enough for the ravening mobs to put the humble domicile to the torch. Josetta’s room had been on the ground floor, which meant when the beams gave way and the house curled inward, everything she owned in the world was buried under burning beams and scorching heat.

Josetta was used to starting over. But this time was so reminiscent of the worst elements from the others, it paralyzed her, staring helpless at the ruin of what had genuinely felt like home.

Even a single step on a long road lessens the distance, her father’s voice reminded her. Josetta smiled at the memory of the well-worn encouragement and rest one hand on the door frame. She couldn’t deny the truth of the words, even having heard them enough they were almost more platitude than anything at this point. Things wouldn’t get better, the pieces would remain scattered, if she did nothing.

A voice hailed from the street just as she ducked into the house. “Jos! Josetta!”

She stepped back and turned, nearly falling back against the soot streaked wall as her eyes confirmed what her ears had told her. “Dom?! What are you doing here?”

Her brother wrapped her in a hug, tight enough to steal her breath, and kissed her forehead. “We heard about the riots, and you didn’t write, postenaga, so Mama found someone to cover my work that I might ensure my favorite big sister still numbered among the living, ac?”

“I’m sorry,” Josetta said contritely. “I was running errands for the healers. They set up just down there” --she gestured to the mostly-standing manor house on the corner--”and I was helping keep them in bandages and salves. I should have written.” She smirked slyly at her brother. “I believe Valeria is working there, if you wish to check on her as well.”

“No, best to let her work,” Dom said, shaking his head. To his credit, he kept a straight face, though Josetta was fairly sure she saw extra color in his cheeks. Hylea save her, she wished he would stop pretending he wasn’t sweet on her friend.

But if he wanted her to drop it, she would. “You have excellent timing, Dom. I was just about to steel my soul and see what remains of my belongings. Care to join me? Make sure no floorboards drop on my head?”

He shot her a scolding look for the dark humor. “Josetta.”

“Dominico,” she replied dryly, before returning to her task. She heard him sigh, would lay an oble or two he rolled his eyes, but he did follow her down the charred hallway. “So, how did the rest of the city look on your way in?”

“Damaged, but recovering,” Dom said, coughing as he brushed the wall and raised a cloud of soot. “I heard talk the Watcher out at Caed Nua is sending aid, but it’s not arrived yet if it is indeed coming. That mercenary company, the Dozens? They seem to be running things for now. Jos, are you sure it’s safe in here?”

“They told us we could return to our homes, begin to salvage what remains,” Josetta replied as she hiked up her skirt to step over a fallen beam. Perhaps trousers would have been wiser.... “They said everything should be settled by now. So long as we go slow and watch out for each other, we should be fine, ac?”

“Part of me dislikes that both those sentences involve the word ‘should’,” Dom chuckled. “But I will, as always, trust you, sérre bela.”

Josetta grunted her appreciation of that as she paused outside what had been her door. Now it was fragments of charred black wood edged in the drooping remains of her doorknob. “How are things at home?” she asked, mostly to stall looking at the state of her room.

Dom shrugged, a look in his eyes that said he knew what she was doing. “Same as ever. The business is doing well, Mama misses you but is proud of you for chasing your dreams.” He tipped his head toward the bedroom. “I understand this is hard, Jos, but we only have so many hours with the sun. Even taking your new skylight into account.”

She followed his gesture to the gaping hole in her ceiling where Joram’s room had dropped into hers. “You are right, of course. Come on, then, we should get on with it.”

-o-     <>    -o-

Josetta and Dom worked diligently but with care, moving around what debris they could to see if anything could be salvaged. There was precious little. All of her books and most of her music were reduced to ash. Dom was able to rescue five pages from two different compositions that had largely been protected by the volume of Aedyran history, and even those were singed around the edges. “Sorry, sérre,” he said gently as he handed them over.

Josetta sat on the floor holding the parchments and tried not to cry. Five pages--not even a whole arrangement between them--was all she had to show for weeks, months of work. The rest had turned to soot and ash, likely blown away on one of the breezes that flowed through from the sea. Gone. It’s all gone. She looked at the bits Dom had found, letting the notes play in her head to see what she had.

One small mercy: she still had three pages of her favorite piece she’d composed. It was enough to reconstruct the rest of that, at least. Hopefully. She could at least have her best work when she pulled together enough--

A horrible thought struck her and she scrambled on hands and knees past Dom toward what remained of her bed. Gods have mercy, please have mercy.

“Jos?” Dom frowned as he watched her fish under the broken and burned bedframe. “What’s wrong?”

Her hand touched glass. Unbroken. Josetta breathed a sigh of relief and started carefully working the jar toward her. “Less than could be wrong.” She got it free, the coins inside clinking. “My savings. Towards attending a music school either back in the Republics or in Aedyr.” She winced slightly at the look on his face. “You know this is something I wish to pursue, the music. It can be done much better someplace with more focus on the arts, ac?”

He nodded, taking a breath. The momentary hurt fled his face and he grinned at her. “There are safer places to keep your money, sérre bela. Some call them banks.”

She rolled her eyes as she pushed to her feet and brushed at the charcoal streaks across her dress. “I know that. It... doesn’t feel like enough for a bank yet. I know that sounds silly...”

“Ac, it does,” Dom winked. “That must be, what, several hundred pands? Put it somewhere safe, Jos.”

“I will. Soon as the city is not topsy-turvy anymore.” Josetta set the jar of coins next to the other things they’d salvaged so far--some trinkets, a blanket, the music box Papa had given her for her tenth birthday. It was precious little, but it was better than nothing. She looked at the sheets of music clutched in her hand. All she had to show for months of composing, thanks to one lousy mob and the riots they’d sparked. Damn reactionary Dyrwoodans. “How much longer do you think we’ll have light?”

Dom looked up. “Another hour or two, unless those clouds get worse.”

Josetta followed his gaze and groaned. Nedra had been predicting rain today, on account of her joints aching. “Well, let’s make the most of whatever time we get....” She  sighed and tugged on one of her braids. “I doubt there is much more to save, either way.” She felt bad for Nedra; significant as Josetta’s losses were proving, it was Nedra’s house that had gone up like a tinderbox with the encouragement of a torch or two.

“Still, best to get all we can before looters realize it’s safe and come through,” Dom pointed out. He carefully set his shoulder under the beam blocking her armoire and nudged it enough they could get a door open.

It broke off, the wood around the hinges too charred to hold its weight, when Josetta pulled on it. This tempered her expectations accordingly, so when all her clothes reeked of smoke, and most were at least singed, she was disheartened but not surprised. She didn’t own much jewelry, but what there was had survived. Josetta dropped it all in with her savings before sitting on the floor to sort the clothes that could be salvaged from those that were too far gone.

It turned out to be a much more even split than she expected. Her favorite shirt was burned beyond salvation, but that was the only serious loss. And while it would take forever to wash out even the faint odor or smoke from what could be saved, at least she didn’t have to buy a whole new wardrobe. The sky was starting to darken with clouds as she finished, so Josetta decided it was time to call it a day. They’d found anything of value either practical or sentimental worth salvaging, and she was starting to get hungry. So she and Dom bundled her rescued belongings into the haversacks Josetta had brought for precisely that purpose and started heading for the door.

Just as the skies opened in a drenching downpour.

“Merla,” Dom cursed, belatedly yanking up the hood of his cloak. Josetta couldn’t argue with the sentiment. She’d already been tired and hungry, adding wet was going to make it a truly miserable walk back to her temporary quarters.

So rather than scold her little brother for his language, she simply smiled as she too pulled up her hood and headed toward the street. “Come on. It’s a bit of a walk, but you can stay with me.”

It was tricky making their way out in the rapidly worsening rainstorm. Navigating the fallen debris and trouble spots had been hard enough dry and well-lit. Now just outlines and slick with watered-down soot, it was almost a nightmare. Still, they managed fairly well, and trouble didn’t strike until they were almost out the door.

Josetta’s hand slipped as she leaned against the wall to climb over a beam, and she over-compensated in her efforts to not land face first in the sooty sludge that covered the floor. She fell back against Dom, who in turn  fell back into one of the collapsed beams. Unfortunately, it was not one of the tightly lodged collapsed beams and teetered toward the siblings as they landed on the floor despite Josetta’s best efforts.

Dom spat another curse--”Move, Jos!”--and shoved her out of the way as best he could. The beam still clipped her shoulder, but barely enough to bruise, and from the yelp her brother emitted, not nearly as bad as it hit him.

“Dom?!” she hissed as she got to her hands and knees, not quite panicked but getting close.

“Se futtito,” he growled, resting his weight on his elbows. “My leg is stuck.”

Josetta squinted at where the beam rested atop his shin, hardly able to see in the fading light. I wish I was a wizard; I could make my own light. Fortunately, between what she could see and feeling gingerly with her hands, the full weight of the beam wasn’t resting on Dom’s leg. Something else was sharing the load and--hopefully--keeping the beam from breaking his leg. Another minute or so of fumbling exploration and she found it--a large chunk of masonry from the front wall. 

Thus reassured she wasn’t dealing with something that would crumble away if she moved the beam, Josetta felt along the sturdy length of wood until she found the end. “Alright. Dom?”

He grunted. “Cué?”

“It doesn’t seem to be resting too heavily on you,” she said, wrapping her hands under the end of the beam, “so I’m going to lift it. Soon as you think you can, pull free, ac?”

“Are you... are you sure you can lift it, Jos?” Dom asked--between gritted teeth from the sound of it.

“A little,” Josetta assured him. “And that’s all we need; enough to get you out. Ready?”

“Yes.”

She did a quick three-count and heaved. The beam was heavier than it looked, and her bruised shoulder didn’t help matters, but she did lift it enough for Dom to wriggle free. Once she was sure he was clear, she let go and the beam clattered back down.

“Any other injuries or just the ankle?” Josetta asked as she circled the rubble to help him up.

“Just the ankle,” Dom confirmed, accepting the hand she offered. He hissed when he tried to put weight on the injured leg--which she’d expected--and almost lost his balance again.

Josetta quickly wrapped one arm around his wait and draped his around her shoulders. “Looks like you may get to see Valeria tonight after all,” she teased.

He huffed in irritation and leaned on her heavily. “Yes, because this is how I wanted our first encounter in months to go.”

“Don’t worry,” she laughed, carefully picking a path through the remaining distance to the street. “I’ll be sure to tell her you got hurt protecting me. Perhaps even exaggerate your heroism a bit, ac? She’ll like you for sure after that.”

“Jos, don’t tease,” he grumbled, but she could tell he was smiling even before they passed close enough to a torch for her to see.

Still, he hadn’t just gotten hurt protecting her (from her own carelessness, no less), so Josetta didn’t tease anymore as they made their way slowly down the street. She was not a physically strong woman, and even the short walk began to wear on her, but Josetta gritted her teeth, determined to reach the makeshift hospital. Salvation came in the form of a patrolling Crucible Knight, who insisted on helping Dom. This left just the haversacks of salvaged belongings for Josetta to wrangle, which was much more manageable. Both she and Dom thanked the knight profusely when they reached the converted manor house.

Josetta helped Dom to a chair, then went to stow her things somewhere safe before rejoining him to wait for a healer. With Defiance Bay at large still recovering from the riots, it did take a while before there was a healer free to check on something not immediately life-threatening. But it was worth it when the healer turned out to be Valeria and Josetta--as promised--got to sing her little brother’s praises until both Dom and Valeria were blushing to their roots. (What were big sisters--and best friends, for that matter--for if not to occasionally embarrass you? They were obviously sweet on each other and just both too shy to make the first move, it required a sisterly nudge.)

Much to their joint relief, Dom’s ankle was not broken, just badly sprained. He’d need to keep off his feet for a few days--at least--and couldn’t help if she went back to salvage more, but he’d be alright. That was the important part.

Josetta couldn’t help but give him a motherly kiss on the forehead once they were settled in for the night. “Agricima, Dominico.”

He smiled and squeezed her hand. “Bon piaco, Josetta.”

She curled up on her own bed--cot, really--with a smile on her face. Starting over was indeed hard, but less so when you had help. And between her brother and her friends, she definitely had that.

------------------------------------------------

I, of course, designed Josetta in the Deadfire CC, with two different hairstyles because I liked them both. So she has options. :D I love creating characters, it’s fun.

(Dom’s quickly shaping into an actual character, too, not just Jos’ little brother, so he’ll probably be coming soon.)

[architectnews]

LA River, Los Angeles

LA River, Los Angeles Concept Proposal, USA, California Architecture Project, Images

LA River in Los Angeles

Oct 8, 2020

LA River

Architects: Ballman Khapalova

Location: Los Angeles, CA, USA

The LA River is a peculiar and unique space with tremendous urban and architectural potential for Los Angeles. While nothing more than a trickle in its original and natural form, the river currently provides an industrial and infrastructural conduit that cuts through the city from downtown LA to Long Beach. In 1939 the river was channelized by the Corps of Engineers to prevent disastrous flooding, and therefore allow stable residential development. Neither entirely natural nor manmade, the river has a liminal and sublime existence that is intimately tied to the neighborhoods that adjoin it yet is largely excluded from the urban experience of the city.

Recent efforts to reimagine the river have revolved around the idea of creating a “green zone” or linear park space within the channel, and treating the river essentially as a new “High Line”. This proposal suggests an alternate solution, one that considers the river as entirely indigenous to Los Angeles and seeks to harmonize it as it is with the surrounding city fabric in a site-specific way. Most importantly, the proposal does not seek to create an artificially “natural” environment within the channel nor to create a tourist destination or development opportunity.

The LA River, which divides many neighborhoods through the center of the city, takes on the role of a civic spine. Through this spine, the neighborhoods are connected directly to the river, and through it are linked to each other. The existing infrastructure of the channel will be repurposed to provide services, amenities, and public spaces to the communities adjacent to it. Programmatically, as extensions of each neighborhood, these new structures provide a chance to add space for collective activities and functions that the areas might currently be without. These might include: Indoor & outdoor pools; bathhouse; YMCA; school; doctor’s offices; library; cinema; daycare; playgrounds; community center; non-profit organizations; museums/galleries; bike facilities/shops; restaurant/coffee shops; working spaces.

The river is seen as a channel for receiving light and a conduit for wind in an otherwise hot and stifling environment. Within the space, you are transported from the everyday life of the city into a strangely calm, serene, and sublime place. The unnaturalness of the channel makes the experience of light, wind, sky, and water more vivid. In seeking to humanize and inhabit the space of the river, this quality is preserved.

The new structures and new walkways are subtly colored to intensify and reflect the quality of the Los Angeles light against the sky. This strategy was derived from the Ocean Park paintings of Richard Diebenkorn, in which the artist painted the colors of the air within an abstract grid of streets and built elements.

The new structures placed within the river become built manifestations of these paintings— three-dimensional compositions of form, color, and light, perceptible for the driver and the pedestrian, bridging the scale of the city, infrastructure, and the individual. From the car and from the eye in the sky, the channel is a linear sculpture. For the human on the ground, it creates a space to do something new, part of a linear forum connecting neighborhoods across the city.

LA River in Los Angeles – Project Information

Architects: Ballman Khapalova Location: Los Angeles, California Project Date: 2020 (Concept Proposal)

About Ballman Khapalova New York based Ballman Khapalova are architects who strive to merge the intimate and the urban through imaginative structures, forms, events, and activities that transform the way a city can see itself. Their urban work in neglected and desolate areas develops opportunities to introduce new spaces of play, art, performance, recreation, reflection, healing, and debate that can allow residents and visitors alike a chance to experience and envision a street, neighborhood, riverbank, or city in a new way. Drawing on extensive experience in design and construction, they select and manage a highly capable team of contributors from the early stages of the design process, ensuring an integrated and feasible design that is physically, environmentally, and logistically achievable without compromising its visionary promise.

Photographer: Lane Barden

LA River, Los Angeles, CA images / information received 081020

Location: Los Angeles, Southern California, United States of America

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CHA:COL Architects is a Los Angeles-based architecture practice “championing design in every space, residential, educational, office and institutional. Principals Apurva Pande and Chinmaya Misra lead a well-knit team from their offices in Downtown Los Angeles.”

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[hyperjellyfishfish]

Math? Nah,

"Dragonite, use HYPER BEAM"

[stefselfslagh]

Kati Heck: “Mijn werk hoeft morgen nog niet in het MoMA te hangen. Overmorgen is ook goed.”

Dit stuk verscheen op zaterdag 6 april maart in De Morgen Magazine.

Volgende maand exposeert de Duits-Antwerpse kunstenares Kati Heck (39) in de Tim Van Laere Gallery. Haar schilderijen lijken soms taferelen uit een psychedelisch wonderland waar de lsd gratis voorradig is. En toch woont ze met man, kind en hond in het vredige Pulle. "Ik hou wel van wat dubbelzinnigheid."

Pulle, begot. Mag ik op audiëntie bij een van de meest opwindende kunstenaars van het moment, beland ik in een lodderig Kempendorpje. 'Kon jij nu echt niet in een kunstenaarshol in Tel Aviv of Berlijn wonen?', neem ik me voor om Kati Heck te vragen. Maar nog voor ik mijn bandopnemer in stelling heb gebracht, zegt ze al dat het haar geen ruk kan schelen waar ze bivakkeert. "Ik ben toch altijd in mijn atelier. Of dat nu in Pulle, Antwerpen of San Francisco staat, speelt geen enkele rol. Het enige wat ik hier mis, is afval. Toen ik nog in Antwerpen woonde, ging ik op donderdagavond altijd in de stapels grof vuil snuffelen. Op zoek naar interessante spullen. Hier in Pulle is er beduidend minder rommel. Of toch minder boeienderommel. Daar staat dan weer tegenover dat ik temidden van de Kempische natuur sneller een vogel of een worm zal schilderen. Het is eens wat anders dan de stedelijke zatlappen die ik vroeger soms portretteerde." (lacht)

Naast haar huis verrijst een atelier met de afmetingen van een nieuwbouwvilla. De ruwbouw is bijna klaar, in het najaar wordt het pand haar nieuwe artistieke domicilie. Ik vraag over welke eigenschappen een atelier moet beschikken om een goed Kati Heck-atelier te zijn. "Het belangrijkste is dat er een bed staat", zegt ze. "Zodat ik in mijn atelier middagdutjes kan doen. Na een dutje weet ik vaak precies welke richting ik met een werk uit moet. Eigenlijk is het bed waarin ik 's middags slaap m��jn versie van een bureau. Het is de plaats bij uitstek waar mijn werk vorm krijgt. Waar zonder woorden knopen worden doorgehakt en problemen worden opgelost."

Kati Heck kleurt haar Nederlands met een gracieuze Duitse tongval. Haar 'goed' klinkt als 'gut', haar 'kop' als 'Kopf'. Het maakt haar lieflijker dan ik verwacht had. "Je zou een heel andere indruk van me krijgen wanneer ik Duits met je zou praten", zegt ze. "In het Duits is mijn woordkeuze scherper en grilliger. Intelligenter? Nee, dat niet. Luc Tuymans praat nog altijd beter Duits dan ik." (lacht)

Hartmensch

'Heck Yeah!' staat er op de groene pet die ze draagt. 'Heck Yeah!' is ook precies wat curatoren, galeristen en verzamelaars doorgaans denken wanneer ze haar werk zien. De afgelopen jaren exposeerde Kati Heck in de heilige drievuldigheid SMAK, Bozar en Muhka; had ze gedenkwaardige solotentoonstellingen in de Antwerpse Tim Van Laere Gallery en de Londense Sadie Coles HQ; en baande haar werk zich fluitend een weg naar de collecties van onder meer het Centre Pompidou in Parijs en het Walker Art Center in Minneapolis.

Tim Van Laere, haar galerist en beëdigd partner in crime, trekt een blik superlatieven open wanneer hij het succes van zijn poulain verklaart. "Kati is zonder meer één van de grootste talenten die ik de laatste twintig jaar heb ontmoet", zegt hij. "Op dit moment zie ik wereldwijd hooguit drie mensen die even goed kunnen schilderen als zij. De Amerikaan John Currin is er één van. Maar voor de rest speelt Kati qua technische virtuositeit bijna iedereen naar huis. En het mooie is dat ze met haar metier een heel eigen wereld gecreëerd heeft. Ik heb op kunstbeurzen nog nooit werk gezien dat ook maar in de buurt komt van wat Kati maakt. Dat is echt uitzonderlijk."

In het geschilderde Kati Heck-universum is het niet ongewoon dat een vrouw twee hoofden heeft en met een luit zwaait om zich te beschermen tegen een bezoeker uit een plots opdoemend hellevuur. Of dat een paterfiguur melancholisch in de verte staart terwijl hij met zijn linkerhand het zaagsel opvangt dat uit zijn buik stroomt. Zet kunstcritici in de buurt van een Kati Heck en er vallen gegarandeerd woorden als absurdistisch en expressionistisch.    

Maar geen -isme kan uitdrukken wat de échte kwaliteit is van haar werken: je kan gewoon niet ophouden met ernaar te kijken. Haar schilderijen bruisen van het leven, en wel op een heerlijk ambigue manier: je zou gierend van de voorpret in haar doeken willen duiken, ware het niet dat je verstand je net op tijd aanmaant om toch maar wat afstand te bewaren. Want hoe bont en vrolijk haar taferelen ook lijken, ze dragen bijna altijd iets unheimlichs in zich: een naderend onheil, een onbenoembaar ongemak, een knagende onrust. Kati Heck-kunst is zowel lief als gevaarlijk, zowel smeu��g als rebels.

"Vroeger was ik écht wild", zegt ze nadat ik het woord 'rebels' heb uitgesproken. "Ik wou de maatschappij met mijn werk een pak rammel geven. Maar ondertussen ben ik erachter gekomen dat ik me beter op een rustige manier uit. Niet dat ik in mijn huidige werk geen standpunten meer innneem. Ik doe het gewoon implicieter, minder drammerig."

Ze neemt me mee naar haar tijdelijke atelier - een wintertuin die tot schilderveranda werd gepromoveerd - en toont me twee schilderijen die bestemd zijn voor haar nakende expo. Op het eerste tableau voert ze een gesprek met een verwelkte zonnebloem; op het tweede zitten twee mensen, een robot, een hond, een vis en een appel gezellig samen aan tafel. "Ik heb me laten inspireren door de Amerikaanse filosofe Donna Haraway", legt ze uit. "Volgens Haraway hebben wij op deze planeet enkel nog een toekomst als we leren samenwerken met andere organismen. En dus toon ik een wereld waarin mensen, planten, dieren en machines met elkaar communiceren alsof het de normaalste zaak van de wereld is. Voor mij is dat óók een maatschappelijk statement: ik pleit voor een verregaande vorm van empathie, zelfs ten opzichte van wezens die ogenschijnlijk ver van ons afstaan."

Vindt ze het belangrijk dat mensen het verhaal achter haar werk kennen? "Welnee, ik ben al lang blij als ik zélf weet wat ik met mijn werk wil zeggen. (lacht) Je mag ook van mijn schilderijen houden omwille van een mooi geschilderde hand of een kunstig geborstelde traan. Als ik zelf naar kunst ga kijken, hoef ik het verhaal achter een werk ook niet per se te kennen. Pas als een kunstenaar mij fascineert, zal ik mij in de betekenis van zijn werk verdiepen. Het gebeurt dat het werk daardoor nog boeiender wordt. Het gebeurt ook dat ik nadien alle interesse verlies." (lacht)

"Ik ben en blijf ein Hartmensch: ik word door iets geraakt of niet. Daar kan de gebruiksaanwijzing bij een werk weinig aan veranderen. Ook vakmanschap blaast mij niet per definitie omver. Je ambacht beheersen, is goed. Maar je moet jezelf er ook van kunnen bevrijden. Ik ben als kunstenaar op mijn best wanneer ik mijn metier loslaat. Wanneer ik denk: ik kan alles, en dus hoef ik niks meer."

Babydetektivclub

De hevige voorjaarsstormen hebben gaten in het glazen dak van haar atelier geblazen: er tuimelen regelmatig regendruppels ter grootte van bosbessen naar binnen. Ze heeft haar schilderijen preventief op bakken Jupiler gehesen, maar de kans dat een corpulente spat water naar eigen goeddunken één van haar werken zal retoucheren, lijkt me niettemin reëel. "Maak je geen zorgen", zegt ze wanneer ze mijn gefronste wenkbrauwen ziet. "Die dingen kunnen wel tegen een stootje. Pas als mijn werken mijn atelier verlaten, moeten ze met witte handschoenen worden benaderd."

Op een tafel ligt een afdruk van de cover die ze voor De Morgen Magazine maakte: een zelfportret waarop ze gehuld in een luier detectivewerk verricht. Kati Heck mag zich dan ook de trotse oprichtster noemen van de Babydetektivclub: een genootschap van artistiekelingen die bij tijd en wijle samenkomen om de wereld als Baby Detektives - lees: nieuwsgierig en onbevangen - aan een onderzoek te onderwerpen.

"Ik heb de Babydetektivclub opgericht om aan de eenzaamheid te ontsnappen" zegt ze. "Om af en toe nog eens in groepsverband te kunnen opereren. Schilderen is een solitaire aangelegenheid. Soms snak ik naar mensen met wie ik kan praten over kunst en literatuur. De Babydetektivclub is daar een handig vehikel voor. We ontmoeten elkaar op onregelmatige basis, maar ik verlaat onze bijeenkomsten altijd met een hoofd vol ideeën. Ik breng gewoon ontzettend graag mensen samen. Ook in mijn werken creëer ik vaak situaties waarin mijn personages rond een tafel zitten. De communicatie tussen mensen - of de onmogelijkheid ervan - is een thema dat mij blijft fascineren."

Nog een club waar Kati Heck graag lid van is, is de Tim Van Laere-club: de schare kunstenaars die zich de voorbije twintig jaar hebben verenigd in de gelijknamige galerij. En waar behalve Heck onder meer ook Rinus Van de Velde, Jonathan Meese, Ben Sledsens en Armen Eloyan deel van uit maken. "Tim slaagt erin om onder zijn kunstenaars een uniek wij-gevoel te creëren. Als we na een opening samen iets gaan eten, is het altijd feest. We bewonderen elkaar, de galerij van Tim voelt echt aan als 'onze' galerij. Het wordt een belevenis om straks in ons prachtige nieuwe gebouw op het Zuid te mogen exposeren. Het lijkt wat op een sokkel, vind ik. Een voetstuk waar wij op mogen pronken." (lacht)

Ik vraag of kunstenaars die elkaar bewonderen ook elkaars werk kopen. "Ik heb al een tekening van Armen en een werk van Jonathan gekocht. Omdat ik van hun kunst hou, maar ook omdat ik een stukje van hun persoonlijkheid in huis wilde halen. Ik zou nooit een werk kunnen kopen van een kunstenaar die ik niet kan uitstaan. Mijn verstand zegt dat ik de artiest en de mens van elkaar hoor te scheiden. Maar mijn hart is het daar niet noodzakelijk mee eens."

"Ik kan ook niet voor om het even wie een tentoonstelling maken. Voor Tim Van Laere of Sadie Coles werken, dat klopt voor mij. Tim en Sadie zijn prachtige mensen. Maar een expositie maken voor iemand die ik in mijn binnenste een klootzak noem, dat vind ik moeilijk. In 2007 heb ik met een galerist een heel nare ervaring gehad. Ik heb nadien een half jaar niet kunnen schilderen. Mijn geloof in de kunstwereld was helemaal om zeep."

Maakt het ook uit wie haar werken koopt? "Als een werk heel bijzonder voor me is, vraag ik Tim om ervoor te zorgen dat het bij ook een bijzonder persoon terechtkomt. Maar uiteraard ben ik blij met elke koper. Ik moet per slot van rekening leven van mijn kunst."

Vindt ze dat ze het succes heeft dat ze verdient? "Ach, Gott. Daar ben ik echt niet mee bezig. Ik kan doen wat ik het liefste doe, dat is qua succes al heel wat. Natuurlijk vind ik het fantastisch dat ik volgend jaar in het Gemeentemuseum in Den Haag mag exposeren. En natuurlijk hoop ik dat mijn werk op een dag ook in het New Yorkse MoMA te zien zal zijn. Maar dat hoeft daarom niet morgen te gebeuren. Overmorgen is ook goed." (lacht)

Familiaal narcisme

Kati Heck groeit op in de suburbs van Düsseldorf, als dochter van een architect en een mode-ontwerpster. Nog voor ze officieel puber is, werkt ze al samen met haar moeder. Ze gaat mee naar modebeurzen in Firenze en Parijs en poseert voor de reclamecampagnes van haar mama. "Toen ik dertien was, poseerde ik in een Californische woestijn in een transparant bloesje waardoor je mijn ontluikende borsten kon zien. Mijn vader fotografeerde, mijn moeder gaf aanwijzingen. Als ik er vandaag op terugkijk, denk ik: vreemde gezinsactiviteit, toch. (lacht) Maar toen stond ik er niet bij stil. Iederéén in de familie Heck speelde graag voor model. Alleen mijn vader stelde soms zijn grenzen. Ik heb hem ooit gevraagd om een pissende hond na te doen, maar dat heeft hij geweigerd. (lacht) Terwijl mijn moeder er geen enkel probleem mee had om met blote borsten voor mij te poseren. Een milde vorm van narcisme is een familietrekje, vrees ik."

Behoort eigenliefde niet tot de karakteriële standaarduitrusting van de meeste kunstenaars? "Natuurlijk. En ik ben geen uitzondering op die regel. Maar eigenlijk vind ik het vreselijk dat ik zo op mezelf gericht ben. Als ik niet oplet, maak ik enkel nog zelfportretten. Dat vind ik vaak mijn beste werken. In een afbeelding van mezelf kan ik gemakkelijker kwijt wat er in mij omgaat. Plus: wanneer ik iemand anders schilder, voel ik toch een zekere verantwoordleijkheid ten opzichte van die persoon. Wanneer ik mezelf portretteer, heb ik daar geen last van: ik mag mezelf afbeelden zoals ik wil."

De amateur-Freud in mezelf vraagt of er in haar werk nog restjes opvoeding te bespeuren zijn. Ze denkt na en zegt: "Mijn ouders hebben mij altijd op het hart gedrukt dat ik verstaanbaar moet blijven. Dat het weinig zin heeft om iets te maken wat niemand begrijpt. Dat zie je wel in mijn werken, denk ik: ze zijn erg toegankelijk, ze bezorgen je geen acute aanval van migraine. Ik vind het irritant dat er in de kunstwereld zo gretig met complexe, maar betekenisloze begrippen gesmeten wordt. Conceptuele kunst die enkel door kunstwetenschappers begrepen kan worden, is aan mij niet besteed."

Heck is 19 wanneer ze in Antwerpen aanmeert. Ze is van plan om zich samen met een vriendin in te schrijven aan de befaamde mode-academie, maar bedenkt zich nadat ze het instituut een paar keer bezoekt. 'Te braaf en te proper', luidt het oordeel. Haar vriendin besluit fotografie te gaan studeren, zelf trekt ze naar het departement schilderkunst van de Koninklijke Academie voor Schone Kunsten. Overdag schildert ze stillevens en ontwikkelt ze haar ambacht, 's nachts drinkt ze bier en voedt ze haar jeugdige kunstenaarsziel.

"Drinken is een tijdlang heel belangrijk voor me geweest. (lacht) Het hoorde bij de romantiek van het kunstenaarsschap, bij mijn zoektocht naar de extase. Al dan niet onder de invloed van alcohol probeerde ik de gekste dingen uit. Daarin niet zelden aangemoedigd door Fred Bervoets, die ooit in een gouden pak naar de woestijn trok om er een sculptuur te gaan maken. (lacht) Ik heb een tijdlang behoorlijk puberale avonturen beleefd. Maar dat hoorde nu eenmaal bij mijn artistieke coming of age. En de kunstenaarsromantiek is voor mij nog altijd essentieel. Kunstenaars mogen niet leven zoals boekhouders. Wij moeten onze vrijheid vieren, onze naïviteit bewaren."

Sinds twee jaar heeft ze een dochter, Jacky. Ik vraag hoe het met de romantiek van het kunstenaarsschap gesteld is nu er in huis niet alleen verftubes en kwasten rondslingeren, maar ook luiertassen en Fisher Price-xylofoons. "Wel, in vergelijking met vroeger drink ik beduidend minder, om maar iets te zeggen. (lacht) Maar het moederschap heeft ook zijn voordelen. Ik put mezelf minder uit dan een paar jaar geleden. Als Jacky morgen ziek wordt, zorg ik voor haar en stel ik mijn werk gewoon even uit. Sinds ik mama ben, hoef ik me niet langer af te vragen waar mijn prioriteiten moeten liggen. Dat is rustgevend."

"Maar het is zeker niet zo dat mijn dochter de kunstenaarsromantiek uit mijn leven wegzuigt. Ze maakt er nu gewoon deel van uit. Mijn werk is mijn leven en mijn leven is mijn werk. Zo is het altijd al geweest en zo zal het ook altijd zijn. Ik heb wel het geluk dat Gregory (Brems, haar man, red.) regelmatig voor mij inspringt. Als ik mijn artistieke intuïtie wil volgen of tegen mijn deadlines moet vechten, is hij degene die de boel hier runt. Hij helpt me trouwens ook met het maken van mijn sculpturen. Gregory is muzikant, maar heeft de pech dat hij alles kan."

Menstruatiekunst

"Vrouwen kunnen niet schilderen", zei Luc Tuymans nog voor Heleen Debruyne oud genoeg was om hem voor die uitspraak een metaforische klets om de oren te geven. Later corrigeerde Tuymans zijn statement: "Vrouwen kunnen niet schilderen, op twee na: Marlene Dumas en Kati Heck." Ik vraag de laatstgenoemde hoe ze die quote onthaald heeft: als een compliment voor zichzelf? Of als een belediging voor vrouwelijke kunstenaars? "Beide", lacht ze. "Georg Baselitz (Duitse kunstenaar, red.) heeft ooit hetzelfde gezegd als Tuymans. Alleen kon Baselitz zelfs geen twee vrouwen opsommen die zijn goedkeuring wegdroegen." (lachje)

"Maar zowel Baselitz als Tuymans hebben ongelijk: vrouwen kunnen even goeie kunstenaars zijn als mannen. Alleen: van alle vrouwen die aan de kunstacademie studeren, komen er bitter weinig in een galerij terecht. En ik denk eerlijk gezegd dat dat een beetje een Belgisch probleem is. Belgische kunststudenten zijn vaak nog erg jong en onzeker wanneer ze afstuderen. Ze weten nog niet precies wat ze willen en trekken dan maar naar het kunstonderwijs. Maar het vaste inkomen van een onderwijsjob maakt de ontkiemende kunstenaar in hen niet ambitieuzer. Integendeel."

"Zelf ben ik wél van meetaf aan voor het voltijdse kunstenaarsschap gegaan. En als ik even wat geld nodig had om mijn ding te kunnen blijven doen, deed ik een tijdelijke job die niks met kunst te maken had. Ik wou mijn artistieke krachten investeren in mijn kunstwerken. Niet in opleidingen voor studenten. Ik denk dat vrouwen - maar ook mannen - die écht kunstenaar willen worden risico's moeten durven nemen. Door op veilig te spelen, versmachten ze hun kunstenaarsdroom."

"Los daarvan zijn er vandaag toch een aantal straffe vrouwen die al op jonge leeftijd succes hebben. Charline Tyberghein, bijvoorbeeld. En dat komt niet omdat Charline zo goed kan netwerken, maar omdat haar werk zo overtuigend is."  

"Ik hoop in ieder geval dat we de genderissues op een dag kunnen begraven. Want eigenlijk is heel die m/v-discussie in de kunsten niet zo interessant. Voor mij gaat kunst niet over 'vrouw zijn' of 'man zijn'. Menstruatiekunst - of peniskunst, for that matter - is zelden boeiend."  

Dochter Jacky tikt tegen het raam van het atelier. Haar werkdag in de crèche zit erop, tijd om mama uit haar interviewbubbel te bevrijden. "Jacky!", roept Heck wanneer ze haar hoogblonde nageslacht in de gaten krijgt. Ze stuift het atelier uit en trakteert haar dochter op een kus en een knuffel.

"Dit atelier heeft veel te veel ramen", zegt ze nadien. "Jacky en ik kunnen elkaar voortdurend zien. Als ze met haar neus tegen het raam komt staan, breekt mijn moederhart. Dan kán ik niet anders dan stoppen met werken. Lastig, als je in de laatste rechte lijn naar een tentoonstelling zit." (lacht)

We houden ons journalistieke vraag-en-antwoord-spel voor bekeken en nemen herzlich afscheid.

Terug thuis besluit ik Pulle voor de lol eens onder de Google-microscoop te leggen. Eén keer haalde het dorp het wereldnieuws, zo blijkt: op 3 september 2005, nadat op het plaatselijke kerkhof het lijk van een halfnaakte vrouw was gevonden. Gezien haar staat van ontkleding dachten de Pulse Hercule Poirots aan een lustmoord. Maar nader onderzoek wees uit dat de vrouw tussen twee grafstenen was gehurkt om te plassen, daarbij haar evenwicht had verloren, één van de zerken had vastgegrepen, onder de loodzware steen was terechtgekomen en uiteindelijk gestikt was.

Op tragikomische wijze richting de dood sukkelen, laat dat maar aan de Belgen over, is mijn eerste gedachte. De tweede: zou een vrouw die met haar onderbroek op haar enkels tussen de grafzerken zit geen mooie bijrol kunnen spelen in een Kati Heck-tableautje?

[letpapersleep]

do all the tarot asks

EYES eMojis fool: what's the biggest risk you've ever taken? anything illegal i guess?magician: list 3 of your talents •pee•your•pandshigh priestess: do you pay more attention to your heart or your mind?uhhhh? mind i guess? usually focus more on thoughts than Big Moodsempress: how dependent are you on others?semi? id be really sad and lonely without others but i wouldnt like, dieemperor: describe your relationship with your fatherwe are chillinghierophant: do you value tradition?on a personal basis yalovers: does someone need to share your values for you to pursue a relationship?definitely on the important stuffchariot: in what situations are you most assertive in?idk her?? (maybey around friends when i Know the most abt something)strength: how impulsive are you?not very im Wimphermit: what are you like when you're alone?realllllllllyyyyyy boring i like to Sitwheel of fortune: how's your luck?pretty good?justice: do you value fairness over mercy?not alwayshanged man: how do you feel about martyrs?sucksdeath: do you like change?NYotemperance: do you tend to focus on the past, present, or future?uhhh the pastdevil: is there anything you're addicted to?being on that phonetower: what do you most want to change about yourself?have more funstar: what religious beliefs do you have?i dont really?moon: do you have any recurrent dreams?nopesun: do you believe optimism is always good?sometimes it seems kind of stupid but idk if it ever hurts?judgement: how confident are you in yourself?semi?world: what do you hope to accomplish before you die?get Good @ art!!!

[peacekaleandyoga1]

One look at television actress Aashka Goradia’s Instagram account can prove her dedication and love for yoga She is constantly seen sharing incredibly flexible yoga postures on her social media platform, along with her husband, Brent Goble The Kallavati famed actress is often seen promoting body positivity and does not lag in experimenting with cool yoga postures Recently, the gorgeous actress took to Instagram to share a topless picture of herself and wrote an extremely hard-hitting message about the objectifying of women in India The yoga enthusiast reposted a photograph from the account of nude_yogagirl where she spoke at length about normalising nude yoga Here is what the picture was captioned: “I’ve talked with the amazing @aashkagoradia about the sexualisation & objectification of women in India I wanted to share her thoughts with you ❤ ”A new paradigm is shifting in our collective psyche

Stale mentalities are starting to whither and rightfully die.

Necessary for an evolving society Exhaustingly and hypocritically, we as a society look down at broad displays of the female form as it appears in the moment On-screen, completely accepted (pending the budget of such displays crosses a certain 7-figure total)

And the male form, no issue there – the more muscles, the better.

But the female formthis angle of the topic is still being strangled to death by the perspectives of generations before us The old diatribe of “Pura pheno, log kya kehenge?!” [Cover up What will people say?] is still muttered in every household” She further wrote, “We have the Sari – of the most enchanting styles of garment in the world The midriff blouse, highlighting the soft curves of a woman’s figure, is revered It’s traditional! Conservative, you can say! But a bikini – oh no

.

baring a woman’s legs AND her stomach”oh no,too much” And don’t even think of insinuating toplessness! Thankfully, this toxic mindset is being swept back to the sea of history like the 5 pm high tide People are catching wise to social codes once accepted without question

“Why did we need to cover up?” Because men get ideas! Because men start thinking dirty thoughts! Because boys only think about one thing! .

So I have to stifle my expression, my creativity, my art, because others have a problem No, enough

I’m done with that.

And you should be too On the very walls of our beloved Khajuraho Temple, or extremely popular museums, hundreds of graphic sexual scenarios can be seen by young and old It’s woven into our culture Yet it’s acceptance goes only as far as the grounds it lays on, charging a nominal fee to catch a glimpse Then we depart, back to the world of “how a good Indian daughter behaves” She also said, “The female form is the most beautiful of God’s creation It is the vehicle to create life itself Its expression should be celebrated Not covered up

” View this post on Instagram #Repost @nude_yogagirl ・・・ I’ve talked with the amazing @aashkagoradia about the sexualisation & objectification of women in India.

I wanted to share her thoughts with you ❤ ”A new paradigm is shifting in our collective psyche

Stale mentalities are starting to whither and rightfully die.

Necessary for an evolving society Exhaustingly and hypocritically, we as a society look down at broad displays of the female form as it appears in the moment On screen, completely accepted (pending the budget of such displays crosses a certain 7-figure total) And the male form, no issue there – the more muscles, the better But the female formthis angle of the topic is still being strangled to death by the perspectives of generations before us The old diatribe of “Pura pheno, log kya kehenge?!” [Cover up

What will people say?] is still muttered in every household.

We have the Sari – of the most enchanting styles of garment in the world The midriff blouse, highlighting the soft curves of a woman’s figure, is revered It’s traditional! Conservative, you can say! But a bikini – oh nobaring a woman’s legs AND her stomach”oh no,too much” And don’t even think of insinuating toplessness! Thankfully, this toxic mindset is being swept back to the sea of history like the 5pm high tide People are catching wise to social codes once accepted without question “Why did we need to cover up?” Because men get ideas! Because men start thinking dirty thoughts! Because boys only think about one thing! So I have to stifle my expression, my creativity, my art, because others have a problem No, enough I’m done with that And you should be too On the very walls of our beloved Khajuraho Temple, or extremely popular museums, hundreds of graphic sexual scenarios can be seen by young and old It’s woven into our culture Yet it’s acceptance goes only as far as the grounds it lays on, charging a nominal fee to catch a glimpse Then we depart, back to the world of “how a good Indian daughter behaves” The female form is the most beautiful of God’s creation It is the vehicle to create life itself Its expression should be celebrated Not covered up” ❤️ A post shared by Aashka Goradia Goble (@aashkagoradia) on Jul 31, 2019 at 9:02pm PDT The Naagin actress has also inspired her close friend and actress Abigail Pande to shed her inhibitions and go the nude yoga way

The Silsila Badalte Rishton Ka actress shared her picture on Instagram and talked about how Aashka encouraged her to feel liberated.

Here’s what Quote: : “My many words may not be able to express how much I appreciate what @nude_yogagirl is doing Many of You may not resonate with her insta handle but don’t we all know how attractive headlines and titles walk you towards what a person is trying to express, do we not know that judging a book by its cover is not the ultimate climax, so yeah! Nude and yoga might not have anything in common but its expression together may mean the world to people who experience it, I was shy and scared and fearful of taking a shot that might make me feel liberated Only because I kept thinking what others would think, my friend and also my photographer plus bodyguard in the moment @aashkagoradia said “Abby, let go off the fear of what others think, it won’t make you feel empowered” Just in that moment I let go off, in my mind I knew there is no watching me but me, and just in that moment I had to let go, for me Here’s my story what’s yours? #nuedisnormal ❤” View this post on Instagram My many words may not be able to express how much I appreciate what @nude_yogagirl is doing Many of You may not resonate with her insta handle but don’t we all know how attractive headlines and titles walk you towards what a person is trying to express, do we not know that judging a book by its cover is not the ultimate climax, so yeah! Nude and yoga might not have anything in common but it’s expression together may mean world to people who experience it, I was shy and scared and fearful of taking a shot that might make me feel liberated Only because I kept thinking what others would think, my friend and also my photographer plus bodyguard in the moment @aashkagoradia said “Abby, let go off the fear of what others think, it won’t make you feel empowered” Just in that moment I let go off, in my mind I knew there is no watching me but me, and just in that moment I had to let go, for me Here’s my story what’s yours? #nuedisnormal ❤ A post shared by Abigail :)) (@abigail_pande) on Jul 28, 2019 at 6:53am PDT The photographs of both the actresses won over Instagram as the fans dropped encouraging and adorable comments Here are some of the comments: What exact is nude yoga? Nude yoga is actually the act of practising yoga without any clothes It is important to understand that it goes way beyond just shedding clothes for yogic postures but actually focuses on being confident in your own skin The idea is to be hyper aware of your body and feel comfortable in it What are its health benefits? In addition to boosting your self-esteem and liberating you, it actually has psychological benefits as well Here are some of the benefits: 1 It makes you feel comfortable with your sexual identity 2 It reduces stress levels by helping you focus entirely on your body movements 3 It can also lead to improved yoga postures as certain clothes are not comfortable to practice yoga in 4 Practicing nude yoga can also lead to improved sexual health and bring you closer with your partner when done together from https://ift.tt/2ZMqqcq

[postolo]

2018 SCC Vol. 5 June 14, 2018 Part 2

Civil Procedure Code, 1908 — S. 9 — Abuse of process of court — Suppression of material facts: In this case, appellant-plaintiff filed suit for specific performance of contract against D-1 on basis of a power of attorney by suppressing material facts that title and possession regarding said suit land already stood adjudicated in favour of another person D-2 and not D-1, hence, High Court order setting aside decree of specific performance, affirmed. [Baxis Singh v. Sukhdev Singh], (2018) 5 SCC 338]

Civil Procedure Code, 1908 — S. 9 — Civil suit — Maintainability: Dispute principally as to succession to property, turning on question of legitimacy/legal status of parties concerned as legal heirs of deceased person concerned, could only be resolved vide a civil suit. [R. Kasthuri v. M. Kasthuri, (2018) 5 SCC 353]

Conservation of Foreign Exchange and Prevention of Smuggling Activities Act, 1974 (COFEPOSA) — S. 3(1)(ii) — Preventive detention order under: COFEPOSA does not require detaining authority to specify period for which a detenu is required to be detained, hence, order of detention, not rendered invalid/illegal in absence of such specification. [State of T.N. v. Kamala], (2018) 5 SCC 322]

Constitution of India — Art. 226 — Exercise of power by High Court — Approach: considerations therein: In this case, Division Bench by impugned judgment without considering background of case and reasons which weighed with Single Judge while passing order, modified interim order passed by Single Judge directing payment of salary considering long service of 30 yrs rendered by appellant, to effect that status quo prevailing on date of filing of writ petition to be maintained i.e. non-payment of salary to appellant on account of impugned orders, which was not proper. [Aparbal Yadav v. State of U.P., (2018) 5 SCC 363]

Constitution of India — Art. 32 — PIL — Maintainability: Petitioner’s main prayer seeking: (a) direction for CBI investigation into allegations of reported cases of oil adulteration by mafias, and (b) mandamus directing direct transfer of cash subsidy to intended beneficiaries of kerosene oil, in lieu of kerosene itself, on basis of Aadhaar card or through PDS or other credible mechanism. Petition disposed of with certain directions and clarifications. Initial inquiry conducted by petitioner revealing some truth in allegations. Petitioner was given liberty to approach oil companies with material for redressal of his grievance as per law. However, it was clarified that no opinion was expressed on merits of claim. [Seema Upadhyay v. Union of India, (2018) 5 SCC 325]

Constitution of India — Arts. 21 and 32 — Abduction, rape and murder of 8 yr old minor girl by juvenile accused: In this case there was apprehension of no fair trial as members of Bar were protesting against prosecution of the accused, and their implication/prosecution sought to be given communal overtones. Chargesheet was filed and there was possibility of filing of supplementary charge-sheet. Prayer for transfer of case from a court in J&K to a court in Chandigarh kept open and notice issued. Prayer for providing security to victims’ family members, her counsel and another person assisting them, was acceptable to State Government and accordingly directed. Prayer for strengthening of security in juvenile home, where juvenile accused lodged, accepted and accordingly directed, but with clarification that this shall be done keeping in view care and protection of children. [Mohd. Akhtar v. State of J&K, (2018) 5 SCC 336]

Criminal Trial — Investigation — Videography: In the light of importance of capturing crucial evidence in credible manner, suggestions made by MHA considering report and suggestion of Committee for a centrally driven action plan and phased manner of implementation, accepted and consequential directions issued in the matter. [Shafhi Mohammad v. State of H.P., (2018) 5 SCC 311]

Election — Local Government/Bodies/Municipalities/Panchayats/Autonomous and Other Bodies — Conduct of Election: Incidents of violence were allegedly taking place when candidates went to obtain and file nomination papers. In such situations statute empowered the Election Commissioner to pass appropriate orders. Hence, parties were given liberty to approach State Election Commission and Election Commission was directed to dispose of their grievance as per law. [Bharatiya Janata Party v. State of W.B., (2018) 5 SCC 365]

Hindu Marriage Act, 1955 — Ss. 24 and 13 — Interim maintenance under S. 24 — Effect of maintenance already granted under S. 125 CrPC: Maintenance granted by Family Court under S. 24, 1955 Act would supersede maintenance granted under S. 125 CrPC. [Sanjay Kumar Sinha v. Asha Kumari, (2018) 5 SCC 333]

Supreme Court Rules, 2013 — Or. VI Rr. 1, 2 and 4: Constitution of Benches of Supreme Court is exclusively in domain of prerogative powers of Chief Justice. [Asok Pande v. Supreme Court of India, (2018) 5 SCC 341]

Tenancy and Land Laws — Judicial Interference/Validity — Necessary/Proper parties: In this case, appellant’s land purportedly stood vested in Government. Government executed deeds and transferred said land to tenants R-1 and R-2 as per statutory objective of W.B. Land Reforms Act. Earlier writ petition and resultant transferred proceedings before Land Tribunal concerning challenge to such vesting, allowed in appellant’s favour but in said writ petition and proceedings before Tribunal, R-1 and R-2 not made parties and not heard. High Court by impugned order allowed subsequent writ petition of R-1 and R-2 and remanded matter to Tribunal for giving them opportunity of hearing. Said order of high Court not interfered with. [Ashim Ranjan Das v. Shibu Bodhak, (2018) 5 SCC 356]

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[profoutofoffice]

San Jose, Costa Rica: 18-28 February 2017

Just a short hop from my hotel to the Gatwick shuttle and sanctuary. Sorry sir the lounge does not open until 7. What! Brother Johnson he caught a plane and he got on it. During the flight I watch “inferno” as a prelude to visiting a Costa Rican volcano as well as inspiration for writing my presentation. A simple plot – professor meets beautiful woman, biodiversity loss, betrayal, seek and find, EBSA descriptions, you decide. It’s an 11 and a half hour flight. Still 5 hours to go. Over the Sargasso Sea the Captain switches on the seatbelt sign. Bumpyness ahead. Toilets out of bounds. The grey bag says ‘if used for air-sickness please hand to cabin crew’. Charming - and anyway I have written a detailed ‘to do’ list all over mine. The time difference means I arrive at the San Jose mid-afternoon.  Then disaster. As I try to pay the taxi it transpires I have been exchanged Colombian pesos instead of Costa Rican Colons. Taxi driver he say no. Fortunately the hotel staff are lovely and I am escorted via the cash point to my room. King Leisure. We like that. And Moneycorp arrange an instant refund – brilliant. Plenty of time for a Spanish stroll. Who with? Sister Sue?

 https://www.youtube.com/watch?v=N5LveBIjg3o

So what was achieved?

Crowne Plaza Corobici – the place where great things happen. Like what? Sustainable Ocean Initiative intensive roundtable discussions, many post-its, challenges and solutions, sharing experiences and waking up very early. Plans and more plans, restricted uses, bans, degraded spaces, also rans, time’s against us, many hands, lift to safety, if we can. This workshop had plenty of energy and love in the room. Perhaps it’s the Latin way? This region has so much variety but there is clear ‘value added’ in a sub-regional approach. Strategic Environmental Assessment requires a paradigm shift to consider long-term risks and opportunities – sustainable pathways rather than permissions to proceed.

But what about Costa Rica itself – how was it?

Luxuriant vegetation, friendly people, chaotic traffic, world class coffee, sunshine bouncing off the pavements. I took a cheeky trip to Poas Volcano. An eruption may be building. Could happen anytime. Bet in play now. Not on a Sunday surely. On the path near the crater it says ‘in case of volcanic activity keep calm’. You cannot be serious. ‘People of Pompeii, stay calm, remain in your houses’.  My daily routine of a swim, industrial quantities of fresh fruit, sharing information, beers and good company has taken its toll. To keep up spirits my buddy Erick brought a new gift each day – coffee, a book, fruit, new ideas, a smile, most excellent. Time to escape for the weekend. First we head for the museum de Oro – pre-Columbian beautiful detailed pieces, constellation of symbols and meanings especially frogs and contemporary art; a quick roam around central San Jose and delicious supper in Barrio Escalante near my Spanish-style B&B. at

Sofia restaurant. Next day I cramp the style of my CBD buddies (5’s a crowd!) and we head to scenic Manuel Antonio National Park on the Pacific coast. Monkeys, raccoons and soft warm water to swim in. Sunday’s treat was a walk around my Barrio to photograph graffiti on crumbling walls. Rattle of the early morning train – three poops of the horn. Kick back and enjoy a lingering coffee at Pandeli, calming classical guitar music, lovely simple wooden deck with an orchid on each table and napkins in a coffee tin, fun orange cups, in the back kitchen a hive of activity, small army of staff in blue trousers and white t-shirts and aprons serving a peaceful Sunday clientele. Look harder outside to see metal fences, razor wire, padlocks and metal grilles. The calm belies a subtext of insecurity on the breeze behind the banana leaves. Sparrowfart start and back to Blighty.

[sebastiansvertebrae]

I didn't see this for a little bit but I can't believe I could forgetting to reblog all of these drawings are so good and so perfect keep up the good work

hi sorry for not posting much, here's so practices

[hyperjellyfishfish]

More Lance art.... I think I may be a tad bit obsessed 😔