...is a blog that traces the illness of Ronan, who has Tay-Sachs disease, written by his mother:
"The opposite of gnawing, heart-twisting ache is euphoric, the-top-of-your-head-opens-to-heaven joy. Perhaps the human body was built this way, in order to survive what life brings you. I watch my son, my beloved, snatched away from me in front of my drowning eyes. Looking at chronological photographs is like watching a film reel in reverse and in fast forward. I offer every trade I can think of (him for me, this for that) and am met with a blank and nasty and unforgiving, dangerous wind. My heart is a swollen thing I could pull out of my mouth and kick across the room. I was happy in Dublin, truly, but in a baby fat way. Because I wasn’t miserable at all then, I actually didn’t know what happiness meant until now, when I’m the saddest and most hopeless I’ve ever been in my life or ever imagined I might be.
So, yeah. Kierkegaard, Aristotle, yes. And Cosmo and race car movies and the Brazilian Butt Lift. This might be my new year’s combination resolution list for surviving grief’s shit storm.
Because, truly, the only resolution that would appear at the end of both lists? LIVE. In spite of everything; in the face of everything. Live. For 2012 that’s the only resolution I’ve got."
Go have a read at ourlittleseal.wordpress.com
Samstag, 31. Dezember 2011
Donnerstag, 22. Dezember 2011
Donnerstag, 15. Dezember 2011
Love science.
A DIALOGUE WITH SARAH, AGED 3: IN WHICH IT IS SHOWN THAT IF YOUR DAD IS A CHEMISTRY PROFESSOR, ASKING “WHY” CAN BE DANGEROUS
By Stephen McNeil
SARAH: Daddy, were you in the shower?
DAD: Yes, I was in the shower.
SARAH: Why?
DAD: I was dirty. The shower gets me clean.
SARAH: Why?
DAD: Why does the shower get me clean?
SARAH: Yes.
DAD: Because the water washes the dirt away when I use soap.
SARAH: Why?
DAD: Why do I use soap?
SARAH: Yes.
DAD: Because the soap grabs the dirt and lets the water wash it off.
SARAH: Why?
DAD: Why does the soap grab the dirt?
SARAH: Yes.
DAD: Because soap is a surfactant.
SARAH: Why?
DAD: Why is soap a surfactant?
SARAH: Yes.
DAD: That is an EXCELLENT question. Soap is a surfactant because it forms water-soluble micelles that trap the otherwise insoluble dirt and oil particles.
SARAH: Why?
DAD: Why does soap form micelles?
SARAH: Yes.
DAD: Soap molecules are long chains with a polar, hydrophilic head and a non-polar, hydrophobic tail. Can you say ‘hydrophilic’?
SARAH: Aidrofawwic
DAD: And can you say ‘hydrophobic’?
SARAH: Aidrofawwic
DAD: Excellent! The word ‘hydrophobic’ means that it avoids water.
SARAH: Why?
DAD: Why does it mean that?
SARAH: Yes.
DAD: It’s Greek! ‘Hydro’ means water and ‘phobic’ means ‘fear of’. ‘Phobos’ is fear. So ‘hydrophobic’ means ‘afraid of water’.
SARAH: Like a monster?
DAD: You mean, like being afraid of a monster?
SARAH: Yes.
DAD: A scary monster, sure. If you were afraid of a monster, a Greek person would say you were gorgophobic.
(pause)
SARAH: (rolls her eyes) I thought we were talking about soap.
DAD: We are talking about soap.
(longish pause)
SARAH: Why?
DAD: Why do the molecules have a hydrophilic head and a hydrophobic tail?
SARAH: Yes.
DAD: Because the C-O bonds in the head are highly polar, and the C-H bonds in the tail are effectively non-polar.
SARAH: Why?
DAD: Because while carbon and hydrogen have almost the same electronegativity, oxygen is far more electronegative, thereby polarizing the C-O bonds.
SARAH: Why?
DAD: Why is oxygen more electronegative than carbon and hydrogen?
SARAH: Yes.
DAD: That’s complicated. There are different answers to that question, depending on whether you’re talking about the Pauling or Mulliken electronegativity scales. The Pauling scale is based on homo- versus heteronuclear bond strength differences, while the Mulliken scale is based on the atomic properties of electron affinity and ionization energy. But it really all comes down to effective nuclear charge. The valence electrons in an oxygen atom have a lower energy than those of a carbon atom, and electrons shared between them are held more tightly to the oxygen, because electrons in an oxygen atom experience a greater nuclear charge and therefore a stronger attraction to the atomic nucleus! Cool, huh?
(pause)
SARAH: I don’t get it.
DAD: That’s OK. Neither do most of my students.
* * *
(REPRINTED FROM ISSUE ONE, APRIL 11th, 2005)
found on http://www.stumbleupon.com/su/2gd659/www.scq.ubc.ca/a-dialogue-with-sarah-aged-3-in-which-it-is-shown-that-if-your-dad-is-a-chemistry-professor-asking-%2525E2%252580%25259Cwhy%2525E2%252580%25259D-can-be-dangerous-5/
By Stephen McNeil
SARAH: Daddy, were you in the shower?
DAD: Yes, I was in the shower.
SARAH: Why?
DAD: I was dirty. The shower gets me clean.
SARAH: Why?
DAD: Why does the shower get me clean?
SARAH: Yes.
DAD: Because the water washes the dirt away when I use soap.
SARAH: Why?
DAD: Why do I use soap?
SARAH: Yes.
DAD: Because the soap grabs the dirt and lets the water wash it off.
SARAH: Why?
DAD: Why does the soap grab the dirt?
SARAH: Yes.
DAD: Because soap is a surfactant.
SARAH: Why?
DAD: Why is soap a surfactant?
SARAH: Yes.
DAD: That is an EXCELLENT question. Soap is a surfactant because it forms water-soluble micelles that trap the otherwise insoluble dirt and oil particles.
SARAH: Why?
DAD: Why does soap form micelles?
SARAH: Yes.
DAD: Soap molecules are long chains with a polar, hydrophilic head and a non-polar, hydrophobic tail. Can you say ‘hydrophilic’?
SARAH: Aidrofawwic
DAD: And can you say ‘hydrophobic’?
SARAH: Aidrofawwic
DAD: Excellent! The word ‘hydrophobic’ means that it avoids water.
SARAH: Why?
DAD: Why does it mean that?
SARAH: Yes.
DAD: It’s Greek! ‘Hydro’ means water and ‘phobic’ means ‘fear of’. ‘Phobos’ is fear. So ‘hydrophobic’ means ‘afraid of water’.
SARAH: Like a monster?
DAD: You mean, like being afraid of a monster?
SARAH: Yes.
DAD: A scary monster, sure. If you were afraid of a monster, a Greek person would say you were gorgophobic.
(pause)
SARAH: (rolls her eyes) I thought we were talking about soap.
DAD: We are talking about soap.
(longish pause)
SARAH: Why?
DAD: Why do the molecules have a hydrophilic head and a hydrophobic tail?
SARAH: Yes.
DAD: Because the C-O bonds in the head are highly polar, and the C-H bonds in the tail are effectively non-polar.
SARAH: Why?
DAD: Because while carbon and hydrogen have almost the same electronegativity, oxygen is far more electronegative, thereby polarizing the C-O bonds.
SARAH: Why?
DAD: Why is oxygen more electronegative than carbon and hydrogen?
SARAH: Yes.
DAD: That’s complicated. There are different answers to that question, depending on whether you’re talking about the Pauling or Mulliken electronegativity scales. The Pauling scale is based on homo- versus heteronuclear bond strength differences, while the Mulliken scale is based on the atomic properties of electron affinity and ionization energy. But it really all comes down to effective nuclear charge. The valence electrons in an oxygen atom have a lower energy than those of a carbon atom, and electrons shared between them are held more tightly to the oxygen, because electrons in an oxygen atom experience a greater nuclear charge and therefore a stronger attraction to the atomic nucleus! Cool, huh?
(pause)
SARAH: I don’t get it.
DAD: That’s OK. Neither do most of my students.
* * *
(REPRINTED FROM ISSUE ONE, APRIL 11th, 2005)
found on http://www.stumbleupon.com/su/2gd659/www.scq.ubc.ca/a-dialogue-with-sarah-aged-3-in-which-it-is-shown-that-if-your-dad-is-a-chemistry-professor-asking-%2525E2%252580%25259Cwhy%2525E2%252580%25259D-can-be-dangerous-5/
Mittwoch, 2. November 2011
The Book Thief
The Book Thief by Markus Zusak is incredible.
Its simplicity, warmth and inevitable tragedy rendered me into a waterfall of tears. The fact that Death is the narrator and you know the end right from the start does not diminish the heartache that grips you when it finally happens. Seldomly have I found a book dealing with Nazi Germany in such a skillful, unapologetic but simple and affective way. It steers clear of melodrama and lectures. It's a wonderful book. Read it.
Its simplicity, warmth and inevitable tragedy rendered me into a waterfall of tears. The fact that Death is the narrator and you know the end right from the start does not diminish the heartache that grips you when it finally happens. Seldomly have I found a book dealing with Nazi Germany in such a skillful, unapologetic but simple and affective way. It steers clear of melodrama and lectures. It's a wonderful book. Read it.
Samstag, 15. Oktober 2011
Tears and Saints
As I am reading it currently in preparation for our forthcoming production of Howard Barker's short plays 'The Forty', I should like to share some Roumanian wisdom:
"Death makes no sense except to people who have passionately loved life." (p.16)
"Music is everything. God himself is nothing more than an acoustic hallucination." (p.54)
That's enough for now.
So long!
"Death makes no sense except to people who have passionately loved life." (p.16)
"Music is everything. God himself is nothing more than an acoustic hallucination." (p.54)
That's enough for now.
So long!
Sonntag, 9. Oktober 2011
Sonntag, 25. September 2011
Freshers' Week
...is probably the maddest time of the year, though I cannot deny that I thoroughly enjoyed being a 'Freshers' Hero', pointing people to their houses, showing the way to the library/union/arts centre/finance office/town (though the last always puzzles me: the uni overlooks town, how can you wonder where it is?)...
On a different note: Swing City night at the Angel Inn was utterly amazing! With a drawn-on moustache (to get in for free)a night full of electric swing and I-have-no-idea-what-it's-called-but-it's-awesome! music I danced so much that my feet hurt the next morning. Definitely the sign of a good night. The floors may be sticky and the toilets infamous and the smell rather particular, but the Angel puts on a lot of interesting things.
So long!
On a different note: Swing City night at the Angel Inn was utterly amazing! With a drawn-on moustache (to get in for free)a night full of electric swing and I-have-no-idea-what-it's-called-but-it's-awesome! music I danced so much that my feet hurt the next morning. Definitely the sign of a good night. The floors may be sticky and the toilets infamous and the smell rather particular, but the Angel puts on a lot of interesting things.
So long!
Mittwoch, 14. September 2011
A garden of memory
Since my parents are moving house, a lot of packing had to be done over the course of the last few months. Also, a lot of winnowing had to take place. For me, this included throwing out my old, dried flower bouquets. Before I did so (them looking sad and undignified on the compost heap) I photographed them. It is mostly the memory we wish to keep, not the thing itself. Without explanations or further ado: some memories.
Dienstag, 6. September 2011
Woe is me
...because I seem to utterly fail at keeping this updated. But then again, I do not wish to post uninteresting and irrelevant things here and life isn't too exciting right now.
I have been spending a ridiculous amount of time packing. Sisyphos has nothing on me.
Last week I finished George Hunka's "Word made flesh", possibly the single-most difficult book I have ever read so far. A quote from it, which made me laugh out loud and with which I agree whole-heartedly:
"Especially the question, "What does it mean?" Which is attempted homicide and should be prosecuted and punished as such." (p. 95)
With this thought about the 'meaning of art', I take my leave.
So long!
I have been spending a ridiculous amount of time packing. Sisyphos has nothing on me.
Last week I finished George Hunka's "Word made flesh", possibly the single-most difficult book I have ever read so far. A quote from it, which made me laugh out loud and with which I agree whole-heartedly:
"Especially the question, "What does it mean?" Which is attempted homicide and should be prosecuted and punished as such." (p. 95)
With this thought about the 'meaning of art', I take my leave.
So long!
Mittwoch, 13. Juli 2011
Magical
Warning: contains themes and images unsuitable for children or people of a sensitive disposition.
It begins with an A4 sheet of paper on the seats: a quote from Carolee Schneemann about ‚Interior Scroll‘. I am ecstatic, I know this only too well from uni. The white curtain opens, a copper die moves as if by magic, the sound bite from Schneeman plays. She talks of vulvic energy and the necessity to embody images in order for their power to unfold. Curtain.
Upon opening again, we see Anne Juren, a simple dress, Madonna-blue. A little magic in the ‘kitchen’, water appears and disappears, she plays with the ideas of presence and absence, the female void. Eggs feature, a bra is conjured. Laughter from the audience. A naked breast. So far, so easily palatable. Juren lures her audience, nothing goes too far, nothing is too heavy or too explicitly feminist in this opening number of the variété that is ‘Magical’.
Once locked in the relationship of reciprocal acknowledgement – without audience participation, a stroke of genius! – the curtain closes, polite, joyful applause. Open curtain. Juren sits on the floor, demurely, a big pair of scissors in front of her. She looks calmly, confidently, centred. No evasion possible. This beautiful woman, barefoot projects an active presence that is remarkable without any trace of artificiality. She picks up the scissors, slowly, and cuts a small piece out of her dress, above her right breast. Puts down the scissors. Picks them up again. Cuts away the fabric from the abdomen. Down go the scissors. Up again. The front falls open. The more exposed she gets, the more the lights rise, enough for the first few rows to become partially visible. No one can hide from the intense acuteness of Juren’s body. Her eyes never once stray to look where she is cutting, she regards the audience as they regard her. Astonishing subversion of the often talked about ‘male gaze’. The first spectator leaves, too much the tension of this unashamed exposure which happens entirely on Juren’s terms. She pauses once the dress is discarded. A leopard bra and orange lace knickers. The mismatch is only too human, too true, so utterly unstaged. It is impossible not to see Juren as herself, and as a person. Slowly, she cuts away the bra, then the underpants. Her pubic hair looks soft and surprisingly unoffensive. The next spectator leaves. She stands up, a beautiful woman, who seems powerful in her vulnerability, which to me – bizarrely - derives mainly from the fact that she is not wearing shoes. Annie Dorsen appears, in the nude, picks up the smaller pieces of fabric as Juren wraps the remains of the blue dress around her head. The curtain closes behind the blindfolded woman as rhythmic music begins. The next section causes several people – all women! – to leave, although for a good five minutes, nothing much happens: Juren sways to the rhythms, wriggles, bounces, her body visceral to a degree that seems to create a meta-reality. The music pulses, voices appear and disappear, a woman’s voice seems to approach climax but fades out before it is reached. It seems an eternity in which one may simply regard the beauty of this real, uncostumed body or despair at its inert presence that cannot be denied or abstracted; then Juren braks into dance, the robot, disco dance, the music booms “I want to give you every inch of my loving” (a woman) and “shake it baby… I want to give you my name” (a man), and she taunts and flaunts and subverts all the conventions of the presentation of female bodies in contemporary popular culture. Standing ovations after she strides off the stage. Black out.
The next section begins with a projection of Schneemann’s ‘Meat Joy’ from behind onto the white curtain. What follows is a combination of magic tricks and the subversion of pornographic and classical art poses. Juren seemingly removes coloured fabric from her hand, ear, nose and finally a long scarf from her vagina. Stunned silence unifies the men, understanding chuckles the women of the audience. Other objects include batteries and a string of fairy lights that stop glowing as soon as the connection to Juren’s body is cut off. The curtain closes for a moment, the projection reappears, the curtain opens. The light is projected from between the performer's legs. What is usually the focus of pornographic films is now the origin of erotic film material. My male companion later states he felt “looked at in a peculiar way…because that usually never happens”. The actress illuminates the walls, ceiling, audience with this source of light, this origin of all action at the moment in the piece. The curtain closes. Another spectator leaves.
Lights come up again, the curtain opens, a simple reference to ‘Action Pants: The Genital Panic’ from 1969, the curtain closes, opens again, the machine gun has turned to fairy dust, the curtain closes again, opens, Juren and Dorsen bow to standing ovations. Six times do they have to reappear.
In the beginning I wasn’t sure whether I would be comfortable with feminist explicit body performance, nudity on stage that is not projected onto a dramatic ‘character’. Also, I was not sure how my male friend would react since I had booked the tickets without him knowing what was in store. “I have never in my life had the feeling to have understood a theatre performance so entirely,” he muses as we walk through nocturnal Salzburg. I am exultant, rejoicing in the knowledge that I have witnessed something profound without it ever resorting to shock tactics or petulant anger.
It begins with an A4 sheet of paper on the seats: a quote from Carolee Schneemann about ‚Interior Scroll‘. I am ecstatic, I know this only too well from uni. The white curtain opens, a copper die moves as if by magic, the sound bite from Schneeman plays. She talks of vulvic energy and the necessity to embody images in order for their power to unfold. Curtain.
Upon opening again, we see Anne Juren, a simple dress, Madonna-blue. A little magic in the ‘kitchen’, water appears and disappears, she plays with the ideas of presence and absence, the female void. Eggs feature, a bra is conjured. Laughter from the audience. A naked breast. So far, so easily palatable. Juren lures her audience, nothing goes too far, nothing is too heavy or too explicitly feminist in this opening number of the variété that is ‘Magical’.
Once locked in the relationship of reciprocal acknowledgement – without audience participation, a stroke of genius! – the curtain closes, polite, joyful applause. Open curtain. Juren sits on the floor, demurely, a big pair of scissors in front of her. She looks calmly, confidently, centred. No evasion possible. This beautiful woman, barefoot projects an active presence that is remarkable without any trace of artificiality. She picks up the scissors, slowly, and cuts a small piece out of her dress, above her right breast. Puts down the scissors. Picks them up again. Cuts away the fabric from the abdomen. Down go the scissors. Up again. The front falls open. The more exposed she gets, the more the lights rise, enough for the first few rows to become partially visible. No one can hide from the intense acuteness of Juren’s body. Her eyes never once stray to look where she is cutting, she regards the audience as they regard her. Astonishing subversion of the often talked about ‘male gaze’. The first spectator leaves, too much the tension of this unashamed exposure which happens entirely on Juren’s terms. She pauses once the dress is discarded. A leopard bra and orange lace knickers. The mismatch is only too human, too true, so utterly unstaged. It is impossible not to see Juren as herself, and as a person. Slowly, she cuts away the bra, then the underpants. Her pubic hair looks soft and surprisingly unoffensive. The next spectator leaves. She stands up, a beautiful woman, who seems powerful in her vulnerability, which to me – bizarrely - derives mainly from the fact that she is not wearing shoes. Annie Dorsen appears, in the nude, picks up the smaller pieces of fabric as Juren wraps the remains of the blue dress around her head. The curtain closes behind the blindfolded woman as rhythmic music begins. The next section causes several people – all women! – to leave, although for a good five minutes, nothing much happens: Juren sways to the rhythms, wriggles, bounces, her body visceral to a degree that seems to create a meta-reality. The music pulses, voices appear and disappear, a woman’s voice seems to approach climax but fades out before it is reached. It seems an eternity in which one may simply regard the beauty of this real, uncostumed body or despair at its inert presence that cannot be denied or abstracted; then Juren braks into dance, the robot, disco dance, the music booms “I want to give you every inch of my loving” (a woman) and “shake it baby… I want to give you my name” (a man), and she taunts and flaunts and subverts all the conventions of the presentation of female bodies in contemporary popular culture. Standing ovations after she strides off the stage. Black out.
The next section begins with a projection of Schneemann’s ‘Meat Joy’ from behind onto the white curtain. What follows is a combination of magic tricks and the subversion of pornographic and classical art poses. Juren seemingly removes coloured fabric from her hand, ear, nose and finally a long scarf from her vagina. Stunned silence unifies the men, understanding chuckles the women of the audience. Other objects include batteries and a string of fairy lights that stop glowing as soon as the connection to Juren’s body is cut off. The curtain closes for a moment, the projection reappears, the curtain opens. The light is projected from between the performer's legs. What is usually the focus of pornographic films is now the origin of erotic film material. My male companion later states he felt “looked at in a peculiar way…because that usually never happens”. The actress illuminates the walls, ceiling, audience with this source of light, this origin of all action at the moment in the piece. The curtain closes. Another spectator leaves.
Lights come up again, the curtain opens, a simple reference to ‘Action Pants: The Genital Panic’ from 1969, the curtain closes, opens again, the machine gun has turned to fairy dust, the curtain closes again, opens, Juren and Dorsen bow to standing ovations. Six times do they have to reappear.
In the beginning I wasn’t sure whether I would be comfortable with feminist explicit body performance, nudity on stage that is not projected onto a dramatic ‘character’. Also, I was not sure how my male friend would react since I had booked the tickets without him knowing what was in store. “I have never in my life had the feeling to have understood a theatre performance so entirely,” he muses as we walk through nocturnal Salzburg. I am exultant, rejoicing in the knowledge that I have witnessed something profound without it ever resorting to shock tactics or petulant anger.
Sonntag, 26. Juni 2011
Sonntag, 22. Mai 2011
This woman
..is amazing, listen to her stuff on youtube:
http://www.youtube.com/watch?v=5Ssvr9Lu0WQ&feature=autoplay&list=PL4C2268D901E8D9D6&index=90&playnext=1
http://www.youtube.com/watch?v=5Ssvr9Lu0WQ&feature=autoplay&list=PL4C2268D901E8D9D6&index=90&playnext=1
Dienstag, 3. Mai 2011
I know I'm obsessed...
...but *SQUEE*
Also, angry birds is extremly therapeutic in times of stress (such as the last week). Let me just say this: next time I'm an assisstant director, I will have a contract that states that schedules drawn up by me will be taken as dogma otherwise I quit and still get full pay. Also, I will never again work on a project that is not presented to me with a finalised script, full props list (the existing ones, not ones still to accrue) and a vague timetable drawn up by the director to show they have a general idea what to do and when. That is all.
So long!
Donnerstag, 21. April 2011
Sonntag, 17. April 2011
Donnerstag, 7. April 2011
Just in case...
anyone still wonders why on earth I am studying at the end of the world in Wales:
That is all. ^^
So long!
That is all. ^^
So long!
Mittwoch, 6. April 2011
Oh so stylish!
Browsing through The Sartorialist (an amazing blog, anyone interested in fashion should have a look at), I found this wonderful shot:
I'm lost for words. That is all.
So long!
I'm lost for words. That is all.
So long!
Mittwoch, 30. März 2011
Squee!
If you haven't had a look at Cake Wrecks yet, you definitely should. Generally, it is a hilarious blog and on Sundays you get to see the most amazing cakes. Such as this:
Now if you don't know what Angry Birds is, you have a life and are also missing out big time on some wonderful, destructive fun. ^^
So long!
Now if you don't know what Angry Birds is, you have a life and are also missing out big time on some wonderful, destructive fun. ^^
So long!
Sonntag, 27. März 2011
Madame Bovary
I had heard dreadful things about this book; I thoroughly enjoyed it! Here are some favourites so far:
"and the words 'daughter' and 'mother' were exchanged all day long, by little quiverings of the lips, each one uttering gentle words in a voice trembling with anger."
"and ennui like a spider spun its web in the shadow of the corners of her heart."
"She loved the sea only for the sake of its storms [...]. She wanted to get a personal profit out of things, [...] looking for emotions, not landscapes."
Aaaaahhh, a good book.
"and the words 'daughter' and 'mother' were exchanged all day long, by little quiverings of the lips, each one uttering gentle words in a voice trembling with anger."
"and ennui like a spider spun its web in the shadow of the corners of her heart."
"She loved the sea only for the sake of its storms [...]. She wanted to get a personal profit out of things, [...] looking for emotions, not landscapes."
Aaaaahhh, a good book.
Dienstag, 22. März 2011
Newton Faulkner and Weathergens
And once again:
I knew Newton Faulkner's 'Dream Catch Me', but only a few days ago heard his cover of Massive Attack's 'Teardrop'. It is stunning. Watch here: http://www.youtube.com/watch?v=rjT86g9gTKk
Also, I love these designs made for the ITV weather forecasts:
http://www.youtube.com/watch?v=alUbEx78XmM
http://www.youtube.com/watch?v=DJAgFSdboLw&feature=related
http://www.youtube.com/watch?v=p0pn_usNanI&feature=related
http://www.youtube.com/watch?v=AyFNVeGYRbE&feature=related
There are many more, but those are my favourites.
Enjoy!
So long...
I knew Newton Faulkner's 'Dream Catch Me', but only a few days ago heard his cover of Massive Attack's 'Teardrop'. It is stunning. Watch here: http://www.youtube.com/watch?v=rjT86g9gTKk
Also, I love these designs made for the ITV weather forecasts:
http://www.youtube.com/watch?v=alUbEx78XmM
http://www.youtube.com/watch?v=DJAgFSdboLw&feature=related
http://www.youtube.com/watch?v=p0pn_usNanI&feature=related
http://www.youtube.com/watch?v=AyFNVeGYRbE&feature=related
There are many more, but those are my favourites.
Enjoy!
So long...
Mittwoch, 16. März 2011
Sonntag, 6. März 2011
Time flies!
And yet again I have failed to keep up my blogging. Oh dear. Lots of things have happened, finally the weather has turned nice again, university demands a lot more of my time and if you want to listen to an incredibly beautiful song (which made me quite homesick) http://www.youtube.com/watch?v=nuRpHnz2ZJo this is highly recommendable.
I would also recommend Black Swan and the King's Speech to those who have not yet seen either. How could you?!
Finally, I have bought a sewing machine and named it Pauline (after quite some discussion). My first piece is an Elizbethan corset (for my scenography course), far from perfect, but hey. The brief is 'Punk-Elizabethan', thus the frayed edge and saftey pins (which took up an entire day).Tell me what you think.
I would also recommend Black Swan and the King's Speech to those who have not yet seen either. How could you?!
Finally, I have bought a sewing machine and named it Pauline (after quite some discussion). My first piece is an Elizbethan corset (for my scenography course), far from perfect, but hey. The brief is 'Punk-Elizabethan', thus the frayed edge and saftey pins (which took up an entire day).Tell me what you think.
Mittwoch, 26. Januar 2011
Beautiful
Last semester, we sang Lauridsen's O Magnum Mysterium with the Madrigal Singers, this term it's his Ave Maria. Beautiful.
Listen here: http://www.youtube.com/watch?v=ZGcgo4o4gjk
Listen here: http://www.youtube.com/watch?v=ZGcgo4o4gjk
Donnerstag, 20. Januar 2011
Short but sweet
Whilst studying, I came across this quote by John Stuart Mill from his book "The Subjection of Women":
"The object of this Essay is to explain as clearly as I am able grounds of an opinion which I have held from the very earliest period when I had formed any opinions at all on social political matters, and which, instead of being weakened or modified, has been constantly growing stronger by the progress reflection and the experience of life. That the principle which regulates the existing social relations between the two sexes--the legal subordination of one sex to the other--is wrong itself, and now one of the chief hindrances to human improvement; and that it ought to be replaced by a principle of perfect equality, admitting no power or privilege on the one side, nor disability on the other."
For quirky things and more John Stuart Mill quotes, visit my sister's blog: http://msthackeray.tumblr.com/
That's all. So long!
"The object of this Essay is to explain as clearly as I am able grounds of an opinion which I have held from the very earliest period when I had formed any opinions at all on social political matters, and which, instead of being weakened or modified, has been constantly growing stronger by the progress reflection and the experience of life. That the principle which regulates the existing social relations between the two sexes--the legal subordination of one sex to the other--is wrong itself, and now one of the chief hindrances to human improvement; and that it ought to be replaced by a principle of perfect equality, admitting no power or privilege on the one side, nor disability on the other."
For quirky things and more John Stuart Mill quotes, visit my sister's blog: http://msthackeray.tumblr.com/
That's all. So long!
Sonntag, 16. Januar 2011
Revision
...is my current and latest excuse not to write here. Shameful, I know.
To cheer everyone up, a little veggie recipe:
Stuffed savoy cabbage (yes, I have taken to that cabbage a lot)
(serves 2)
8 relatively large leaves of Savoy cabbage (flatten the leaf by cutting the round part of the stem off), washed and boiled in salt water until soft
2/3 bag of veggie mince (eg Quorn)
1 stock cube (veg for veggies, beef for carnivores)
1/2 small onion, chopped finely
1-2 eggs (depends on size)
olive oil
salt, pepper
400ml water
string (uncoloured, natural fibre...you don't want to go Bridget Jones!)
Heat the oil, fry the onion until glassy. Add the veggie mince, stir for 2 minutes. Add stock cube and water, bring to the boil. Season with salt and pepper. Drain and leave mince to cool. Reduce liquid several times to get a lovely gravy sauce. Mix cooled mince with 1-2 raw eggs. Spoon 2-3 table spoons of mince-egg mix into two overlapping cabbage leaves, roll tightly, tie with string. (Yes, that makes four if you have 8 leaves...if you want more, prepare more leaves and mince)It's tricky and doesn't necessarily look nice the first few times but you'll figure it out. It helps to drain the mince well! Boil in lightly salted water for 15-20 minutes. Serve with rice and gravy. Tadaa!
Oh, my photoshoot is this coming Wednesday, I am looking forward to it so much!
So long!
To cheer everyone up, a little veggie recipe:
Stuffed savoy cabbage (yes, I have taken to that cabbage a lot)
(serves 2)
8 relatively large leaves of Savoy cabbage (flatten the leaf by cutting the round part of the stem off), washed and boiled in salt water until soft
2/3 bag of veggie mince (eg Quorn)
1 stock cube (veg for veggies, beef for carnivores)
1/2 small onion, chopped finely
1-2 eggs (depends on size)
olive oil
salt, pepper
400ml water
string (uncoloured, natural fibre...you don't want to go Bridget Jones!)
Heat the oil, fry the onion until glassy. Add the veggie mince, stir for 2 minutes. Add stock cube and water, bring to the boil. Season with salt and pepper. Drain and leave mince to cool. Reduce liquid several times to get a lovely gravy sauce. Mix cooled mince with 1-2 raw eggs. Spoon 2-3 table spoons of mince-egg mix into two overlapping cabbage leaves, roll tightly, tie with string. (Yes, that makes four if you have 8 leaves...if you want more, prepare more leaves and mince)It's tricky and doesn't necessarily look nice the first few times but you'll figure it out. It helps to drain the mince well! Boil in lightly salted water for 15-20 minutes. Serve with rice and gravy. Tadaa!
Oh, my photoshoot is this coming Wednesday, I am looking forward to it so much!
So long!
Samstag, 8. Januar 2011
Nothing much...
...just a short update to keep up with my attempt to post regularly. My travels back to Wales were thankfully uneventful.
On a different note: Unfortunately, I did not take a picture of yesterday's food, but it was AMAZING and therefore here is the recipe:
(serves 2)
2 chicken breasts wrapped around garlic butter and wrapped in a slice of thick bacon, held together by string
2 garlic cloves
3 big carrots, washed, peeled and cut into sticks
1/2 savoy cabbage, washed
a little bit of double cream
pepper, salt, majoram
With a tiny dollop (love that word!) of olive oil, put the chicken and carrots in a pirex dish and leave in the oven at 200°C for one hour. Meanwhile, cut the cabbage in thin stripes and boil in lightly salted water until soft. Drain and set aside for later.
After the hour, arrange the carrots, chicken and cabbage on plates and leave in the still warm oven. Take the chicken juices, put in a small sauce pan, crush the garlic into them, add some double cream, salt, pepper and majoram and carefully bring to the boil. Reduce sauce several times until it has reached the desired texture. Pour over the cabbage and chicken and serve.
It is divine. I am salivating now. ^^
So long!
On a different note: Unfortunately, I did not take a picture of yesterday's food, but it was AMAZING and therefore here is the recipe:
(serves 2)
2 chicken breasts wrapped around garlic butter and wrapped in a slice of thick bacon, held together by string
2 garlic cloves
3 big carrots, washed, peeled and cut into sticks
1/2 savoy cabbage, washed
a little bit of double cream
pepper, salt, majoram
With a tiny dollop (love that word!) of olive oil, put the chicken and carrots in a pirex dish and leave in the oven at 200°C for one hour. Meanwhile, cut the cabbage in thin stripes and boil in lightly salted water until soft. Drain and set aside for later.
After the hour, arrange the carrots, chicken and cabbage on plates and leave in the still warm oven. Take the chicken juices, put in a small sauce pan, crush the garlic into them, add some double cream, salt, pepper and majoram and carefully bring to the boil. Reduce sauce several times until it has reached the desired texture. Pour over the cabbage and chicken and serve.
It is divine. I am salivating now. ^^
So long!
Abonnieren
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