Garner confronts viewers with the unspeakable abuses perpetrated on the bodies — and subjectivities — of Black women.
Daily Angel Oracle Card: Workshops and Seminars, from the Angel Therapy Oracle Card deck, by Doreen Virtue Ph.D Workshops and Seminars: “Attending and giving speeches is part of your spiritua…
Doreen Valiente is best known for popularizing the Wiccan craft, and her work is now being celebrated in a new exhibition in the UK. But she was also many other things, including a World War II spy.
Get your product KEEP CALM and let DOREEN Handle It | Funny Name Gift - Pullover Hoodie, T-Shirt, Sweatshirt, Tank Top, Racerback, Dolman
Stretch marks don't usually belong to the celebrated side of pregnancy, but they are part of the experience nonetheless. After having quadruplets, 23-year-old Doreen Ching from Malaysia has decided to share private photos of the impact that giving birth had on her body. Coming to terms with the changes, Doreen hoped this would empower women who are going through the same thing. Among the voices of support, however, there were some shouts of hate that described her as 'ugly' and 'disgusting.'
Doreen Valiente's work is being celebrated at a new exhibition in Brighton
High court also hears claims against Associated Newspapers brought by Prince Harry, Elton John and Liz Hurley among others
Move over, sheep. Adios, alpacas. You don't need a pasture or hay to make soft, lovely yarn. You just need a dog.
When we give power away to other people because our relationship with self is dysfunctional, we actually allow cords of energy to tie us to those people.
“A gorgeous journey...You will be glad you’ve joined her.” —Susan Orlean, author of On Animals and The Library Book In this lyrical memoir of motherhood, love, and resilience that “captures rarely observed natural places” (San Francisco Chronicle) a woman and her toddler son follow the grey whale migration from Mexico to northernmost Alaska. In this “striking, brave[,] and often lyrical” (The Guardian) blend of nature writing, whale science, and memoir, Doreen Cunningham interweaves two stories: tracking the extraordinary northward migration of the grey whales with a mischievous toddler in tow and living with an Iñupiaq family in Alaska seven years earlier. A story of courage and resilience, Soundings is about the migrating whales and all we can learn from them as they mother, adapt, and endure, their lives interrupted and threatened by global warming. It is also a riveting journey onto the Arctic Sea ice and into the changing world of Indigenous whale hunters, where Doreen becomes immersed in the ancient values of the Iñupiaq whale hunt and falls in love. Big-hearted, brave, and fearlessly honest, Soundings is an unforgettable journey. Product DetailsISBN-13: 9781982171797 Media Type: Hardcover Publisher: Scribner Publication Date: 07-12-2022 Pages: 320 Product Dimensions: 5.50(w) x 8.50(h) x 1.30(d)About the Author Doreen Cunningham is an Irish British writer born in Wales. After studying engineering Doreen worked briefly in climate-related research at the Natural Environment Research Council and in storm modeling at Newcastle University before turning to journalism. She worked for the BBC World Service variously as an international news presenter, reporter, and editor for twenty years. She won the RSL Giles St Aubyn Award 2020 and was shortlisted for the Eccles Centre and Hay Festival Writers Award 2021 for Soundings, her first book.Read an Excerpt Read an Excerpt 1. Los Angeles LOS ANGELES Latitude: 33° 59' 40" N Longitude: 118° 28' 57" W The immigration man in Los Angeles glares at me, then looks down at Max and gives a beautiful smile. Toddling along like a penguin, carrying his mini-rucksack, shouting his name when asked, he’s like a magic spell that lights people up. I clutch my paperwork but the official doesn’t look at it, just waves us straight through. My friend Marie is waiting for us in the arrivals hall and stretches her arms wide when she sees us. She has a six-month-old asleep in a buggy. The air outside is warm and dry, making Max and me wriggle out of our coats while Marie drives us across LA. Spindly palm trees look down from above, their fronds tousled by the wind. It’s late when we arrive at her apartment in Venice Beach. She has a little boy, Max’s age, as well as the baby. The toddlers scribble chalk on a blackboard together while Marie and I have tea and talk about the trip I’ve booked. We’re meeting a tour group in San Diego and will drive to Baja for two weeks of whale watching. “Then to the Arctic?” she says. “That’s far.” Marie knows the north. I first met her on the plane to Utqiagvik. Squashed into adjacent seats, we’d admired each other’s ski jackets as the aircraft landed. The view was white in whichever direction you looked, and the bottle of water I was carrying had begun to form ice crystals before we’d walked ten yards off the plane. By the end of my stay the cold had transformed me too. Some places are just like that. You come back different or perhaps you don’t come back at all. Marie’s having been to Utqiagvik helps me. I guess astronauts must like to see each other sometimes too, after coming back from the moon. “We’re splitting the journey,” I tell her. Max and I can’t travel for more than a month without first jumping through legal hoops. “Two one-month trips. Mexico first, then home, and then we’ll come back to follow the whales north.” “I’ll get to see you twice!” Marie asks how I can afford it all, so I tell her about the phone call to the bank. We were on the beach, Max racing barefoot on the sand, squealing as he watched his footprints trailing off behind him. I was on the phone, cupping my hand against the wind. “Are you still working, still staff?” the man in the call center asked. I was inquiring, ever so casually, about the possibility of a loan. “Yes.” I held my breath. He had my account in front of him. It must have been clear that I absolutely was not staff anymore, was barely working. There was a pause. If I could hold my breath until he spoke, it would be a yes, I told myself. “Okay, that’s all done for you. Ten thousand pounds should be in your account within five days.” Marie tells me I’m brave. “You boys have drawn a storm,” she says, admiring their chaotic chalk artwork. Max and I curl together on her sofa bed in the living room for the night, savoring the pleasure of being in a family home. The hostel was almost full when we moved in. Our room was on the second floor, four fire doors and eight stair gates from the outside world, sealed off from it. Ashley, in the room beside ours, was a legal secretary, originally from South Africa. She had a boy of five. Magda, next one along, was Polish with three children. Angelina, down one floor, was from Madeira. There was a yard with trikes and a plastic slide where the children played. We swapped court experiences while we cooked in the shared kitchen. When we talked about the events that had brought us here, we could have been reading from the same script. Angelina and I didn’t receive benefits, she because of her immigration status, I because I owned a flat. But I had a laptop and freelance work that was reasonably paid, while Angelina’s only option was to work long shifts in a CD warehouse, for minimum wage. I was privileged. On the days Angelina’s ex let her down with childcare, the rest of us babysat her daughter so she could still work. On the days I was tired from working at night, I was careful not to complain. Gradually, my new friends moved into local authority flats or rooms in shared houses. Over Christmas the hostel was empty, apart from Max and me. Then it started to fill up again, and Nicola moved in. “Your hair is lovely,” I said, while sitting on Nicola’s bed one evening. She and her four-year-old, Will, were the only other family on my floor. The doors to our rooms were open so I’d hear from down the corridor if Max, now eighteen months old, woke. “You should try using mousse, it would give your hair some body,” Nicola said, picking up a canister from her dressing table. Hair wasn’t my thing, but Nicola used to be a hairdresser and I was trying to be friendly, to give us something to talk about. Her hair moved in a shimmering chestnut curtain, drawing the light, as she walked the corridors of the hostel. She reminded me of the ringleader girls at school, the ones I avoided in the playground, who laughed and sang “ugly” as I passed. She examined her perfectly polished red nails as she talked. “I need to go soon,” I said. “I’ve got a deadline.” I yawned, exhausted just thinking about it. Nicola lifted her chin and looked at me sideways, down her nose. “I’m not interested in working.” She’d returned to Jersey from Manchester when she and her boyfriend split, she said, and hoped to be allocated a flat by the States of Jersey soon. “You don’t get anywhere in life by being nice, you know. I read this book, Gusty Girls Have Better Lives. When I read it, I thought, ‘That’s me, I’m gusty.’” “Gusty? Do you mean g—” The windows rattled and we both looked up. It was a windy night. An image of Nicola being blown around came to mind, hair streaming out behind her like a superhero’s cape as she gusted through the room. “Gusty Girls Get Ahead, Good Girls Don’t. That was the title.” She paused. “You should read it.” I nodded. “Got to do some work. Thanks for the mousse.” Max lay spread-eagled on the mattress in his striped sleep suit. I went downstairs to get a glass of water before starting. Kayleigh was in the kitchen. Of all the new residents, I liked her best. She was foulmouthed like me, streetwise as I would never be. She’d told me about the fights with her boyfriend and family. “I just want all the control freaks out of my life,” she’d said. I could relate. I’d given her a pair of silk-lined black leather gloves, a present from Pavel that I couldn’t quite bring myself to donate to a charity shop. She’d tried them on, danced her fingers through the air, and pushed back her white-blond hair. “I look like Marilyn Monroe!” Kayleigh was unlocking her food cupboard. She took out a bag of penne and moved across the kitchen with balletic grace, despite her growing pregnant belly. A group was smoking and chatting in the concrete yard outside the kitchen, Nicola among them. They looked up and I waved through the open door. Nicola turned away. She said something and the group laughed. I busied myself with nothing in the sink. “Don’t worry about it,” Kayleigh said quietly, tilting her head toward the door. “They can’t stand to see anyone doing something with their life, who’s on their way out of here.” I wasn’t sure what she meant. I smiled and said good night, nothing more. Going up the stairs, I felt heavy. A woman in the room underneath me started shouting down the phone, waking Max. I fed him until his body relaxed against mine. The shouting from the floor below started again. I couldn’t understand what was being said, but she was getting really angry. Max sat up and started to cry. I banged on the floor. It went quiet. I fed him back to sleep and worked until 3:00 a.m. The next day I had a Skype meeting with a client in Geneva. The hostel had no Wi-Fi and my mobile connection was unreliable, so I took Max to a nearby café. I chose a table with a backdrop of blank wall and angled Max opposite me in his buggy. He had his face in a croissant. I put on my headset and waited for the call. “Yes. We need to talk about periods,” I said loudly as the meeting got going. We were discussing girls in low-income c
THE woman known as the mother of modern witchcraft was also a Bletchley Park codebreaker and a friend of the Queen Mother, a new book claims.
Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Selina Napanangka Fisher Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 1213/23 Materials - Acrylic paint on linen Size(cm) - H91 W61 D2 Postage variants - This work is posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork Pikilyi is a large and important waterhole and natural spring near Mount Doreen station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) tells of the home of two rainbow serpents, ancestral heroes who lived together as man and wife. The woman ‘rainbow serpent’ was of the Napanangka skin group, the man was a Japangardi. This was a taboo relationship contrary to Warlpiri religious law. Women of the Napanangka and Napangardi subsection sat by the two serpents, picking lice off them. For this service, the two serpents allowed the women to take water from the springs at Pikilyi. This was because the serpents were the ‘kirda’, or ceremonial owners, for that country. The spirits of these two rainbow serpents are still at Pikilyi today. This Dreamings belongs to the women and men of the Japanangka/Napanangka and Japangardi/Napangardi skin groups. Artist Selina Napanganka Fisher was born in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the NT of Australia. At the time her parents were living in Yuendumu. She has three sisters and two brothers. Her Mum has since passed away and her father now lives Mt Allen with “another wife”. Selina is the granddaughter of the late Topsy Napurrurla Fisher, an established artist with Warlukurlangu Artists. Selina went to the local Yuendumu School before going to Yirara College, an Aboriginal boarding college in Alice Springs, where she graduated in Year 10. When she finished school, she moved to Nyirripi, where she worked in the local store. She is married to Lance Tanner, who works for the Community Development Employment Project (CDEP). They have three children. Authenticity All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation. We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten! Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity Framing All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled. Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre. The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching. A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand. Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art
Surprisingly, there are quite a few displays of quality craftsmanship made in the least elegant, thoroughly bad design. Inspired by the subreddit Awful Taste But Great Execution, Bored Panda has collected a list of gaudy, tacky, overdone, and otherwise tasteless design fails yet done so well, you won't know whether to love or hate these funny things. From dog slippers made to look exactly (and I mean exactly) like the client's pet to a car with a full chrome bodywork, scroll down to check out the worst fails of aesthetics and upvote your faves!
The Covid-19 pandemic has had a dramatic impact. Society as a whole has had to deal with the virus itself, which brought with it fear and uncertainty. Individuals have had to cope with isolation, family issues, and new work patterns. Finally, there is the uncertain road ahead into the so-called “new normal”. In Restart: Designing a Healthy Post Pandemic Life, author Doreen Dodgen-Magee examines the pandemic from its roots, taking readers through the many issues that Covid-19 has raised. At the extreme, these include coping with illness, the death of loved ones, and the grief that follows. Disruption in the workplace, job uncertainty, and adapting to new circumstances are just a few of the many aspects covered. She highlights our growing dependence on information technology and reflects on its negative aspects, despite it having been a vital means of communication during the lockdown. Vaccines and public reactions to them are also discussed. People have become alienated and uncaring. Mental health issues are becoming more prevalent and the warning signs are mentioned, as well as advice on how to get help. Returning to work will provide new challenges and this book offers a welcome toolkit for managing the transition. It is also a timely reminder to apply common sense and not to neglect our personal wellbeing. In writing Restart: Designing a Healthy Post Pandemic Life, Doreen Dodgen-Magee draws on her considerable experience as a writer and psychologist to provide a well-researched guide on the consequences of Covid and how to deal with them on both a personal and corporate level. The book has numerous sections which ask pertinent questions to guide readers in an analysis of their personal situations and how to find solutions. The advice given is practical and provides a logical framework for both self-defense and personal growth. I particularly liked the list of core values and the suggestion that we adopt the beginner’s mind, which will enable us to reengage with a clean slate approach. The writing style is fluid and refreshingly free of technical terms, but where these occur they are explained in easy to understand language. The book will resonate with readers from all walks of life who will identify with the many familiar situations. The book comes at a time when the world is on a recovery path and provides the opportunity to look ahead, start a self-care plan, and create a better reality. A detailed list of resources, references, a bibliography, and an index round off this excellent publication. It is a comprehensive guide, well written, and highly recommended.
Details Artwork Artist Details Aboriginal Artist - Selina Napanangka Fisher Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 6407/22 Materials - Acrylic on pre-stretched canvas Size(cm) - H40 W40 D3.5 Postage variants - This work is posted stretched and ready to hang Orientation - Painted from all sides and OK to hang as wished Artwork Pikilyi is a large and important waterhole and natural spring near Mount Doreen station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) tells of the home of two rainbow serpents, ancestral heroes who lived together as man and wife. The woman ‘rainbow serpent’ was of the Napanangka skin group, the man was a Japangardi. This was a taboo relationship contrary to Warlpiri religious law. Women of the Napanangka and Napangardi subsection sat by the two serpents, picking lice off them. For this service, the two serpents allowed the women to take water from the springs at Pikilyi. This was because the serpents were the ‘kirda’, or ceremonial owners, for that country. The spirits of these two rainbow serpents are still at Pikilyi today. This Dreamings belongs to the women and men of the Japanangka/Napanangka and Japangardi/Napangardi skin groups. Artist Selina Napanganka Fisher was born in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the NT of Australia. At the time her parents were living in Yuendumu. She has three sisters and two brothers. Her Mum has since passed away and her father now lives Mt Allen with “another wife”. Selina is the granddaughter of the late Topsy Napurrurla Fisher, an established artist with Warlukurlangu Artists. Selina went to the local Yuendumu School before going to Yirara College, an Aboriginal boarding college in Alice Springs, where she graduated in Year 10. When she finished school, she moved to Nyirripi, where she worked in the local store. She is married to Lance Tanner, who works for the Community Development Employment Project (CDEP). They have three children.
Doreen Virtue legt zogeheten Meestergetallen, dubbele getallen en engelen getallen uit. Met veel voorbeelden van getallen zoals 11:11, 22:22. etc
Doreen St. Félix writes about the assemblage art of Betye Saar, which is featured in a new exhibit, “The Legends of ‘Black Girl’s Window,’ ” at the Museum of Modern Art.
THE woman known as the mother of modern witchcraft was also a Bletchley Park codebreaker and a friend of the Queen Mother, a new book claims.
スクウェア・エニックスが12月19日に発売するPS3用ARPG『ドラッグ オン ドラグーン3』。今回は、そのキャラクターデザインを手掛けるイラストレーター・藤坂公彦さんと、プロデューサーである柴貴正さんへのインタビュー... - Yahoo!ゲーム
Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Selina Napanangka Fisher Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 1213/23 Materials - Acrylic paint on linen Size(cm) - H91 W61 D2 Postage variants - This work is posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork Pikilyi is a large and important waterhole and natural spring near Mount Doreen station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) tells of the home of two rainbow serpents, ancestral heroes who lived together as man and wife. The woman ‘rainbow serpent’ was of the Napanangka skin group, the man was a Japangardi. This was a taboo relationship contrary to Warlpiri religious law. Women of the Napanangka and Napangardi subsection sat by the two serpents, picking lice off them. For this service, the two serpents allowed the women to take water from the springs at Pikilyi. This was because the serpents were the ‘kirda’, or ceremonial owners, for that country. The spirits of these two rainbow serpents are still at Pikilyi today. This Dreamings belongs to the women and men of the Japanangka/Napanangka and Japangardi/Napangardi skin groups. Artist Selina Napanganka Fisher was born in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the NT of Australia. At the time her parents were living in Yuendumu. She has three sisters and two brothers. Her Mum has since passed away and her father now lives Mt Allen with “another wife”. Selina is the granddaughter of the late Topsy Napurrurla Fisher, an established artist with Warlukurlangu Artists. Selina went to the local Yuendumu School before going to Yirara College, an Aboriginal boarding college in Alice Springs, where she graduated in Year 10. When she finished school, she moved to Nyirripi, where she worked in the local store. She is married to Lance Tanner, who works for the Community Development Employment Project (CDEP). They have three children. Authenticity All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation. We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten! Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity Framing All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled. Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre. The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching. A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand. Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art
Surprisingly, there are quite a few displays of quality craftsmanship made in the least elegant, thoroughly bad design. Inspired by the subreddit Awful Taste But Great Execution, Bored Panda has collected a list of gaudy, tacky, overdone, and otherwise tasteless design fails yet done so well, you won't know whether to love or hate these funny things. From dog slippers made to look exactly (and I mean exactly) like the client's pet to a car with a full chrome bodywork, scroll down to check out the worst fails of aesthetics and upvote your faves!
The Covid-19 pandemic has had a dramatic impact. Society as a whole has had to deal with the virus itself, which brought with it fear and uncertainty. Individuals have had to cope with isolation, family issues, and new work patterns. Finally, there is the uncertain road ahead into the so-called “new normal”. In Restart: Designing a Healthy Post Pandemic Life, author Doreen Dodgen-Magee examines the pandemic from its roots, taking readers through the many issues that Covid-19 has raised. At the extreme, these include coping with illness, the death of loved ones, and the grief that follows. Disruption in the workplace, job uncertainty, and adapting to new circumstances are just a few of the many aspects covered. She highlights our growing dependence on information technology and reflects on its negative aspects, despite it having been a vital means of communication during the lockdown. Vaccines and public reactions to them are also discussed. People have become alienated and uncaring. Mental health issues are becoming more prevalent and the warning signs are mentioned, as well as advice on how to get help. Returning to work will provide new challenges and this book offers a welcome toolkit for managing the transition. It is also a timely reminder to apply common sense and not to neglect our personal wellbeing. In writing Restart: Designing a Healthy Post Pandemic Life, Doreen Dodgen-Magee draws on her considerable experience as a writer and psychologist to provide a well-researched guide on the consequences of Covid and how to deal with them on both a personal and corporate level. The book has numerous sections which ask pertinent questions to guide readers in an analysis of their personal situations and how to find solutions. The advice given is practical and provides a logical framework for both self-defense and personal growth. I particularly liked the list of core values and the suggestion that we adopt the beginner’s mind, which will enable us to reengage with a clean slate approach. The writing style is fluid and refreshingly free of technical terms, but where these occur they are explained in easy to understand language. The book will resonate with readers from all walks of life who will identify with the many familiar situations. The book comes at a time when the world is on a recovery path and provides the opportunity to look ahead, start a self-care plan, and create a better reality. A detailed list of resources, references, a bibliography, and an index round off this excellent publication. It is a comprehensive guide, well written, and highly recommended.
