Exhibition Visit Quotes

A visit to Père Lachaise in Paris adds a year to one's life

To visit a museum is fine, to be a museum piece is terrible! - Gioconda and Si-Ya-U

In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

Ruth once told me when I went to visit her at HMP Highpoint that it is surprising how much of what you imagine to be your innate sense of self actually comes from things that aren't one's self at all: people's reactions to the blouse you wear, the respectfulness of your family, the attentiveness of your friends, their approval of the pictures in your living room, the neatness of your lawn, the way people whisper your name. It is these exhibitions of yourself, as reflected in the people whom you meet, which give you comfort and your identity. Take them away, be put in a tiny room, and called by a number, and you begin to vanish.

I enjoyed this scene; and yet my enjoyment was embittered both by the memory of the past, and the anticipation of the future. I was formed for peaceful happiness. During my youthful days discontent never visited my mind; and if I was ever overcome by ennui, the sight of what is beautiful in nature, or the study of what is excellent and sublime in the productions of man, could always interest my heart, and communicate elasticity to my spirits. But I am a blasted tree; the bolt has entered my soul; and I felt then that I should survive to exhibit, what I shall soon cease to be -- a miserable spectacle of wrecked humanity, pitiable to others, and intolerable to myself.

In another part of the city in a ramshackle gallery that had to be reached through a narrow stairway was an exhibition of “degenerate art” which Dr. Goebbels had organized to show the people what Hitler was rescuing them from. It contained a splendid selection of modern paintings—Kokoschka, Chagall and expressionist and impressionist works. The day I visited it, after panting through the sprawling House of German Art, it was crammed, with a long line forming down the creaking stairs and out into the street. In fact, the crowds besieging it became so great that Dr. Goebbels, incensed and embarrassed, soon closed it.

My grandparents’ stories are my inheritance; each one is an heirloom I carry. Each one is a monument to an era that still courses through my grandfather’s veins. Each story is a memorial that still sits in my grandmother’s bones. My grandparents’ voices are a museum I am still learning how to visit, each conversation with them a new exhibit worthy of my time.

It’s that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money. It is as if I were to visit friends, and to make some polite remark about the lamp in their living room, and they were to say, “Yes, it’s nice, isn’t it? Polish-Jewish skin it’s made of, we find that’s best, the skins of young Polish-Jewish virgins.” And then I go to the bathroom and the soap wrapper says, “Treblinka – 100% human stereate.” Am I dreaming, I say to myself? What kind of house is this? Yet I’m not dreaming. I look into your eyes, into Norma’s, into the children’s, and I see only kindness, human kindness. Calm down, I tell myself, you are making a mountain out of a molehill. This is life. Everyone else comes to terms with it, why can't you? Why can't you?

It’s a common observation that all science fiction novels say as much about the time of their composition as they do about the future. As they wrote Hard to Be a God, the Strugatsky brothers were working under considerable political pressure. Following Khrushchev’s infamous visit to an exhibition of abstract art in 1962 (“dog shit” was one of his more printable responses) a wave of panicked ideological house-cleaning swept through the Soviet Union’s artistic establishment. For SF writers, as Boris Strugatsky remembers, this resulted in a reminder that the only truly orthodox subject was “the collision of two worlds.

Are the kids at school mean?” “Not mean, exactly. I’d say that the way they treat me is peculiar. More like I’m a zoo animal than a person.” A fist bounced against her leg. “I figured it out when I was visiting a primates exhibit once. People were staring at the gorilla, wondering what he would do next, hoping to be fascinated or creeped out. When he did something gross, they gasped and leaned closer. But when nothing more happened, they got bored and walked off.” The fist-thumping ended. “All the gorilla wanted was to be left alone. Instead, he was caged and made to entertain people against his will. I felt sorry for him until I reaized the cage protected him. Then I was jealous.

The most visited resident of Balboa Park is the world-famous San Diego Zoo. Dating back to 1916, and more parklike than a traditional zoo, it set the standard for zoos around the world with its well-tended grounds, up-to-the-minute approach to exhibits, and wildlife conservation.

Those who visited that exhibition-room found an auto-de-fé of immense skies in ignition, globes blotted out by bleeding suns; hemorrhages of stars, flowing down in purple cataracts over tumbling tufts of clouds. Against this background of terrible din, silent women passed, nude or appareled in jeweled stuffs, like the bindings of the old Evangelists; women with hair of shaggy silk, with pale blue eyes, hard and fixed, and flesh of the frozen whiteness of milk; Salomes holding, motionless upon a platter, the head of the Baptist, which shone, soaked in phosphorus, under the quincunxes with shorn leaves, of a green that was almost black; goddesses galloping on hippogriffs and streaking, with the lapis lazuli of their wings, the agony of the clouds; feminine idols, in tiaras, upright on thrones, at the top of stairs submerged in extraordinary flowers, or seated, in rigid poses, upon the backs of elephants with green-mantled foreheads and breasts strung with pearl-ropes like cavalry bells, stamping about upon their own heavy image, reflected in a sheet of water and splashed by the columns of the ring-circled legs!

But life seemed fuller, more populated than it had a year ago. She went to exhibitions and films, sometimes alone, sometimes with a friend, and when she’d saved enough of Neil’s money, which was her money, she went on a solo trip to Italy, role-playing a character in a Forster novel. In Florence, she read performatively in cafés and sat in the cool of exquisite churches, straining for some kind of spiritual feeling. In Rome, she visited the Non-Catholic Cemetery and sought out the graves of Keats and Shelley and found herself moved and mortified by being moved.

[There is an] immense advantage to be gained by ample space and appropriate surroundings in aiding the formation of a just idea of the beauty and interest of each specimen... Nothing detracts so much from the enjoyment ... from a visit to a museum as the overcrowding of the specimens exhibited.

Brian was known to value courage as the crown of the virtues, and he exhibited it by coming into work every day in the same clothes. To his credit, there was nothing malodorous about him - presumably he bathed and visited the dry-cleaners on a regular basis – but thirty years in a tweed jacket and khaki trousers was a long time. What made it doubly odd was that he also valued glamour.

In the Whole Wide World Museum, Grover visits "The Things You See in the Sky Room", and the room full of "Long Thin Things You Can Write With", where a carrot has mistakingly wound up, so he returns it to an elegant marble pedestal in the middle of the otherwise empty "Carrot Room". As Grover reaches the end of the exhibit, he wonders: "Where did they put everything else?" That's when he reaches the wooden door marked: "Everything Else". When he opens it, of course, it's just the exit.

What I felt at that moment wasn’t sorrow for the 9/11 victims, but mortification. Tiny Ecuador gave precious pottery as a token of its heritage. My nation, the hemisphere’s richest, offered only this: Share our fear and feel our pain. In a venue designed to promote global amity and understanding, the United States chose to emphasize how divided and troubled the world remained. It was a minor thing, really, a display in a little-visited Dominican museum. But still, the exhibit rankled: my own small wall of shame.

Five years from today. Where, exactly, do you want to be?" Her eyes lit up. Sadie loves that kind of question. "Ooh. Wow. Let me think. December, getting close to Christmas. I'll be twenty-one..." "Passed out under the tree with a fifth of Jack, half a 7-Eleven rotisserie chicken, and a cat who poops in your shoes." Frankie returned our startled glances with his lizard look. "Oh, wait. That's me. Sorry." I opted to ignore him. "Five years to the day,Sadie." She glanced quickly between Frankie and me. "Do we need a time-out here?" "Nope," I said. "Carry on." "Okay. Five years. I will be in New York visiting the pair of you because, while NYU is fab, I will be halfwau through my final year of classics at Cambridge, trying to decide whether I want to be a psychologist or a pastry chef. You," she said sternly to Frankie, "will be drinking appropriate amounds of champagne with your boyfriend, a six-three blond from Helsinki who happens to design for Tory Burch. Ah! Don't say anything. It's my future. You can choose a different designer when it's you go. I want the Tory freebies." She turned to me. "We will be sipping said champagne in the middle of the Gagosian Galley, because it is the opening night of your first solo exhibit. At which everything will sell." She punctuated the sentence by poking the air with a speared black olive. "I love you," I told her. Then, "But that wasn't really about you." "Oh,but it was," she disagreed, going back to her salad. "It's exactly where I want to be. Although" -she grinned over a tomato wedge- "I might have the next David Beckham in tow." "The next David Beckham is a five-foot-tall Welshman named Madog Cadwalader. He has extra teeth and bow legs." "Really?" Sadie asked. Frankie snorted. "No.Not really.

Soon thereafter, a maid brought Poppy a tray of neat boxes tied with ribbons. Opening them, Poppy discovered that one was filled with toffee, another with boiled sweets, and another with Turkish delight. Best of all, one box was filled with a new confection called "eating-chocolates" that had been all the rage at the London Exhibition. "Where did these come from?" Poppy asked Harry when he returned to her room after a brief visit to the front offices. "From the sweet shop." "No, these," Poppy showed him the eating-chocolates. "No one can get them. The makers, Fellows and Son, have closed their shop while they moved to a new location. The ladies at the philanthropic luncheon were talking about it." "I sent Valentine to the Fellows residence to ask them to make a special batch for you." Harry smiled as he saw the paper twists scattered across the counterpane. "I see you've sampled them." "Have one," Poppy said generously. Harry shook his head. "I don't like sweets." But he bent down obligingly as she gestured for him to come closer. She reached out to him, her fingers catching the knot of his necktie. Harry's smile faded as Poppy exerted gentle tension, drawing him down. He was suspended over her, an impending weight of muscle and masculine drive. As her sugared breath blew against his lips, she sensed the deep tremor within him. And she was aware of a new equilibrium between them, a balance of will and curiosity. Harry held still, letting her do as she wished. She tugged him closer until her mouth brushed his. The contact was brief but vital, striking a glow of heat. Poppy released him carefully, and Harry drew back. "You won't kiss me for diamonds," he said, his voice slightly raspy, "but you will for chocolates?" Poppy nodded. As Harry turned his face away, she saw his cheek tauten with a smile. "I'll put in a daily order, then.

We couldn't afford to go inside. On other days, we would visit art museums. There was only enough money for one ticket, so one of us would go in, look at the exhibits, and report back to the other. On one such occasion, we went to the relatively new Whitney Museum on the Upper East Side. It was my turn to go in, and I reluctantly entered without him. I no longer remember the exhibit, but I do recall peering through on of the museum's unique trapezoidal windows, seeing Robert across the street, leaning against a parking meter, smoking a cigarette. He waited for me, and as we headed toward the subway he said, "One day we'll go in together, and the work will be ours.

And yet some Germans at least, especially in the art center of Germany which Munich was, preferred to be artistically polluted. In another part of the city in a ramshackle gallery that had to be reached through a narrow stairway was an exhibition of “degenerate art” which Dr. Goebbels had organized to show the people what Hitler was rescuing them from. It contained a splendid selection of modern paintings—Kokoschka, Chagall and expressionist and impressionist works. The day I visited it, after panting through the sprawling House of German Art, it was crammed, with a long line forming down the creaking stairs and out into the street. In fact, the crowds besieging it became so great that Dr. Goebbels, incensed and embarrassed, soon closed it.

At the entrance of the gardens, Lauren approached the two large bronze buffalos, replicas of buffalo statues that were displayed during the World’s Columbian Exhibition in 1893. The event was meant to celebrate Columbus’ arrival in the New World in 1492. The fair was so spectacular that people still talk about it today, the fourteen great buildings constructed by famous architects. There were fairgrounds of wonder and mystery, science and invention, but almost all of it was temporary, temporary buildings, canals and lagoons. Over twenty-seven million people visited Chicago in those six months during the fair and took with them to their small rural towns, cities across America and country’s far away the stories of a great city on a prairie, a great people, and all of the magic that lives there.

However, the Bleeding Hearts were kind hearts; and when they saw the little fellow cheerily limping about with a good-humoured face, doing no harm, drawing no knives, committing no outrageous immoralities, living chiefly on farinaceous and milk diet, and playing with Mrs Plornish's children of an evening, they began to think that although he could never hope to be an Englishman, still it would be hard to visit that affliction on his head. They began to accommodate themselves to his level, calling him 'Mr Baptist,' but treating him like a baby, and laughing immoderately at his lively gestures and his childish English—more, because he didn't mind it, and laughed too. They spoke to him in very loud voices as if he were stone deaf. They constructed sentences, by way of teaching him the language in its purity, such as were addressed by the savages to Captain Cook, or by Friday to Robinson Crusoe. Mrs Plornish was particularly ingenious in this art; and attained so much celebrity for saying 'Me ope you leg well soon,' that it was considered in the Yard but a very short remove indeed from speaking Italian. Even Mrs Plornish herself began to think that she had a natural call towards that language. As he became more popular, household objects were brought into requisition for his instruction in a copious vocabulary; and whenever he appeared in the Yard ladies would fly out at their doors crying 'Mr Baptist—tea-pot!' 'Mr Baptist—dust-pan!' 'Mr Baptist—flour-dredger!' 'Mr Baptist—coffee-biggin!' At the same time exhibiting those articles, and penetrating him with a sense of the appalling difficulties of the Anglo-Saxon tongue.

The candy-colored pavillions and exhibit halls, fitted out with Saturn rings, lightning bolts, shark's fins, golden grilles and honeycombs, the Italian pavillion with its entire facade dissolving in a perpetual cascade of water, the gigantic cash register, the austere and sinuous temples of the Detroit gods, the fountains, the pylons and sundials, the statues of George Washington and Freedom of Speech and Truth Showing the Way to Freedom had been peeled, stripped, prized apart, knocked down, bulldozed into piles, loaded onto truck beds, dumped into barges, towed out past the mouth of the harbor, and sent to the bottom of the sea. It made him sad, not because he saw some instructive allegory or harsh sermon on the vanity of all human hopes and Utopian imaginings in this translation of a bright summer dream into an immense mud puddle freezing over at the end of a September afternoon - he was too young to have such inklings - but because he had so loved the Fair, and seeing it this way, he felt in his heart what he had known all along, that, like childhood, the Fair was over, and he would never be able to visit again.

Early in my career, I formed a personal motto, one by which I continue to live: If offering a criticism, accompany it with one potential solution. In the case I described, the individual didn’t want to work together to find a solution. Unfortunately, I’ve never found an effective way to deal with adults who exhibit immaturity. The Bible offers a bit of interesting insight that I consider applicable: “Do not eat the bread of a selfish man, or desire his delicacies; for as he thinks within himself, so he is. He says to you, ‘Eat and drink!’ but his heart is not with you. You will vomit up the morsel you have eaten, and waste your compliments. Do not speak in the hearing of a fool, for he will despise the wisdom of your words” (Proverbs 23:6-9). The Bible also says, “If possible, so far as it depends on you, be at peace with all men” (Romans 12:18). It saddens me to say, but in that individual’s case, peace meant limiting my interactions with him. To foster peace, I stopped saying hello in the mornings. Not out of spite, but because friendly conversation led to comfort, and comfort, I noticed, opened the door for negative comments. Rarely do I take such an extreme measure, but sometimes distance is helpful. His visits ended. My peace and fervor began to reemerge.

Space Rockets as Power Symbols The moon rocket is the climactic expression of the power system: the maximum utilization of the resources of science and technics for the achievement of a relatively miniscule result: the hasty exploration of a barren satellite. Space exploration by manned rockets enlarges and intensifies all the main components of the power system: increased energy, accelerated motion, automation, cyber-nation, instant communication, remote control. Though it has been promoted mainly under military pressure, the most vital result of moon visitation so far turns out to be an unsought and unplanned one-a full view of the beautiful planet we live on, an inviting home for man and for all forms of life. This distant view on television evoked for the first time an active, loving response from many people who had hitherto supposed that modern technics would soon replace Mother Earth with a more perfect, scientifically organized, electronically controlled habitat, and who took for granted that this would be an improvement. Note that the moon rocket is itself necessarily a megastructure: so it naturally calls forth such vulgar imitations as the accompanying bureaucratic obelisk (office building) of similar dimensions, shown here (left). Both forms exhibit the essentially archaic and regressive nature of the science-fiction mind.

A major source of conflict is that men sometimes infer sexual interest on the part of a woman when it does not exist. A series of experiments has documented this phenomenon (Abbey, 1982; Lindgren, George, & Shoda, 2007). In one study, 98 male and 102 female college students viewed a 10-minute videotape of a conversation in which a female student visits a male professor’s office to ask for more time to complete a term paper. The actors in the film were a female drama student and a professor in the theater department. Neither the student nor the professor acted flirtatious or overtly sexual, although both were instructed to behave in a friendly manner. People who witnessed the tape then rated the likely intentions of the woman using a seven-point scale. Women watching the interaction were more likely to say that she was trying to be friendly, with an average rating of 6.45, and not sexy (2.00) or seductive (1.89). Men, also perceiving friendliness (6.09), were significantly more likely than women to infer seductive (3.38) and sexual intentions (3.84). A speed-dating laboratory procedure had men rate women’s sexual interest in them a er a brief interaction and compared those ratings to women’s self-reported sexual interest in each of the men (Perilloux et al., 2012). Again, men exhibited a sexual misperception bias, perceiving women as significantly more interested in them than women actually were. Men high in self-perceived attractiveness and female-evaluated mate value are especially vulnerable to the sexual over-perception bias (Kohl & Robertson, 2014; Perilloux et al., 2012). And men who pursue a short-term mating strategy are also more prone to the sexual over-perception bias (Perilloux et al., 2012), likely because this bias facilitates more frequent attempts to initiate sexual overtures.

A respectable old man gives the following sensible account of the method he pursued when educating his daughter. "I endeavoured to give both to her mind and body a degree of vigour, which is seldom found in the female sex. As soon as she was sufficiently advanced in strength to be capable of the lighter labours of husbandry and gardening, I employed her as my constant companion. Selene, for that was her name, soon acquired a dexterity in all these rustic employments which I considered with equal pleasure and admiration. If women are in general feeble both in body and mind, it arises less from nature than from education. We encourage a vicious indolence and inactivity, which we falsely call delicacy; instead of hardening their minds by the severer principles of reason and philosophy, we breed them to useless arts, which terminate in vanity and sensuality. In most of the countries which I had visited, they are taught nothing of an higher nature than a few modulations of the voice, or useless postures of the body; their time is consumed in sloth or trifles, and trifles become the only pursuits capable of interesting them. We seem to forget, that it is upon the qualities of the female sex, that our own domestic comforts and the education of our children must depend. And what are the comforts or the education which a race of beings corrupted from their infancy, and unacquainted with all the duties of life, are fitted to bestow? To touch a musical instrument with useless skill, to exhibit their natural or affected graces, to the eyes of indolent and debauched young men, who dissipate their husbands' patrimony in riotous and unnecessary expenses: these are the only arts cultivated by women in most of the polished nations I had seen. And the consequences are uniformly such as may be expected to proceed from such polluted sources, private misery, and public servitude.

On a sloping promontory on its wooded north shore was a modestly sized building called the National Capital Exhibition, and I called there first, more in the hope of drying off a little than from any expectation of extending my education significantly. It was quite busy. In the front entrance, two friendly women were seated at a table handing out free visitors' packs - big, bright yellow plastic bags - and these were accepted with expressions of gratitude and rapture by everyone who passed. "Care for a visitors' pack, sir?" called one of the women to me. "Oh, yes, please," I said, more thrilled than I wish to admit. The visitors' pack was a weighty offering, but on inspection it proved to contain nothing but a mass of brochures - the complete works, it appeared, of the visitors' center I had visited the day before. The bag was so heavy that it stretched the handles until it was touching the floor. I dragged it around for a while and then thought to abandon it behind a potted plant. A here's the thing. There wasn't room behind the potted plant for another yellow bag! There must have been ninety of them there. I looked around and noticed that almost no one in the room still had a plastic bag. I leaned mine up against the wall beside the plant and as I straightened up I saw that a man was advancing toward me. "Is this where the bags go?" he asked gravely. "Yes, it is." I replied with equal gravity. In my momentary capacity as director of internal operations I watched him lean the bag carefully against the wall. Then we stood for a moment together and regarded it judiciously, pleased to have contributed to the important work of moving hundreds of yellow bags from the foyer to a mustering station in the next room. As we stood, two more people came along, "Put them just there," we suggested, almost in unison, and indicated where we were sandbagging the wall. Then we exchanged satisfied nods and moved off into the museum.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

true—helping a hurting person is a bit scary. We want to do the right thing, not the wrong thing—say what will help, not what will hurt. To add to our confusion, our friend is “not quite herself.” She’s different. We want our friend fixed and back to normal. All you have to do is care. Harold Ivan Smith described the process so well: Grief sharers always look for an opportunity to actively care. You can never “fix” an individual’s grief, but you can wash the sink full of dishes, listen to him or her talk, take his or her kids to the park. You can never “fix” an individual’s grief but you can visit the cemetery with him or her. Grief sharing is not about fixing—it’s about showing up. Coming alongside. Being interruptible. “Hanging out” with the bereaving. In the words of World War II veterans, “present and reporting for duty.” The grief path is not a brief path. It’s a marathon, not a sprint.[1] What can you expect from a friend who is hurting? Actually, not very much. And the more her experience moves beyond a loss and closer to a crisis or trauma, the more this is true. Sometimes you’ll see a friend experiencing a case of the “crazies.” Her response seems irrational. She’s not herself. Her behavior is different from or even abnormal compared to the person not going through a major loss. Just remember, she’s reacting to an out-of-the-ordinary event. What she experienced is abnormal, so her response is actually quite normal. If what the person has experienced is traumatic she may even seem to exhibit some of the symptoms of ADD (Attention Deficit Disorder). And because your friend is this way, she is not to be avoided. Others are needed at this time in her life. These are responses you can expect. Your friend is no longer functioning as she once did—and probably won’t for a while. You Are Needed You are needed when a person experiences a sudden intrusion or disruption in her life. If you (or another friend) aren’t available, the only person she has to talk with for guidance, support, and direction is herself. And who wants support from someone struggling with a case of the “crazies”? But a problem may arise when your friend doesn’t realize that she needs you, at least at that particular time. Your sensitivity is needed at this point. Remember, when your friend is hurting and facing a loss, you are dealing with a loss as well, because the relationship you had with your friend has changed. It’s not the same.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

I encourage everyone to visit the exhibits and then walk up the ramp and go aboard Nautilus. Check out the torpedo room, wardroom, officer quarters, attack center, galley, and crew’s mess and quarters. I think you will find her as grand and accommodating as ever. Looking

Is that the Crystal Palace? Oh, it must be. It’s so beautiful—much more so than the engravings I’ve seen.” The building, which covered an area of more than nine acres, housed an international show of art and science called the Great Exhibition. Win had read about it in the French newspapers, which had aptly termed the exhibition one of the great wonders of the world. “How long since it was completed?” she asked, her step quickening as they headed toward the glittering building. “Not quite a month.” “Have you been inside? Have you seen the exhibits?” “I’ve visited once,” Merripen said, smiling at her eagerness. “And I saw a few of the exhibits, but not all. It would take three days or more to look at everything.” “Which part did you go to?” “The machinery court, mostly.” “I do wish I could see even a small part of it,” she said wistfully, watching the throngs of visitors exiting and entering the remarkable building. “Won’t you take me?” “You wouldn’t have time to see anything. It’s already afternoon. I’ll bring you tomorrow.” “Now. Please.” She tugged impatiently on his arm. “Oh, Kev, don’t say no.” As Merripen looked down at her, he was so handsome that she felt a pleasant little ache at the pit of her stomach. “How could I say no to you?” he asked softly.

She watches the wipers wagging back and forth. “A better explanation,” she says, “is that I have not told you why, or dare not tell you. When I think of the words, they seem so outrageous that they are best spoken into a pillow or into a hole in the ground, like King Midas.” “I don’t follow. What is it you can’t say?” “It’s that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money. “It is as if I were to visit friends, and to make some polite remark about the lamp in their living-room, and they were to say, ‘Yes, it’s nice, isn’t it? Polish-Jewish skin it’s made of, we find that’s best, the skins of young Polish-Jewish virgins.’ And then I go to the bathroom and the soap-wrapper says, ‘Treblinka — lOO% human stearate.’ Am I dreaming, I say to myself? What kind of house is this? “Yet I’m not dreaming. I look into your eyes, into Norma’s [his wife], into the children’s, and I see only kindness, human-kindness. Calm down, I tell myself, you are making a mountain out of a molehill. This is life. Everyone else comes to terms with it, why can’t you? Why can’t you?” She turns on him a tearful face. What does she want, he thinks? Does she want me to answer her question for her? They are not yet on the expressway. He pulls the car over, switches off the engine, takes his mother in his arms. He inhales the smell of cold cream, of old flesh. “There, there,” he whispers in her ear. “There, there. It will soon be over.

This "take home" aspect of modern exhibitions has parallels with the traditional "giveaways" handed out to visitors and the themed trinkets from the museum shop. The important difference is that data capture at exhibitions allows institutions to draw the Internet traffic of their target audiences into their digital space, delivering the kind of marketing benefits that mere branded trinkets can no longer provide.Interestingly, the live, physical experience of holding an event has not been replaced by virtual exhibitions, as was predicted when the Internet was born. The digital experience often leads to a physical visit that seems to encourage rather than discourage visitors.

Commercial exhibitors will often have strategic goals that explain the competitive strengths and unique advantages of their current offer. Related but slightly different are visitor outcomes. These describe the ideas of impressions the client wants the audience to take away from their visitor experience. [...] It can be really helpful to state intended "visitor outcomes" as well as "visitor messages", as there is a critical difference between delivering messages (saying that "science is fun") and designing an experience that creates an understanding in the mind of the visitor (having visitors say "science is fun" after their visit).

Seeking a compelling example of the company’s poor purchasing habits, Stegner assigned a summer student intern to investigate a single item—work gloves, which workers in most of the company’s factories wore. The student embarked on a mission to identify all the types of gloves used in all the company’s factories and then trace back what the company was paying for them. The intrepid intern soon reported that the factories were purchasing 424 different kinds of gloves! Furthermore, they were using different glove suppliers, and they were all negotiating their own prices. The same pair of gloves that cost $5 at one factory might cost $17 at another. At Stegner’s request, the student collected a specimen of every one of the 424 different types of gloves and tagged each with the price paid. Then all the gloves were gathered up, brought to the boardroom, and piled up on the conference table. Stegner invited all the division presidents to come visit the Glove Shrine. He recalled the scene: What they saw was a large expensive table, normally clean or with a few papers, now stacked high with gloves. Each of our executives stared at this display for a minute. Then each said something like, “We really buy all these different kinds of gloves?” Well, as a matter of fact, yes we do. “Really?” Yes, really. Then they walked around the table…. They could see the prices. They looked at two gloves that seemed exactly alike, yet one was marked $3.22 and the other $10.55. It’s a rare event when these people don’t have anything to say. But that day, they just stood with their mouths gaping. The gloves exhibit soon became a traveling road show, visiting dozens of plants. The reaction was visceral: This is crazy. We’re crazy. And we’ve got to make sure this stops happening.

Before becoming an artist myself, I used to visit galleries and I enjoy someone's work... Now I visit galleries and I can enjoy seeing others enjoying my work.

I have agreed to walk with my mother late in the day but I’ve come uptown early to wander by myself, feel the sun, take in the streets, be in the world without the interceding interpretations of a companion as voluble as she. At Seventy-third Street I turn off Lexington and head for the Whitney, wanting a last look at a visiting collection. As I approach the museum some German Expressionist drawings in a gallery window catch my eye. I walk through the door, turn to the wall nearest me, and come face to face with two large Nolde watercolors, the famous flowers. I’ve looked often at Nolde’s flowers, but now it’s as though I am seeing them for the first time: that hot lush diffusion of his outlined, I suddenly realize, in intent. I see the burning quality of Nolde’s intention, the serious patience with which the flowers absorb him, the clear, stubborn concentration of the artist on his subject. I see it. And I think, It’s the concentration that gives the work its power. The space inside me enlarges. That rectangle of light and air inside, where thought clarifies and language grows and response is made intelligent, that famous space surrounded by loneliness, anxiety, self-pity, it opens wide as I look at Nolde’s flowers. In the museum lobby I stop at the permanent exhibit of Alexander Calder’s circus. As usual, a crowd is gathered, laughing and gaping at the wonderfulness of Calder’s sighing, weeping, triumphing bits of cloth and wire. Beside me stand two women. I look at their faces and I dismiss them: middle-aged Midwestern blondes, blue-eyed and moony. Then one of them says, “It’s like second childhood,” and the other one replies tartly, “Better than anyone’s first.” I’m startled, pleasured, embarrassed. I think, What a damn fool you are to cut yourself off with your stupid amazement that she could have said that. Again, I feel the space inside widen unexpectedly. That space. It begins in the middle of my forehead and ends in the middle of my groin. It is, variously, as wide as my body, as narrow as a slit in a fortress wall. On days when thought flows freely or better yet clarifies with effort, it expands gloriously. On days when anxiety and self-pity crowd in, it shrinks, how fast it shrinks! When the space is wide and I occupy it fully, I taste the air, feel the light. I breathe evenly and slowly. I am peaceful and excited, beyond influence or threat. Nothing can touch me. I’m safe. I’m free. I’m thinking. When I lose the battle to think, the boundaries narrow, the air is polluted, the light clouds over. All is vapor and fog, and I have trouble breathing. Today is promising, tremendously promising. Wherever I go, whatever I see, whatever my eye or ear touches, the space radiates expansion. I want to think. No, I mean today I really want to think. The desire announced itself with the word “concentration.” I go to meet my mother. I’m flying. Flying! I want to give her some of this shiningness bursting in me, siphon into her my immense happiness at being alive. Just because she is my oldest intimate and at this moment I love everybody, even her.

One could argue that we’re the only ones ever to act this way. In many cultures, parents praise very little—or not at all. Yet their children grow up exhibiting all signs of robust mental health, as well as great empathy. Furthermore, in the cultures we’ll visit in this book, the children who receive little praise show more confidence and mental strength than their American counterparts, who are steeped in praise.

the white tents. 17. Two views of The Wild West in Paris, igo5. Colonel Cody, a Hawkeye by birth, is personally lionized by the Parisians, and his unique exhibition, so full of historical and dramatic interest, made a wonderful impression upon the susceptible French public. The twenty lessons I took in French, at the Berlitz School of Languages, London, only gave me a faint idea of what the language was like, but as I was required to make my lectures and announcements in French, I had my speeches translated, and was coached in their delivery by Monsieur Corthesy, editeur, le journal de Londres. Well, I got along pretty fair, considering that I did not know the meaning of half the words I was saying. Anyway it amused them, so I was satisfied. I honestly believe that more people came in the side show in Paris to hear and laugh at my "rotten" French than anything else, and when I found that a certain word or expression excited their risibilities, I never changed it. I can look back now and see where some of my own literal translations were very funny. Colonel Cody's exhibition is unique in many ways, and might justly be termed a polyglot school, no less than twelve distinct languages being spoken in the camp, viz.: Japanese, Russian, French, Arabic, Greek, Hungarian, German, Italian, Spanish, Holland, Flemish, Chinese, Sioux and English. Being in such close contact every day, we were bound to get some idea of each other's tongue, and all acquire a fair idea of English. Colonel Cody is, therefore, entitled to considerable credit for disseminating English, and thus preserving the entente cordiale between nations. 18. Entrance to the Wild West, Champs de Mars, Paris, Igo5. The first place of public interest that we visited in Paris was the Jardin des Plantes (botanical and zoological garden) and le Musee d'Histoire Naturelle. The zoological collection would suffer in comparison with several in America I might mention, but the Natural History Museum is very complete, and is, to my notion, the most artistically arranged of any museum I have visited. Le Palais du Trocadero, which was in sight of our grounds and facing the

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Damien arrived home after his usual Saturday afternoon visit to the Botolph Museum. He lay down on the living room couch before supper. Just as he was about to slip into a doze, a key rattled in the front door. He sat up, alert and eager, sleepiness gone, “What did the doctor say?” “More tests,” his wife Adita replied. “And more waiting,” Damien sighed as she stooped to embrace him. He lay back down afterwards. “We’ll get through it.” He had a few minutes before supper and went to the third floor study of the house they rented from his father when they moved to Botolph. Old Professor Higginbotham was now living in Florida, Damien ran a hand along a half-shelf of books his father wrote or edited about Prabashtan, an ancient mountainous country in Central Asia. His great-grandfather, a merchant trader, had many contacts there. Adita’s parents left the country for Canada after a war started. These family connections, along with the fact that he and Adita had spent a two week holiday there earlier in the year, inspired Damien to visit the Prabashtan galleries at Botolph’s art museum on Saturday afternoons and whenever he felt adrift. The only thing that came of his gallery-haunting so far was a hundred or so unformed notes he meant as a present for Adita that he based on items in the exhibits. He sat at his father’s old desk and wrote another: Winsome Lady Well-proportioned figure at rest. Leafy fan, lark headdress, A smile that’s fading. Green and ochre, brown. He watched, pleased, Deceived by scenes He imagined taking place In a distant court.

Monologue – A verbal exercise that characterizes the elicitation process, designed to keep the person in short-term thinking mode, dissuade him from expressing resistance or voicing a denial, and convince him of the acceptability of disclosing the information he had intended to withhold. Negative question – A question that is phrased in a way that negates an action. This question type is to be avoided because it conveys an expectation of a response that potentially lets the person off the hook. Example: “You didn’t flirt with her, did you?” Nonanswer statement – A verbal deceptive behavior in which a person responds to a question with a statement that does not answer the question, but rather buys him time to formulate a response that he hopes will satisfy the questioner. Example: “That’s a very good question.” Nonverbal deceptive indicator – A deceptive behavior that is exhibited in response to a question and that does not involve verbal communication. Open-ended question – A question that is asked as a means of establishing the basis for a discussion or to probe an issue. Example: “What were you doing in Las Vegas when you were supposed to be visiting your mother in Tampa?” Opinion question – A question that solicits a person’s opinion as a means of assessing his likely culpability in a given situation. The “punishment question” falls into this category. Example: “What do you think should happen to a person who dines in a restaurant and leaves without paying?” Optimism bias – A cognitive bias

The superior officer raised his ice-blue eyes, then went back to his chore without exhibiting any particular emotion. If the colonel was involved in the affair, Sharko thought, if he had kept up with the news following the discovery of the bodies in Gravenchon, he would certainly know Sharko’s face, who he was. If so, had he been steeling himself for this visit since the corporal on guard had called ahead? Or had he simply not recognized him?

My bout with the Marquis was much like the others. Even more than usual I was hopelessly outclassed, but I stuck grimly to my place, refusing to back up, and took hit after hit, though my parrying was steadily improving. Of course I lost, but at least it wasn’t so easy a loss as I’d had when I first began to attend practice--and he didn’t insult me with obvious handicaps, such as never allowing his point to hit me. Bran and Savona finished a moment later, and Bran was just suggesting we exchange partners when the bells for third-gold rang, causing a general outcry. Some would stay, but most, I realized, were retreating to their various domiciles to bathe and dress for open Court. I turned away--and found Shevraeth beside me. “You’ve never sampled the delights of Petitioners’ Court,” he said. I thought of the Throne Room again, this time with Galdran there on the goldenwood throne, and the long lines of witnesses. I repressed a shiver. Some of my sudden tension must have exhibited itself in my countenance because he said, “It is no longer an opportunity for a single individual to practice summary justice such as you experienced on your single visit.” “I’m certain you don’t just sit around happily and play cards,” I muttered, looking down at the toes of my boots as we walked. “Sometimes we do, when there are no petitioners. Or we listen to music. But when there is business, we listen to the petitioners, accept whatever they offer in the way of proof, and promise a decision at a later date. That’s for the first two greens. The last is spent in discussing impressions of the evidence at hand; sometimes agreement is reached, and sometimes we decide that further investigation is required before a decision can be made.” This surprised me so much I looked up at him. There was no amusement, no mockery, no threat in the gray eyes. Just a slight question. I said, “You listen to the opinions of whoever comes to Court?” “Of course,” he said. “It means they want to be a part of government, even if their part is to be merely ornamental.” I remembered that dinner when Nee first brought up Elenet’s name, and how Shevraeth had lamented how most of those who wished to give him advice had the least amount worth hearing. “Why should I be there?” I asked. “I remember what you said about worthless advisers.” “Do you think any opinion you would have to offer would be worthless?” he countered. “It doesn’t matter what I think of my opinion,” I retorted, and then caught myself. “I mean to say, it is not me making the decisions.” “So what you seem to be implying is that I think your opinion worthless.” “Well, don’t you?” He sighed. “When have I said so?” “At the inn in Lumm, last year. And before that. About our letter to Galdran, and my opinion of courtiers.” “It wasn’t your opinion I pointed up, it was your ignorance,” he said. “You seem to have made truly admirable efforts to overcome that handicap. Why not share what you’ve learned?” I shrugged, then said, “Why don’t you have Elenet there?”--and hated myself for about as stupid a bit of pettiness as I’d ever uttered. But he took the words at face value. “An excellent suggestion, and one I acted on immediately after she arrived at Athanarel. She’s contributed some very fine insights. She’s another, by the way, who took her own education in hand. Three years ago about all she knew was how to paint fans.” I had talked myself into a corner, I realized--all through my own efforts. So I said, “All right, then. I’ll go get Mora to dig out that Court dress I ordered and be there to blister you all with my brilliance.” He bowed, lifted his gray-gloved hand in a casual salute, and walked off toward the Royal Wing. I retreated in quick order to get ready for the ordeal ahead.

On February 8, 1928, known as Lindbergh day since it was the day he crossed the Atlantic Ocean the year before, Charles A. Lindbergh landed at the Campo Columbia airfield near Havana. Lindbergh had visited many countries in his plane, and he had the national flags of each country painted in the fuselage. Having flown from Haiti, on a Goodwill Tour of the Caribbean in his "Spirit of St. Louis," he had the Cuban flag painted on his a single-engine Ryan monoplane. It was the last country he visited before he donated the “Spirit of St. Louis" to the Smithsonian Institution, where it is still exhibited at the National Air and Space Museum in Washington, D.C.

Women with high-risk factors should undergo screening at the first visit or as soon as possible, while individuals who continue to exhibit low-risk characteristics do not require screening. A

had not the outrageous flair of Sybilla, and since George was a natural horseman it seemed almost inevitable that they should more often than not end up side by side, at some distance from the others. William never came, preferring to work at his painting, which was his profession as well as his vocation. He was gifted to the degree that his works were admired by academicians and collected by connoisseurs. Only Eustace affected to find it displeasing that his only son preferred to retire alone to the studio arranged for him in the conservatory and make use of the morning light, rather than parade on horseback for the fashionable world to admire. When they did not ride, they drove in the carriage, went shopping, paid calls upon their more intimate friends, or visited art galleries and exhibitions.

The speeches she is making with almost weekly regularity are a further satisfying feature of her royal life. Some she writes herself, others by a small coterie of advisers, including her private secretary Patrick Jephson, now a firm ally in the royal camp as she personally appointed him last November. It is a flexible informal group who discuss with the Princess the points she wants to make, research the statistics and then construct the speech. The contrast between her real interests and the role assigned for her by her palace “minders” was amply demonstrated in March this year where on the same day she was guest of honour at the Ideal Home Exhibition and in the evening made a passionate and revelatory speech about AIDS. There was an interesting symbolism to these engagements, separated only by a matter of hours but by a generation in personal philosophy. Her exhibition visit was organized by the palace bureaucracy. They arranged everything from photo opportunities to guests lists while the subsequent media coverage concentrated on an off-the-cuff remark the Princess made about how she couldn’t comment on her plans for National Bed Week because this was “a family show”. It was light, bright and trite, the usual offering which is served up by the palace to the media day in day out. The Princess performed her role impeccably, chatting to the various organizers and smiling for the cameras. However her performance was just that, a role which the palace, the media and public have come to expect. A glimpse of the real Diana was on show later that evening when in the company of Professor Michael Adler and Margaret Jay, both AIDS experts, she spoke to an audience of media executives at a dinner held at Claridges. Her speech clearly came from the heart and her own experience. Afterwards she answered several rather long-winded questions from the floor, the first occasion in her royal life where she had subjected herself to this particular ordeal. This episode passed without a murmur in the media even though it represented a significant milestone in her life. It illustrates the considerable difficulties she faces in shifting perceptions of her job as a Princess, both inside and outside the palace walls.

At the same time, the Establishment and their media allies were in full cry. Lord McGregor, the Chairman of the Press Complaints Commission, issued a statement condemning the hysteria that the book immediately generated as ‘An odious exhibition of journalists dabbling their fingers in the stuff of other people’s souls.’ In fact, this criticism was never made of the book itself; indeed, Lord McGregor has since told me that the issue was the ‘most difficult’ of his tenure. The Archbishop of Canterbury worried publicly about the effects of the publicity on Princes William and Harry; Lord St John of Fewsley condemned the book’s publication, while a pot-pourri of MPs were keen to see me locked away in the Tower; it was, too, a torrid time for Diana’s supporters. As loyalists rallied to the flag, ignoring the message while deriding the messenger, the public gradually began to accept the book’s veracity through statements by Diana’s friends, further confirmed when she visited her old friend Carolyn Bartholomew, who had spoken about the Princess’s bulimia. Unfortunately, that casual call upon an old and trusted friend had bitter consequences for Diana. Senior courtiers, including the Queen’s private secretary, Sir Robert Fellowes, pointed accusing fingers at Diana when they saw the front-page coverage of the visit. Aggrieved and hurt, the Princess flew by helicopter to Merseyside for a visit to a hospice, her first official engagement since Diana, Her True Story hit the headlines. It proved to be an emotional meeting between Diana and her public for, touched by the show of affection from waiting wellwishers, she burst into tears, overcome by the distressing echoes of her morning meeting with Palace officials, and by the underlying strain of the decision she and Prince Charles had taken. As she later told a friend: ‘An old lady in the crowd stroked my face and that triggered something inside me. I simply couldn’t stop myself crying.’ The public tears did not surprise her close friends, who knew only too well the private anguish of her lonely position, the strain she had borne for 18 months. As one remarked: ‘She is a brilliant actress who has disguised her private sorrow.

Visit art galleries and museums Read history books and texts Devour autobiographies and biographies of people I admire who exhibit the character traits I value Take classes on anything that takes my fancy (I recently signed up for a stand-up comedy class. What?) Keep up to date on current affairs Study finance, the markets and business in general Hang out with old folks who have done stuff with their lives Go to watch opera, plays and dramas Study philosophy and some of the great thinkers of our time and past times Travel to fucking weird places where I can’t speak the language and hang out with the locals Watch documentaries on some of the weirdest subjects you can imagine

Our situation is much like that of a little girl who was taken by her mother to visit a chiropractor friend of mine. Her mother said, “I think something is wrong with my daughter. She is a very quiet little girl and always well behaved, but never once have I heard her laugh. In fact, she rarely even smiles.” My friend examined her and discovered a spinal misalignment that, she judged, would give the girl a terrific headache all the time. Fortunately, it was one of those misalignments that a chiropractor can correct easily and permanently. She made the adjustment—and the girl broke into a big laugh, the first her mother had ever heard. The omnipresent pain in her head, which she had come to accept as normal, was miraculously gone. Many of you might doubt that we live in a “sea of pain.” I feel pretty good right now myself. But I also carry a memory of a far more profound state of well-being, connectedness, and intensity of awareness that felt, at the time, like my birthright. Which state is normal? Could it be that we are bravely making the best of things? How much of our dysfunctional, consumptive behavior is simply a futile attempt to run away from a pain that is in fact everywhere? Running from one purchase to another, one addictive fix to the next, a new car, a new cause, a new spiritual idea, a new self-help book, a bigger number in the bank account, the next news story, we gain each time a brief respite from feeling pain. The wound at its source never vanishes though. In the absence of distraction—those moments of what we call “boredom”—we can feel its discomfort. Of course, any behavior that alleviates pain without healing its source can become addictive. We should therefore hesitate to cast judgment on anyone exhibiting addictive behavior (a category that probably includes nearly all of us). What we see as greed or weakness might merely be fumbling attempts to meet a need, when the true object of that need is unavailable. In that case the usual prescriptions for more discipline, self-control, or responsibility are counterproductive.

Burr was in. He enthusiastically sent one of his contraptions back with Langman to his wards, where, in an initial group of 100 women, he strapped one electrode to the lower abdomen above the pubis, and the other either on or alongside the cervix.6 Women whose troubles turned out to be caused by ovarian cysts or other non-cancerous medical issues almost always had a positive reading. Women with malignant tumors, however, showed an electrical “marked negativity” of the cervical region every time.7 Langman confirmed their diagnosis with a pathological examination. Cancerous tissues, it appeared, emitted an unmistakable electrical signature. Langman repeated the technique in about a thousand women to see whether his results stood up. They did: 102 of his patients exhibited the characteristic voltage reversals. When Langman operated on them, he confirmed that 95 of the 102 had cancer.8 Even more remarkably, often the masses had not even progressed to the point where the symptoms would have driven them to visit the doctor, never mind obtain a correct diagnosis. After removing these cancers, the electrical polarity shown on the electrometer would normally flip back to a “healthy” positive indicator—but it did not always. When it stayed negative, Burr and Langman suspected that this indicated that they either hadn’t got it all, or the cells had metastasized. Somewhere in the body, a cancerous mass was still sending its nefarious signals. What struck them as especially strange was that the electrode inside the genital tract did not have to be placed directly on, or even particularly near to, the malignant tissue for the anomaly to be detectable. It was like a distress signal was being sent over distances through the body’s healthy tissue.

Once they had a visiting exhibit featuring photographs of Bharatanatyam dancers. I walked around the room for hours, sitting on the benches and trying to draw the dancers’ curves. My child hands cramped up and my fingers refused to move, until Vidya took my hand and showed me how to sketch with my arm as a brush. “Art isn’t small,” she said. “Don’t try to fit it into your fist.

visit Aggie McElroy—I think for the purpose of exhibiting him as a terrible example, in hopes of keeping Aggie’s youngest daughter from marrying the first young man who

Tourists often think that they can get a feel for the local people and culture by visiting such ‘attractions’ as museums and art galleries. This is absolute rubbish. Most such places have about as much to do with the real culture of a country as Morris dancing has to do with the culture of England. It is through the humble supermarket that the real soul of a people is revealed. Their other big advantage is that you can eat the exhibits.

General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

When the philosopher Imlac takes Rasselas to visit the Great Pyramid, he speculates upon why the pyramid was ever built. The narrowness of the chambers proves that it could afford no retreat from enemies, and treasures might have been reposited at far less expense with equal security. It seems to have been erected only in compliance with that hunger of imagination which preys incessantly upon life, and must be always appeased by some enjoyment. Those who have already all that they can enjoy must enlarge their desires.1 What Johnson calls that ‘hunger of imagination’ is also a necessary feature of human adaptation. Man’s extraordinary success as a species springs from his discontent, which compels him to employ his imagination. The type of modern man who exhibits more discontent than any other, Western man, has been the most successful. There are, at first sight, some exceptions to what I have just written. In certain parts of the world, small communities still exist in which traditional ways of life have continued unchanged for centuries. Without knowing more about their inner imaginative lives, it is impossible to tell how much the members of such communities suffer from discontent; but even the best adapted probably imagine a heaven in which they will be protected from danger and released from toil. What is tragically certain is that such groups are always at risk, because, like animals governed by inbuilt patterns of behaviour, they find it hard to adapt to the impact of Western civilization. It is always the dissatisfied who triumph.

My two weeks here are filled with activities. Private lessons in Japanese history, language, and arts. Tours of shrines, temples, and tombs. A visit to the imperial stock farm and wild duck preserves. Assorted banquets. Outings with my father---a baseball game, public art exhibit opening.

Dear Diary, THERE WAS STILL ANOTHER DAY of the conference, so we stayed in DC. While Dad attended panels and lectures, George, Bess, and I finally took in the sights. It was hard to keep up with George at the National Air and Space Museum. She raced from one exhibit to the next. Bess led us more calmly through the National Portrait Gallery, giving us time to appreciate the paintings. When it was my turn, I picked visiting the Supreme Court. With all our talk about justice the night before, I wanted to see the highest court in the land—the place where nine people get to decide exactly what the law means. Walking up the marble steps gave me goose bumps. I’d heard the building referred to as the Temple of Justice before, and now I understand why. But then I remembered Walker was still behind bars for a crime he didn’t commit, and the goose bumps faded.

We couldn't afford to go inside. On other days, we would visit art museums. There was only enough money for one ticket, so one of us would go in, look at the exhibits, and report back to the other. On one such occasion, we went to the relatively new Whitney Museum on the Upper East Side. It was my turn to go in, and I reluctantly entered without him. I no longer remember the exhibit, but I do recall peering through on of the museum's unique trapezoidal windows, seeing Robert across the street, leaning against a parking meter, smoking a cigarette. He waited for me, and as we headed toward the subway he said, "One day we'll go in together, and the work will be ours.

* I visited the Holocaust Museum in Washington, D.C., and was deeply moved by its depiction of Nazi atrocities against the Jews. What struck me most personally, however, was a section early in the exhibit that demonstrated how the early discrimination laws against the Jews—the “Jews Only” shops, park benches, rest rooms, and drinking fountains—were explicitly modeled on segregation laws in the United States.

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The point here is not that Marco Polo should thus be seen in a good light, according to leftist expectations. It is rather that the ‘Orientalist’ charge is wrong, and that this Italian of the Middle Ages was a typical European in showing greater curiosity about other cultures, while exhibiting a unique European disposition to seek out and learn about the world. By contrast, Larner judges that Ibn Battuta’s tale ‘is not a geography like Marco’s work, but essentially an autobiography.’ Visiting unknown or unfamiliar lands, writing about the ways of others, was not Ibn Battuta’s ‘overriding impulse’; rather, it was to visit ‘illustrious sanctuaries’[40] in the Muslim world. He makes the crucial point that Ibn Battuta ‘is always at home’ in his travels, ‘wherever he goes he is in the House of Islam’.

slave dhows coming and slave dhows going away...On visiting the slave market, I found about 300 slaves exposed for sale...The teeth are examined, the cloth lifted to examine the lower limbs, and a stick thrown for a slave to bring, and thus exhibit his paces. Some are dragged through the crowd by hand and the price called incessantly...”[145]

The citadel offers 360-degree views across Jerusalem, as good a primer on the city as the museum exhibits; it’s worth visiting when you first arrive in Jerusalem.

In 1851 Ada Lovelace and Charles Babbage met up for the last time when they, along with six million other people, visited the Great Exhibition together. Housed in a fantastic purpose-built glass pavilion in Hyde Park called the Crystal Palace, it was designed to showcase the achievements of British industry and all the stuff we’d nicked from overseas. Babbage, who never let an occasion get in the way of a grievance, was less impressed because not one of his amazing engines was on display.

Anne Kihagi Explores San Francisco’s Best Cultural Attractions The city of San Francisco offers many museums and enriching cultural attractions. Here, Anne Kihagi explores three of the city’s best ones to visit shared in 3 part series. California Academy of Sciences The California Academy of Sciences houses several attractions under one roof sure to interest visitors of all ages. Offering an aquarium, a natural history museum, and a planetarium, the academy also boasts a 2.5-acre living roof. The venue is also home to various educational and research programs. The academy’s featured exhibits include the Steinhart Aquarium, which has 40,000 species, and the Osher Rainforest, which is a four-level exhibit with butterflies and birds. The academy has several long-standing exhibits like the Philippine Coral Reef, the Human Odyssey, the Tusher African Hall, and the California Coast. There are three exhibits for the academy’s youngest visitors to enjoy. The Naturalist Center features live species and educational games and films, while the Curiosity Grove is a California forest-themed play area. Finally, the Discovery Tidepool allows children to interact with California tidepool species.The academy also offers sleepovers for their youngest visitors. Children will be able to view the exhibits after-hours and enjoy milk and cookies before bed. They can choose to sleep in areas such as the flooded forest tunnel or the Philippine Coral Reef. The academy’s newest exhibits include the planetarium show Passport to the Universe, 400 gemstones and minerals in the geology collection, and the Giants of Land and Sea that showcases the northern part of the state’s natural wonders. You can visit the academy Monday through Saturday from 9:30 AM – 5:00 PM and on Sundays from 11:00 AM – 5:00 PM. Visitors who are 21 and older can attend the academy’s NightLife on Thursdays from 6:00 – 10:00 PM. General adult admission is $35.95 and senior citizen admission (65+ with ID) is $30.95. Child admission (ages 4-11) is $25.95, while youth admission (ages 12-17) is $30.95. Children under three receive free admission.

While Devon browsed over a nearby exhibit of weaponry, Helen wandered to Kathleen, who was looking at a glass case of ancient coins. “There are so many galleries in this museum,” she remarked, “that we could visit every day for a month, and still not see everything.” “Certainly not at this rate,” Kathleen said, watching as Pandora and Cassandra opened their sketch tablets and began to copy some of the hieroglyphs. Following her gaze, Helen said, “They’re enjoying this immensely. So am I. It seems we’ve all been starved for more culture and stimulation than Eversby can offer.” “London has an abundance of both,” Kathleen said. Trying to sound light, she added, “I suppose Mr. Winterborne has that on his side: You would never be bored.” “No, indeed.” Helen paused before asking cautiously, “Regarding Mr. Winterborne, may we invite him to dinner? I would like to thank him in person for the music box.” Kathleen frowned. “Yes. Lord Trenear will invite him if you wish. However…you are aware of how inappropriate that music box is. It was a lovely and generous gift, but we should give it back.” “I can’t,” Helen whispered with a frown. “It would hurt his feelings.” “It would hurt your reputation.” “No one has to know, do they? Couldn’t we consider it as a gift for the family?” Before she replied, Kathleen thought of all the rules she had broken and the sins she had committed, some small, some far more egregious than accepting an inappropriate gift. Her mouth curved in wry resignation. “Why not?” she said, and took Helen’s arm. “Come help me stop Pandora--she’s trying to open a mummy case.

If you are visiting the capital on a budget, the US Congress has a more successful farce exhibition than anywhere in the Washington DC art district and tickets are free.

In one respect the world seemed to have suffered material loss by the visitation of the deluge. Along with the agents and instruments of evil there had also been swept away by it the emblems of grace and hope—paradise with its tree of life and its cherubim of glory. We can conceive Noah and his household, when they first left the ark, looking around with melancholy feelings on the position they now occupied, not only as being the sole survivors of a numerous offspring, but also as being themselves bereft of the sacred memorials which bore evidence of a happy past, and exhibited the pledge of a yet happier future. An important link of communion with Heaven, it might well have seemed, was broken by the change thus brought through the deluge on the world" (P. Fairbairn).

The intimate relation between obligation and likelihood is nicely illustrated by an anecdote from the Soviet era. The story goes that during his state visit to Moscow,27 Fidel Castro is shown around the capital by Leonid Brezhnev. First of all, Castro is invited for a beer, which he downs in one go, and praises heartily. ‘Yes,’ says Brezhnev, ‘it was provided by our good friends from Czechoslovakia.’ Then Castro is chauffeured around the city, and is rather taken by the limo. ‘Yes,’ says Brezhnev, ‘these cars are provided by our good friends from Czechoslovakia.’ Later on, they visit an exhibition of fine crystal, and Castro duly waxes lyrical. ‘Yes,’ says Brezhnev, ‘the crystal is provided by our good friends from Czechoslovakia.’ ‘They must be very good friends,’ says Castro. ‘Yes,’ says Brezhnev, ‘they must.