This is kind of a double assignment for me because I work in two different places but do the same job.

Variant #1

I hear children laughing and dogs barking happily. I hear pigeons rustling their feathers and cooing while courting each other. With each sigh of the wind a soft air brushes my face. In the air I can smell the scent of freshly ground coffee. I can feel the laptop keyboard underneath my fingers. I hear the mobile phone ringing.

I open my eyes and see my cozy room and a monochromatic picture of a zebra staring straight at me.

Variant #2

I hear people talking, bustling, rushed voices, yells. I sense people passing by swiftly. I smell freshly bought sandwiches and hear the rustle made by the hands clumsily unwrapping the paper. I smell strong coffee mixed with herbal and fruit tea scent. I hear the monotonous drone of air conditioning and feel ice cold air hit the back of my head. I pop earplugs and turn on my music list. I hear the beats and rhythm of the first song on the list.

I open my eyes and see an open space office and a pin-up board full of my doodles.

Daily prompt from: https://www.facebook.com/photo.php?fbid=620383081322350&set=a.599260846767907.1073741825.175634409130555&type=1&relevant_count=1.

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Walker: A walker has several advantages over crutches, such as not falling onto the floor as soon as you release your grip. The ingredients contained in Avotone are: Acetyl Hexapeptide-3, Avocado Oil, Vitamin A, Vitamin D, Potassium, Chlorophyll, and Lecithin. You can either take supplements sold in the market or natural foods such as spices, nuts, cereals, coffee, cocoa, tea and vegetables. Like many painful conditions Thoracic Outlet Syndrome responds very well to massage therapy and bodywork. Here are some of these exercises which you can try at home, but before you do them, I would advice that you always give it time to work.

It not only relaxes the muscular tissues with the physique but they may be also used to reduce the discomfort along with the stiffness with the muscles of our physique. In this article we find out how harmful bacteria can cause diseases such diphtheria, botulism, and tetanus. Properties – As a tonic to the glandular and nervous systems. This is the top selling drug at our pharmacy month after associated with FMS especially using medication for Fibromyalgia. Always remember and follow the same schedule every day.

Except, of course, there’s no guarantee the original story is true and, even if there is some truth in it, there’s no guarantee the claimed improvement was the result of the drug. For me, it is the sensation that I have post nasal drip going down my throat. Generally, whiplash symptoms will disappear a month or two after diagnosis and treatment, but in some cases they can last for long periods of time, especially if medical attention is not sought straight away. Progressive muscle relaxation can be used without a trainer or a healthcare professional great obstacles in the process of our enhancement, or spiritual growth, or simply a more profound understanding of life. Other adverse effects associated with methocarbamol are allergic reactions, fever, headache, slowed heartbeat, low blood pressure, nausea, vomiting, confusion, double vision, lightheadedness, itching, and rash. Side effects that result from using Cramp Bark have not been reported.

Few of these herbs can be taken orally and few are for topical use. You should eat foods that build up mucus in your throat like milk or chocolate. Flexeril is a muscle relaxant that can make it impossible to have an erection. The abuse of baclofen may harm the individual’s way of thinking and reactions. If you may follow this tip, you can even save yourself from paying escalating fees for surgery, medications, and devices useful to treat erectile dysfunction.

I have no idea who she is. In my mind she is standing there with her hands on her hips, tapping her foot with a very frustrated look on her face. But the rest of her features keep morphing and changing while she looks at me with impatience.

Blond to brunette, skinny to plump, tall to petite, fit to fatigued. My female villain throws her arms up in the air in disgust, “Make up your mind already.”

But it’s difficult to commit (there goes those commitment issues again) after all, I will be spending a lot of time with her over what could be a year or more. This unknown villainess and I going to put my main character through some very hard times and I just want to make sure she is the right one for the job.

What I do know is this…I know exactly what horrible things my villain is going to do. I have master plan of destruction and mayhem all mapped out.

She is still standing there tapping her foot at me.

The question isn’t what “is” she going to do, it’s “how” is she going to do it. Is she deceptively sweet or just plan up front and evil? Does she swear in every sentence or hide behind soothing sweet words? Does she smile or just cross her arms and stare at people like their an idiot. What kind of villain is she and is she the right one for the job?

I close my eyes and picture her again…she is still tapping her foot and rolling her eyes at me.

If you saw me out walking somewhere, you’d probably not look twice. A short, round girl with straight blond hair and blue eyes behind thick glasses. Then suddenly you’d realize a child doesn’t have those curves. Then you might look again and you’d realize I’m a short, curvy woman. BBW. Except the height of your average 9 year old.

If you bother to look closer, your mind would boggle further. Despite the obvious roundness, my extremities are slender and tiny. My features delicate. And in the depths of my eyes, an age that years cannot match. An old soul. Born in the wrong generation, some would say.

But that’s not true. Any other generation past and I wouldn’t be here. For deep behind my eyes, at the center of my brain, is a mass. A tumor. There’s no cancer, praise God, but it’s not harmless either. This generation has the tools and treatments to adjust the hormones this mass is affecting. To test for their fluctuations. To live.

Fluctuating between fatigue and exuberance. Excitement and fright. Hope and fear. But always faith. Faith that there’s a point to my struggles, my triumphs, my life.

I’m about to celebrate my 29th birthday. I have a great family, a cat, a car, a job, an apartment…now if I could find somebody willing to slowly get to know each other. To talk for hours with. To sit in comfortable silence with. To support each other, help each other, encourage each other.

If you saw me out walking somewhere, you’d probably not look twice. But if our hearts and minds met, maybe, just maybe, you’d realize I’m somebody special.

I actually sat down and tried to think of some catchy phrase/byline that would not only describe me, but would make me seem witty and cool at the same time. And then I gave up. And made a list. Yes, I did.

Jesus-follower (2)
Lou’s wife (2)
Lefebvre daughter/sister (3)
Friend (1)
Musician (1)
Teacher (1)

Total: 10 words. That is all.

The objection my lecturer presented was Kripke’s semantic objection from ignorance. The argument is that in many cases, we can refer to an object cogently and usefully without knowing any information about the object that is unique to the object.  An example: say I was to use the name “Jimmy Carter”. The sum total of knowledge I have about the person Jimmy Carter is that they were a president of the United States. However, this knowledge is in no way unique: Jimmy Carter is not the only president of the United States. Nonetheless, I can conversationally use this name in a way that makes sense, and can apparently refer to the person. The fact I haven’t used the name with knowledge of any descriptions that pick out the person Jimmy Carter uniquely is a problem for the descriptivist, as they require you to pick out a unique individual. In my lecture, I was certain that, in this and any other similar case, there was some inherent piece of knowledge I possessed that would mean I was uniquely identifying a person. I, as others probably will after reading that, began to scratch at the surface of a theory: I tried to argue that I had knowledge of a description that was “the person called ‘Jimmy Carter’”. This, pretty obviously, was rejected instantly on grounds of circularity: upon further questioning, it became apparent that my response to the question “who are you referring to?” was essentially to say “the person I am referring to”.

Since then, I’ve come across a theory that is much closer to what I believe I actually wanted to say, but couldn’t quite formulate correctly. This theory, posited by Kent Bach, is one that has recently lead to somewhat of a revival in the descriptivist theory in the face of Kripke’s brutal responses to the theory in “Naming and Necessity”. Bach calls his theory Nominal Description Theory, which as he points out is not meant to suggest it isn’t really a theory, but is rather suggesting that any proper name has a nominal description attached to it that any user of the name must know. This description is best explained like this: for any name “P”, the referent of “P” satisfies the description “the bearer of ‘P’”.  Thus, anyone who uses the name “P” must know that the referent holds the property “the bearer of ‘P’” and can therefore use the name. At first glance, this theory might seem like it falls into the same pit that “the person called ‘P’” does and end up as a circular expression. Bach, however, seeks to prove that this isn’t the case. The two statements (“The bearer of ‘P’” and “The person called ‘P’”) are subtly different in their implications. The latter implies that the name is what the person is called, whereas the former suggests that ‘P’ is merely a description of that person; it is a property. The name is not the only identifier: one could, Bach suggests, refer to a person by any number of descriptions. We could refer to people by National Insurance Numbers, he says, and we would, were we a species that had some particular knack for memorising long strings of numbers over short names. Thus bearing a name is actually a description of an object, not some unique phenomenon. This is a pretty inspired piece of underrated philosophy, in my opinion. It not only responds to this criticism, but Bach explains that it responds to a number of other criticisms that Kripke level’s at description theory, though those responses are too long (and far too complicated) to explain here. In any case, reading about Bach’s theory scratched the irritating itch left by being frustrated with a half-formed objection to Kripke’s argument.

International Private Law is one of the most interesting courses I’ve taken in my semesters at college. Hold you’re incredulity for a moment (I’m quite shocked myself) and I’ll try to demonstrate to you why that is.

Have you ever thought what it means that you have American citizenship? or Canadian citizenship? or whatever citizenship(s) you happen to have? What would your citizenship mean if you were sojourning in China? Can you work for pay in Germany over the summer? What happens if you break the law in Peru? Is it possible to lose your nationality? How would it happen; what would it mean; and could you get it back? Can you get another one? If you married a pretty Mexican woman, would you be Mexican? How about your kids?

You see, there are plenty of questions that make the study fascinating–especially if you love travel (or a young man from Belgium). Here are five quick and random things I’ve learned in the course of study:

1) You can lose your citizenship.

That’s a frightening thought, isn’t it? It could be taken from you, like it was from thousands of people in Nazi Germany under the Reich Citizenship Law. However, it is more likely that if you lose your citizenship it will be from a voluntary renunciation of it.

2) You can become a naturalized Mexican citizen!

…if you do the following things according to the Ley de Nacionalidad:

• Prove that you can speak Spanish, know the history of the country, and are integrated into the culture (art. XIV, § III)
• Confirm that you have lived in the national territory for five years, [almost] uninterrupted (art. XIV, § IV; art. XX)
• Renounce any other citizenship (art. XIX, § III)

Don’t worry, there’s also plenty of paperwork and documents needed–more is explained in the Reglamento of this law (art. XVI). Plus, did you know you can also lose this hard-earned citizenship? Try leaving the country for five years…or using your old passport.

3) All people have a right to citizenship…ideally.

The United Nations has proclaimed that “everyone has the right to a nationality” (Universal Declaration of Human Rights, art. XV, § A). I don’t know how much weight this really carries due to the number of stateless people currently throughout our world, but I do think it is an ideal that ought to become reality. As to how the logistics work is up for debate. To learn more about this issue I suggest you read this post from the European Network on Statelessness.

4) You cannot work in Mexico without citizenship or very specific permissions.

If you have a student or travel visa and the accompanying FMM (a standard migration form), you may not work in Mexico. Sorry. You’ll have to have all the money you need for your sojourn already accessible, or a rich uncle who can lend you some when you run out (or, I suppose a credit card from your host country would work as well).

5) If you marry a Mexican, you’re still not Mexican.

Although you would have some definite advantages over other foreigners who don’t have a Mexican spouse, you would still need to renounce your current citizenship to become a Mexican national. However, the kids you have together do have a right to Mexican citizenship because of your spouse and the principle of jus sanguinis.

I hope you found some of the information from these 5 quick facts interesting. The answers may not necessarily be helpful to you, but perhaps knowing some of the right questions to ask may help you out in your travels one day soon.

Smart (and safe) travels!

»

Daily Prompt: I Want to Know

What Love Is

May 11, 2013

We each have many types of love relationships — parents, children, spouses, friends. And they’re not always with people; you may love an animal, or a place. Is there a single idea or definition that runs through all the varieties of “love?”

I think of love, an endless field of flowers,
the slowly-ticking, stretched-out, languid hours
of summer afternoons. How, then, to write
of something panoramic, wide, and bright?
To know the maps of eagles, find their flight
plan, or divulge earth’s cycle, dark to light,
is tantamount to an attempt at love’s
description. Go, and watch the circling doves,
or listen with your ear upon the shore.
Find reasons for the daffodils’ spring door
to glory, hold a grandchild’s tiny hand.
Gaze into loved ones’ eyes and feel the grand
sweep love makes in and through and all around,
a certain  lilt that makes the the very ground
pulse. I have not the words to pin it down,
but see the golden sparkles from its crown.

(Photo credit: Wikipedia)

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So says the guy that picks us up, drives up the 16 back to Exchamsiks.  Well, plenty of fresh air these last two days, plus we want to get back home.  So fine.  There’s a wind picking up, a half dozen kite boarders are eyeing this shiver of light rippling upstream.  Afternoon wind, it builds and then blasts, blows full on upriver, makes a mess of that Skeena that wants out.  Out past Khyex, past Ecstall, Skeena wants to get home.

There’s a beer in the drink holder, buddy slows to ninety as we pass Kasiks.  He wants to get back home, too.  Kitimat.  Construction.  Damn near killed Fox crossing highway the day before.

Polymar, Goats up on the left somewhere – another home, nice view, watch your step(!)

Well well well weekend it’s the weekend… downstream, paddle and suppose we try this way?  Riverbed of pebbles tumble into sand bars, and hooligans and chum gonna make homes there, too.  Yellowblack skunk cabbage outbreak at its peak, or swamp lantern if you like (I guess some poet lost his sense of smell).  Bears poop in the woods, hey that Eagle’s still on that branch (that’s like three weeks now!)… Seal surfing river currents, slick whiskered head checks you out and down again.

Waterfalls.  But it also rises.  Gotta watch that.

Ten thousand star accommodation, chance of flooding.  Bring your own Baileys.  Home is not a place in the brochure.

But that’s where you want to be.

Photos by Arianne Loranger-Saindon and me (go figure).

I’ve mentioned before that I’m in DBT therapy, and one of the elements of this therapy is mindfulness. We’re working on this piece right now in class, and so I’ve been practicing the skills of mindfulness: these are observing, describing, and participating. This may seem easy, but it’s not. First, observing is about noticing, about not missing what’s going on around you. Describing is about adding words to it, and simply saying what’s going on. Participating is the most difficult, because it’s about working yourself in to a situation without forcing it, without overthinking it. It’s the point in dancing where you are dancing without worrying or self-judging or analyzing, but simply dancing. Each of these three skills should be carried out non-judgmentally, one-mindfully, and effectively. This is about being fully present in the moment, about looking at facts rather than judgments, and about doing what you need to do in order to achieve your goals.

Last night I did a lot of practicing of these skills. In one dance in particular, later in the evening when I was getting tired, I high-school styled it up with my boyfriend (aaaaw yeah slow-dancing). I let the sounds around me happen without engaging with them. I let myself trust my body and his body, and let myself feel all of the movements he was making, and feel where my own weight was completely. I observed all of the sensations, and yet was entirely present and participating. Throughout the night, I found myself having to purposefully work to be non-judgmental as well as effective. The space was cramped (we were on a boat) and there was carpet, not a dance floor, so I absolutely was not dancing my best. But at some point in the night I made my peace with that, and I found myself much happier for it. I stopped judging whether I was following well, whether I was making a good impression on the out of towners, whether I was having awkward or awesome dances. Instead, I tried to figure out how to achieve my goal: have fun and relax. I did that by simply being where I was and doing what I was doing.

Dancing to me is the essence of mindfulness. You cannot dance properly without the right balance of observing and participating. There is always some element of your brain that’s going, making sure your body is listening, making sure you’re aware of those around you, however you always have to be fully present, participating, and one-mindful. You can only be doing one thing while you dance and that’s dancing. The moment your mind starts to wander you’re screwed. And yet you’re always aware of how to make your movements more effective. You’re always striving to get better and reach some goal. The balance of this is that you have to remain non-judgmental, both towards yourself and your partner. When the voice in your brain starts telling you that you’ve screwed up or starts making nasty comments about your partner, all your effectiveness, one-mindfulness, ability to participate, dancing ability, and joy in dancing dissipate. I mean IMMEDIATELY.

Because of this ability of dance to promote mindfulness, I think it’s a good practice for everyone to try at least a few times. It’s one of the few things that really forces you to be mindful (even without your consent sometimes). But there’s another element of this mindfulness of dancing that has struck me lately, particularly this morning when I ran across this article.  It describes a study in which anorexia patients were treated with dance therapy. Now I’m most familiar with eating disorders and the symptoms and problems of eating disorders, however I suspect that anorexia patients are not the only people in our society who have some difficulties connecting with their bodies, feeling comfortable using their whole bodies, touching others and being touched, trusting someone else with their body, accepting the weight and size and reality of their body, or moving sensually. Because of these things, this kind of treatment could be extremely beneficial for all sorts of people, but again, I’ll be focusing on eating disorders because it’s what I’m familiar with.

Overall the study wasn’t horribly conclusive (it was small), but it did suggest that over time the patients became more comfortable with their bodies. Now I can speak from experience and say with absolute certainty that if it weren’t for dancing I would have nowhere near the awareness of my body that I do, the sense of identity with my body that I do, the ability to try new movements with my body, or the comfort that I’m gaining with trusting others while I dance. I still have a long ways to go in terms of these things, but every time I dance, and particularly every time I dance mindfully, I can feel myself gaining these skills.

There is an element of contradiction in having an eating disorder, which is that the only connection with your body that you’ve allowed yourself is exercise, however you have to learn how to connect to your body again and one of the best ways to do that is movement. That movement has the potential to lead back into exercise and the disease, or it has the potential to help improve your life. The difference is the mindfulness. The difference is whether you allow yourself to observe what your body is doing, how it’s moving, and to simply participate in it. When we dance, if we resist what is happening, we are resisting our own bodies, our own momentum. If we trust what is happening, we learn that our body can be trusted.

Another interesting element of dancing is that it can allow you to be sensual and connected with your body without being sexual. For many people sexuality is scary. It is not the best place to start with trusting your body and becoming comfortable in your body. It’s more vulnerable than we’re comfortable with. However our society is not very good at non-sexual touching, or trusting someone with your body in a non-sexual manner. Again, this is all about mindfulness. It’s about participating without judgment. When you judge something, you are taking the facts and adding something to them: either good or bad, some sort of conclusion. A touch is just a touch. Someone’s hand on your back is just someone’s hand on your back. In the context of larger society, touch means a lot more. In dance-land, that’s all it has to mean. You are allowed to safely be non-judgmental.

All of this comes with the caveat of dancing in a safe space. Some places are not safe. Some places have creepers, people who will cop a feel, people who will dance forcefully and painfully with you. But when you dance in a place with people you trust to treat your body respectfully, you can gain a great deal of self-knowledge, particularly about how your body moves, how you relate to your body, and how your body relates to others. From personal experience, this can be integral to reconnecting with your body and moving forward in treatment. But it can also be beneficial for anyone who wants to learn how to be more present in each moment, who wants to be less judgmental, and who wants to practice being mindful in context. It’s a wonderful way to practice letting thoughts go and refocusing your mind on the task at hand so as to be able to participate.

If I didn’t use critique partners and beta readers, my manuscripts would never get past the slushpile.

How do I know? Because I tried that with my very first manuscript. Zero requests and that’s not surprising when I look back on that first effort. With each successive manuscript, I’ve received more requests, and I credit that to what I’ve learned from other writers. We all have our weaknesses, but here are a few of mine:

Without my CPs and beta readers, …

… my MS wouldn’t make any sense. The crazy leaps of logic make perfect sense to me, but that’s because I know all of the backstory I’ve been careful to sprinkle in sparingly. In my earlier manuscripts, I gave too much backstory, but lately I’ve tended the other way. The good news is, I often can fix this issue with a sentence thrown in here or there to explain how or why the character got from point A to point B. Or, in the case of this latest WIP, put a scene back in that I thought I could get away without. When my CP says, “I want to see that happen,” I know it was a bad idea to take it out .

… my MS would start/end in the wrong place. While the opening hasn’t been as much of an issue with my current manuscript, I definitely started in the wrong place with my earlier efforts. With this WIP, I had more of an ending issue. There was this cliffhanger I really wanted, so I decided to run it past my first round of readers. I knew better. But that’s why I need them–they resoundingly confirm the gut feelings I ignore.

… I wouldn’t go deep enough with my characters. This is true on multiple levels. In my early drafts, I never go deep enough with the emotion, and I never make things hard enough on my main characters. I think it’s another one of those blinders we have in our own writing. I know what’s going on in the character’s head, what she’s feeling, but I have to get it down on the page so the reader gets it, too. As for going easy on them, even when I think I’ve really put the MC in an impossible situation, it’s never enough the first time around. Maybe I’ll figure that out someday!

… my descriptions wouldn’t be clear enough. I don’t know if this is a problem with everyone or if it’s just because of the premises I choose to write (a girl sucked into the music, twins seeing through each others’ eyes), but I often have to go back and explain what’s happening more clearly. I certainly don’t nail my descriptions on the first try. My CPs and betas help me figure out why those descriptions aren’t working so I know how to fix them.

… the stakes wouldn’t be high enough. This goes back a bit to not going deep enough with the characters, but I also tend to write antagonists that are more in the background orchestrating things than confronting the MCs directly. Added to that, I usually don’t make the antagonist’s reasons clear enough. If you don’t get what the antagonist wants from the MC, it’s hard to identify with why the MC has to go against them. It’s a definite blind spot for me. It happens with every manuscript, but fortunately I have people who point it out so I can fix it!

… the climax wouldn’t be as exciting. I often get to the climax and then let out a huge breath of relief. Yay! The MC won! Except usually I don’t make it big enough and get comments like “I wanted more.” So then I go back and expand it.

On the plus side, I learn with every new manuscript. My first drafts have gotten progressively better. I’ve even eliminated some of the comments I got on earlier manuscripts. I’m sure I won’t ever eliminate all of them as we all have our blind spots, but I do know that without my CPs and beta readers, my manuscripts just wouldn’t be enough. So thank you to everyone who’s read for me in the past or will in the future. You make me a better writer, and I’m so grateful. Have a cupcake on me!

Firstly, the website itself looked like it has been created by someone who has a good understanding of Microsoft paint, but little else. The “original” decanter, more at home in a rap video than a stately home, is simply awful and if one wasn’t enough, there is a “special edition” for those who won’t warm to their whisky with so many “rocks”.

But it is the page on the whisky itself that had me grabbing for my laptop.

For a serious whisky collector, knowledge and provenance is key but this offering seems to have forgotten that there is any need for the whisky at all. Here is the actual copy of the tasting notes from the website:

For the whisky aficionado the tasting notes for our whisky are;

Nose: Sweet, fruit, light peat with some candy & eucalyptus.

Taste: Sweet, floral, fruity and peat.

Palate: Smoke, bacon, fruits.

Finish: Eucalyptus and peat.

Now, can someone please explain where taste and palate differ as they are not referring to mouth-feel here? These are the notes I would expect from the back of a bottle of standard supermarket offerings- in fact, most are far better written. This is being touted as “A truly stunning piece and the most luxurious alcoholic beverage in the world today.”

Anyone, never mind an aficionado, may be forgiven for expecting a little more effort in the description of the decanters contents, but then again they probably don’t expect that anyone every actually open the stopper and that’s my point. Why bother putting a whisky in it at all? It’s just another example of riding the tailcoats of the current rise in popularity of whisky and quite frankly I think that’s a bit of a poor show. Decanters are not a good place to store a spirit of any type anyway unless you will be drinking the entire contents in under a year (ABV taken into consideration) and especially when the pouring of a whisky from bottle to decanter only assists in the introduction of even more oxygen to the liquid, increasing the chance of spoiling the contents more rapidly. Clearly the whisky is an afterthought as there is not even an explanation to the name, although I do have an idea about a certain Isabella who was involved with an Islay distillery. 

If you have a spare 6.2 million kicking around, drop me a line. I’ll source a great whisky and we can roll an old Irn-Bru bottle in Swarovski crystals and have a great night on one the change.

By the way- from what I can tell, the whisky is from Bowmore. At time of going to press, I have not been sent a sample.

UPDATE: so my pals at Master of Malt saw the above and having a similar viewpoint wrote about a £29 million pound bottle (rather annoyingly, in a far more amusing way )