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These Illustrations Are Here To Inspire You Through A Creative Block

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Are you in a creative slump?

Going through a dry spell can be incredibly frustrating -- but don't hit your head against the keyboard just yet. Sometimes all it takes is a more positive attitude to shift your perspective and spark some new inspiration (not to mention, adopting an upbeat mindset also has a host of health benefits).

If you've hit writer’s block, painter's block or even a runner's wall, check out the illustrations below. They're here to encourage you to break through the monotony in order to be the most original version of yourself.

mike medaglia

mike medaglia

mike medaglia


Mike Medaglia is a comics artist and illustrator originally from Canada, now living in London. His book One Year Wiser will be published later this fall from SelfMadeHero. His work explores spirituality and comics, and he also produces a monthly comic for The Huffington Post UK. To learn more, visit his personal website, Facebook or follow him on Twitter.

--Posted by Rebecca Scholl

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.


The Incredible Ways Art Is Helping Charleston Unite After Church Massacre

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Early last week, a few artists painted murals on the walls of a warehouse around a vacant lot in Charleston, South Carolina, preparing for a celebration intended to fill the neglected space with sunlight, art and joy.

Then they learned about the racist attack at Emanuel AME Church, a historic black institution, that killed nine residents of their city.

Reeling from shock and sorrow, leaders of the community arts nonprofit organizing the event had to decide whether to cancel festivities planned for the solstice. It was a clear choice, Enough Pie executive director Cathryn Zommer told The Huffington Post.

“We felt that more than ever, the community needed to come together,” Zommer said. They added a vigil with candle lighting, songs and prayer. Artists made changes to their pieces. On Saturday, people gathered for an experience that mixed joy with sorrow, surrounded by art.

enough pie vigil

Adam Chandler


In the week since the shootings, many other Charleston residents have expressed their emotions in powerful and creative ways, from thousands of people joining hands in a unity chain to making handmade signs honoring the victims.








“People use creativity to make sense of all of this. They use the arts to express these deep emotions of sorrow and pain and loss,” Zommer said. “The arts can do that. They can help us heal.”

From designers and dancers in Charleston’s tight-knit creative community to musicians who live hundreds of miles away, artists have addressed the killings. Their work, below, shows how art helps us survive and strengthen amid tragedy.



Artists used their craft to honor victims, and to grieve.



jia sung
Jia Sung


Jia Sung, a recent graduate of Rhode Island Institute of Design, said painting watercolors of each victim was her way of mourning.

It is primarily a process of grieving, trying to externalize the hurt. I didn't know what else to do, really. Taking the time to do those portraits, and spend those moments of intimacy with each person was my own laying flowers. It was my own small gesture of tenderness in the face of violence.



They illustrated the muddied pain that follows tragedy, in the flood of grief, anger and glimmers of hope.



Charleston
Jake Reeves and Evan Lockhart/HuffPost




HuffPost created this artistic take to remind Charleston and beyond that #BlackLivesMatter.

Their work helped spread the victims’ names and stories far and wide.



slim clementa
Panhandle Slim


hurd slim
Panhandle Slim


ethel lance
Panhandle Slim


Scott “Panhandle Slim” Stanton has painted each of the nine victims, sharing snippets of their rich lives.

I started this series with Rev. Sen. Clementa Pinckney and ended with Ethel Lance. One preached the word from the pulpit of Emanuel AME church and he worked hard to keep his congregation's soul clean. One worked in the Emanuel AME and she worked hard to keep the entire sanctuary clean and she preached the word too. What an amazing group of people these 9 people are.









Some turned to the past to find insight into the present.



mario
Mario Andres Robinson


Painter Mario Robinson is represented by a Charleston gallery and visits the city often. In 2010, he painted "Sixteen Broad Street," a portrait of a boy he met in Charleston.

I told him I'd buy a rose if he would be kind enough to pose for a quick sketch. He agreed and after a few minutes, his eyes began to wander as potential patrons walked by us. I realized that he was counting the sales he was losing by posing for me. I reluctantly aborted the sketch and opted for a photograph. His demeanor sums up the entire experience. When I look at this portrait today, I wonder what his life is like as a young man. We are living in tumultuous times and there's no guarantee that he will be treated as a harmless preteen, in search of a few extra dollars.









Children too young to understand the killings use art to help cope.








Before 7-year-old Madeleine made this drawing, she kept asking her mother questions, WCIV reported. "Why is the world full of broken people?" asked the girl, who lives in Mount Pleasant, South Carolina.



Art gives solace to those who need it because they are old enough to understand.



umbrellas
Kris Manning


In Kris Manning's “Our Unified Heart,” a bunch of nondescript white umbrellas become a silvery, sunlit heart. Manning created her public sculpture at the Unity Music and Arts festival, which she organized last weekend to support her music education nonprofit. They instead will donate funds to the victims' fund.

“When the tears of our community are falling, we unite and together we create shelter from the storm with love,” Manning said.



Some illustrated the history of hatred that fed the killings.



avery
Mark Avery


Charleston artist Mark Avery’s illustration of protesters in Marion Square was infused with his city’s legacy of racial oppression.

Last night as I walked with my black brothers and sisters, we took over the streets that our ancestors built. Rattling the houses that our people built, our voices spoke power on the forever, "Holy City.” Activists from around the country came together at Marion Square to get our black people to unify and stand up for the black community in Charleston, and spoke nothing but facts about the psychological and systematic downfall of black people not only in Charleston, but around the nation. We are tired of forgiving these animals that kill our brothers, sisters, uncles, grandmas, aunts, grandpas, and even children. Here in Charleston, black people are the roots of the roots, so tell me who is, has, and still to the day, "taking over our land"? We need to really wake up and recondition our daily lives, until we do, our people will continue to perish on the land that we built, from the ground up.




Others took a closer look at the historic church, where the killings occurred.








In a moment when there is too much to feel and no words that seem right, poets have done justice to the unspeakable.





“Because I would rather hang a black cloth on a flag pole / than give the Confederate flag another glimpse of the sun,” Charleston poet Marcus Amaker writes in “Black Cloth.”

South Carolina poet laureate Marjory Wentworth wrote “Holy City” for Charleston’s Post and Courier. She reads it in a video for the BBC: “As bells in the spires call across the wounded Charleston sky, we close our eyes and listen to the same stillness ringing in our hearts, holding on to one another, like brothers, like sisters, because we know that wherever there is love, there is God.”



A dance performance demonstrates emotion, strength and collaboration.



dance
Adam Chandler


Charleston Characters Dance Co. member Megan Joanna Pue danced at Enough Pie’s solstice event with other women in her troupe.

dance 2
Adam Chandler




Some designers made simple graphics that resonated widely on social media, putting Charleston into the thoughts and timelines of people all over.



yallsome
Y'allsome


The night Craig Evans found out about the shooting, he couldn't sleep. Feeling helpless, he created the “Charlestrong” image, posted it to social media and finally went to bed. He woke up to an onslaught of messages.

I have been contacted by so many people saying how much they loved it and even thanking me for capturing a certain sentiment. The craziest moment was when I received an email from one of the track teammates of Sharonda Coleman-Singleton (one of the victims) telling me how much it meant to her and said it had touched her. That blew me away and made me happy beyond belief. I truly can't believe my little design had such a huge impact on people.


Evan’s company, Y’allsome, is selling shirts and posters with the design. Profit will go to the Mother Emanuel Hope Fund.

buff ross
Buff Ross


When Charleston designer Buff Ross saw that his image had begun to spread on Facebook, he made a poster-sized version that included a link to donate to the victims and the church, free for anyone to use.

Our streets here famously flood as our alluvial geographic nature continually pulls us back into the swampy miasma of our history. The flooding is something we all share and contend with here in Charleston. However on this brutally hot and dry morning the city felt flooded with tears. At least that was how I processed it and envisioned the image. … I truly believe that one of the unintended but beautiful consequences of social media is its power for collective grieving.




Others around the country called for change with songs and symbols.















Milwaukee musician Peter Mulvey wrote a song pleading for South Carolina to remove its Confederate flag and asked friends to make their own version. Dozens have since recorded it, including Ani DeFranco, who pays tribute to victim Tywanza Sanders.



Many local artists, struggling with the same grief as fellow Charleston residents, are making work specifically for their city.



oh no not us
Sully Sullivan


Charleston artist Tim Hussey’s mural-turned-memorial is vibrant and colorful, but intended to address “hidden class and race struggle in the city.”

“We all know there is a huge gap between the 'haves' and 'have nots' here, but have no idea how to address it without having to move out of our comfort zone and leave the 'celebration' of everyday Charleston,” Hussey said. “Well, it's not a celebration for everyone."

After the killings, Hussey added the silhouette of a man with nine tears to the piece, entitled “Oh No Not Us.” He collaged notes from a nearby church’s old ledger to emphasize “the personal and humanness of this tragedy.”

Musicians and artists are using their work to inspire generosity in others.



allison williamson
Anne Darby Parker


Gallery Robert Lange Studios is organizing a silent auction that has received 100 donations so far, including Anne Darby Parker's “Unity of Nine.”

Earlier this week, a few thousand people attended a sold-out music benefit put on by Charleston's Pour House. The 25 bands that played helped raise more than $30,000 for Emanuel AME and the victims.








#chsmusicheals

A photo posted by Charleston Pour House (@chspourhouse) on






On makeshift canvases, people in Charleston have revealed hopeful visions of the future.



I love you! #charlestonstrong #charlestonlove #charleston

A photo posted by Sara York Grimshaw (@sygdesigns) on






One Love One Charleston #CharlestonStrong #Charleston #ExploreCharleston #Folly #FollyBeach #FollyBoat

A photo posted by The Folly Beach Boat (@thefollyboat) on











#CharlestonStrong

A photo posted by @kengallagher81 on











#charlestonshooting #charleston #southcarolina #bentnotbroken #prayforcharleston #alllivesmatter

A photo posted by Christine Pettigrew (@pettigrew4fun) on






478210918
Jim Watson/AFP/Getty Images



Artistic offerings are just one way Charleston has rejected the hate that spurred a man to kill nine churchgoers who had been kind to him.


The actions of many in Charleston echo the Rev. Clementa Pinckney's call in April to "resurrect and revive love, compassion and tenderness." Pinckney was among those slain.

Enough Pie's Zommer knew Pinckney through the interfaith group Contemplative Alliance. She choked up as she called Pinckney a “sacred activist of the highest order.”

“We’re trying to move forward with the recognition that love is really what does unite us, and we find that creativity is an incredible way of showing love for this world and for life," Zommer said. "Reverend Pinckney says it best when he says, 'Only love can conquer hate.'"



#holycityheartproject #charlestonstrong

A photo posted by Stu&Drew (@stuanddrew) on







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Get Excited, 'The O.C.' Is Becoming A Musical

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Californiaaa, here we comeeee!

Forget the reboot -- we're now in the era of the musical adaptation. After news of a "Full House" musical and "Clueless" musical, "The O.C." is the latest TV show to get the on-stage treatment, according to Variety. The teen drama, which originally ran from 2003 to 2007 on Fox, is being turned into a musical in Los Angeles. The sad news? The show will only run for one night on Aug. 30.

"The O.C. Musical" comes from the producers behind "Cruel Intentions: The Musical," with Jordan Ross directing and Lindsey Rosin producing. They've even set up a Twitter account to share updates on the special production. So far, we know the show will feature characters Seth Cohen, Luke Ward, Sandy Cohen, Kirsten Cohen and show creator Josh Schwartz -- played by BuzzFeed's senior entertainment editor, Jarett Wieselman. Here's what else we know:

Who's playing Luke Ward:




...and Sandy Cohen:




Though they haven't cast Seth Cohen yet:





The show will feature songs from the series, such as "Paint the Silence" when Marissa and Ryan kissed on a Ferris wheel:




There will be a Death Cab for Cutie cover:





The show takes place before Taylor Townsend joined in Season 3:




Sadly, the won't be any Chrismukkah in the musical:





Keep your eye on The O.C. Musical's Twitter account for more details.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

High School Made You A Better Person

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What has not cankering Time made worse?

Viler than grandsires, sires beget

Ourselves, yet baser, soon to curse

The world with offspring baser yet.



—Horace




Since the days of the poet Horace, adults have always fretted about the moral decay of the younger generation. Ninety years ago, for example, the New York City Board of Education issued a report in which they decried the decline of character among New York City’s school-aged children. Their tone was eerily similar to Horace’s. To the authors of that report, the remedy for the sorry moral state of our school-aged children was clear: They needed character education, the aim of which “should be to develop clear-cut conceptions of positive virtues, to present the principles of right living that will govern boys and girls in making moral decisions.” They described their charges’ lack of such principles in the following terms:

The shock comes when we learn their code of morals. These same delightful young people believe that it is all right if they can “get away with it.” They lack respect for parents and for authority. To copy home-work is entirely honorable if they are not caught. Forging a signature is a simple way of saving a lot of trouble. “Cutting” is to be commended if they can “get by.” Thieving is a matter of almost daily occurrence. Cheating is no disgrace if the offender is not detected. . . . When called to account they are seldom sorry that they have offended, but they are extremely sorry they “got caught.” . . . They have adopted the code of the street because they have never learned a higher code of morals.

Today, parents, teachers, and political leaders seem no less worried about the sorry moral state of our children, and the schools still get the lion’s share of the blame. According to a recent survey, 93 percent of American parents of K-12 students view “the development of strong morals and ethics” as a “critical” or “very important” responsibility of our schools, but only half of the parents surveyed believed the schools were doing an acceptable job at it. Reinforcing the sentiment that the country needs a boost to its character quotient, presidents have proclaimed a “National Character Counts Week” every year since 1994, and, not to be outdone, the Senate has passed similar resolutions virtually every year since 1996. In that first presidential proclamation, President Bill Clinton issued this rallying cry:

As we seek to instill important values in a new generation of Americans, we must redouble our efforts to improve student learning, responsibility, and sense of belonging. We must revitalize the American ideal of community if our schools are to achieve their full potential. Adults, children, teachers—all of us must set an example. All of us can make a new beginning. Schools need to emphasize the fundamentals: building character and creating a stronger sense of self-worth.

Over the past two decades, private foundations, non-profit organizations, and individual school systems have responded to the call, designing and implementing programs designed to boost and fortify character. There are some encouraging report cards. One review of eighty-seven evaluative studies of forty-five different character education programs indicated that, in general, these programs do appear to be effective. How effective, and for how long, remains open to debate. But are we asking the wrong questions and looking in the wrong place? Under the hot light that has been trained onto “character education” in the schools over the past two decades, we’ve lost sight of a more fundamental fact about education for character. Character-building has always been one of the central goals of this nation’s educational philosophy, and by many measures, our educational system continues to succeed splendidly—even without any explicit programs of “character education” added on. Is character something that can be explicitly designed and targeted, or should it be seen as an offshoot of other kinds of learning experience?

What Is School For?

Let’s take a step back and consider this question in a broader perspective. Thomas Jefferson’s educational philosophy exerted a profound effect on how the American system of public education would grow and develop. In his “Report of the Commissioners Appointed to Fix the Site of the University of Virginia,” Jefferson defined six fundamental goals of a basic public education:

• "To give to every citizen the information he needs for the transaction of his own business;
• To enable him to calculate for himself, and to express and preserve his ideas, his contracts and accounts, in writing;
• To improve, by reading, his morals and faculties;
• To understand his duties to his neighbors and country, and to discharge with competence the functions confided to him by either;
• To know his rights; to exercise with order and justice those he retains; to choose with discretion the fiduciary of those he delegates; and to notice their conduct with diligence, with candor, and judgment;
• And, in general, to observe with intelligence and faithfulness all the social relations under which he shall be placed.”

Contracts. Morals. Duties. Rights. Order. Justice. Faithfulness. Diligence. The education Jefferson wanted the American system to dispense was, among other things, a moral education.

In Jefferson’s time, of course, significant limits were imposed on the education of women, people of color, and even white men who were not part of the property-owning class. Nonetheless, Jefferson’s view of education as a force for shaping character was highly influential in his own day, and it has remained so as educational access has increased and as membership in the civic community has been granted to many of those previously excluded. Indeed, for as long as we have been sending children to school on the American taxpayer’s dime, we have understood, as Jefferson did, that character education is a critical step in preparing young people to contribute to the republic as citizens and to take proper responsibility for their own destinies.

If we don’t appreciate the intrinsically character-building nature of our educational system, it is because we take it for granted. The moral dividends of education are hiding in plain sight, like water to the fish. This is because few of us are old enough to remember a time in American life when most children didn’t get at least a high school education. Think about it: today, high school graduation rates are higher than at any other time in history: In 1900 only one quarter of our children graduated from high school, but today more than eighty percent do. (For high-income families, the rate is even higher; for low-income families, it’s conspicuously lower.)

We can bring the hidden moral benefits of school to light so that we can better understand how a basic education improves the morality and character of young people—even at a time when the great majority of children complete high school. Social scientists have developed some ingenious methods for uncovering those hidden moral benefits. They mine historical data, they conduct longitudinal studies, and—most importantly—they examine the results of “natural experiments” that societies unwittingly conduct when policy changes randomly cause some groups of students to receive more education (or better education) than other groups of students. These natural experiments might occur, for instance, because of state-by-state differences in the passage of laws that raise the minimum ages at which people can enter the work force, or because of policy changes that abolish school enrollment fees or other barriers to entry. And these experiments tell a consistent story: The more education children receive—the earlier in life they start school, the later in life they finish, and the higher the quality of that education overall—the better the effects on character and conduct seem to be.







Education Reduces Crime

First, let’s consider the effects of education on crime. For decades, criminologists have known that educational attainment—the number of years of schooling people receive—is one of the best predictors of people’s likelihood of getting into trouble with the law: the more schooling, the less trouble. However, this association does not necessarily imply that education reduces crime. It is possible that involvement in crime reduces young people’s likelihood of staying in school (which would imply that causality runs in the opposite direction). Moreover it’s possible that there are various environmental and genetic factors involved that both reduce education and increase crime, thereby creating a spurious association between them. To draw firmer cause-and-effect conclusions, we need more information.

This is why the natural experiments to which I hinted above are so valuable. The story these natural experiments tell, according to the economist Lance Lochner, support the hypothesis that schooling makes crime go down. In the United States, for example, a one-year increase in a state’s average level of schooling (which might be precipitated by a state’s passage of a law that raises the minimum age at which children can enter the work force from, say, age fifteen to age sixteen) reduces the crime rate by more than 10 percent, and the likelihood that an individual will ever be incarcerated falls precipitously if that person has received about ten years of schooling or more. Similar results have been obtained in similar natural experiments from Great Britain and Italy. Overall, the research suggests that a one percentage point increase in the U.S. high school graduation rate would reduce the economic costs of crime by two billion dollars each year.

We are in a good position to conclude that education really does reduce people’s likelihood of being involved in property crimes and violent crimes. However, refraining from crime is merely one element of character. What about the other aspects of character that we look to education to shape? Here, too, we find evidence that education makes a positive contribution.

Generosity with Time and Money

More than forty studies indicate that education is associated with higher rates of charitable giving and community volunteering, even after taking into account potential confounding factors such as age and income. We shouldn’t get too excited about these studies, though, because few of them permit firm conclusions about cause and effect. However, two fascinating natural experiments do suggest that education might be the cause and generosity might be the effect.

In the first of these experiments, researchers found that students who had won a random lottery that enabled them to attend a private school for a reduced fee were subsequently more generous in their donations to several non-profit charities than were students who had not won the lottery. In another experiment conducted in Kenya, girls who received scholarships that provided them with cash grants and coverage of their school fees for two years were slightly more fair and generous in sharing money with an anonymous partner than were girls who applied for scholarships but did not receive them.

Citizenship

Civic engagement has long been known to be correlated with educational attainment, but only recently have natural experiments been conducted that enable us to determine whether the effects of education on civic engagement are of the cause-and-effect variety. According to natural experiments by Thomas Dee, a one-year increase in the minimum age at which U.S. children can leave school and enter the workforce increases their likelihood of registering to vote. It also increases people’s likelihood of actually voting by about forty percent. Likewise, schooling increases people’s newspaper readership, interest in elections, and interest in public affairs in general. An educated electorate apparently makes for a politically engaged electorate.

Trust, Tolerance, and Respect for Others

Finally, education appears to promote trust, respect, and tolerance for differing points of view. For nearly eight decades, in fact, psychologists have known that the most prejudiced people in any society tend to be the least educated. Also, both within and across societies, there is a strong positive correlation between the average number of years of schooling people obtain and the extent to which they trust others in general. What’s more, people who are surrounded by highly educated people within their own communities and states are more trusting and tolerant in general than those who are surrounded by less educated people. Thus, education can apparently build trust in two ways: by making you more trusting of your neighbors, and by making your neighbors seem more trustworthy to you.

Here too, the natural experiments just aren’t as plentiful as one might like, so it’s hard to make ironclad cause-and-effect conclusions. However, there are a couple of notable exceptions. For instance, the economist Kevin Denny took advantage of some major educational reforms that occurred in Ireland in 1968 (expensive fees required to obtain a secondary education were abolished) in order to estimate the causal effects of secondary education on attitudes toward homosexuals. His work shows that every year of additional education a student received as a result of this policy change led to a 5 percent increase in someone’s likelihood of agreeing strongly with the statement that “gays and lesbians should be free to live life as they wish.” Denny then went further and showed that one-year increases in the minimum legal age for leaving school—changes that occurred in different years for Ireland, England, Wales, and Scotland—also raised people’s tolerance of gays and lesbians. Using similar natural experiments from the United States, Thomas Dee found that increases in education strengthened people’s convictions in one of the bedrock foundations of liberal democracies—namely, the belief that minority groups and politically unpopular groups (including not only “homosexuals,” but also “anti-religionists,” and “communists,” as well) deserve to have their rights to free speech protected.







How Education Builds Character

Just how does modern school-based education by itself—independently of any add-on character education initiatives—exert these salutary effects on people’s character? How is it that we do not seem to need explicit ideological content in order to make the next generation more law-abiding, generous, politically engaged, trusting, and tolerant?

Nurture and Nature

First off, as I mentioned above, it’s possible that much of the relationship between education and virtue is due not to the causal effects of education on virtue, but rather, to other factors that raise people’s educational levels while at the same time influencing their character. For example, some of the environmental factors (such as, characteristics of one’s family or neighborhood) that make people more likely to stay in school might also be involved in keeping them out of trouble with the law, or in motivating them to be more generous with their time and money.

Similarly, to the extent that there are genetic factors responsible for both educational attainment and character, the appearance that education causes character may be due features of the human genome rather than of our schools. In 2013, a consortium of researchers identified three genes with single nucleotide polymorphisms, or SNPs (variations in DNA sequences that cause some people to have, say, a molecule of guanine at the same location within a single gene where other people have a molecule of cytosine) that were linked to educational attainment. Each of the three SNPs accounted for about one month of additional educational attainment; jointly, they explained about 2 percent of the individual differences in educational attainment. Even more fascinating is the fact that these three SNPs also accounted for about 2 percent of the variability in people’s IQs. This pattern of findings suggests that some of the relationship between education and IQ itself can be attributed to common genetic factors rather than to the effect of IQ on educational attainment (or the effect of educational attainment on IQ). If these SNPs (or others that have yet to be identified) are likewise involved in creating individual differences in, say, charitable giving or trust, then we’d be right to credit the relationship between educational attainment and virtue to our genes rather than to our schools.

Economists’ Darlings

In addition, there are two explanations that many economists like. The first is called incapacitation, and it is based on one of the fundamental facts of our universe: you can’t be in two places at once. Every hour or day spent inside a school is an hour or a day that is not spent selling drugs, stealing cars, or breaking into other people’s homes. According to the incapacitation explanation, education doesn’t encourage character. It prevents crime in the same way that house arrest does.

The incapacitation explanation holds some water. An experiment by Brian Jacob and Lars Lefgren and a separate natural experiment by Jeremy Luallen indicate that property crimes by juvenile offenders are more common on days when school is out of session (for example, due to teacher in-services or teacher strikes). This pattern is consistent with the incapacitation explanation. You can’t commit property crimes out in your community if you are locked inside the school. However, there’s a wrinkle: on the same days when the rates of juvenile property crimes are lowered by school attendance, rates of juvenile violent crimes are raised—probably because peer interactions while at school create opportunities for students to fight each other. There’s more to school’s salutary effects on character than incapacitation can explain on its own.

Another idea that economists like is that education provides people with skills (reading and arithmetic, for instance) that increase their value as workers. This basic truth applies across all occupational levels. All workers, no matter how menial their labor, are more valuable to their employers (and thus obtain higher wages) if they can read, write, and do basic figuring. As a result of the wage premium that comes from possessing even these basic skills, an educated worker encounters higher opportunity costs for an hour of crime than does an uneducated one. The greater your value to a legitimate employer, in other words, the more you stand to lose in the legitimate labor market by diverting your time and effort into criminal activity. The wage premium from education therefore very likely presents a major disincentive to pursuing a life of crime.

A Curriculum for Character

Explanations based on common genetic causes, common environmental causes, incapacitation, and the wage premium all have their uses, but they’re just the tip of the explanatory iceberg. Education itself—the skills, knowledge, and other cognitive tools that people learn through a formal education—almost certainly prepares our minds for character and virtue in more substantive ways as well.

Literacy, for instance, makes all sorts of moral miracles possible. In a community of readers and writers, it becomes possible to specify a set of rules that will govern the community’s behavior, and then to record those behaviors on an external memory device (papyrus, stone tablets, or a hard drive in a server farm somewhere). It’s also easier to follow a rule you can see with your mind’s eye and not just hear with your mind’s ear.

There’s more to literacy. Once rules are written down, they more readily become objects of scrutiny. Once the rules are externalized, objectified, and made public, community members can more readily turn those rules into objects of study. A rule that is externalized into print form—a rule that exists outside of our private mental representations of it—becomes a thing. Things can be studied, interrogated, and disputed. Moreover, because of the sophisticated moral discourse that writing and reading make possible, rules and laws might ultimately be revised, altered in scope, or chucked altogether. Protesting or seeking to modify unjust rules that are blindly observed but not formally codified is a bit like hunting the ever-elusive snipe. Once rules are codified, however, the odds of changing an arbitrary or bigoted rule may tilt slightly in the reformer’s favor.

Literacy, of course, has other beneficial effects on the development of character as well. Once we can read and write, we can keep external records of our debts, credits, and promises to others (and theirs to us). With external records of this nature in place, it becomes easier to enforce our contracts without conflict, and it becomes harder to shirk our obligations without dishonor. Writing then, becomes a commitment device that reduces the gap between the ideals we held for our behavior six months ago and what we actually feel like doing today.

What about numeracy? When you’ve mastered the basic arithmetic and then moved on to understand the calculation of percentages and the effects of compounding over time, your understanding of how numbers work affects your capacity to understand how the world works. This understanding informed by numeracy can be extraordinarily powerful goads to particular kinds of virtue. For example, some experience with the concept of interest rates allows one to appreciate the long-term benefits of saving and of patience.







In one important survey-based study, more than forty-two thousand British adults were asked to indicate which of two hypothetical rewards they preferred. The two rewards differed not only in their amounts (£45 vs. £75), but also in the amount of time participants would have to wait to obtain them (three days if they chose the £45 reward, but three months if they chose the £75 reward). If you preferred the smaller reward, you could get it more or less right away, but if you preferred the larger reward, you’d have to wait a while.

Education made a big difference in the choices people made. Participants who completed eleven or fewer years of education were substantially more likely to choose the smaller-but-sooner reward than were participants who completed additional years of education. The less education you had, more likely you were to prefer to take the money and run, even though turning down the larger-but-later reward implied walking away from an investment that would grow with an interest rate in excess of 700 percent per year. (At the time of this writing, many banks in the United States are trying to lure people into opening savings accounts by tempting them with interest rates of 1 percent per year.) The association between education and patience wasn’t spuriously caused by the effects of education on adult income, either: better-educated people were more patient even after statistical controls were put in place to control for any causality-muddling effects of age, gender, and income.

Of course, what makes patience a virtue is not only its financial benefits, and we aspire to have education be associated with patience understood and practiced in a broader way. Patience is a virtue because of the crucial role it plays in honesty, fidelity, responsibility, trust, regard for others, and healthy living. To take just one example of the broader character dividends that come from patience, consider cooperation. Building and maintaining successful cooperative relationships requires us to resist the temptation to have a cut-throat, take-no-prisoners attitude toward our interactions. To the extent that we take our neighbors’ interests into account when trying to obtain good outcomes for ourselves (rather than pursuing a scorched-earth policy by which we always try to maximize our short-term gain, no matter how costly it is to our partners), those partners will seek us out in the future for more interaction. Working repeatedly with partners who trust you can be much more productive than seeking out new partners for every new venture because of the bridges you burned with your previous partners.

Education also provides people with a set of general-purpose reasoning skills that cannot help but improve our character. If they have already stipulated that Socrates is a man and that all men are mortal, then all reasonable people must necessarily agree that Socrates is mortal. By application of this same syllogistic reasoning, we can derive some moral conclusions. For example, if we all agree that (a) John is a human and (b) all humans are entitled to a set of basic human rights, then all reasonable people must conclude that John is entitled to that same set of basic human rights. The fact that, by virtue of his race, religion, sexuality, or politics, John is a member of a group that we dislike is irrelevant. No amount of special pleading can undo this iron logic (although it is possible through self-deception to shield oneself from its implications).

But the link of education and character is even deeper than that. Indeed, the secondary-school curriculum itself is shot through with character-relevant implications. The basic biology and neuroscience to which every high school student should have access before graduating sets the stage for many startling intellectual discoveries, such as the fact that humans are not the only sentient and social beings in world; there are many creatures that feel pain, suffer, and prefer certain fates over others. These facts are morally relevant—how could they not be?—and with proper guidance, learning them can be the occasion for students to thoughtfully contemplate how they wish to treat the other animals with whom we share this planet.

Psychology and history are morally relevant, too. The basic lessons of group dynamics that normally get covered in a twelfth-grade psychology course, when paired with the miserable lessons to be learned about the costs of war from a study of history, are available to help people resist the saber-rattling of sincere-sounding, smooth-talking leaders who would rush our nations into war in the wake of terror or the heat of vengeance. The literacy, numeracy, tools for reasoning, and cold hard facts about nature and history that make up a basic education don’t just make us smarter; they can make us better, too.

The Kids Will Be Alright

There is a joke about a recovering alcoholic, ten years of sobriety under his belt, who is always inviting a friend with a drinking problem to come with him to an Alcoholics Anonymous meeting. “I know the people who go to that meeting,” the not-yet-bottomed-out friend replies in a moment of candor, “they’re all just a bunch of hypocrites.”

“Well, if you think they’re hypocrites now,” the friend-in-recovery responds, “you should have seen them before they started coming to AA.”

We suffer from the same shortsightedness when we fail to appreciate the powerful role that education plays in shaping the character of our young people. Education on its own—without any fillers or additives, and without any specific ideological agenda—is character education, and it always has been. Sensible programs of deliberate character education should be developed and actively encouraged to supplement our children’s development of the virtues we all care about. But as we take advantage of opportunities for these sorts of character-education experiments, let’s all take a deep breath and admit for once and for all that Horace was wrong. Our offspring are not destined to be worse than we are. In the main, our kids are doing well, and we’re doing well by them. After all, 80 percent of the kids in this country are already receiving a full dose of the best character-education program we have to offer them—a comprehensive K-12 education. In the interest of character building, as we continue to look for meaningful ways to add character-specific content to our schools, let’s also keep trying to get a full dose to that final 20 percent who are still having to make do without.

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This essay was originally published by the Center for Humans and Nature as part of their Questions for a Resilient Future series, "Mind and morality: where do they meet?" Questions for a Resilient Future is an online publication probing assumptions about nature and humanity’s place within it by gathering insights, across disciplines and regions, from leading scholars, artists, practitioners, and activists. At the Center’s website, you are invited to join the growing community of thinkers envisioning a more resilient future together.

Michael McCullough is a Professor of Psychology and Director of the Evolution and Human Behavior Laboratory at the University of Miami. He is Senior Scholar at the Center for Humans and Nature. His most recent book is Beyond Revenge: The Evolution of the Forgiveness Instinct (Jossey-Bass, 2008). He is currently working on a book about the evolutionary and cultural foundations of human generosity. Follow him on Twitter @McCullough_Mike.



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Everything Is Papier-Mâché On 'True Detective' Episode 2

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The season premiere of "True Detective" proved divisive last week, but entertainment editors Erin Whitney and Matthew Jacobs are sticking to their promise to discuss the show every Sunday. This week's episode dove slightly deeper into the mystery of Ben Caspare's death. The city manager's grizzly autopsy report prompted Ray (Colin Farrell) and Ani (Rachel McAdams) to question whether a penchant for prostitutes led to his demise. Meanwhile, we got an unsettling look at Paul's (Taylor Kitsch) family life, more of the series' noirish driving scenes, Frank (Vince Vaughn) worrying about his riches and a cliffhanger that could (rightfully) take the show in a whole other direction. Let's discuss.

Spoiler alert for "True Detective" Season 2, Episode 2, "Night Finds You."

Matthew Jacobs: Hi, Erin! We were pretty cruel toward last week's premiere, and the comments on our review seem to indicate a good number of people agreed with us. Then again, we were graced with a slew of ad hominem attacks on Twitter and via email, so clearly some of you took the episode as seriously as it took itself. Sadly, I don't think I'll be able to please the latter crop, so prep your aggression now, gracious readers.

I will say that Episode 2 was marginally better than the first. But hold on while I nod off as Frank moans about his self-made wealth ("Everything is papier-mâché" is an actual line uttered -- twice) and while Ray, Ani and Paul exchange vacant side glares as they examine Ben Caspere's body. On the other side lies the season's first intriguing scene: Paul's mother stroking his back and using what I assume is some sort of creepy euphemism when she tells him twice that he can have his "old room" if he spends the night. What is happening there? Give me more of that -- it actually feels like there is a character with layers on the screen and not hollow bodies who shepherd the vague plot from one phase to the next.

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Erin Whitney: Before I jump into this and thus throw myself into the gladiator pit against "True Detective" defenders, let me at least say that I'm not simply comparing this week's new episode to Season 1. I will reference the initial season, though, because it's difficult not to mourn something great in the midst of watching the melodramatic scenes from this week's episode.

That opening sequence where Frank recalls his childhood with his drunk father is painful to watch, but in the wrong way. What should play as a poignant emotional moment is instead drenched in cheap desperation. Way longer than necessary, the scene feels like it's ripped straight out of an actor's guidebook to auditioning: the hardened criminal shows his vulnerability by recounting memories of his abusive daddy locking him in the basement. Pizzolatto has somehow lost all sense of subtlety in his writing to the point that I can't help but wonder if he's playing a joke on us.

Jump ahead to the car scenes between Ray and Ani and the group meeting between all three detectives. Each of these plays like a parody of Season 1 and, in general, much of quality television. Their conversations seem superfluous, or at least insignificant to the plot at hand. They don't reveal any distinct or deeper qualities about the characters. Part of me thinks Pizzolatto has completely flipped his writing style to subvert our expectations of what TV should be, which is what Matt Johnston claimed in his Business Insider review. Even so, that's not remotely engaging or serving any storytelling or symbolic purpose (at least not yet). I pray my mind will be changed by the end of the season -- I desperately want to be in awe of this show. But so far, I'm simply not convinced.

Matt: I can't say I buy that there is that much self-awareness at play, but I've seen others make arguments about its meta relationship to prestige programming, too. The show doesn't seem to realize what it's lacking, which is a sense of identity within the world it depicts. Every location featured is a grubby, nondescript part of this fictional LA-adjacent town, and without color from local denizens drifting through the background, it is rendered culture-less. That's why I griped about the freeway shots last week -- they reflect the web of plots the show has weaved, but do little to immerse us in what makes this town tick and why Caspere's disappearance is worth eight talky hours of television. The same goes for the car scenes, where Ray and Ani carry on meaningless conversations that don't unearth much about their worldviews or the communities they defend. And that green screen? HBO, please tell me the screeners you provided to press still needed color-correction work, because damn. If we thought the aerial shots do nothing for the season's world-building, just look at the streets these characters drive down.

I thought the scene with Paul's mother accomplished what most of the others did not in hinting at a mysterious backstory that we actually want to take the time to understand. I criticized his suicidal bender last week, but could Paul actually be the season's best character? Not that he has much competition: I still don't understand much about Ani and it seems like the show thinks we know more about Frank than we actually do, while Ray is so on the nose that I understand far too much about him. But wait! Maybe he's dead? Those final few moments were pretty gripping, and it could point to interesting things to come. But I find it hard to believe he's actually a goner.

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Erin: I enjoyed the scene between Paul and his mother as well and finally began to feel a sense of discomfort, which is something this season has lacked so far. But I also really loved the final scene with Ray in Caspere's secret home. The animal masks and vintage radio amped up the (possible) presence of the occult, and things were just starting to get interesting. Like you said, I can't imagine the season killing off its lead character just yet. Still, it feels a bit cheap to tease audiences with such a big cliffhanger so early on.

The lack of identity you mention is my main criticism of the first two episodes overall. This season has no sense of place, which is surprising for a plot so grounded in a distinct locale. The corruption and grimy immorality of last season hung over every episode, reminding viewers of the horrors of world Rust and Marty were immersed in. It's fine that Season 2 isn't trying to recreate that feeling, but it makes the atmosphere that much less intriguing. Why care about a kidnapped official from a city no one cares for in the first place? Even after two episodes, I still don't feel like we've witnessed enough of the idiosyncrasies of the fictional Vinci -- I'm longing to see more of it, but the low-quality crushing car scenes and brief shots of factories do little to characterize it. Whatever happens moving forward, I hope that final scene pays off in a major way.

Matt: It gave me the sense that Ray knew more than the audience did. There was a certain comfort on his face as he lurked through Caspere's home, implying his power-abusing corruption might extend to the expired city manager. That would give his need to retain custody over his possibly illegitimate son -- the part of his life that he sees as a saving grace -- a sense of purpose that stretches beyond clichéd daddy issues. Conversely, maybe he's working to crush Frank's entire operation after spending so much time indebted to him. That's a script-flipping I'd sign on for. Either would ground the mystery by contouring the good-or-evil debate the show hasn't convinced us to invest in regarding these characters. Maybe this is Season 2's turning point. Here's to hoping for a more immersive discussion next week.

Erin: The possibility of Ray withholding information and/or conning Frank all along is the most exciting theory yet, and one that could quickly turn me into a fan of this season. I've wondered whether scrutinizing this show episode by episode may hurt our perception of it. Last season I fell so deeply down the rabbit hole of uncovering the Yellow King's identity that I nearly lost sight of the overall story at hand. While I'm still skeptical, I am going to try to pull back a bit and let the next few episodes wash over me, and hopefully they will surprise us both.

"True Detective" airs on Sundays at 9:00 p.m. ET on HBO.

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For Years, Photographer Charlie Engman Has Been Taking Photos Of An Unlikely Muse -- His Mother

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We often assume that most people who take photos of their mother do so under specific circumstances: family vacations, celebratory occasions, or a candid selfie with mom, to name a few. So we were surprised to encounter the beautiful and jarring portraits Charlie Engman captured of his mother and muse, Kathleen McCain Engman.

Before her son's lens, Kathleen transforms into a magnetic force, more alien vision than maternal figure. Her blunt orange hair, confrontational gaze and sculptural poses generate an intoxicating depiction, one unlike most family portraits we encounter.

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"When I was first getting excited about photography and thinking about it on its own terms, I took pictures of everything," Chicago-born Engman explained to The Huffington Post. "Everything was visually interesting. You're like a baby, chewing on things and deciding what is delicious and what is painful and what is hard and what is soft."

Engman didn't have any grand epiphany alerting him to the hidden potential looming inside his own home. He initially started taking pictures of his mother while living at home after college graduation, mostly because he could. "My mother was just an available subject, so I took a lot of pictures of her," he said. "At the time I didn't really think a lot about it. She was there, so I was using it."

Shortly after, however, Engman noticed something in the photographs he could not shake off. "There was something about those images that was kind of itchy for me. Obviously my mother is someone familiar to me; she's someone I've been engaging with my whole life. But in these images I sort of stopped being able to recognize her. She transformed in a way that confused and intrigued me. The image had a life of its own, in a way."

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Engman has now been photographing his mother for years, both for fashion editorials and personal projects. Whether posing in avant-garde couture or partially nude, Kathleen gives off the impression she is unshakeable with confidence. "She's really game," said Engman. "It's really hard to make her uncomfortable. She knew in this interaction we were having there was a mutual level of respect or understanding. So even if I was asking her for things that were rather extreme or pushed some boundaries of modesty or whatever, she knew me. She knows me."

Charlie and Kathleen have a different foundational relationship than most photographer-subject duos, and the distinction affects their creative process respectively. "With a mother-son relationship there are very specific dynamics at play that are kind of reversed when someone becomes a subject, but she’s also a very active participant," Engman told It's Nice That. "She does what I ask her to do but she also suggests a lot and she pushes back when she feels like things aren’t working."

While Engman tries not to categorize his work as addressing a singular issue, he's well aware of the importance of adding to and diversifying the visual lexicon of female beauty. "You look at mainstream imagery and the representation of females, and there is, at least in the Western world, a certain code of beauty and a certain expectation. And so of course if you are photographing a woman of a certain age you think of what that means in a wider social context. Family too, has a lot of connotations and associations that have been established. These are things I take into consideration, that inform the work to a certain extent. But it's the same as if I took a photograph of garbage on the street, that also has some baggage about commerce and use and misuse."

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Both Engman and his mother have received widespread praise for their unusual family collaboration. As a result, Kathleen was recruited to star in a television commercial with Courtney Love. He's also received criticism, with some of his mother's friends calling the work exploitative. However, the most widespread reaction according to Engman is one of pure surprise.

"The main reaction I get from people is, 'I could never do that,' or, 'How are you okay with that?' That's always kind of been funny to me. I'm not going for a shock factor, that's not my motive at all. I think our comfort level with each other has always been extremely high, and also our comfort level with ourselves. Obviously you only have the family that you have, and that's the lens that you see the world through, so it's been really interesting to watch how people react."

As for Kathleen's perspective, she seems far too busy for your reservations. When Engman asked for her perspective on his practice during an interview in Editorial, she responded: "I think you’re a rebel, I have to poop."

Future goals, people.






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'Portrait Of A Quiet Girl' Celebrates The Private Madness Within Us All

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What are your secret single behaviors? In the season 4 episode of “Sex and the City,” “The Good Fight,” Carrie Bradshaw reveals that when she’s home alone, she makes a stack of saltine crackers with grape jelly and eats them standing up in the kitchen while reading fashion magazines -- not the most shocking habit, but certainly a bit unexpected.

In a photo series called “Portrait of a Quiet Girl,” artist Chrissie White, in collaboration with Elvia Carreon, zooms in on our secret solitary habits, in all their weird, quirky glory.

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The series, first published in The Photographic Journal, might at first seem to be a surrealist take on mental illness; in fact, White has cited “The Yellow Wallpaper” by Charlotte Perkins Gilman, a story about isolation-induced madness, as an inspiration for the project.

In an email to The Huffington Post, however, White explained that the photos are not necessarily meant to show a mental health condition, but rather the freedom shy people can find to be fully themselves within the safety of their own homes. “Others might see this women as being mentally unstable,” said White of the “slightly agoraphobic” character she created with Carreon. “But she enjoys her solitude and finds comfort in her home where she can play without fear of judgement.”

Though introverts typically shy from the spotlight, introversion has enjoyed a wave of public attention following the publication of Susan Cain's book on introverts, Quiet. Self-identified introverts have eagerly shared listicles like 23 Signs You're Secretly An Introvert and celebrated the recognition that needing plenty of time alone or being uncomfortable in huge groups doesn’t necessarily make you flawed -- just different.

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“Portrait of a Quiet Girl” goes a step beyond, celebrating “how strange and unreserved people can be when they aren't being watched,” as White put it. The series invites us to think of our own odd, solitary behaviors from a new distance, confronting us with the reality that we all might look a little absurd if outsiders could see how we act when we are totally alone. “I believe that everyone has some ‘quirks’ that could be diagnosed as illness,” said White. “People are just really good at hiding them when they are out in public.”

If, as the Cheshire Cat told Alice, we’re all mad here, in our own safe, unwatched spaces, the meaning of “madness” becomes far less cut-and-dry. In “Portrait of a Quiet Girl,” White and Carreon invite us to question what we think of as mad, and to embrace the kaleidoscopic range of quirks and emotions we all experience as humans.

See more of the photos from "Portrait of a Quiet Girl" below, and check out White's work on her website.





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The Bottom Line: Deborah Levy's 'Beautiful Mutants and Swallowing Geography'

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“I need a lot of external stimulation bulleting into my life,” Richard Ford said in an interview with The Paris Review. “I’m not talking about exhilaration or thrill, I just want new sounds coming into my ears.” He’s referring to working on planes, in friends’ houses, in hotel rooms -- to constantly being in motion. He’s not interior enough, he says, to stay in one place, to sit down, to focus, to plant roots.

Perhaps not coincidentally, Ford’s writing is complemented by the way it sounds. More so than the meaning they invoke, Ford chooses words for the feelings they stir up. A long “o” might be soothing; a long “a” is dark and unsettling.

Like Ford, Deborah Levy’s writing relies heavily on its sounds. In particular her first two novels, recently republished, are ripe with onomatopoeia. A central character can be heard wailing from dorm hallways; another wears seashells near her ears so she can always hear the ocean. Also like Ford, her novels -- particularly Beautiful Mutants -- is about characters who are uprooted, who spend their days wandering around a whir of foreign stimuli.

Mutants centers on Lapinski, a Russian immigrant who tries to make London her home after the death of her parents. Bequeathed with nothing other than a handkerchief embroidered with her family name, she grows thick skin while navigating the strange sounds of a new city. Her upstairs neighbor is a noisy misogynist; her friend Gemma speaks in shrill, drawn-out platitudes; she bides her time and pays her rent by working in a bustling shop where an array of languages are spoken.

Levy’s at her best here when characterizing the colorful, disorienting nature of the immigrant experience. Her later books -- Black Vodka, a short story collection, and Swimming Home, a Booker-nominated novella -- have been lauded for their ability to build tense atmospheres and construct anxiety-inducing moods. So, when Beautiful Mutants showcases her playful use of language, it makes for an immersive, empathy-inducing reading experience.

The abstract nature of Levy’s writing is a pleasure; reading Mutants is like listening to a soundtrack for feelings of isolation, longing and confusion. However, in parts, Levy imbues her own political observations in clunky ways she thankfully abandons in her later works. In Mutants, Lapinski’s poet-friend, a rambling, self-centered love interest who speaks chiefly in metaphor, has absurd, drawn-out conversations with a zoo animal, weighing the value of capitalism by the virtues of intrinsic motivation.

If this sounds like a forced allegory, that’s because it is: the poet’s reflections fall short of the metaphor-riddled world of Animal Farm, which seems to’ve been the goal. These random interludes distract from Levy’s otherwise fluid, skillfully crafted scenes, which for the most part immerse the reader in the complex, bustling world of London.

The Bottom Line:
Deborah Levy's earlier books are a sonorous, whimsical introduction to the immigrant experience in London.

Who wrote it?
Deborah Levy is the author of Swimming Home, the Booker-nominated novella, and a collection of short stories, Black Vodka.

Who will read it?
Those interested in lyrical stories, outcast characters, and unconventional plots.

Opening lines:
"My mother was the ice-skating champion of Moscow. She danced, glided, whirled on blades of steel, pregnant with me, warm in her womb even though I was on ice."

Notable passage:
"There is a war on. Everyone is separated and afraid. It is as if we have been robbed of a language to describe the bewildered brokenness we inhabit. Best to leave and learn another language."

Beautiful Mutants and Swallowing Geography: Two Early Novels
by Deborah Levy
Bloomsbury USA, $16.00
Published June 23, 2015

The Bottom Line is a weekly review combining plot description and analysis with fun tidbits about the book.



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7 Things You Need To Know About Confederate Flag-Slaying Beyonce Enthusiast Bree Newsome

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In case you thought that Bree Newsome -- the woman who scaled the flagpole outside the South Carolina Statehouse to remove the Confederate flag flying high atop it -- couldn’t get any more incredible, check this out. It turns out that Newsome, along with being a North Carolina-based activist and youth organizer, is also a filmmaker, musician and possible card-carrying member of the BeyHive.


1. Bree Newsome is a staunch defender of voting rights.







Newsome told Charlotte’s Levine Museum of the New South that the nationwide and statewide dismantling of voting rights legislation -- an effort that largely serves to disenfranchise black voters -- coupled with George Zimmerman’s acquittal in the death of Trayvon Martin “activated” her to “[move] from being a sideline supporter to an activist.”

2. She's also an accomplished musician…







According to her website, Newsome’s been playing piano and singing since, like, forever, with past stints in the Peabody Conservatory and the Baltimore Choral Arts Society. Listen to “#StayStrong” above, a song about being “young, black, and gifted/ Tryna stay lifted/ In a world that keeps [you] stinted/ Just ’cause [you’re] pigmented” that was inspired by her voting rights activism in North Carolina.

3. …and (alleged) member of the BeyHive.







Here’s a video of Bree Newsome performing Beyoncé’s “Crazy in Love” with her Charlotte-area funk band, Powerhouse.

4. THERE. IS. STILL. MORE.





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Newsome’s also a super talented filmmaker -- because why not at this point. Her website says that she graduated from New York University’s Tisch School of the Arts with a BFA in film and television, and after that she served as ad agency Saatchi & Saatchi’s first ever artist-in-residence.

5. Just watch her short film, "WAKE."







The 21-minute southern gothic is so unsettling and amazing.

6. And she's gotten the coveted DeRay endorsement.








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7. But most of all…








…Bree Newsome climbed up a 30-foot flagpole to remove a Confederate flag that just wouldn’t come down.

End of list.

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Leonardo Da Vinci's Leicester Codex Show Us How A Genius Thinks

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What goes on in the mind of genius?

A new exhibit at the Minneapolis Institute of Arts seeks to answer that question by examining Leonardo da Vinci’s Codex Leicester: a 500 year-old notebook containing his 72 pages of cross-disciplinary ruminations. The Renaissance polymath muses on why fossils form, how water flows through spaces, and why the moon produces light -- all with artful pizzazz.

Exhibition curator Alex Bortolot told The Huffington Post that Leonardo “understood the world in terms of macrocosm and microcosm: the structure of the whole is reflected in the parts." The artist would often use his knowledge of small systems to explain much larger ones, linking the patterns of human beings to those in the larger world. This was one reason that Leonardo made so many remarkable scientific discoveries despite lacking access to modern scientific technology.

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Here's a short excerpt to give you a taste:

"The body of the earth, like the bodies of animals, is interwoven with a network of veins which are all joined together and are formed for the nutrition and vivification of the earth and of its creatures..."

Poignant analogies are not the only notable element of the Codex. It was written backwards so that the left-handed genius would not smudge the ink, and it remained a collection of scattered pages until after Leonardo died in 1519 -- though it's now been returned to its original state. Here's another of his beautiful musings:

“I once saw such winds, raging around together, produce a hollow in the sand of the seashore as deep as the height of a man, removing from it stones of a considerable size, and carrying sand and seaweed through the air for the space of a mile and dropping them in the water.”

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On a less poetic note, the Codex set the record for most expensive book at auction when it went for $30.8 million to Bill Gates in 1994. Since then, Gates has loaned the codex out liberally, to museums from Sydney to Tokyo to Dublin -- and now in Minneapolis.

MIA’s show, however, is not just a showcase of this one notebook. It uses Leonardo’s codex as a jumping-off point to explore the broader phenomenon of artistic design. To this end, it’s brought together four very different design projects:

1. Bill Viola’s “The Raft”: a video featuring a group of people huddled close as they’re bowled over by a massive deluge. This commentary on communal support and environmental disaster is shown with Viola’s designs for the work.

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2. Margaret and Christine Werthelm’s “Crochet Coral Reef”: a coral reef fashioned from wool that uses mathematical algorithms to produce lifelike forms. The collaborative work has extended into broad commentary on environmental destruction.

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3. Scott Olson’s designs for revising “inline skates”: the basis for the modern roller skates from which Olson made millions

4. Don E. Harley & Associates’ sketches of cars with better safety mechanisms.

Each of these projects builds off the spirit and legacy of Leonardo. His writings continue to fascinate us -- and fetch high price tags -- because they give access to someone who so fully embodied the role of creative entrepreneur.

Leonardo would probably have happily crocheted a coral reef one day, designed safer vehicles the next -- and linked each small discovery to a universal phenomenon. That radical openness, perhaps, is the true mark of his genius.

Corrections: This article previously listed the exhibition curator's name as Alex Bortolo and said Scott Olson's revised "infinite" skates. Alex's last name is spelled Bortolot, and Olson revised inline skates.

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Meet The Man Who Helps Hollywood Stay Sober

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Until two years ago, Jon Paul Crimi kept his career, and his client base, mostly a secret.

He has a 20-year background as a fitness trainer and used to be an actor -- but now when he gets a phone call and finds himself on an airplane two hours later heading to a movie set, he isn't going there to act.

Instead, Crimi is a professional sober coach who works with some of Hollywood’s most elite and others struggling with substance use disorders. He has been sober himself for 15 years.

“The best sober coaches are the ones who had a lot of experience struggling with sobriety," he told The Huffington Post in an interview in Los Angeles. "The further down the ladder you’ve gone and the more things you’ve been through, the more you can help people.”

Crimi is 5 feet 11 inches tall, fit and has eyes so blue that you think he must be wearing colored lenses. He is not. Crimi stands up straight, is comfortable in his body and has that kind of a smile so deeply grounded that he radiates confidence without a shred of cockiness.

But the very first thing you notice about him is that he has no eyebrows, eyelashes or hair, due to adult-onset alopecia. His Boston accent pokes out at times -- especially when he’s cracking a joke at his own expense -- which is a lot of the time. “I got kicked out of Catholic school. I had a learning disability, it was called ‘Fuck You,’” he joked, adding that he couldn't sit still in school and always felt uncomfortable.

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Crimi during his childhood.


“There is a big question mark about what causes drinking. Is it hereditary? Is it nature versus nurture? I think it’s both,” he said. “My joke is I’m Irish, Italian and Scottish. Which means I like to drink a lot, I don’t want to pay for it and then I want to start a fight. I’m also from Boston, and that kind of means the same thing.”

Crimi grew up in a rough neighborhood. He was jumped regularly and, in one case, stabbed. Looking back now, he marvels at how casual he was about it. The stabbing was serious -- he got 41 stitches in his head and nearly died from blood loss. Crimi, then 19, was out at a party drinking the very next night with his head wrapped in a bandage.

“Somebody said, ‘Didn’t you get stabbed last night?’ And I was like, ‘Yeah. But what’s going on with you?’”

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Crimi with friends in his early 20s.


He lost a lot of friends to drugs and alcohol while growing up. Six of them. “Overdoses, suicide, car crashes. It was really hard,” he said. The people around him didn’t talk about their feelings much. He had two DUIs before the age of 21. But his best friend had four. “We call it lower companions. We seek people around us who are worse off than we are. That way we don’t have to look at ourselves,” he said.

Crimi says he didn’t know how to process everything that had happened to him. “I didn’t have any tools to deal with it. My only tool was to drink around it. If there was a bad feeling, I drank or used drugs,” he said.

Before he was a sobriety coach -- before he was even sober -- Crimi moved to LA with big Hollywood dreams. He was accepted to a three-year Method acting program on a scholarship. But as he began to do the work, which can be deeply emotional and draining, the trauma from his youth began to come to out -- and so did his hair.

“There was one scene where someone was stabbing me and I had to stop. Processing all that in an acting class was a terrible idea.”

He began to notice bald patches all over his head, arms and legs and his doctor told him the hair loss was brought on by stress and trauma. He was put on high doses of steroids and was given excruciating shots in his eyebrows and head -- sometimes 75 or 100 at a time. He began to take Vicodin to help with the pain.

“I was 23 years old and at the peak of my life. I was trying to be an actor and my looks were everything to me. That was all being stripped away,” he said.

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Crimi's headshot as an actor.


To make a living during acting school, Crimi trained clients and managed sales at Gold’s Gym in Venice Beach -- a famous destination for bodybuilders around the world. He was good at his job and started to snatch up some prestigious Hollywood clients. They helped him get more auditions.

But the high doses of steroids made him gain weight and bloat. “I was this fat trainer, trying to be an actor, bald patches everywhere, penciling in my eyebrows and going to auditions. I was eating Vicodin all day and drinking all night.”

His business was growing, but he was a mess.

Crimi flirted with sobriety, but didn't commit. “I would go 20 days without using or drinking and I was so uncomfortable I felt like I was crawling out of my skin. It was painful,” he said of his life at 25.

“Alcohol and drugs aren’t the problem. I’m the problem. The alcohol and drugs are my solution to the problem -- which is how I feel about myself when I don’t have anything in there. Until you fix that, you’re going to keep going back to it,” he said.

He sought out a therapist for the first time and she suggested he go to a 12-step recovery program. Crimi scoffed at the idea and tried even harder to get sober on his own. After a few months, it all came crashing down.

“Finally I bottomed out. I lost another really close friend and I went on this big bender, jumping the bridges of the Venice Canals drunk in my car. The next day, my stripper roommate told me to get help.”

He listened. When he walked into his first 12-step meeting, he realized he had been wrong. He saw young, successful people around him, saying things that he had always felt in his heart but had never said out loud.

“It rocked me to my core. I thought, ‘Wow. This is what’s wrong with me. I have alcoholism.’ It was a tough moment. But I also knew that I was in the right place for the first time in my life,” he said.

Talking about this makes Crimi choke up, even 15 years later. His eyes moisten and the rims of his eyes without eyelashes get especially red. But he also exudes a deep sense of gratitude for where he is today.

“If you’re willing to ask for help, then people will take care of you,” he said.

He worked all the steps and found a strong community of people around him. Unwisely, he continued working while he detoxed. “That’s never a good idea” he said. “I head-butted a co-worker and they let me go. The guy was kind enough to let me stay and train my personal clients.”

He built his business around his recovery. Sobriety became more important than clients and more important than making money. It’s the biggest mistake he sees people make today.

“You get sober, you start working, you get a girlfriend and go, ‘Oh, I’m good now.’ They say anything you put in front of your recovery you will lose.”

Sober coaches, who can also be called sober companions, started off in the rock and roll industry. The late Bob Timmins is thought of as the original sober companion and was described in his Los Angeles Times obituary as a “titan in the world of recovery,” particularly for rock musicians rising to fame in the 1990s.

Crimi knew Timmins personally and attributes the birth of the industry to a combination of factors. “People wanted to have their careers and play their music, but being out on the road is the one hardest places for an alcoholic or addict.” Crimi said. “There's too much temptation and they needed someone with them for support.”

The music industry is where Crimi started too. But after a couple of years of touring around the world, which Crimi says cured his rock star fantasy, he began to work with actors. It’s a business with a ticking clock: When he gets a phone call for a job, he is expected to pick up and go almost immediately.

Many of his sober coaching jobs are 24/7. He lives with the client on set and they eat together, work out together and even sometimes sleep in the same room.

But most of the time, no one else on location knows who Crimi is. “I’m the trainer, I’m the assistant, I’m the meditation teacher or I’m the bodyguard. I’ve been everything.”

It gets more complicated when the client doesn’t want him there. Many times, he is hired as a contingency of a film's insurance policy. He has had people try to lose him through airport security, use in front of him, become verbally abusive and physically confrontational.

He is the first to say that he cannot force clients to stop using. What he can do is help redirect their focus by getting them out of the room to go on a walk or take them to a meeting. He is there for support. He might help them through a meditation exercise or a gratitude list. His background in fitness helps, too. Exercise can be a big part of recovery.

“You can interrupt the disease. Even if someone is using, you can help. Some say you have to let people bottom out," he said. "But I’ve seen people who don’t want to get sober eventually get sober because they had somebody there supporting them, in their ear talking to them.”

Crimi’s mentor of 15 years, Irwin Feinberg, put it best. “Jon Paul has worked with a lot of guys who other people had given up on. He is the guy who got them into recovery,” he told HuffPost. “But it all began with him jumping into his own recovery with both feet.”

Part of Crimi’s job is borne out of the limitations of rehabilitation facilities. “It’s a cushy bubble,” he said. “Then they go home and all of their triggers come up that made them want to drink or do drugs before. It’s about helping them in their environment but it’s also about helping them re-create their lives.”

A good number of his clients have been drinking or using for most of their lives. They don’t know what to do sober. They don’t know how to handle Christmas or New Year’s sober. They don’t know how to handle a death in the family. Crimi helps them implement new habits.

But the most powerful tool in his own recovery and what he stresses the most with clients is to focus on helping someone else. That’s why when he was first sober, he joined the Big Brother program and became a mentor.

“I had really low self-esteem when I got sober. It was my first estimable act. It builds you up. When I am helping someone who is going through something, I cannot be in my problem. The faster you can do that, the better off you are,” he said.

John Hanney has worked with Crimi for the last nine years and says that his life has been re-created as a result of their relationship. “I was quite possibly one of the worst cases that anybody had ever seen,” Hanney told HuffPost over the phone. He tried to get sober for 17 years.

“Jon Paul has helped me recover from this disease one day at a time. I could trust him and could disclose my deepest, darkest secrets to him. It took time but he instilled confidence in me,” he said.

Many sober coaches don’t have families. The unpredictable lifestyle and expectation that you can be gone for weeks or months at a time aren’t exactly conducive to building relationships at home.

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Crimi with his daughter, Mika.


But Crimi is the exception. He has been married for six years and has a 2-year-old daughter. He is on the road less and less, and is building his company to train sober coaches to take the out-of-town work so that he can be home with his family. Being a father has presented a new list of challenges for him.

“I worry about genetics. Am I going to pass this on to her? I see her doing things like spinning around and around in circles and I’m like, ‘Oh my God, she’s trying to get high!’”

His wife, Nomi, tells him it’s just a toddler thing. “My wife is not an addict. She’s a totally normal person. She calms me down.”

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Crimi and his wife, Nomi.


Aside from being grounded by his family, Crimi's deepest source of strength ultimately comes from paying it forward. It's what connects him most fully to a sense of spirituality. “For the longest time my spirituality was simply helping other people. I don’t know anything more spiritual than helping someone and expecting nothing back,” he said. Being vulnerable and letting clients see who he really is can be just as powerful a tool.

“That’s what puts people at ease with me. When you open your heart to someone, they see that. They connect to you,” he said. “That’s spirituality to me. That’s God. That’s love. And for an East Coast former tough guy to say something like that is a miraculous thing.”

Jon Paul Crimi’s company also works with dual diagnosis clients, such as those with schizophrenia, bipolar disorder, depression and traumatic brain injuries. More information can be found on his website.

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Why Larry Kramer's Galvinizing Message About LGBT Activism Is The Same As It's Always Been

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“I still have that anger and I would still like to galvanize everyone, but it doesn’t appear that we’re galvanize-able as a population,” AIDS activist, author and playwright Larry Kramer said, discussing why LGBT activism is so necessary at a time in which he fears complacency has set in. That anger is on full display in the new documentary about his life and work as an activist and writer, “Larry Kramer in Love and Anger,” which debuts on HBO tonight at 9 p.m.

“[It’s] too bad,” he continued, in an interview with me on SiriusXM Progress, referring to the the vital work ahead for activists on AIDS and LGBT rights,“because we need activism more than ever now.”



That message – “we need activism more than ever now” -- is actually the message Kramer, who turned 80 last week, has been pressing, sometimes literally screaming it from the top of his lungs, for more than 30 years. And as a founder of Gay Mens Health Crisis and organizer within ACT UP, he’s saved countless lives with that anger.

The film not only captures many of those moments, but charts a childhood, adolescence and young adulthood marred by homophobia and which helped infuse the anger and rebelliousness. The film, receiving some terrific reviews, was made by longtime filmmaker and activist Jean Carlomusto, a friend of Kramer’s who appears in the film at his bedside while he was in dire condition in an intensive care unit in 2013, being treated for complications from a liver transplant.



Carlomusto said she got the idea for the documentary after hearing Kramer read from an early draft of his new book, The American People.

“To hear him read from the book is truly amazing,” she said. “[He] has an amazing voice -- the ancient mariner sits down, to give you this biblical history. That voice. That kind of provocateur that’s going to inspire you or push you beyond where you were comfortable going.”

She continued: “And I thought, why hasn’t a documentary been made about Larry yet? When I asked if I could do it, a number of people had asked him to do it, but he wasn’t keen at the time. But we worked it out and I’m glad. Because for me, it was a real gift.”

"Larry Kramer in Love and Anger" debuts on HBO at 9 p.m. Monday, June 29.

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EL James' Twitter Q&A Did Not Go Well To Say The Least

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NEW YORK (AP) — Twitter had a bit of fun Monday at the expense of EL James.


The hashtag "AskELJames" trended nationwide as the "Fifty Shades of Grey" writer took questions, including some not-ready-for-prime-time doozies, but surely she's immune at this point to hurt feelings.


Among the printable, cheeky queries:


— "Is it true that you're actually just a burlap sack full of bad ideas and spiders?"


— "When do you think your writer's block will kick in? Signed Ev R Hopeful"


— "did you use a blow up doll as your characterization inspiration for Ana?"


— "Is it only ok for Christian to stalk, coerce, threaten & manipulate Ana because he's hot, or is it also ok because he's rich?"


For those under rocks, James authored three books in an erotic trilogy involving BDSM sex between a handsome, emotionally damaged billionaire and a young woman whom he introduces to his rough-sex lifestyle. She recently put out a fourth book that tells the story of the first book all over again from Christian Grey's point of view rather than that of Anastasia Steele.


Oh, and there was a movie. Oh, and at least two more movies are planned.


James let loose among questions she did answer that she has written another book and is halfway through yet another, adding:


"Both romances. Not sure when I will finish them. (smiley face)."

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Behold, Hypnotic Sand Paintings That Will Turn Your Brain Into Goo

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Are you stressed? Bored? Exhausted? Misunderstood?

We highly recommend taking a brief moment to recharge, watching as this talented sand artist unfolds colorful, mind-bending shapes and forms before your eyes. Pretty hypnotic, no?

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The captivating process is the work of Joe Mangrum, an artist who was recently commissioned by the Doe Museum in Zuidlaren, Netherlands to create eight original and spontaneously rendered sand paintings. Over the course of 11 days, Mangrum embarked on an art-making marathon, as neon vines and tripped-out flowers blossomed below his feet.

See the process in all its spellbinding glory below. If you happen to be in Zuidlaren, these works will be on view until October 30, 2015.

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Joe Mangrum Sand Painting #1 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.



Joe Mangrum Sand Painting #7 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.



Joe Mangrum Sand Painting #5 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.



Joe Mangrum Sand Painting #6 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.



Joe Mangrum Sand Painting #4 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.



Joe Mangrum Sand Painting #8 Doe Museum, Zuidlaren, Netherlands from Joe Mangrum on Vimeo.

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One Big Way Seattle Is Improving Arts Education, As Told By A Cartoonist

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Medium/Bright: How Seattle Got Its (Arts) Groove Back

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In what might be the first example of a solutions journalism comic strip, cartoonist and elementary school art teacher Robyn Jordan has used illustrations to show how Seattle schools are making art a priority again.

In too many school systems nationwide, art is simply not a valued part of the curriculum. Research from past years shows that art was not a requirement in more than 40 percent of secondary schools, Jordan writes on Bright, Medium's initiative about solutions and innovation in the world of education. But a new collaboration between Seattle's public schools and the Seattle Office of Arts and Culture hopes to bring art back to the forefront of learning.

Panel by panel, Jordan takes readers through the history of arts education in Seattle, from budget cuts in the early 2000s and racial learning gaps to the creation of faculty art positions and strategic planning to incorporate art into younger grades.

The goal by 2020 is to have every elementary school student receive at least 60 minutes of art and 60 minutes of music each week, while every middle school student will receive two semesters of art and every high school student will receive four semesters.

One reason for the newfound excitement around the arts in Seattle is technology. There is an increasing demand in the city for skilled technology, science and engineering workers, and the skills needed to be successful in those areas are the same skills taught through art, Jordan argues.




MORE:

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The What’s Working Honor Roll highlights some of the best reporting and analysis, from a range of media outlets, on all the ways people are working toward solutions to some of our greatest challenges. If you know a story you think should be on our Honor Roll, please send an email to our editor Catherine Taibi via catherine.taibi@huffingtonpost.com with the subject line "WHAT'S WORKING."

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Chinese Farmers Turn Rice Paddies Into Stunning Works Of Art

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Farmers in Shenyang, China, created these dazzling rice paddy images to pray for blessings, according to Imagine China. The locals in Liaoning province, members of the Xibo ethnic group, create a 3D effect with different varieties of rice saplings. The finished works span about 25 acres.


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Mom Creates 'International Day To Normalize Breastfeeding' To Support Mothers Worldwide

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On June 27 of last year, San Diego photographer and mother of three Vanessa Simmons launched Normalize Breastfeeding -- a breastfeeding awareness campaign that features photography, social media outreach, philanthropic endeavors and a website full of empowering stories and podcast discussions about nursing today.

To celebrate the one-year anniversary of the campaign and the incredible impact it's already had on women around the world, Simmons wanted to create an official day of recognition to celebrate the effort and progress made towards awareness and understanding of breastfeeding, wherever it happens. She submitted a proclamation request to San Diego Mayor Kevin Faulconer, who approved it and thus proclaimed June 27 the first International Day to Normalize Breastfeeding.

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"This day is about mothers committing to nourish their children with breast milk -- whether nursing, pumping, and donor milk -- and the public committing to supporting them whenever, no matter how long they choose to breastfeed," Simmons told The Huffington Post. "My vision is to remove the taboo of public breastfeeding from modern society." The Normalize Breastfeeding founder said she was inspired to submit a proclamation request for the International Day after successfully helping to make National Women's Health Week official in 2010 through similar means.

For the International Day to Normalize Breastfeeding, Simmons looked at the list of "International Days" observed by the United Nations and saw that June 27, the date when she founded her campaign, was available. She created a press release and t-shirt, reached out to local breastfeeding groups across the country and even managed to get in touch with Australian supermodel Nicole Trunfio, who shared the Normalize Breastfeeding message and awareness day announcement on "Access Hollywood."

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As a result of these efforts, the Normalize Breastfeeding team received published proclamations from the mayors of Houston, Texas and Kansas City, Missouri and organized local events in Nashville, Tennessee; Charlotte, North Carolina; Oklahoma City, Oklahoma; Mobile, Alabama; Katy, Texas; Sterling Heights, Michigan; and San Diego, California.

Simmons established a theme for the first International Day to Normalize Breastfeeding -- "Take the Pledge to #NormalizeBfing." She told HuffPost, "This year the theme is about creating excitement by getting supporters involved by posting status, images, and video to acknowledge the day online." The mom adds in her press release for the awareness day, "We are united for this one day, to normalize the many methods of delivery of breast milk diverse variations of normal breastfeeding."

Going forward, Simmons plans to continue supporting breastfeeding moms by going on tour to visit with local nursing groups and organizations in Sacramento, Detroit, and even South Africa. She also hopes to "promote positive breastfeeding in the media" during World Breastfeeding Week in August.

Wherever her travels take her, she will continue to photograph breastfeeding moms, as they inspire their communities to support parents and the choices they make for their families.

Keep scrolling for a sample of Vanessa Simmons' "#NormalizeBFing" photography.





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How South African Band Seether Is Shifting The Narrative On Police Brutality

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WASHINGTON -- As the roll call of police killings of unarmed black people has grown over the last year, public outrage has split into two, seemingly opposite sides. Some have stood in solidarity with the black lives lost, while others pledged their allegiance to the police officers performing an incredibly tough job. It often looks as if there's no middle ground.

But Shaun Morgan, frontman for the South African band Seether, believes it's possible to see more than one point of view -- even in these terrible situations.

Morgan and video director Sherif Higazy have teamed up to introduce “Nobody Praying for Me,” a new interactive video that provides participants with five clickable viewpoints on the day that the fictional Jake Young is gunned down by a cop.

The circumstances are intensely familiar. Young is a regular black teenager who, a la "Fruitvale Station," moves through an average Tuesday until he and his friends are mistaken as suspects in a robbery. Other vantage points capture Officer Holloway, who ends up killing Young, on his daily beat; the stark contrast between liberal and conservative media coverage of the death; and cell phone video of the incident from a bystander.

HuffPost talked with Morgan, who grew up in Pretoria, South Africa, during the apartheid era, about the new project. This interview has been edited for length and clarity.

What will this interactive add to the police brutality narrative?

Violent crime is obviously part of our everyday lives, and it’s unfortunate. But I wonder how often we choose to look deeper to why a person acted violently. I hope this video can spark a debate and get to news channels, where we can speak about it on that level, to make it more than just a band making a video trying to make a statement. And even if just 10 percent of the people who watch the video come away with something, and go out and try to alter their perceptions or behavior or alter their prejudices -- which is very difficult to do because prejudices are so deep-rooted -- it would be amazing. We’re trying to do something that’s meaningful, and all it takes sometimes is one person to effect change.

Do you think this project will humanize cops and victims alike?

Our goal was to humanize both cops and victims. I think that we have to be sympathetic and judgmental of both of them. We are trying to show that while the policeman overreacted and he was unjustified in his actions, ultimately, however, you are sympathetic to the fact that it’s not necessarily his fault because that’s all he knows. The kid should not have reached into his pocket with his back turned to him -- that’s passive-aggressive action. ... That’s the point. As a cop, you don’t know -- and if you take the time to wait [to] find out, you might be dead. There are always two sides to the story.

On the other hand, the cop is already judging these kids based on their skin color, and that’s because of what he’s been taught by the media. Again, that’s our point. Before you make any snap decisions, you should look at the whole picture and then make the decision.

Ultimately, we should be sympathetic to the kid who died in the video. However, it’s important that there is a dialogue where you go, "Hey, that cop looked like he was terrified, and hey, how would I have acted if I were him?"

What does this project say about policing?

In the video, the cop made a mistake but, by the same token, it’s ... because of how we’ve been brought up and how we’ve been told that a black kid with a hoodie, for example, is a bad kid. The nature of the cop’s job is such that he has to make quick judgment calls, and the fastest way to do that is to fall back on stereotypes. So really the whole point is to try and shift the way we look at things and to not always leap to our preconceived conclusions, which are mostly racially biased and profile-based. Because, honestly, that’s what we get fed all the time. Like if you get on a plane and there’s a Muslim fellow on the plane, everyone looks at him like he’s a bad guy. He’s not a bad guy just because his faith has been represented as being a bad faith to follow. I’ve been guilty of that, too.

As a police officer, you live in this constant fear scenario, where you don’t know what to expect so you always fall back on what you’ve been taught as far as a racial or a visual profile. That’s very unfortunate, and it’s getting worse and worse instead of better. Unless we start to act and reach out and change that, then it’s never going to -- it’s going to just become a downward spiral, and we are going to see a lot more of this kind of violence.

I noticed that the white cop shot Jake, but the black cop called "gun." Was that intentional? If so, why did you set it up like that?

Yes and no. Just like in the case of Freddie Gray, black police officers used just as much brutality as the white cops. So I think these are two different issues -- racism and police brutality. In our video, having the white cop shoot the innocent black kid makes the viewer think he is racially profiling [the kid], but his black counterpart was the one yelling "gun." So we really don’t know who to blame in this scenario.

There was also almost no time between the "gun" call and the shot. Was that intentional as well?

Yeah, it was intentional. We were setting the cops up to be trigger-happy and shooting the alleged suspect without any valid evidence [he was] carrying a weapon. This is too common an occurrence in policing, and we wanted to highlight this in the story.

Lastly, the difference in media coverage -- liberal vs. conservative -- is noticeable in the project and in real life. Why did you decide to highlight both angles?

I wanted to make a point, especially now when you hear about another shooting every week and it’s portrayed differently on Fox or MSNBC. ... Our goal is for people to educate themselves and make an informed decision on their own, rather than being told by any [media outlet] saying, "This is what you should be thinking. This is what is right." I think governments have too much power and the media has too much power, and I think they fear our thoughts and our opinions through the way they deliver the news. Our goal is for people to sit back and go, "Hey, maybe he’s got a point. Maybe they have a point as a band. Maybe we should think for ourselves for a change."

Head over to NobodyPrayingForMe.com to check out the interactive video.

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Humble Snapshots Of 20th Century Art Giants Being Regular People

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Jackson Pollock, Clement Greenberg, Helen Frankenthaler, Lee Krasner, and an unidentified child at the beach in East Hampton, New York, July 1952. Jackson Pollock and Lee Krasner papers.




If you've ever wished for an art world equivalent of a celebrity tabloid that would prove 20th century giants like Picasso, Kahlo and Pollock were really just like us, look no further.

Tucked away in none other than the Smithsonian’s archives, amongst diaries, letters and other artist mementos, rests a treasure trove of artist photos so average, it's pretty extraordinary. We're talking Andy Warhol crossing the street, Jackson Pollock and Lee Krasner enjoying a beach day, Alexander Calder ogling one of his iconic mobiles, Ansel Adams taking a solo shot in a photo booth. Never before have the biggest artists of the 20th century seemed so much like, well, normal people.

As explained by the folks at Smithsonian: "Unlike the familiar official portraits and genius-at-work shots, these humble snaps capture creative giants with their guard down, in the moment, living life." The black-and-white gems have been compiled into a book entitled Artists Unframed, by Merry A. Foresta, an independent curator and former curator of photography at the Smithsonian Institution.

See a preview of the book, available from Princeton Architectural Press, here.





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Photographer Captures Mini Lightning Storms In Honor Of Tesla

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Have you ever seen a Tesla coil up close? What about a lightning storm caught in a single image? Marc Simon Frei’s enveloping photographs let you take a glimpse at both, bringing viewers far closer to raw electricity than they thought possible.

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A self-professed “child of science,” Frei originally worked on the mechanical side of electricity, before switching to the artistic realm as a lighting designer. Now his works blend engineering craft and an artist’s eye, a hybrid method that helps ensure his camera captures striking images without collapsing at the hands of high voltages. In addition to the Tesla coil shots, Frei has fashioned miniature wool clouds. Some produce miniature lightning, while others glow with embedded LEDs.

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He considers these “high-voltage experiments” a kind of hobby, one that supplements his professional forays into electricity. They allow him to tap into the creative energies of Nikola Tesla, who invented the coil in 1891. The coil works by placing two capacitors in close proximity and building up a strong electric potential in one -- until it jumps across the "spark gap" to the other in a flurry of gorgeous blue electricity.

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“I am fascinated by Tesla and his visions,” Frei wrote to The Huffington Post, “and I would be happy if he revives a bit through my photos.”

When viewers stare at Frei's fleeting electricity and wool clouds, they are not just experiencing the visual appeal of dancing sparks. They're also connecting to Tesla as an inventor and a creative, and a greater human fascination with producing energy and light.

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