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Child medication measurements confuse parents
July 14th, 2014
11:03 AM ET

Child medication measurements confuse parents

Do you know the difference between teaspoons and tablespoons?

Many parents don’t, according to a study published Monday by the American Academy of Pediatrics, which found more than 10,000 calls to the poison center each year are due to liquid medication dosage errors.

The study says part of the reason parents may be confused is because a range of measurement units - such as teaspoons, tablespoons and milliliters - are often used interchangeably on labels for prescription and over-the-counter medications.

Parents who used the teaspoon and tablespoon dosage were much more likely to use kitchen spoons to measure their child’s medication and were twice as likely to make an error in medication, according to the study. Parents who measured their child’s medication in milliliters were much less likely to make a dosage mistake.

About 40% of parents in the study incorrectly measured the dose their doctor prescribed.

The problem with teaspoon and tablespoon measurements is that their names sound similar, and their abbreviations, tsp. and tbsp., look similar, study author Dr. Shonna Yin said.

Pediatrician Dr. Jennifer Shu said that in her practice, doctors prescribe in milliliters only, to decrease the likelihood of medication errors and overdoses.

“If I give a sample of a liquid medication in my office, I also give a syringe and show the parent where the marking is for the dose,” Shu said.

Parents should always use the dosing device, such as the cup or syringe, that comes with their child's liquid medication. Kitchen spoons are not a standard dosing device and aren’t safe to use, Shu said.

Shu also recommends that parents record the time and dosage of medicine they give their child, to make sure that they’re not giving too much or too often.

The American Academy of Pediatrics, U.S. Centers for Disease Control and Prevention, and the Institute for Safe Medication Practices have all recommended using milliliters as the only standard unit of measurement for liquid medications.

According to the study, adopting a milliliter-only unit of measurement would reduce confusion and decrease medication errors, especially for parents with low health literacy or limited English proficiency.

If you suspect you have given your child an incorrect dose of medication, call the Poison Control Center at 1-800-222-1222.

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Random Thoughts About Being An Entrepreneurial Peasant & The Momentous Struggle

I am busy with the stuff of my life these days. The industrial stuff and the agrarian stuff. The industrial stuff (my factory job)is not physically hard but the drudgery makes it hard to take. The agrarian stuff is physically demanding but enjoyable and satisfying.

I, like so many men (and women) am trapped within the industrial paradigm while embracing as much of the agrarian paradigm as I possibly can. Is agrarianism a hobby to me? Am I a hobby-agrarian?

I looked up the word, “hobby.” This is one definition I got:

“An activity engaged in for pleasure and relaxation during spare time.”

Well, it appears that I may be, to some degree, a hobby-agrarian, at least in the sense that my agrarian activities are part time, and I do find pleasure in them. Relaxation I’m not so sure about.

But my agrarian pursuits are considerably more than just an enjoyable pastime. They are the outward expression of my Christian beliefs, and my understandings about how life is best lived. It is my conviction that, as a rule, individuals grow stronger in their Christian faith when they live a more simple, agrarian life. Families relationships are also generally stronger and deeper when those families live within the agrarian paradigm.

It is a momentous personal struggle to embrace agrarianism within a world that has, over the past 150 years, become so industrialized. But to struggle against the predominant cultural current of industrialism is, I am persuaded, the calling of every Christian who takes his Christianity seriously.

More Granola Thoughts
My previous blog essay was about how I invented granola bars 32 years ago. Bearing that in mind, I would like to say that I think the best granola bars on the market are the Kashi TLC Granola Bars and, specifically, the Honey Almond Flax bar.

Hmmm…. I wonder if I should contact the good folks at Kashi about maybe doing endorsements?

“Hi, I’m Herrick Kimball. I invented the granola bar back in 1975. I love Kashi TLC chewy granola bars. In fact, I think they’re the best tasting, most nutritious granola bar I’ve ever eaten. Try the TLC Honey Almond Flax bars. They’re my favorite.”

Oh, but wait... a deliberate agrarian, seeking to do endorsements for factory-made food? That’s an industrial-minded idea if there ever was one. I’m such a hypocrite. Okay then, I’ll not contact Kashi.

I’ll wait until they contact me. Then I’ll deal with the moral dilemma.

Whizbang Soap Display Stand Update
Last November I posted a blog story here titled Make Your Own Whizbang Soap Display Stands. I told about the wooden soap stands I made for my wife, Marlene, to display her handcrafted soaps when selling them.

I also offered to sell a plan sheet for the unique soap displays for only one dollar and a self-addressed-stamped-envelope. People who wanted an actual display could buy one for $20, postage paid.

I said that I would report back here after four months with the results of my sales. The whole thing was an experiment of sorts. How many plan sheets and soap displays could I sell from a simple mention here on my blog?

Well, 8 months have gone by. I’m a little late with this report. But I have finally tallied up my sales numbers and the results are in (drum roll please)...

Over the past eight months I have sold 3,645 plan sheets and 498 soap display holders. Thank you everyone who purchased either the plans and/or the display. This goes to show that the internet is truly a great opportunity for marketing quirky little things.

I’m in “Farm Show”
And speaking of quirky things, there is an article about me and the Whizbang Chicken Plucker in the latest issue of Farm Show Magazine

Strength of The Agrarian Movement?
The Farm Show magazine article was written by Christian-agrarian octogenarian, C.F. Marley. I wrote a blog story about Mr. Marley here: The Elder Agrarian.

C.F. called me earlier this week and asked if I had any idea of how big the agrarian movement might be.

I have no idea.

The current agrarian revival, particularly among Christians, is a slow, quiet tide moving people out of the cities and the industrial way of life. It is not a political movement. It isn’t violent. It isn’t centrally organized. So it’s not news.

But it is happening.

Why is it happening? That’s a question to consider. I believe it begins with an awareness, and an understanding, of two things. First people begin to see more clearly the spiritually shallow, unfulfilling, all-consuming, destructive nature of industrial-dominated culture. We could call this the present reality we find ourselves in. Then they consider the future reality that the industrially dominated world presents us with.

One need not be a rocket scientist or a prophet to see that the corporate industrial juggernaut is on a self-destructive course. Our government, our economy, our environment, and yes, even the Christian church, have been ravaged by the industrial malaise. It is not sustainable. What will be left when it falls by the wayside?

God only knows. But I suspect that the civilization that lies before us will look more agrarian than anything else. And I don’t see that as a bad thing.

New York State Population
And speaking of people moving, I heard recently that the population of New York State declined by almost a quarter million people last year. The population of this state has declined or remained static for the past 20 years. Among states to move to, New York ranks 47th in popularity. I know so many people who have left this state. I know so many more who talk about it. I’m one of them.

If you are familiar with Central New York State, you know the land is beautiful. The soil is good. The climate is varied and mostly pleasant. But people are leaving because the government has messed things up. Taxes, regulations, and bureaucracy have become too oppressive. It’s that simple.

By the way, I have an agrarian friend who tells me that the population of Central New York will be increasing in the future, and land prices will skyrocket, as global warming floods the coastal cites of America.

My Newest Agrarian Tool
I love to acquire basic agrarian hand tools and use them here on my homestead. My scythe is one example of an agrarian hand tool. My garden hoes are another. And I’ve been an interested collector of old muscle-powered woodworking tools since I was a teenager. Such tools are, essentially, the implements of peasants.

I am, by choice, and I dare say, by calling, something of a peasant, albeit a “hobby-peasant,” at least for now.

With the specter of post Peak Oil civilization staring us in the face, I have decided to acquire more tools of the peasant (if nothing else, Peak Oil is a good excuse to get some tools that I've wanted to get anyway).

My latest acquisition is a hay rake. After you mow hay with a scythe, you need to rake it up. The best rake for raking mown hay is a hay rake. I bought mine for $38 (plus shipping) from Carol Bryant at Scythe Supply in Perry Maine. If you are interested, check out this web page.

The “Standard Hay Rake” I bought is reasonably priced, light in weight, remarkably strong, and very pleasing to the eye. It also does a fine job of raking hay.

Firewood cutting tools are now in my sights.

I’m a Fibber
Oh, I couldn’t resist having some fun with those numbers above. I wish I had sold so many plans and soap holders. Truth be told, I sold ten soap display plan sheets for a dollar, and three soap displays for $20.

Such is the story of my entrepreneurial life. Were it not for the relative success of my Whizbang Chicken Plucker, I would be pretty much a total failure in my home business ventures. Someday I’ll tell you about my first foray, many years ago, into the world of mail order. But it is a painful tale to tell.

Poultry Update
As noted in a previous post here, we purchased 12 turkey chicks (poults). Two have died from unknown causes. I guess that is par for the course with turkeys.

We have since ordered 65 Cornish X chicks. 67 were sent to us in the mail. They are almost four weeks old now, and we still have all 67.

The Ice Cream Business
The Lovely Marlene, my bread-baking, soap-making, entrepreneurial peasant wife, is interested in the ice cream business. She is intrigued with the idea of making ice cream in an old-style ice cream maker and selling it at summertime events where lots of people congregate.

Has anyone reading this ever done such a thing? Do you know someone who does?

The biggest problem with such a business idea is health department regulations. The government again! The blasted government makes it hard for agrarian entrepreneurs to establish their home enterprises. The industrial paradigm has erected a multitude of laws and regulations to harass We the struggling peasantry, yearning to be free of its nefarious grasp.

And so, the struggle continues...

Grady Phelan said...

I read you blog a lot and recently moved to NY for an internship. You talk a lot about the government and how it makes it hard for you to live the way you want. I can't agree more with you about the government and how big it seems to be getting. I hate to sound like a crazy campaign person, but have you looked up Ron Paul (presidental canidate). He seems to be the only canidate that wants to reduce government. Check him out at www.ronpaul2008.com. Good luck with the ice cream, chickens, and turkeys.

Herrick Kimball said...

Hi Grady,

Thanks for your comments and your link to Ron Paul's web site.

I've been reading good things about Ron Paul for many years. I have a lot of respect for the man. I believe he would make an exceptional president. In fact, I intend to send a contribution to his campaign. That is something I have never done for a Presidential candidate.

Anonymous said...

Mmm, I might take a closer look at him, too. I've mainly been following Huckabee's campaign, because I like the fact that he's a strong Christian who was a minister but is also a fan of limited government, preventative healthcare (you know... taking responsibility for your health... weird, huh?), and the FairTax. But, I'll have to look into Ron Paul, too. Is he a Christian? Just out of curiosity.

Anyway... for the reason I originally wanted to leave a note... I have to endorse Herrick's comments about the beauty of central NY. I plan to stay here and farm it, to whatever extent the Lord allows in the years to come. I'd love to see more Christian agrarians move into the area...

Did I mention that there's a six-acre parcel up the street from us, with a fairly recent barn (~10 years), hayloft, stalls, etc, an outdoor arena/paddock, and some pasture... with a trailer that goes with the property, and elderly rental tenants with a trailer as well?

*sigh* I want to add that piece to what we've currently got, but barring that... I'd love to see someone with Christian-agrarian motivations in there. All right, enough of my rambling.

Grady Phelan said...

Herrick and Countrygoalie,

As far as I can tell by his writings and what others write about him, he's a Christain. Here is an article that I found that Ron Paul wrote about Christain beliefs and the role of the government.

I how you both enjoy.

Herrick Kimball said...

Thanks for the article link Grady.

Anyone who wants to know what Ron Paul believes need only click on and read through the "Ron Paul Archives" at the end of that article.

I don't know his particular Christian beliefs but his past voting record and stated positions are, I believe, consistent with someone who holds a Christian worldview.

Huckabee is a fine candidate but I do not believe he has the broad base of populist support that Paul has.

Anonymous said...

Ron Paul question of faith.

Joel Salatin's new book is coming out in August: "Everything I Want to Do is Illegal"

WA state NAIS is going manditory with registration beginning in September and required by 1/1/09. That may put us out of agrarian homesteading.

I read an article today that indicated that Bush has now put into law that it is illegal to demonstrate, etc. about the Irag war. Things are coming to a head.

Time to be in much prayer!

Jim Curley said...

Mr. Kimball-There is an interesting article on "hobby farming"-here is the first line: "If part-time farmers want to be taken seriously, they have to take themselves seriously. It starts with a word." You can read the article (from the the "New Agrarian") at this site:
http://www.newagrarian.com/essays/hobby.html. thought you may be interest.

Herrick Kimball said...

Hi jcurley,

Thanks for the link. I am interested in the story but the link did not work for me. I'll go to the site and find it from there.

Carla Lynne Klimuk said...

Hi Herrick,

Stopped by while I have a signal on the road...;-)

Regarding the agrarian movement, it is a 'quiet' exodus... as you describe. But let me assure you more and more and more folks are doing it. I'm meeting them daily...

I'm overwhelmed, completely, by the amount of folks coming by our covered wagons, asking about our decisions and plans, and currently, we are helping two other families by counseling them on 'how we did it.' My husband and I have been keeping good notes, and perhaps I'll pen this into how we made our exodus and began life pioneering. :-)

Concerning Marlene's desire to sell ice cream, the problem is that most farm markets, fairs and carnivals, etc... only allow foods that are wrapped/packaged before selling... no cooking or preparing food and distributing after. For example, you can't sell hotdogs or corn on the cob, etc... but you could take orders for your homemade turkey hot dogs and sell them as a package. Those types of vendors that actually prepare the foods on site are unfortunately scrutinized (heavily) and also under the regulation of health department.

Ughhh... regulations and permits...

Hope all is well with you and your family, Herrick, and that you are all enjoying the bounty of sun and good eats our Father has set before us...

Carla Lynne

Anonymous said...

With respect to the ice cream idea, Lehman's has an expensive way of attracting customers. We saw one of these when travelling a few years ago. Perhaps the idea could be implemented more economically by an enterprising handyman :-)


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Toby Keith wishes Happy Birthday to what’s left of a great nation dying from an infestation of Marxist human garbage. Enjoy your Independence Day America, this may be your last.

Will this song be a funeral dirge or will it be a rally song. We could be sad, or we could get fucking mad.

Maybe we are at the high water mark for leftism. Maybe we’ll look back on this Fourth as the turning point, when we got sick enough of watching the dregs of society flush our heritage away to start pushing back with the resolution required to turn things around. IT’S TIME TO FIGHT BACK!

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Theatre Skills Workshop 2014

The Drama Circle’s Theatre Skills Workshop is taking place Monday 27th October- Friday 31st October, 9am- 4pm each day at St Mary’s College, Shear Brow, Blackburn. BB1 8DX and is for anyone aged between 6 and 18 who love the arts and want to develop performance skills.

Students will work in two age groups, 6 to 11 and 12 to 18, and will take part in workshops run by professionals of their fields in Acting, Dance, Singing, Stage Combat, Circus Skills, Mime and Mask, Song Writing, Stage Makeup and Puppet Theatre. As well as all this we are very lucky this year to have a Casting Agent join us from Manchester to run Casting and TV Acting workshops, this will be great experience for students who want to perform professionally and add valuable skills to their performance CV. We are also pleased to announce that we have a West End Star from the famous musical Les Miserables leading a musical theatre workshop. As well as all these exciting workshops we also have a professional photographer who will take headshots of each student which will be available for you to buy.

For more details or to book your child onto the course please email or fill in our online application form


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Internalization and Self-Sacrifice

Tragically, as many Muslim women both wordlessly comply and actively contribute to systems of oppression established by men i.e. choosing to stand behind barriers and believing that staying in an abusive relationship is a duty, the feminist is faced with what appears to be a conflict: because patriarchy dictates that one woman must represent all women, in order to free herself she must free her sex–but how can she, someone who claims to believe in the agency of women and choice–free women who do not wish to be liberated? She cannot suggest that they “don’t know any better” and are deluded because she is then patronizing–and, essentially–treating them like children, just as their oppressors had. She cannot suggest that they know but choose their oppression through their agency, because that is incorrect, outrageous, horrendous, victim-blaming, and the antithesis of feminism. No one, ever, chooses to be abused. She cannot suggest that they have been indoctrinated by their oppressors, because then she is denying that they have agency and the power of choice, and–worse still–she is proclaiming that she can “enlighten” them, which is only reinstating kyriarchal injustices were she coming from a place of privilege (white, upper class, or of the developed world, etc) through a condescending colonial mentality.

This position in which women are placed, where we are expected to perform as monolithic class of people instead of as individuals who do not speak for our sex but for ourselves, limits the feminist movement to consensus–if only on the superficial level of the perception of privileged oppressors. But as we all know, what the oppressor perceives is the functioning reality. We cannot proclaim that we want the barriers down, because there will be a sexist man who, with the intent of trapping us with our own feminism, will point out that some women prefer the barrier. Were women not forced to represent their sex, one could practice her right to pray behind a wall if she so chooses without acting as a patriarchal agent rather than an individual voicing her preference. Instead she finds herself not only misconstrued, but realizes that due to the constructions of patriarchy she must violently assert that ALL women MUST pray behind the barrier and consequently infringes on the rights of her sisters in order to secure her own result because she (1) is a representation and (2) has adopted and internalized the reaction of insecurity from oppressors who panic at their loss of privilege.

But that is an example of the right to our own privacy, and to a degree bodily autonomy, being made into a device of oppression, much like a woman’s choice to wear high heels or watch wedding shows. However, what a woman does to another woman, say, to her baby if we use the example of genital mutilation often championed by the mothers themselves, is then infringing on the right of another person without any threat to her own freedoms. Rather, this may be a result of both misinformation (though unlikely since it is clearly evident that so many children die) and of enjoying the social and often financial benefits of following patriarchal traditions and communal acceptance that are extensions of benefits from dressing according to patriarchal definitions of gender conformity.

What is borne of this is an attitude of righteousness. Those who are oppressed and side with their oppressors have a sense of nobility and self-sacrifice. They believe that their suffering is necessary and for the greater good, that they must endure this so that a “fair” society will function, and that those who are in the same position of suffering but speak out are doing so selfishly and out of greed. Having been familiar with this mentality from a very young age thanks to being a victim of it, nothing was at all surprising to me about the reactionary “we are the 53%” movement in response to Occupy Wall Street. These are people who have been convinced that their poverty is noble, much like Muslim women are convinced that their indefatigable patience in the face of abuse is noble. That somehow this suffering will deliver them. Because there are benefits to siding with the oppressor, because we want assure those who unjustly demonize us that we are nothing like they think we are, because no one wants to think of themselves as a victim, because it is easier to believe that you are living the American Dream and you will get there–someday, someday, and because it is–strangely–an arrogance that is produced from humility.

To examine this is partially, tentatively, my proposed pathway. After all, modesty–which should be an important part of Islam for both men and women–has long been used as a device to police women. Pointing out the very real fact that this “holier than thou” attitude directed at those who suffer is only arrogance may be a somewhat effective approach. “We are not asking you to give up your ground, we are asking you to get off ours.” Because that, after all, is what we want. That those who are underprivileged are the ones taking responsibility for these injustices is a planned outcome implanted by oppressors, a tactic used even–and especially–in the era in which slavery was at its worst in the United States, against the slaves themselves, whom plantation owners attempted to convince through enraging and heartbreaking tactics that slavery was the will of God and slaves were taken care of. And that, again, theirs is a necessary suffering endured for the greater good.

It is this sense of self-sacrifice that we buy into and internalize, believing this will allow society to continue to function. I myself view female child molesters as far crueller than male child molesters, even though I know this is wrong and that there should not be a difference, because I’m driven to expect women to take on the responsibility of morality and protection since men through the ramifications of patriarchy have escaped these expectations. Likewise, when women don’t get along it especially distresses me because I view it as reinstating patriarchal stereotypes, even though I know they don’t owe it to anyone to get along or to disprove the slanders of their oppressors.

7 thoughts on “Internalization and Self-Sacrifice

  1. almostclever

    Head nodding the entire way through. This could be published Nahida. I love when people can be poetic in their wordplay, it is always the best reading. I do hope you choose something like this topic as a scholarly pursuit. Just a personal want of mine.. Heheheee :)

  2. almostclever

    Also, from your first paragraphs – I see this happening a lot through all feminist atmospheres, including mine. Some issues become an all or nothing game, when reality is we are not one being. I am noticing this in pro sex work and anti sex work discussions. We either have to be ALL for or ALL against, and the answer always ends up being somewhere in-between. This whole topic of “choice” has been an interesting one for me, especially surrounding the research I am doing in regards to the sex industry.

  3. Totally brilliant! I think this is one of the biggest problems I have with feminism as a movement, particularly as a political movement (at least as far as I’ve been exposed to it), is the tendency to buy into this belief that we all need to agree. Women are half of the planet – if we all agreed on everything, it would be creepy and bizarre. I also wonder how much this belief is influenced by the misogynist belief that women all think the same – the ‘what do women want’ thing that there’s some secret girl-language that can never be deduced.

  4. Pingback: Human Rights Abuses and Prison Rape | No, Seriously, What About Teh Menz?

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Business Not as Usual

by Miki Kashtan

A week ago I wrote about facilitating a simulated City Council Meeting. That same day I participated in a real meeting that was very enjoyable and productive for those of us who were part of it. Sometimes I think that some people don’t even have an idea of how simple and easy it could be to function differently, and I want to offer, perhaps, some way of envisioning. I have a deep faith in the value of vision, especially practical vision.

This meeting took place as part of the Consciousness Transformation Community that I created last February. From the start, this community has been an experiment in doing things differently. I created a list of 17 commitments that together comprise my understanding of what living the consciousness of deep nonviolence means, such as “Assumption of Innocence,” “Openness to the Full Emotional Range,” “Risking My Significance,” “Generosity,” and 13 others. I invited people to join me in living these commitments and forming a community of learning and mutual. We have people in the group from North and South America, Europe, and Israel. I set up structures of support and decided for myself what I was happy to offer within the community. I created a gift economy structure, so that people who join are invited to contribute and are not in any way “required” or even subtly “expected” to contribute, either financially or otherwise. I had a very large vision for what we could create over time, and I was ecstatic to see the initial response.

Although vision comes easy to me, sometimes staying patient during implementation doesn’t. I confess to getting discouraged rather easily at times, which I am sad about because of the toll it takes on others around me. And here, too, as the first few months unfolded and I didn’t see the self-organizing happening, I became overwhelmed and worried that unless I did everything (which I was clear I wouldn’t do), the community just wouldn’t happen. As part of my own path of living these commitments I chose to share, in full, with the community what my experience was. I was deeply moved and amazed by how I was received. This initial reception turned into a structure that is now more aligned with my original vision than the one I initially created. Not only do I love the outcome, I also have been amazed at the process by which it came to be. In addition to my own coming forth, other people stepped forward and empowered themselves to make requests, offer themselves to the community, and express their longings, dreams, and concerns about the initial design. The new structure emerged from our collective engagement with all that was put on the table.

One of the elements of the structure we came up with was the establishment of monthly, open meetings for attending to community business. Anyone who is holding any responsibility for anything in the community (whether offering groups, or doing administrative support, or welcoming new members, or any other function, all of which are voluntary) is welcome to participate. In fact, anyone, even if not holding responsibility, is welcome to participate or submit agenda items. Our intention has been to have these meetings, themselves, be conducted in accordance with the commitments we have all embraced.

Last Sunday’s meeting had a number of agenda items. The one that engaged us for most of our time was the process for accepting new members to the community. I want to describe the unfolding of this discussion without getting into the details of the conversation, which would take many more words than I imagine people would want to read. At one point all but one of us were comfortable with the process as it has been so far. For a moment there seemed to be an impasse, because this person wanted something I was very much non-negotiable about. One of the commitments was primary in guiding our conversation: “Openness to Dialogue”. We engaged fully with attempting to understand the needs behind what this one person wanted. I was in awe at the care, the openness, and the presence. One by one the needs and their related strategies became known, until everything was heard. The result was a deeper understanding on all of our parts which led to a process of accepting new members that all of us liked better than what we have had. Along the way we discovered that one member was challenged at an earlier moment in the conversation and had lost trust, and we turned our attention to her. From this bit of conversation emerged more clarity about our process for deliberation and decision-making.

I am sitting here, writing this, and suddenly feeling almost inept at finding a way to describe how radical and hopeful this one meeting appears to me. I have been advocating that connection and effectiveness can go hand in hand and that full collaboration and inclusion do not necessarily mean loss of efficiency. Here, in this meeting, I experienced it in full.

Granted, we are not producing anything on which anyone’s life depends. And yet experiments like this can pave the way and show what’s possible. I am very hopeful and passionate about offering the building blocks of collaboration to organizations of all sizes that do have products and services on which others rely in a timely manner. Last May I co-led the first Making Collaboration Real (MCR) program, and wrote about it on this blog. The effects of that retreat were so powerful that we decided to make more offerings. We are launching an MCR full yearlong program starting this coming May, and an MCR conference in March. If you are curious, you can get answers to all your questions in one of our informational calls coming up starting in January 2011.

3 thoughts on “Business Not as Usual

  1. Anonymous

    I'm touched that you wrote about this conference call. I'd listened to the recording (not having been on the call)- and, I, too, was captured and enthralled by what I heard as a processing of a practical agenda while considering everyone's needs and feelings fully.

    I, too, noticed how it produced results satisfying to all participants, while opening hearts to deep

  2. Pernille Plantener

    Today, I led a general assembly in a group of advisors and consultants from across the country that publishes a magazine together. I'm one of the three editors. This is the first time I've led a meeting like this using the principles taught by Miki this August. We only had 1½ hours at our disposal which is less than half of what we usually find being much too little as there usually are

  3. Penny Spawforth

    Loved your post because I am so wanting to see collaboration *and* effectiveness modelled in the world – especially around helping people to see that needs can get met joyfully and less distructively (to the planet and each other)than is many (most?) people's current reality. If I can see this role-modelled and along side that, learn to do it myself then it supports me to support others to do

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text:
Embracing Nonviolence

by Miki Kashtan

When I discovered Nonviolent Communication (NVC) in 1993, I had no concept of the rich world that would open up to me over time. My intellectual and moral lenses were transformed beyond recognition through this encounter with NVC. When I thought of what to write my Ph.D. dissertation about, NVC informed me every step of the way as I critiqued, then offered alternatives to, theories of human nature that we have been handed down through millennia of Western Civilization. I found satisfying ways of articulating a perspective rooted in NVC, which transcended and integrated the age old dichotomy of reason and emotion and offered a theory of human nature grounded in human needs. Unlike just about anyone I ever met, I loved writing my dissertation and was sad to be done. It’s only in the last couple of years, ten years after completing my dissertation, that I have come back to writing.

Immersing myself in NVC also became my calling. Many people don’t know that I used to be a computer programmer in a software house in NY, working on IBM mainframes. I was still doing part-time computer consulting when I stumbled on NVC. Two years later, when I had a deep visceral experience of the transformative power of NVC-based empathy, I decided on the spot to focus my life energy on bringing this gift to others. NVC is my livelihood, it grounds my vision for how the world could be, and affects every thought and interaction that I am conscious of.

At the heart of these massive changes was the transformation of my own thought process, understanding, and style of interacting with others. Early on I took on what I now name the path of vulnerability, my main access to inner and outer transformation. Fewer and fewer things get me off balance as I continue on this path. I can meet more and more people and situations with presence, clear choice, and tenderness. I can open my heart to almost everyone in almost every circumstance, even if not immediately. I can accept almost everything that happens to me (not yet in the world at large). Life hasn’t become less painful, because the gap between vision and reality remains big, both personally and globally, and because I continue to feel lonely despite everything. With, through, and despite the pain I am more at peace, more open to life and to myself, more available. I like who I have become.

For many of these years, even though I was conscious of the name, I was conspicuously ignorant of the tradition of nonviolence from which NVC emerged. For a long time I was one of the people who thought that “nonviolent” was a negation and wished for a different name. I don’t remember exactly how all this shifted, how my world exploded and expanded. Three milestones were Michael Nagler’s  Is There No Other Way, Walter Wink’s The Powers That Be, and the movie A Force More Powerful (a book by the same title also exists). Some bottom fell from under me, and I found myself in a much bigger ocean of meaning and possibility. What it means to be human became larger. Nonviolence became bigger than communication. Gandhi’s notion that nonviolence extended to our thought, word, and action began to make sense. Especially understanding how much our thoughts were implicated in our words and our actions.

This exploration has been so rich, that I still make new discoveries just about any time I teach any part of this work, most of the times when I write, and even when I interact meaningfully with others about any of the deep questions that fuel my quest. Whereas I used to be concerned about the “Nonviolent” part of NVC, nowadays I am in love with that word, and my concern has shifted to the “Communication” part of NVC. I no longer think of NVC as primarily about communication. I think of it as a deep and endlessly concrete practice of nonviolence with applications in most areas of human life, such as our spiritual life, our moral codes, how we interact and collaborate with ourselves and each other, and how we can create organizations and even larger systems that are designed to support human needs. This is not nearly an exhaustive list.

And what is nonviolence, then? For me, nonviolence is the coming together of love, truth, and courage in a fierce commitment to what my tradition of birth, Judaism, calls Tikkun Olam: the healing and repair of the world. In small or large measure, nonviolence for me is about finding the courage and love to bring truth in times when what is happening is violating our values and interfering with our own or others’ human needs. It’s the willingness to stand up for what’s of value to us while remaining open-hearted towards those who see things differently. It’s the antidote to the consciousness of separation, scarcity, and powerlessness that leads almost all of us almost all the time to go along with systems and practices we know don’t serve life.

I am excited, after all this extensive exploration and study over years, to offer a first course (a four session telecourse starting this Thursday at 4pm Pacific Time, open to anyone, through NVCA) that explores the relationship between NVC and nonviolence. I am imagining it as an opportunity for nonviolence enthusiasts to learn about NVC as a practice that can enhance their path, for NVC enthusiasts to learn about the tradition and context that can give a new layer of meaning to their practice, and for both to learn from each other. It matters to me, because the only way I can imagine to reach a livable future for all is based on nonviolent means.

6 thoughts on “Embracing Nonviolence

  1. sarah

    Light, light, light, and more light, expansion, possibility, wisdom, hope….all of these come through as I read this..
    I was raised with the moral value of non-violence, the tradition and the mandate, but never the EXPERIENCE. It was only an ideal. NVC and especially the way you bring it forward with the full context of nonviolence, has, after all these years, brought it more to life for

  2. felicity

    Miki dear,

    Yours is the only blog I read, or have ever read. I know we share something very deep in common.

    I often want to share with you my way of expressing what you and I both believe. Once before I started and discarded a long letter to you.

    I belong to a grassroots peace organization called Balanced View. It is also a spiritual organization–as we both know

  3. felicity

    As humans we have the choice to use our mind in two ways. For some reason in the distant past, we chose to emphasize what Balanced View calls ‘data’ over open intelligence. Data is defined as thoughts, emotions, sensations, phenomena – every ‘thing’. So the dichotomy of emotion and reason is resolved – both of those are what we call data. Open intelligence is a more

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text:
King Valley Pinot Grigio 2021

Regular price $20.00

Tasting Notes

Aromas of white peach, pears, and crushed almond meal. Crisp, refreshing and driven with a citrus acid line on the palate. It's nicely balanced with a waxy viscosity and sprinkle of sea salt minerality. Pair with a Dim Sum selection.

Winemaker's Notes

Making Pinot Grigio in Australia is never an easy task as the country’s climate is warm and dry, which means the wine can become rich and ripe. Preserving the natural freshness without the introduction of additives is only achievable from the careful selection of vineyard sites. Our vineyard is located at a high altitude and in a very cool area of the King Valley. Made true to its Italian heritage, the wine is crispy, crunchy, bright, and refreshing. After each sip you'll want another one because it’s not clumsy - it’s balanced and clean. - Eddie McDougall

Harvested in the cool periods of sunrise, our Pinot Grigio is designed to capture the essence of freshness. The fruit is carefully handled to ensure the perfect extraction of texture, flavour and aromas. Pressed and fermented at low temperatures, this wine is given every opportunity to retain its purity and expression of place.

Technical Sheet

Varietal: 100% Pinot Grigio

Vineyard: Whitfield

Region: King Valley

Alcohol: 13.5%

Production: 1000 Dozen

About The Range

To recognize the region where he produces most of his wines, Eddie McDougall decided the most suitable logo for his wines made there would be a gold foil crown. Eddie is not claiming to be the king but he wants the world to know something about the prestige of the region where his wines hail from. Being proud of King Valley, and excited by its Italian heritage, Eddie continues to source grapes from top growers in the region in order to produce wines that are genuinely approachable and definitive of the region’s varietals.

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text:
A final look at Pre-Raphaelite frames…

…in the exhibition Pre-Raphaelites: Victorian Avant-Garde at Tate Britain (12 Sept. 2012 – 13 Jan. 2013)

Part III

Millais Autumn Leaves Full view sm

Millais, Autumn leaves, 1855-56, Manchester City Galleries

Whilst Hunt was taking up the modernist baton cast down by Millais’s frame for Convent thoughts,  Millais himself seemed to be bidding farewell to Pre-Raphaelitism with what some consider to be one of his finest early paintings, Autumn leaves. This has a frame which is the reverse of pioneering: it is a 19th century revival of the 17th century British ‘Lely’ or panel frame, its centres and corners decorated with flower sprays in shallow relief between shaped panels or reposes.

Millais Autumn Leaves corner detail sm

Millais, Autumn leaves, detail

The ornament here is carved in wood, and covered with gesso. This may be Millais’s choice of frame or possibly a client’s; it is a caricature of a ‘Lely’ frame, aesthetically rather clumsy – with the gigantism of the twisted ribbon moulding near the sight edge – and, whatever its origins, marks Millais’s move away from any pioneering interest in frame design.

FM Brown Cromwell Full view sm

Ford Madox Brown, Cromwell, 1874, Lady Lever Gallery, Port Sunlight

The revival ‘Lely’ frame was also used several times by Ford Madox Brown; his are more decoratively authentic versions of the original 17th century pattern, but – in the spirit of the earlier frames he designed with Rossetti – he has the frame gilded directly on the wood. He also uses the pattern emblematically, for paintings which seem to be celebrations of English history, life or literature: for example, Work, 1852-63, and Byron’s dream, 1874, both Manchester City Galleries, and Cromwell on his farm, 1874, Lady Lever Art Gallery (Autumn leaves and Work may have been reframed some time after they were finished).

FM Brown Cromwell corner detail sm

Ford Madox Brown, Cromwell, detail

Such a pattern may seem retrograde in comparison with what Hunt was doing, or it may be seen as the natural next step (an historic and domestic frame after the Gothic and northern European influence of the earliest Pre-Raphaelite designs). From this point of view it is also in keeping with the PRB’s rejection of Italian Renaissance and 18th century French ideals as the standard of aspiration for Victorian artists: the ‘Lely’ frame seems to have been, at least for Brown, if not for Millais, a political declaration of a new ‘British’ art.

Rossetti Astarte Syriaca Full view sm

D.G. Rossetti, Astarte Syriaca, 1877, Manchester City Galleries

Rossetti, meanwhile, was developing a pattern of his own: the medallion frame, which he used in various configurations on many of his later works, between c.1868/71 and his death in 1882. It derives from the geometric patterns he had created with Brown, using the same opposition of linear & curved forms and planar surfaces to create a tension which had at the same time a decorative and flattening effect on the paintings. The series of small bust-length oil paintings of women, sensuous, ornamental, and set in an ambiguous space with little depth, which he had been producing from c.1859, had been framed in a moulding with a triangular section marked with staggered circular indentations on either side. Brown famously described this as ‘Rossetti’s thumbmark pattern’[1] (Fair Rosamund, 1861, has been suggested by Alastair Grieve[2] as having the earliest of these frames; unfortunately no examples of them are included in the exhibition).

The medallion frame takes the place, for large works, of the thumbmark pattern on the small figure paintings.  It uses one of the cambered surfaces of the triangular moulding, enlarging it, and installing it as the central frieze of the frame, sloping down and inward towards the picture plane. Brown uses a similar cambered moulding on many of his frames (for example, Jesus washing Peter’s feet  has a fluted gold sight and a fluted black back edge inclined from the wall to the centre top of the frame). The spare geometry of these elements seems hardly noteworthy to us now, but compared with the ‘Salon’ frame usual in exhibitions at the Royal Academy, with a hollow or ogee profile, large corner cartouches and a plethora of pressed compo floriferousness, the effect must have been electrifying.

Rossetti Astarte Syriaca left side detail sm

D.G. Rossetti, Astarte Syriaca, 1877, detail

The medallions are sited across this slanting frieze, their surface parallel with that of the painting; they are patterned like ‘the seed formations of an exotic fruit’ [3], and may have been developed specifically for the various paintings of Janey Morris as Proserpine. The first of these (now missing) was painted around 1871; two more were painted during the next two years, the third cut down to the head and surviving as Blanzifiore; altogether eight versions were painted [4]. The medallions have been compared to pomegranates (the attribute of Proserpine), but they are more abstract and enigmatic – apples? oranges? They can be found in the exhibition on the frames of The Beloved, Lady Lilith and A vision of Fiametta [5], and elsewhere on at least six other works [6]. The ambiguous fruit can be interpreted flexibly, according to the picture, as a symbol of woman’s seduction by man, man’s seduction by woman, fertility and goodness, or ashes and destruction – so, very unlike Holman Hunt’s use of symbolism on his frames.

Rossetti Beata Beatrix Full view sm

D.G. Rossetti, Beata Beatrix, c.1864-70, Tate

Beata Beatrix has an idiosyncratic and unique example of the medallion frame which remakes the pattern in a much more precisely symbolic form. Rossetti had been painting subjects from Dante’s Divina commedia from the early 1850s, developing literary, emblematic frames for them just as Hunt created religious and didactic patterns for his own work. So Rossetti’s 1854 watercolour, The salutation of Beatrice  , has the sun in the corners and seven-pointed stars along the frieze [7]. The frame for the 1859-63 version , created in 1863 to house what were originally two cupboard doors, is much more elaborate, with an outer black-&-gold fluted frame, and a gilt oak mount painted with poppies in the corners, a figure of Amor in the middle, and inscriptions from Dante’s Vita nuova and the Divina commedia [8]. In comparison to the latter, the frame of Beata Beatrix reverts to a more restrained and focused design. Symbolic imagery is restricted to the four medallions on the frieze, and the quotations to the date of Beatrice’s death [9] & the grieving inscription, ‘Quomodo sedet sola civitas ’[10].

Rossetti Beata Beatrix lower centre detail sm

D.G. Rossetti, Beata Beatrix, c.1864-70, detail

The medallions are modelled in low relief with the sun, top centre (Christ, or the Platonic ideal); the moon, left (Beatrice, in her spiritual journey to the sun); stars, on the right; and the sea-girt earth, bottom centre (again, with the date of Beatrice’s death). The whole frame functions like one of Holman Hunt’s, providing a gloss which expands upon the painted image to express ‘…the Love which moves the sun and the other stars’ [11].  The painting, which depicts both the death of Dante’s love, Beatrice Portinari, and the death of Rossetti’s wife, Lizzie Siddal, opens out from the moment when the soul is rapt away from the body on earth, to show (through the frame) its subsequent spiritual journey to its heavenly home.

It is impossible to overstate the influence of Rossetti’s, Brown’s and Hunt’s frames on the development of artists’ designs during the second half of the nineteenth century. Burne-Jones, for instance, had a close working relationship with Rossetti and Brown, and his first frames were very dependent upon the patterns used by the older artists. He was, coincidentally, the son of a framemaker – although not, unfortunately, one competent to cope with the innovative styles he was suddenly called on to produce, so that the frame of Clara von Bork (included in the exhibition with its pendant, Sidonia von Bork) has had to have its outer frame replaced. The frames of both these small watercolours are direct imitations of the pattern used by Rossetti and Brown for their early small works; for instance, Brown’s The hayfield, 1855-56, Tate [12].

Burne-Jones’s early oil paintings were also framed in styles which were more or less indebted to Brown and Rossetti [13], using gilt oak mounts, fluted borders and roundels.  However, in 1861 he visited Italy, and the Renaissance wormed its way into his creative imagination, both in his painting style and in the design of his frames. The Story of Troy (Birmingham MAG) with its integral painted ‘frame’ was begun in c.1870-72 and worked on until Burne-Jones’s death in 1898; it’s generally agreed that it was inspired by Mantegna’s altarpiece of the Virgin and Child with Saints, in the magnificent aedicular frame probably designed by the artist (Church of S. Zeno, Verona).

Burne Jones The Days of Creation in original frame ill Sotheby s London 13June1934 Lot99 Harvard Art Museums COLOUR PICS sm

Burne-Jones, The Days of Creation, 1870-1876, Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.457: reconstruction based on a b-&-w photo taken by Sotheby’s in 1934

The first actual aedicular frame which Burne-Jones produced seems to have been that for his set of six watercolours, The Days of Creation [14]. It was a simplified altarpiece frame with panel-like pilasters, modillion ‘feet’, and a decorative entablature, the frieze inscribed with a truncated quotation from the Book of Daniel, Ch 2, 20-22:

‘Sit nomen domini benedictum a saeculo et usque in saeculum quia sapientia et fortitudo eius sunt et ipse mutat tempora et aetates et novit in tenebris constituta et lux cum eo est’

(He said, Blessed be the name of God for ever and ever: for wisdom and might are his: And he changeth the times and the seasons: and he knoweth what is in the darkness, and the light dwelleth with him).

Altogether it looked very much like an altarpiece, or like a painted Renaissance cassone, revealing that Burne-Jones had learned both from his travels in Italy, and from his experience of working on painted furniture for Morris & Co. He was leaving behind the style of decorative, geometric, northern-influenced frame he had produced under Brown’s and Rossetti’s patronage, and breaking out in a Renaissance of his own.

Grosvenor Gallery 1877

The Grosvenor Gallery, New Bond Street, The Illustrated London News, 5 May 1877, p.419

He was not alone; Frederic, Lord Leighton, Alma-Tadema, Edwin Long and others were all producing paintings influenced by the Renaissance or Classical world, and designing appropriate frames to hold them.  In 1877 the Grosvenor Gallery, New Bond Street, opened its doors for its first exhibition; it had been founded by Sir Coutts Lindsay in opposition, or at least in contrast, to the Royal Academy, and artists like Burne-Jones, whose work was out of kilter with the aesthetic of the Academy, were drawn to its more congenial classicizing rooms. The first exhibition contained, as well as The Days of Creation, work by Watts, Spencer Stanhope, Alma-Tadema, Walter Crane, and Holman Hunt, all of it in magnificently individual artists’ frames – many of them Classical aedicules. Richard Williams, of the framemakers Foord & Dickinson, visited the exhibition, ignored the paintings, and delivered his verdict:  ‘But it is a fine lot of frames!’ [15]  The frame of The Days of Creation was even mentioned in newspaper reports, first by William Michael Rossetti in his review of the exhibition (‘…six subjects in a common frame of ornamental design’[16] ), and then again when it was sold at Sotheby’s as part of The Graham Collection: ‘The beautiful decorative set of six panels… representing the six days of Creation, which was extremely well seen on the side wall of the room in its fine ornamental frame’ [17].

Burne Jones Golden Stairs Full view sm

Burne-Jones, The golden stairs, 1876-80, Tate

After this one-off design, Burne-Jones evolved a family of frames based on 15th century Italian models. They include cassetta (‘little box’) frames, like that on The golden stairs; fully aedicular frames, like that of King Cophetua, and a hybrid between the two (a cassetta with added entablature and predella moulding at top and base). There are some individual frames in the family, but most of them share the same feature: a frieze decorated in applied composition with Renaissance-style candelabrum ornaments springing from fluted urns.

Burne Jones Golden Stairs corner detail sm

Burne-Jones, The golden stairs, detail

The use of this shallow compo decoration allowed for an opulent finish, held in check by its flatness and by the linear contours of the frame, with an outer egg-&-dart ornament on larger works to give definition and weight. These frames seem to have been introduced from the late 1870s, and continued to be used through the 1890s [18]. They emphasize the other-worldliness of the paintings, and the aedicular versions lend the optical effect of a door or window frame leading into the ‘beautiful romantic dream of something that never was’, as Burne-Jones described his art.

King Cophetua before cons2011 small

Burne-Jone, King Cophetua and the Beggar Maid, 1884, Tate

The frame for King Cophetua was one of the more individualized designs; a monumental setting for a huge painting, possibly influenced by Crivelli’s Madonna della Rondine, 1491, which had been acquired by the National Gallery, London, in 1862, still in its original aedicular frame.

The composite capitals, candelabrum ornament, and palmettes in the frieze and capitals of the Crivelli frame are certainly close to Burne-Jones’s use of similar features (anthemia replacing the palmettes) in his Cophetua frame, to which he has added a clutch of cherubs’ heads. The frame acquired an extra head to add to its original three, when it was enlarged to take a glazing door sometime after the 1898-99 Burne-Jones Memorial Exhibition; expert conservation has now restored its authentic appearance .

King Cophetua frame. Base after cons. 2012

Here, of course, the cherubs are really putti or little cupids, as the painting is concerned with romantic rather than heavenly love….

Burne Jones Perseus 1st Full view sm

Burne-Jones, The rock of doom, 1885-88, Staatsgalerie, Stuttgart (no.6 from the Perseus series)

Burne-Jones also used a later Italian frame pattern, the style of which is balanced on the cusp of the transition from Renaissance to Baroque. It is based on a Venetian design of the late 16th or early 17th century, probably adapted by the artist from an original frame noted in Venice in 1871 or 1873 (since nothing similar seems to have been accessible in London at the time). It is strikingly unlike both contemporary academic and artists’ frames, since it uses the Baroque opposition of concave & convex surfaces and the play of light & shadow to bring animation to the picture it contains. It can be seen in the exhibition on three of the paintings from the Perseus series which have been lent from the eight now in the Staatsgalerie in Stuttgart, including this one (above), The rock of doom, the sixth of the set. The finished series was intended to comprise ten paintings, but Burne-Jones never completed them. Preparatory drawings in Tate show that the series, which had been commissioned by Arthur Balfour for the music room of his London house, was originally designed as a complete decorative scheme for the room, and would have been set (in plain frames) within a background of shallow relief scrolling foliage in plaster, executed by William Morris.

Burne Jones Perseus 1st corner detail sm

Burne-Jones, The rock of doom, detail

Instead of this, the scrolling foliage was confined to the frames themselves. These are formed of a complex band of six orders of decoration, the top moulding being a torus of pierced, scrolling acanthus leaves. This is actually a convex shell, applied over a gilded concave moulding. As the spectator moves before the work, light is reflected through the pierced carvings from the burnished hollow below, bringing an effect of shimmering life and movement to the painting. Burne-Jones also used this frame pattern for his more sensuous and colourful ‘Venetian’ paintings, such as Le Chant d’Amour and Laus Veneris [19]. A delightful, possibly emblematic and hard-to-spot feature is the presence of tiny swans’ heads wreathed among the acanthus leaves; they may be symbols of music, or perhaps attributes of Apollo or Venus.

Burne Jones Perseus Swan's head

Burne-Jones, The rock of doom, detail of swan’s head

This pattern may not be as refined and detailed in its workmanship as a 16th century Italian or 18th century French frame, but in the context of later 19th century design in Britain, with its compo encrusted surfaces, Dutch leaf replacing gold and machine-turned mouldings, it is an imaginative attempt to revive some of the more attractive elements of earlier styles. Not innovatory like the designs of Brown, Hunt and Rossetti, it is perhaps an example of the antique recycled and reinvigorated.

There has been a critical divide over this exhibition and its subtitle. Possibly someone who has got his  eye almost exclusively in to 20th and 21st century art still finds it difficult to accept the pioneering impetus of art which was (still) recently seen as weedy, whimsical and unpainterly. Perhaps such a person, if he could be walked around the Tate exhibition with the paintings blanked out, and forced to concentrate exclusively on the extraordinarily imaginative and modernizing spirit of design evident in so many of the frames, might come to see the works of art as a whole in a different light; might even concede that the Pre-Raphaelites were indeed the Victorian avant-garde.

All images included here are courtesy of the respective museums, and most of the photos are again by Alastair Johnson of Tate, to whom I am ever more indebted and extremely grateful.

Part I: Pre-Raphaelite frames > here

Part II: More Pre-Raphaelite frames > here

Restoring a Pre-Raphaelite frame> here

Poetry & the frame: Rossetti’s The Blessed Damozel & its altarpiece setting > here

Love in the frame: the portraits & frames of John Brett > here

What artists, critics & collectors say about frames: Part 2> here

Poetry & the frame: May morning on Magdalen Tower > here

Two Pre-Raphaelite paintings from the Leverhulme Collection> here

A Victorian Obsession…The Pérez Simón Collection > here

[1] Letter from Brown to his patron, Leathart, 16 January 1863; information from Mary Bennett.

[2] Alastair Grieve, ‘The applied art of D.G. Rossetti: I His picture-frames,’ Burlington Magazine, CXV, January 1973, pp.16 ff.

[3] Ibid.

[4] Unknown location, 1873; Tate, 1874; private collection, d.1877; Birmingham MAG, d. 1882; ex-LS Lowry collection, d. 1877, sold Christie’s, November 1987.

[5] I’m not sure about the frame of Found; I think that it is probably a replica.

[6] For example: The Blessed Damozel, & La donna della finestra, both Fogg Art Museum, Mass.; Mnemosyne/ The lamp of memory/ La Ricordanza, the Bancroft Collection, Wilmington; La Pia de ‘Tolomei, Spencer Museum of Art, Kansas; The day-dream, V&A, London; and the version of Beata Beatrix in Birmingham CAG.

[7] These are NeoPlatonic symbols used by Dante and Petrarch as images for the earthly beloved, and the ideal Virtue to which she is the spiritual guide.

[8] Whilst this diptych of The salutation… is in the Art Gallery of Ontario, the central panel (from when the paintings were part of a cupboard) has been separately framed, christened Dantis Amor, and is now in Tate (also in the exhibition).

[9] This was inscribed either side of the top medallion, but has all but disappeared.

[10] Describing how the city of Florence mourned the death of Beatrice: ‘How solitary does the city sit…’

[11] Dante Alighieri, Paradiso, Canto XXXIII, ll. 142–145, translated by CH Sisson, 1981.

[12] Another example of Burne-Jones using this pattern can be seen on Fair Rosamund and Queen Eleanor, 1861, Yale Center for British Art.

[13] For instance, the two versions of The Adoration of the Shepherds, Tate & private collection, and Sts Apollonia and Agatha, Royal Cornwall Museum, Truro.

[14] Each panel has a hand-written inscription on the back:

Burne Jones Inscription reverse of no 2 Days of Creation

‘This picture is not complete by itself but is No. X of a series of six water colour pictures representing the Days of Creation which are placed in a frame designed by the Painter, from which he desires that they may not be removed’. Unfortunately, when the Days were bought by the American collector Grenville L. Winthrop in 1934, the panels were reframed singly in plain gilt mouldings and the original setting lost.

[15] Jacob Simon, The Art of the Picture Frame, 1996, p.134.

[16] W.M. Rossetti, The Academy, 5 May 1877, pp.396-97.

[17] W.M. Rossetti, The Times, 5 April 1886, p.12; the sale was held on 3 April 1886.

[18] These frames were possibly first used on the Pygmalion series of 1875-78, now in Birmigham MAG. The hybrid version, with entablatures and plinths, can be seen on The Annunciation, 1876-79 and The tree of forgiveness, 1881-82, both Lady Lever Art Gallery.

[19] Le chant d’amour, 1868-77, Metropolitan Museum, NY, and Laus Veneris, 1873-78, Laing Art Gallery, Newcastle (since reframed in a painted Neo-Baroque cassetta frame, with appropriate symbols scratched through the paint into the gold leaf beneath); also The beguiling of Merlin, 1873-74, Lady Lever Gallery, Port Sunlight; The mirror of Venus, 1873-77, Calouste Gulbenkian Museum, Lisbon; and The mill, 1870-82, V & A.


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How is bamboo an alternative to plastic?

In the last few years, our environmental awareness grew pretty much at the same pace as the anti-plastic movement as well as the reliable alternatives to the crude oil based product. One of these alternatives is bamboo. As you may already know, bamboo is a plant that can grow 1at an incredibly fast rate - without the need for chemical products. Plus, bamboo also requires very little water and can grow in a very wide range of environments. All these characteristics make bamboo one of the most sustainable resources on earth.

How are bamboo products made?

Bamboo products are made of bamboo fiber, which is made through the mechanical process of beating the plant, therefore allowing natural enzymes to break it down into a soft mass, perfect for spinning into a cotton-like yarn.

Products made from bamboo fibers have a lot of beneficial qualities compared to products made of toxic substances like plastic.

The plant being an extremely durable, it lends itself to an unlimited amount of uses. Bamboo products are also cheap to produce, making them well-positioned to keep up with demand. As we know, plastic takes a long time to biodegrade - around a thousand years - but bamboo is 100% biodegradable.

How can I make an environmental difference?

A good place to start if we want to make a difference is our home. Many household items can be replaced without making a dramatic change. For instance, you might have plastic cutlery for these family moments when you go to the beach, or BBQs. These items can be replaced by bamboo products forks and knives. Same goes for straws. Personally, I started by replacing plastic straws by bamboo straws, and it felt great to not throw them thinking about the plastic island in the middle of the Pacific Ocean.

By making the switch, the list of items is endless. From bamboo straws and cutlery, to bamboo face rounds, to biodegradable cleaning products, lots and lots of household items can be replaced. Bamboo fiber can even be manufactured into bags and fabric, which is an eco-friendly alternative to cotton.

In my opinion, you just have to start by making a small change, and another one, and another one again. But at the base of it is awareness. Luckily, awareness about the matter is growing each and every day, and it does not look like the movement is going to stop.


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Weather. You can’t change it. You can’t (even though you may really, really want to) blame your well-intentioned meteorologist. And it can really put a damper on events that happen outside that depend on well, the weather.

That would be a NASCAR race. Specifically the Firekeepers Casino 400 that was slated to happen at Michigan International Speedway on Sunday. Mother Nature had other plans.

Thousands of fans converged on NASCAR’s Most Entertaining Track on Sunday with the hope that the weather would hold back long enough to at least get two hundred miles in, but that was not to be the case, as throughout the day rain would run the gamut of sprinkles to well…rain.

However, we still had a good time at the track and got some photos to share with you in the gallery above.

The race will now take place at MIS Monday afternoon at 5.

Get more info here from the Michigan International Speedway website.


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How strict are Jet2 with hand luggage 2021?

Last Updated on July 10, 2021 by Henry @ The Getaway Lounge

This post is reviewed on a regular basis to ensure a high level of accuracy.

How strict are Jet2 with hand luggage?

Just how strict are Jet2 with hand luggage size and weight?

As the first to specialise in short haul flight alerts, it’s a question we’re often asked by our members, and here’s the latest:

Jet2 are relatively lenient and state that if you’re travelling with hand luggage only, you’ll be allowed to take one main bag on board as well as a smaller personal item. Your main bag must fit in the sizer and so be easily stored in the overhead compartment. Your smaller item must fit under the seat in front of you.

And if you’re looking for a full size carry on which fits perfectly within their latest hand luggage limits, we recommend this Maximum Allowance suitcase on Amazon for under £40.

Jet2’s main hand luggage policy

As one of the nation’s favourite airlines in terms of overall value – Jet2 have a relatively generous main hand luggage allowance as follows:

56 x 45 x 25 cm (including any wheels or handles) – weighing no more than 10kg

Jet2’s smaller bag policy

In addition to your main bag, Jet2 also allow a smaller bag which must fit under the seat in front of you, allowed at the airline’s discretion.

Examples include a small backpack, handbag, or an airport purchase.

This therefore leaves you with even more room in your main bag to fit in clothes, toiletries and other essentials you might need for your trip!

Jet2 hand luggage liquids

Like most airlines, Jet2 allow you to pack liquids into your hand luggage as long as they are in containers with a volume of no more than 100ml.

In addition to this, all liquids must be held in a transparent, resealable plastic bag – with max dimensions of 20 x 20cm.

The Getaway Lounge - how strict are Jet2 with hand luggage

My main bag is slightly over-sized, should I risk it?

This is probably the most common question when it comes to Jet2’s hand luggage policy.

And there’s only one simple answer.

Rules are rules and if you fail to comply you will run the risk of having to pay extras.

Money that could have been invested in a decent bag for years to come.

That said, if you have a soft-edged bag which is only slightly oversized (like a backpack), you have a better chance of being able to squeeze your luggage into the sizer, if required to.

If you’ve got a hard case and that’s oversized, there’s no way you’ll be able to squeeze it through the dreaded cage – and so you won’t get away with it.

My main bag is slightly overweight, should I risk it?

It’s rare for airlines to investigate the weight of your hand luggage.

That said, it’s worth weighing your main bag just in case – as you should stick within the 10kg wherever possible.

But don’t worry too much if it’s slightly over – just be prepared to stick on some of your bulky clothing to bring the weight down in the unlikely event you are checked and over the limit!

long weekend flights

The best Jet2 hand luggage, ensuring compliance

If you’d rather not take the risk with Jet2’s hand luggage policy, here’s our favourite which is fully compliant with the latest rules – matching exactly that of the airlines dimension limits!

This way you won’t have to worry about how strict Jet2 are going to be with hand luggage on the day you travel.

What’s more, these bags are also safe to use for easyJet flights and many more!

Jet2 checked-in baggage allowance

If after reading this post you are now thinking about paying to have your luggage placed in the hold, here’s the deal:

The price depends on your destination and where you make the booking (website, over the phone or at the airport).

The price to check baggage online starts at around £10 online – £45 at the airport.

It’s advisable to book online at the time you book your flights, this way you’ll save up to 50% compared to purchasing at the airport.

If you have not pre-booked all of your hold baggage prior to your arrival at the airport, a fee of around £45 per item will be charged, plus any additional excess baggage charges where applicable.

How strict are Jet2 with hand luggage?

In conclusion, Jet2 have rules which you must adhere to, otherwise you’ll risk having to pay extra.

However, compared to other budget airlines they are fairly lenient when it comes to hand luggage – as long as you’re sensible about it!

If you’ve already got a soft-sided bag which is slightly oversized for example, you shouldn’t need to worry about that too much.

Just make sure you leave enough room in your bag to squeeze the contents into the rectangular sizer if needs be!

To be on the safe side however, we do recommend investing in a Maximum Allowance suitcase like this one on Amazon for under £40.

Besides, who knows exactly how strict they are going to be on the day!

If you’re still not sure this will be enough, then we recommend you pay for checked-in baggage.


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Preview Mode Links will not work in preview mode

The Hammer MMA Radio

The Hammer MMA Radio.   Broadcasting live from CFMU 93.3 FM in Hamilton, Ontario. Steve Jeffery, David Abraham, and Greg Persson preview and review MMA events from UFC and Bellator, as well as discuss all of the latest news and rumours in Mixed Martial Arts.

Jan 14, 2016

The main event of this Sunday night's UFC Fight Night: Dillashaw vs. Cruz features current UFC Bantamweight Champion T.J. Dillashaw facing former champion Dominick Cruz, a man who was never beaten for his title. This matchup is as good as it gets in the UFC Bantamweight division, and we spend the first half of this week's episode breaking down the entire event.

In the second half of the show we discuss an extremely busy week in MMA including Nick Diaz's settlement agreement, new fights for Conor McGregor and Holly Holm, updates on Mirko Cro Cop and Yoel Romero's USADA drug tests, Royce Gracie vs. the IRS, and a preview of this Saturday night's Invicta FC 15: Cyborg vs. Ibragimova.

Hosted by Steve Jeffery, David Abraham and Greg Persson.

Listen to us Wednesday nights at 6:30pm on CFMU 93.3 FM, and online at, Last Word On SportsThe Itunes Store, Stitcher,, Player.FM, find @SteveJeffery on Twitter, or just email us.


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The St. George Organizers Have Hit Their Number…

…and the petition to incorporate that city of some 85,000 people in the unincorporated area of East Baton Rouge Parish south of Baton Rouge proper will now go to the ballot. At least, that’s pending what are likely a raft of dilatory lawsuits aimed at strangling the St. George incorporation short of an election.

Which is an argument for another time. For now, St. George needed 12,996 signatures to get 1/4th of the registered voters in the area to be incorporated, and got 14,585.

The proponents pushing the creation of the new city of St. George has secured the signatures they need to get the measure on the ballot, Registrar Steve Raborn announced today.

According to a signed statement Raborn released through the state’s Attorney General’s Office, 14,585 signatures from registered voters living within the boundaries of the proposed city were accepted and verified by his office from the petition proponents submitted Oct. 15.

Here was Raborn’s statement…

And here was the St. George committee’s announcement…

The next step is for Gov. John Bel Edwards to call the election, which could come as early as May but is a lot more likely to be held this fall – either amid the statewide primary in October or runoff in November. Whatever Edwards does, though, it’s likely to be challenged in court by the various status quo players in Baton Rouge.

Raborn’s certification is actually a long time in coming. The petition was turned in all the way back in October, and the registrar has been in no particular hurry to process it – first using the fall elections as a reason he couldn’t turn it around, then the Christmas and New Years’ holidays. We’re told the St. George folks started making a little bit of a stink about the slow movement on the petition around the end of January, and Raborn responded that he finally had manpower available to process it about two weeks ago. So it isn’t a surprise it came in today.

The one real takeaway from St. George’s success this time as opposed to in 2016 when the first petition to incorporate the proposed city circulated is that the St. George map is different, and smarter. The initial plan was to incorporate virtually all of East Baton Rouge Parish south of the city proper, which would have been a city of some 107,000 people. There were some significant swaths of that area where virtually no one signed the first petition, and so when it was time for another bite at the apple the organizers shrank the area they were seeking to incorporate.

Meaning that the current St. George map would encompass a population of about 85,000 people, and the registered voter base of the new city is down to just below 52,000 as opposed to the nearly 70,000 registered voters in the first map. That took the needed signatures from the 17,000 range down to 12,996 without losing very many actual signatories to the petition at all.

When the current map was released, it was panned as an example of “racism” among the St. George organizers because the areas cut out are mostly majority-black areas. But given that those are the areas where almost nobody signed the petition one could make the argument they were heeding public sentiment and not asking people in, for example, the Gardere area to do something they clearly didn’t want to.

That’s worth remembering if one of the lawsuits sure to be filed in an attempt to stop St. George from going on the ballot is that the proposed city is disproportionately white.

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