Books of The Times: A Syrian Refugee Lands in Ireland in ‘From a Low and Quiet Sea’

In Donal Ryan’s new novel, recently longlisted for the Booker Prize, a Syrian doctor settles in Ireland, where his life intersects with two other shattered men.
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Books of The Times: Can Handiwork Save Your Soul? A Quiet Novel Suggests It Can

Daniel Gumbiner’s debut, “The Boatbuilder,” features an opioid addict who discovers the pleasures of physical labor.
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Comedy Central Imagines The Sound Engineer For ‘A Quiet Place’

“The most challenging sound to make? Silence.”
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Krasinski on the Silent Terror of A Quiet Place – IGN First

All month long, IGN First is spotlighting the Films to Watch in 2018. Today, we take a look at A Quiet Place – a unique new supernatural suspense thriller written and directed by The Office’s John Krasinski, starring Krasinksi and Emily Blunt as a couple who must raise their children in silence because the mysterious monsters who surround their farm are attracted to noise. This Paramount Pictures release lands in theaters April 6th.

Set on a desolate homestead where a father, mother, son, and daughter must live lives of utter silence so as to not attract a sound-sensitive supernatural evil that lurks in the surrounding forest, A Quiet Place, from John Krasinski, aims to haunt us with hushed tones. Dialogue-free, this film is already terrorizing theatergoers with its trailer as real life husband and wife, Krasinski and Emily Blunt, play the couple who must keep their children safe while not not making a peep.

Continue reading…

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Kelly Dodd Addresses Real Housewives of Orange County Fight at The Quiet Woman That was Anything But

Real Housewives of Orange County, RHOCOh, Kelly Dodd. There’s nothing else really to say after the Monday, July 24 episode of The Real Housewives of Orange County, but we’ll do our best. Well, we’ll let Kelly do her…

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Kelly Dodd Addresses Real Housewives of Orange County Fight at The Quiet Woman That was Anything But

Real Housewives of Orange County, RHOCOh, Kelly Dodd. There’s nothing else really to say after the Monday, July 24 episode of The Real Housewives of Orange County, but we’ll do our best. Well, we’ll let Kelly do her…

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The Quiet, Exquisite Intensity of ‘The Band’s Visit’

2016-12-28-1482945229-1374926-TheBandsVisit.jpg

By Christopher Caggiano, ZEALnyc Contributing Writer, January 2, 2016

There’s been some chatter online and in theatrical circles as to whether The Band’s Visit, the intensely real and intimate new musical currently playing Off Broadway at the Linda Gross Theater at the Atlantic Theater Company, is actually a musical. Does it have enough songs? Are the songs sufficiently musical theater-like? Or is it really a play with music?

My response to such questions is usually: Who cares? Is it any good?

And The Band’s Visit is good. It’s more than good. It’s exquisite. Librettist Itamar Moses and composer/lyricist David Yazbek have taken Elan Kolirin’s small, touching 2007 film of the same name and created a small, touching show that’s perfectly content with simply introducing us to two bands of real people and letting us get to know them as they get to know each other. The Band’s Visit is ultimately about the simple but transformative power of human connection.

The story concerns a literal band of Egyptian musicians who become lost on their way to play at the dedication of a new Arab arts center in Israel. The locals in a remote Israeli town take in the wayward players and, as they spend the night together, we’re treated to a series of intimate portraits of these quietly desperate people. The ongoing conflict between Arabs and Jews in the Middle East serves as very soft but nonetheless discernible subtext, coloring but not dominating the action.

It’s hard to imagine a more ideal director for The Band’s Visit than David Cromer (although Harold Prince was originally announced to direct, and indeed was in the house the night I saw the show). Cromer understands the tremendous importance of detail, without losing sight of the larger vision of a production. Cromer populates the stage with the Israeli locals, and has the Egyptian band members hanging around the stage providing background music, and yet we get the sense that each of these people have their own story, even if they never actually speak.

That character depth and strong sense of place are a testament to Cromer’s directorial skill, but also an outgrowth of the show itself, with Itamar Moses’s deceptively simple book and sparsely yet deftly drawn characters, as well as David Yazbek’s richly introspective songs. Yazbek has proven himself an admirably protean songwriter since he came on the Broadway scene with two blasts of full-on Broadway brass (The Full Monty and Dirty Rotten Scoundrels), only to follow that with the driving Iberian pulse of Women on the Verge of a Nervous Breakdown. Yazbek takes that eclectic impulse further with the idiomatic chromaticism of The Band’s Visit, paired with the undeniable wit and skill of his lyrics.

Two of Yazbek’s most flavorful and complex songs here go to the sinuous Katrina Lenk as Dina, in a breakout performance as a bored Israeli cafe owner who experiences a romantic awakening upon the arrival of these Egyptian visitors. In “Omar Sharif,” Dina languidly recalls the thrill of watching films with Arabian stars in her youth. In “Something Different,” she careens off into an internal exploration of her roiling sexual desire as Tewfiq, played by a restrained but indelible Tony Shaloub, sings her a song from his native land.

The show is full of intensely individual moments of simple yearning and muted desperation, particularly from Erik Liberman as a man on a non-stop vigil at a phone booth waiting for his girlfriend to call, and Andrew Polk as a widower vividly recalling his deceased wife. What might be the most charming moment in the show comes when Haled, played by a smoldering Ari’el Stachel as the band’s resident ladies man, coaches an insecure young man on how to approach and win the affection of a reticent local girl (a wonderfully subtle Rachel Prather).

The Band’s Visit reminded me very strongly of the upcoming Broadway musical Come From Away, which similarly features a group of strangers being welcomed into a sleepy, remote community, with touching and richly human results. There’s talk of The Band’s Visit moving to Broadway next season, opening up the possibility that both shows will be playing on Broadway at the same time: two moving examples of disparate groups coming together to provide support and mutual understanding. Given the political situation we currently find ourselves in, they couldn’t come at a better time.

The Atlantic Theater recently announced a second extension for The Band’s Visit which will now play through January 8th, 2017.

___________________________

The Band’s Visit at the Atlantic Theater Company at the Linda Gross Theater. Book by Itamar Moses, based on the screenplay by Eran Kolirin; music and lyrics by David Yazbek. Directed by David Cromer; musical direction by Andrea Grody. Cast: George Abud, Bill Army, John Cariani, Katrina Lenk, Erik Liberman, Andrew Polk, Rachel Prather, Jonathan Raviv, Sharone Sayegh, Kristen Sieh, Tony Shalhoub, Ari’el Stachel, and Alok Tewari.
___________________________

Christopher Caggiano writes for ZEALnyc about theater performance and related topics.

Read more from ZEALnyc:

Holiday Wishes and New Year’s Resolutions (and what we’re looking forward to next year!)

Top 5 Sizzling Hot Winter Music Festivals in Frigid New York City

The Insider’s List for the Best Hot Chocolate in NYC

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

— 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.

Arts – The Huffington Post
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Quiet, Everyone, back to school, noisy children with books, humorous Greeting Card

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How To Create Quiet Spaces In Your Home

This article first appeared on QuietRev.com
Contrary to popular belief, not all introverts are homebodies. I myself love getting out on the streets and observing all the personalities colliding around me—and I’m the kind of person who gets nervous about interactions to the point where a little small talk with a cab driver puts me in cold sweats. However, a quiet, introverted mind does crave a safe, calming space built just for thinking and rejuvenation, especially after enduring a barrage of stimuli from the external world.

Creating that area within the home requires designing (and living) with intention. We tend to treat our homes as dumping grounds—not only for our possessions but also for our overly-tired bodies. I know that upon arrival home at the end of a long day, if my home feels uncomfortable, cluttered, or noisy, I tend to feel adrift. As an introvert, if my place of retreat is threatened, I can be easily thrown for a loop, and the quality of my writing and a clear headspace will be the first two casualties. To truly reap the benefits of a quiet space, you’ll need to learn the habit of treating your home with reverence and love, becoming more thoughtful about where you place items and how you spend your time inside.

Locate quiet within your space

Turn off your TV, your music, and your phone, and listen. Hear that humming from your refrigerator? The whoosh of the air conditioning running? The ticking of the clock? A lot of appliances and devices let off excess noise we don’t notice during our day-to-day routines. I’m a person who suffers from mid-level anxiety, meaning my brain is always anxiously ticking off a number of thoughts, and that excess ambient noise just adds to the neural confusion.

To combat this, I’ve tried incorporating more quiet spaces into my home. I turn off unnecessary devices—like DVD players, video consoles, TVs, and digital clocks—that add ambient noise, light, and heat pollution. Smoothly-running, new appliances help. If your dishwasher is old and noisy, get it repaired so that it will run quietly in the background. Alternatively, replace clanky appliances with new, quieter-running models, which may be more energy-efficient as well. Performing some acoustic investigation here is key, so make sure to unplug and listen carefully to the different spaces in your interiors.

If you have especially loud housemates or neighbors or a lot of street noise from outside, you may also want to consider soundproofing your interiors. This can be as simple as weatherstripping around doors and acquiring a carpet to soak up noise or as advanced as adding acoustic ceiling tiles. Homes are generally built with little to no soundproofing. In fact, interior wall construction unintentionally amplifies noise from room to room, so it’s worth investigating ways to block outside noise, whatever your time or budget.

Quiet means creating space

There’s a reason we call a busy design “noisy.” In the world of home decor, “quiet” and “minimal” can often go hand and hand. While there’s been many an article written on the valors of decluttering, you don’t necessarily need to go along with serious devotees who take the practice to extremes. For an introvert, particularly one drawn to quiet reflection, a too-stark room can be a prison sentence. Overly-empty spaces provoke a strong reaction in me, triggering feelings of abandonment and isolation. I live toeing the line between solitude and loneliness, so having furniture and decor that remind me I’m comfortable and cared for is key.

In fact, severe rooms, particularly those with many hard angles, have been shown to be associated with negative emotions, activating the amygdala (your flight/fight/freeze response center). We’re far more likely to thrive in a soft space with plenty of rounded surfaces. Striking a balance between organization and the chaos life can bring is the battle, but clean surfaces and uncrowded spaces are major strategical wins. Clutter, after all, can elevate our cortisol levels—the stress hormone—making a quiet mind harder than usual to achieve.

Introverts will be most comfortable in spaces where furniture is clustered in nooks rather than organized around the perimeter—as it would be for a large social gathering. That being said, tasks that involve heavy concentration, such as reading, writing, and design, will be better performed in a single room—that way you can shut off outside distractions at your discretion.

Ideal spaces for introverts

Given plenty of quiet time for reflection, introverts are generally well aware of their own preferences. That knowledge of self serves them well in designing their ideal places of rest in the home, especially because beyond a few standard principles, decor is often about the subjective connection we have with colors, objects, and items. Color, for instance, is so personal that even psychologists can’t agree on how it affects us. Brain scans offer mixed data on how we react to the color red, for instance.

Light is also controversial. I’m among those who feel trapped and weighed down without windows, but others may feel exposed in a home with too many openings. However, for my type of introversion, I find that an area that at least suggests a sense of seclusion is key. Seclusion can be fostered by setting up “thinking outposts” in quiet corners by windows or alcoves and making them your own. Fill them with tiny touches that speak to you alone and provoke thought. I used to keep a drawer filled with old black-and-white photos I’d bought from a thrift store so I could imagine the inner lives of the people in them. Find items that connect you to your deepest self.

Too often, homeowners feel they must design their homes to appeal to convention, but this is untrue. The designer that bucks tradition, choosing instead to listen to their own instincts when organizing a space, will find that even the process of redecorating can be a journey toward a deeper sense of self.

— 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.

Style – The Huffington Post
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The Quiet Revolution: The Emergence of Interfaith Consciousness

The Quiet Revolution: The Emergence of Interfaith Consciousness


Intolerance of different religions, miscommunication, and bigotry. It doesn’t have to be this way. A global revolution is emerging – interfaith. In an increasingly politically and religiously fragmented world, a number of adherents of different faiths have realised the necessity of global interfaith connection and communication. Quiet Revolution investigates this important growing phenomenon. Over the last fifteen years or so there has been a worldwide mushrooming of organisations to promote international interfaith dialogue and understanding. Quiet Revolution introduces the basis for this developing interfaith movement – the desire for communication and understanding between different faiths, from Christian to Muslim to Buddhist and beyond. travelling from the most multi-religious society in the world – and the home of many interfaith communities – New York, the ABC’s Peter Kirkwood investigates this global movement and the communities and individuals that are driving its growth. Quiet Revolution is being written concurrently with the filming and production of an important three-part ABC television documentary series of the same name to be screened as the book is being published.

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Why Confidence Is Quiet and Insecurity Is Loud

Sweet revenge. The need to get back at someone and make them pay … because they caused you pain and deserve to feel the same way. Right?

I get it. Been there. Done that. Struggling at this present moment with it, actually. Maybe like you, with certain people in my life, I battle mind and soul with the challenge of taking the high road.

First, let’s look at why we want revenge.

It’s natural. Positioning oneself to fight back is a human response to being wronged. We feel a gut-jerk reaction that makes us want to sneak in an extra man, yank that ball away from the opponent and even the score.

We’ve all struggled with that puffing vengeful lineman – that smoking little devil on our shoulder – who tries to convince us that we are ENTITLED to revenge. An eye for an eye. We want justice. But could there be a wiser way to get there?

When we just want to scream back at the person who seems to be torturing us, is loud retaliation really what makes things fair? And is it really up to us?

I think time teaches us a thing or two about revenge.

As we age, I believe most of us look back and see things more clearly. We might begin to realize that most of those times we have tried to yell back, throw an emotional punch and ‘even the score,’ we didn’t actually feel better in the end.

Maybe we struck back immediately, later feeling like a fool ourselves, realizing there was more to the story. We should have taken a step back and looked at the bigger picture.

Perhaps in hindsight, we saw that we acted much unlike ourselves, lowering our values, being blinded by anger and revenge. We were later embarrassed that we had been reactive instead of reasonable.

Maybe posting hurtful words on social media or shaming that person in front of a friend brought you a blip of validation in the moment. But you might have felt very different when you looked back through the following week’s lenses with a new understanding of the situation. Maybe you wonder if you actually look more foolish than they? It happens to the best of us.

Truth is, looking back, we usually see that we weren’t rewarded with the satisfaction we were seeking.

And we didn’t really feel that great about the high fives we got from the fans in our cheering section when our opponent was left injured on the field. We were left staring at the scattered confetti on the grass, feeling blisters inside our cleats, wishing we weren’t playing in the game at all.

We might even feel worse than before, wishing that we had not let our need for revenge hijack our normally compassionate hearts. Perhaps we have taught ourselves (on our good days) to be open, mindful, even meditative, yet . . . we are only human and we lose our best selves sometimes. Especially when we’ve been hurt.

There could be a certain person that has our number. We allow him or her to dismember that inner strength inside of us again and again – and we often later regret engaging with them in the same back-and-forth, time after time, without really getting anywhere at all. Why do we keep doing that? We get caught up in trying to correct who they are by yelling back, trying to change a mind that is not ours to change.

We keep thinking we actually can convince the other person that we are right if we just say it louder, or in another language, or through another method of attack.

Then we live a few more years and begin to understand that we really have no control over how other people think, believe or act. Increasing the volume on our rebuttal merely exhausts us . . . not them.
We learn that getting loud with retaliation does not make that other person see things our way. Nope. It actually validates that we are more like them – noisy, insecure and low-minded.

That’s not the goal our souls are aiming for – not if we are seeking a higher consciousness, peace and happiness, that is.

Here is what I want you to digest before you react again: Another person’s bad behaviors are about THEM, not about YOU.

They are about insecurities, beliefs and a history inside of them that are beyond your control.

What you need to know about your own behaviors:

Confidence is QUIET. Insecurity is LOUD.

Which message do you want to give?

You have to make this decision: Am I going to respond LOUDLY, fighting on the field? Or am I going to react QUIETLY, stepping confidently to the side?

By turning in an unexpected direction and coolly pulling yourself from the game, you choose to take your heart out of the firing range.

You raise the vibration of your soul. Your heart breathes a sigh of relief.

You confidently refuse to take on the other person’s issues as your own.

You do not engage as an opponent.

You choose your way back to sanity and away from trying to correct someone else’s actions . . . again (because you CAN’T).

So, it’s up to you. You might be staring down someone else’s facemask at this very moment, or get called onto your opponent’s field tomorrow. What are you going to do?

Are your steps going to move LOUDLY toward conflict or QUIETLY away from it? The way I see it, if you try to hurt them right back, that only makes you just like them.

Stand up.

Turn around.

Exit the field.

Let your quiet confidence speak the loudest about who you really are. Your soul’s crowd will go wild.

— 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.




GPS for the Soul – The Huffington Post
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Why Tim Burton Made A Film About The ‘Most Quiet, Under-The-Radar Feminist You’ve Ever Met’

Tim Burton’s “Big Eyes” tells the story of an epic art fraud centered on “the most quiet, under-the radar feminist you’ve ever met.” In many ways, Margaret Keane’s story embodies the early women’s movement. That, along with the rise of the kitsch — and another “worst” artist to add to the list with “Ed Wood” — is what Burton has set out to explore here. HuffPost Entertainment interviewed the director to talk about creating his lowest budget film in years (and whether he would ever re-consider making “Superman Lives”).

big eyes

You commissioned Margaret Keane’s work before this film was even pitched to you. What drew you to “Big Eyes” and telling her story?
I felt like it was suburban art. There weren’t Matisses or Picassos hanging on people’s walls. There were Keanes. You would see them in people’s living rooms, dentists’ offices and doctors’ offices. It was very present, and very much a time of that when I was growing up. I think they stayed with me, because they were all over the place, but also because I found them quite disturbing. I liked that kind of juxtaposition of things. I found it fascinating that so many people had them up in their houses.

That rise of the kitsch and suburbia have always been prevalent themes in your work. Is that something you wanted to explore here?
Even for people who hated it, you had to acknowledge it had a power to connect with people. There were a lot of artists who tried to rip it off. A lot of people who bought it. It became like a movement. Look at artists who were trying to copy it … This sort of came to me growing up in suburbia: this idea of the American dream, and then you have this couple — this sort of horrific couple — creating these strange mutant children. That seemed slightly representative of the end of that American dream era. This is sort of a twisted version of that idea of the nuclear family.

The true story of the Keanes is actually much more insidious than what we see on screen. What made you leave things out like Walter abusing Margaret’s dog or keeping her locked in the attic?
You know, truth is stranger than fiction. For instance, in the courtroom scene [in which the Keanes have a paint-off for ownership of Margaret’s body of work], we had to tone it down, because it was even worse than that. In fact, people have trouble believing that even now. So, it was fine line between trying to create the extremity of it and do it in a way where you’re still semi-believable. With Margaret mentioning how she is in the attic, you get the idea of it.

big eyes

In a way, Margaret Keane embodies the early women’s movement — surviving her husband’s psychological abuse and striving for her independence in spite of it.
She’s one of the most quiet, under-the-radar feminists you’ve ever met. She doesn’t have a big voice. She’s not out there on the streets, saying, you know, “Vote for women’s rights!” She did it in her own private, personal way, which I found amazing given the type of person she is.

Toning down this story is certainly another way “Big Eyes” is a departure for your work. There are not a lot of visual effects, it’s much smaller. How was the process different?
Well, it was low-budget. For me, after doing a lot of big-budget movies, it was kind of reconnecting me to having to move quickly and be resourceful. I mean, you have to do that on any film. But this you’re moving locations four or five times a day, you know, trying to make Vancouver look like San Francisco is not easy.

What was the biggest challenge with the low budget?
I think Vancouver to San Francisco, because the actors were all great. I was lucky to deal with solid people who were willing to go into the same thing of moving quickly, being there, not having to wait for people to move out of the trailer. Everyone got into the same spirit, which helped make it.

You’ve made films for two distinct generations. Do you think of this one differently?
You pick projects based on feelings. That’s why you can’t pick projects too far in advance. You don’t know how you’re going to feel. I think I felt that this one, basically because of “Ed Wood,” I like these characters that are sort of marginalized and the connection between what’s good and bad. Those are the themes that I relate to. Also, just wanting to do a low budget film after doing so many big budget films.

big eyes3

What do you think about the rise of the superhero franchise. How would your “Batman” do today?
It is amazing. I feel lucky to have been around in the time before franchise was created. I was lucky on “Batman” to never hear the word “franchise,” that was a real pleasure. Now, that’s all it’s become. The amazing thing is that trends come and go. That’s a trend that obviously not only stuck, but continues to keep going. How many tortured, you know, people that become superheroes are there going to be? It’s the same story.

Okay, half joking here, but how about “Superman Lives”? Would you ever reconsider making that one? Superman films are in, meta commentary is in … the Internet would explode.
Oh, good. I’d love to make the Internet explode! That’s a good idea. I’d love to see that happen.

“Big Eyes” is out in wide release Dec. 25.
Entertainment – The Huffington Post
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A Quiet Place: The Windhover Contemplative Center at Stanford

“The concept of wings as metaphors for the soaring of one’s mind suggests a sense of contemplation, a sense of spirit…”

– Nathan Oliveira

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A panoramic view of the Windhover Contemplative Center

The newly opened Windhover Contemplative Center, a 4,000 square foot rammed-earth and wood structure which occupies the former site of a parking lot, wouldn’t exist without a deeply held conviction of the late Nathan Oliveira (1928-2010): that quiet contemplation feeds and fuels the imagination.

Years of working in the silence of his own studio and also the solace he found during long walks in the peaceful Stanford hills — where he delighted in watching soaring birds — convinced Oliveira that each of us has an inner imaginative world that blossoms through observation and meditation. “If you persist and you believe in it your world opens up to you,” Oliveira once stated. “Sometimes that takes an entire lifetime.” Beginning in the 1970s Oliveira worked on images of birds and flight that culminated in the paintings now permanently on display at the center. These images, in turn, led to the idea for the Windhover, which will extend the artist’s uplifting vision into the future.

2014-10-18-Center001.jpg

A detail of Nathan Oliveira’s Diptych

Oliveira’s Windhover paintings take their name from a poem by Gerard Manley Hopkins (1844-1889), that uses the flight of a falcon as a metaphor for spiritual striving and realization. A portion of the poem is etched into reflective glass visible near the building’s entrance. The imagery of the four Oliveira paintings on view at the Windhover includes wings, catenary curves and a kestrel, all presented on semi-abstract grounds.

Designed by Aidlin Darling Design, the glass-enclosed center shows the influence of Japanese architecture. As they approach the building, visitors will pass through a long stand of bamboo that delineates a kind of barrier between the outside world and the center’s meditative space. In the building’s interior are three rooms that feature four Oliveira paintings — Big Red, Diptych, White Wing and Sun Radiating — all of which are visible from both inside and outside the building. Skylights and motorized louver drapes provide carefully modulated natural light. The thick rammed-earth walls, made from soil excavated directly from the site, help moderate heat and sound.

2014-10-18-outside_pond.jpg

The Reflection Pool

A reflection pool near the building’s entrance features two “scholar’s rocks” that are in fact a pieces of architectural debris from the university’s boneyard. The sound of running water, which flows into a rectangular fountain, helps dampen outside noises. A pebble-floored Zen garden rimmed by benches appears at the building’s opposite end, sheltering a single tree and another small fountain.

2014-10-18-water.jpg

An Interior Fountain

Stanford’s Office of Religious Life is overseeing the Windhover, which will provide a quiet alternative to Stanford’s relatively busy Memorial Church, which hosts services, weddings and concerts. The center fits in well with two of Stanford’s current initiatives — the Wellness Initiative and the Arts Initiative — and compliments the display of three Oliveira paintings in the new Anderson Collection at Stanford. The Windhover Contemplative Center joins Houston’s Rothko Chapel and James Turrell’s “Twilight Epihany” at Rice University as one of a slowly growing number of American structures that meld contemplative practice with the visions of modern and contemporary artists.

2014-10-18-10575146_10152750475238566_7450278687759817612_o.jpg

The Reflecting Pond

In a 2009 speech in Vancouver, the Dalai Lama offered his opinion that “The world will be saved by Western Women.” During my visit to the Windhover Contemplative Center a group of Stanford women chatted on the benches of the Zen garden and shared their sense of excitement about the new center. I couldn’t help envisioning these young women growing into adulthood, their imaginations sheltered and nourished by the Windhover, to fulfill the Dalai Lama’s prediction.

Visitor Information:

Windhover will be open daily from 11 a.m. to 11 p.m. to students, faculty and staff.
A Stanford I.D. card is required to enter.

Docents will lead tours for the public from 10 a.m. to 11 a.m. on Tuesdays.
Visit the Cantor Arts Center website for more information.

Visitors are asked to refrain from using cell phones, tablets, laptops and other electronic devices while inside the center.

Links:

Windhover Contemplative Center Opens on Stanford Campus

Nathan Oliveira on the Windhover Project (SFMOMA Video)


Arts – The Huffington Post
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