Podcasts about gestural

Live at The New York Studio school with Ukrainian born artist, Alla Broeksmit, and sister and poet, Stella Hayes. “The New York Studio School was founded in 1964 by Mercedes Matter, in collaboration with a group of students and faculty, during a time of cultural ferment. To this day, it is bound by a sense of mission, one that has often stood in counterpoint to the prevailing tastes of the art world. During the heyday of Pop, conceptual art, and minimalism, the School emphasized drawing, working from life, and a sustained studio practice. To delve into the history, however, is to become aware of the contradictions inherent in a school run by some of the most passionate minds of the New York art world.“ Jennifer Sachs Samet Closely held memories of childhood in Kyiv and deeply rooted remembrances of family and beloved places fuel the dreamlike imagery of Alla Broeksmit's art. Gestural brushwork and the tactility of hand-mixed pigments in the muted palette of faded frescoes lend texture and atmosphere to her expressively rendered paintings, evoking a sense of time past, recalled to the present. Broeksmit has pursued painting since the 1990s, studying at Parsons School of Design in New York City, then co-founding the Lots Road Group with fellow artists from the Heatherly School of Fine Art after moving to London in 1997. During this period, her paintings were primarily figurative and focused on portraiture, taking inspiration from the heavily impastoed, psychological portraits of Lucian Freud. In 2017, Broeksmit received her MFA from the New York Studio School, where Dean Graham Nickson encouraged her to work on a larger scale and to take “a more instinctual, visceral approach” to painting. Instructors Judy Glantzman, Kyle Staver, and Elisa Jensen were also instrumental in her development of an individualized visual language and in exposing her to the descriptive and emotional expression of color, as seen in her work. Stella Hayes is the author of a poetry collection, One Strange Country (What Books Press, November 2020). Hayes earned a creative writing degree at University of Southern California. Her work has been nominated for the Best of the Net and for the Pushcart Prize, as well as appeared in Prelude, The Poetry Project's The Recluse, The Lake and Spillway, among others, and is forthcoming from Stanford's Mantis and Poet Lore. She began her life in a book-filled home in an agricultural town an hour outside of Kiev, then part of the Soviet Union. In 1977, her family of five — her father excluded — left for the U.S., settling first in Chicago. At USC, she studied creative writing with a focus on poetry with celebrated poet David St. John, chancellor of the Academy of American Poets. More recently, she has taken advanced classes in poetry and fiction at 92Y and was asked to do a reading there in the spring of 2018. She is a graduate student at NYU M.F.A in poetry and is assistant fiction editor at Washington Square Review. theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jane South: ⁠⁠@janesouth⁠ New York Studio School: @ny_studioschool Alla Broeksmit: @artallastudio Stella Hayes: stellahayes.com Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Editing: ⁠⁠⁠⁠⁠⁠⁠⁠@benjamin.galloway⁠

A super interesting episode about the journey, the inspirations, and stories from the last 30 years of being involved with Calligraphy,. Follow on Instagram: Yves Leterme - https://www.instagram.com/yves_leterme/ Milen Nelim - https://www.instagram.com/milennel.im/ CM Podcast - https://www.instagram.com/calligraphymasterspodcast/ Listen to the podcast on: Apple Podcasts: https://apple.co/3xSbKer Spotify: https://spoti.fi/3xRyYkS Anchor: https://goo.gl/Yjp1ex Google Podcasts - https://goo.gl/VfVjP5 Overcast: https://goo.gl/EKiKuc Subscribe to the channel and hit the bell icon! #CalligraphyMastersPodcast #CalligraphyMasters #Podcast

Hey, three stops today! Not a bad one at all, weather wise, pretty reasonable, -9. Isabelle is making cutout musicians. We had to buy a new microwave. I'm not a joiner.

Hey, three stops today!Not a bad one at all, weather wise, pretty reasonable, -9.Isabelle is making cutout musicians.We had to buy a new microwave.I'm not a joiner.

Dr. Kirsty Graham from the University of St. Andrews discusses how bonobos use gestures to communicate, which winds into a chat about what that means for ape communication generally -- especially humans. They also have some insights into field research. Check out the article about humans understanding nonhuman ape gestures here: https://journals.plos.org/plosbiology/article?id=10.1371/journal.pbio.3001939  Listener discretion advised: Bonobo behavior is discussed in this episode, which includes sexual habits. Find links to articles, books, and pics at AnthroBiology.com. Find the show on Instagram and Twitter @AnthroBiology. Email the host at gaby.lapera@anthrobiology.com.

提示一、十个句子每个句子念两遍，念完后从头再念两遍。二、从听懂的词入手，理解句子含义。三、根据中英文意思，听不懂的多听几遍。词汇提示1.humility 谦虚的2.strokes 笔画3.slaughter 杀戮4.thermometer 温度计5.gestural 手势的原文 151.Only with wisdom can one distinguish between good and evil; only with humility can one build a happy life.有智慧才能分辨善恶邪正；有谦虚才能建立美满人生。152.For several years I've been in the habit of, when I'm at home, only leaving my desk when it's time to eat.这是我数年的习惯了，在家里除了吃饭以外我很少离开我的桌子153.It's a lot of trouble to write my name, because it takes 50 strokes to write both myfirst and last names.我的姓、名一共有五十划，写起来麻烦得很。154.Many conservationists fear the continuing slaughter of whales is pushing these animals towards extinction.许多自然环境保护主义者担心持续屠杀鲸鱼正推动这些动物走向灭绝。155.Tom couldn't hear what the teacher was saying because all of the other students were making so much noise.汤姆说了因为别学生响了很大的噪音，他不能听老师说了的事。156.The second half of a man's life is made up of nothing but the habits he has acquired during the first half.人的后半生就是由他前半生养成的习惯所构成的，其他什么都没有。157.The climate of this town is so mild that the thermometer seldom rises to thirty degrees, even in midsummer.这小镇的天气十分暖和，即使是在盛夏，温度计也很少会升到三十度。158.It is time not only to equalize men's and women's wages, but also to equalize responsibility for housework.现在不止要男女薪金平等，而且还要平均分配家务。159.Gestural language had, however, serious limitations, since it could not be used in the dark or at distance.可是，手语也绝对不是万能的，当四周太暗，或者距离太远的时候，它就完全派不上用场。160.But above all, I will never forget who this victory truly belongs to. It belongs to you, It belongs to you.但最重要的是，我永远不会忘记这场胜利真正属于谁，它属于你们，它属于你们。

In Episode 3 of Insight Faster, we welcome Chris Rhodes from the University of Manchester, who is redefining our relationship with computers, composition and music using gestural interfaces for musical composition. In our discussion we'll explore exactly what that means, why it matters, and listen to some of the music he's created during his research. It's technology with wide-ranging and exciting implications, and its potential is only just beginning to be realized. Here's a link to some of Chris' work at the Royal Northern College of Music (35:52 onwards): https://www.youtube.com/watch?v=_3KqZ0z6CjAhttps://www.youtube.com/watch?v=eBnZu3Ymjxshttps://www.youtube.com/watch?v=j3C3CFrtDHUAnd a link to his larger portfolio: http://www.chrisrhodesmusic.co.uk/portfolio.htmlThis is his Twitter feed: https://twitter.com/crhodes1992 Insight Faster is now available on Apple Podcasts and Google Podcasts! Search Insight Faster or follow the links below:https://podcasts.apple.com/gb/podcast/insight-faster/id1604819778https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5hY2FzdC5jb20vcHVibGljL3Nob3dzL2luc2lnaHQtZmFzdGVy?pli=1 We're recruiting for Season 2! If there's something you'd like to hear about on the podcast, drop me an email at jasper.clow@mdpi.com To find out more about this subject (or pretty much anything else), or to submit a paper to any of MDPI's journals, head over to the MDPI website: https://www.mdpi.com/ and follow us on social media! See acast.com/privacy for privacy and opt-out information.

This week we take a look at the astonishing success of giving kids (and adults) what is called an "ambiguous gestural or verbal praise" -- things like a fist bump, a pat on the shoulder, or shouting "Yeah!" to encourage someone along -- over standard character- or behavior-based praise.  High five!

In June/July 2021, Cape Town-based artist Adele van Heerden spent a month in residency at the David Krut Workshop, making prints and completing works in other media that appear in her current exhibition at Lizamore & Associates Gallery in Fairlands. In this episode of the David Krut Podcast, Annabel Williams and Amé Bell sit down with Adele van Heerden to reflect on her residency at the David Krut Workshop. As an accomplished painter Adele considers the gestural freedom watercolour monotypes presented her in the workshop and compares her previous, limited experience in printmaking to her time spent alongside the very accomplished technicians and artists of the David Krut Workshop. Her time spent at the David Krut Workshop, situated at Arts on Main in Johannesburg's Maboneng Precinct suitably planted her in the centre of one of the world's most forested cities - from which she sought inspiration for her imagery. The body of work produced during her residency includes a series of water colour monotypes and intaglio prints (a first for Adele), which we look forward to sharing in due course.   Find out more on the David Krut Portal: https://davidkrutportal.com/adele-van-heerden/ Having studied curatorship at a graduate level allows Van Heerden to bring ideas from both of her undergraduate fields of study – fine arts and history/politics – together in her fine arts practice. After graduating with a degree in Fine Arts from the Ruth Prowse School of Art in 2010, Van Heerden continued her studies at the University of South Africa, obtaining a BA in History and Politics. In 2015, she graduated from the University of Cape Town with an Honours Degree in Curatorship. - https://adelevanheerden.com/

------------------Support the channel------------ Patreon: https://www.patreon.com/thedissenter PayPal: paypal.me/thedissenter PayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuy PayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9l PayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpz PayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9m PayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ------------------Follow me on--------------------- Facebook: https://www.facebook.com/thedissenteryt/ Twitter: https://twitter.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Kirsty Graham is Research Associate at the University of St. Andrews. Her PhD research, supervised by Prof. Richard Byrne, catalogued the full gestural repertoire of wild bonobos. She examined individual differences in repertoire size and usage. Most importantly, she defined the meaning of each gesture type by determining the reaction given by the recipient that satisfies the signaller. Understanding meanings or ambiguity of meanings for wild bonobo gestural communication provides insights into the evolution of our own complex communication system. In this episode, we talk about gestural communication in primates. We discuss what communication is from an evolutionary perspective. We then get into gestural communication, focusing on bonobos, chimpanzees, and humans. -- Follow Dr. Graham's work: University page: http://bit.ly/3iBPdtW Website: http://bit.ly/3sODeOr ResearchGate profile: http://bit.ly/2WwmwUM Twitter handle: @kirstyegraham -- A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: KARIN LIETZCKE, ANN BLANCHETTE, PER HELGE LARSEN, LAU GUERREIRO, JERRY MULLER, HANS FREDRIK SUNDE, BERNARDO SEIXAS, HERBERT GINTIS, RUTGER VOS, RICARDO VLADIMIRO, BO WINEGARD, CRAIG HEALY, OLAF ALEX, PHILIP KURIAN, JONATHAN VISSER, ANJAN KATTA, JAKOB KLINKBY, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, JOHN CONNORS, PAULINA BARREN, FILIP FORS CONNOLLY, DAN DEMETRIOU, ROBERT WINDHAGER, RUI INACIO, ARTHUR KOH, ZOOP, MARCO NEVES, MAX BEILBY, COLIN HOLBROOK, SUSAN PINKER, THOMAS TRUMBLE, PABLO SANTURBANO, SIMON COLUMBUS, PHIL KAVANAGH, JORGE ESPINHA, CORY CLARK, MARK BLYTH, ROBERTO INGUANZO, MIKKEL STORMYR, ERIC NEURMANN, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, BERNARD HUGUENEY, ALEXANDER DANNBAUER, OMARI HICKSON, PHYLICIA STEVENS, FERGAL CUSSEN, YEVHEN BODRENKO, HAL HERZOG, NUNO MACHADO, DON ROSS, JOÃO ALVES DA SILVA, JONATHAN LEIBRANT, JOÃO LINHARES, OZLEM BULUT, NATHAN NGUYEN, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, J.W., JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, IDAN SOLON, ROMAIN ROCH, DMITRY GRIGORYEV, TOM ROTH, DIEGO LONDOÑO CORREA, YANICK PUNTER, ADANER USMANI, CHARLOTTE BLEASE, MIRAN B, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, MAX BEILBY, AL ORTIZ, NELLEKE BAK, KATHRINE AND PATRICK TOBIN, AND GUY MADISON! A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, IAN GILLIGAN, SERGIU CODREANU, LUIS CAYETANO, TOM VANEGDOM, CURTIS DIXON, BENEDIKT MUELLER, VEGA GIDEY, AND NIRUBAN BALACHANDRAN! AND TO MY EXECUTIVE PRODUCERS, MICHAL RUSIECKI, ROSEY, JAMES PRATT, AND MATTHEW LAVENDER!

Painter Alex Bigatti crosses the boundaries between realism and abstraction in her gestural or action paintings. Dive in with me in her boundless joy expressed through vivid colors and broken brushwork. You will also hear from the artist herself, including her insights into the symbolic meanings she explores from her subject onto the canvas. .Visit Alex at her website: www.alexbigattiart.comFollow her on Instagram: @alexbigatti_art and @alexgestural.All the images discussed are highlighted on my website: www.beyondthepaint.netImage credit: "Sunset" @alexbigatti

Nick’s writing for Arc Digital: https://medium.com/@nickclairmont Nick’s “Word of the Week” column for the Washington Examiner: https://www.washingtonexaminer.com/opinion/word-of-the-week-brand Nick on wokese for Tablet: https://www.tabletmag.com/sections/arts-letters/articles/woke-language-privilege Some particularly relevant essays of Nick’s: https://www.washingtonexaminer.com/opinion/word-of-the-week-community https://www.msn.com/en-us/news/technology/word-of-the-week-intersection/ar-BB19p8vw https://www.washingtonexaminer.com/opinion/word-of-the-week-capital https://www.washingtonexaminer.com/opinion/word-of-the-week-marxist https://www.washingtonexaminer.com/opinion/word-of-the-week-trauma https://www.washingtonexaminer.com/opinion/word-of-the-week-problematic Additional References My essay on academic writing for Areo: https://areomagazine.com/2020/07/06/writing-wrongs-why-academics-write-so-badly-and-how-that-hurts-them/ Helen Pluckrose and James Lindsay, Cynical Theories: How Activist Scholarship Made Everything about Race, Gender, and Identity—and Why This Harms Everybody (2020) Kate Burridge and Keith Allan, Euphemism & Dysphemism: Language Used as Shield and Weapon (1991) Thomas Nagel, “The Absurd” (1971) Black Panther, Marvel Studios (2018) My essay on Freddie Mercury for Areo: https://areomagazine.com/2018/11/11/a-persian-popinjay-a-review-of-the-film-bohemian-rhapsody/ Timestamps 01:58 The language of wokeness—who uses it and why 07:58 The word “woke” and the self-labelling of the Social Justice left 16:48 The terms “systemic” and “systemic racism” 21:12 Twitter’s impact on real life 23:05 Language as a social project 30:08 The terms “people of colour” and “AAPI” and “Black” with a capital B 43:35 The term “erasure” 45:58 Sloganeering in lieu of debate 54:13 Marxism as a fashion choice 01:03:05 Intersectionality vs. race blindness 01:14:53 Groups versus individuals, communities, connections 01:27:08 The term “problematic” and the problem with enforcing politeness 01:33:46 Gestural politics and the term “settler colonialism” 01:40:08 New terminology in response to the coronavirus, giving up on lexical pedantry, why good writing is important

Tim Edwards of The InBound Podcasting Network joins Douglas W. Stephey, O.D., M.S., for Episode One of the Move Look & Listen Podcast.   Douglas W. Stephey, O.D., M.S. is a full-service eye and vision care provider in Southern California and is a sought-after conference speaker, educator, and passionate advocate for patients diagnosed with dyslexia, specific learning disability, ADHD, autism, and any other qualifying diagnosis for an IEP or 504 plan. Douglas W. Stephey, O.D., M.S. 208 West Badillo St. Covina, CA 91723 Phone: 626-332-4510 Website: http://bit.ly/DouglasWStepheyWebsite Videos: http://bit.ly/DrStepheyOptometryVideos The Move Look & Listen Podcast is brought to you in part, by Audible - get a FREE audiobook download and 30-day free trial at www.audibletrial.com/InBound If interested in producing a podcast of your own, like the Move Look & Listen Podcast, contact Tim Edwards at tim@InBoundPodcasting.com or visit www.InBoundPodcasting.com Transcription Below:  Tim Edwards: The Move Look & Listen Podcast with Dr. Doug Stephey is brought to you by Audible. Get a free audiobook download and a 30-day free trial Audible membership at audibletrial.com/inbound. You'll find over 180,000 titles to choose from, including several books mentioned here in the podcast. Support the Move Look & Listen Podcast by visiting www.audibletrial.com/inbound.  Dr. Stephey: If our two eyes are not working together well as a fast synchronized team, our internal mapquest continues to be off. It's consistently inconsistent with our ability to judge time and space. Those that don't feel well-grounded, those that have some measure of anxiety, oftentimes it starts in the visual system. If you can't move, look and listen in a fast, accurate, effortless, sustainable, age appropriate, meaningful way, you're in a world of hurt. There's a whole world in vision and how it affects brain function that no one's ever shared with you. 20/20 is perceived as a holy grail of going to the eye doctor. Well, I'm here to change that paradigm.  Tim Edwards: Hello and welcome to the very first episode of the Move Look & Listen podcast with optometrist, Dr. Doug Stephey. My name is Tim Edwards and I'm the founder of the Inbound Podcasting Network. Amongst our roster of shows, we cover topics such as nutrition, high intensity strength training, celebrity interviews, wellness, family law, and many others. But the topic of this show is more than what meets the eye, so to speak. You might be thinking, why in the world is an optometrist doing a podcast? Well, that is because Dr. Stephey is much more than your everyday eye doctor. As you heard in the opening of the podcast, Dr. Stephey mentions that vision directly relates to one's ability to function in life and that one is very obvious. But vision also affects the development of your sense of self, your place in the world, how you socially engage with others, your ability over your lifetime to receive further education, to live independently and have gainful employment.  Tim Edwards: Now, most of what I just mentioned may seem easy for most, but in reality it's definitely not for some. Dr. Stephey not only has a thriving optometry practice in southern California, but he is also here on the Move Look & Listen podcast to educate how vision therapy combined with specific lenses or prisms can greatly benefit those who might be diagnosed with ADHD. Or for parents who have children that land somewhere on the autistic spectrum. Or maybe even has a student in special education. In this podcast, Dr. Stephey will also educate us regarding common eye problems. How nutrition plays a key role in your vision health, and what exactly is 20/20 vision and why seeing 20/20 is not enough to move, look and listen through your life with ease. Our sister company to the Inbound Podcasting Network is Inbound Films and as you are about to hear, we produced a series of videos for Dr. Stephey's practice a couple of years ago. I was so impressed with Dr. Stephey and his amazing staff that he became our family optometrist and has also become a good friend. So it gives me great pleasure to kick off the maiden voyage of the Move Look & Listen podcast with Dr. Doug Stephey.  Dr. Stephey: Well, thank you and I'm excited to be here. Since we met and you talked about the things that I should be doing, like the videos that are on my website and the podcasting, and at one point in time I said, so let me get this right. I should just listen to you and get out of my own way. Tim Edwards: Yes, you did. And I think it's taken us a couple of years and we're here. And your passion and the message that you have to share is one that our audience needs because you're a nonconventional optometrist. And I hope that you take pride in that and not offended by that. Because you're very different and I believe that the world needs you, not just so that they can have some really cool looking glasses sitting on their nose.  Dr. Stephey: Well, you know, what's interesting about that is no, I did not take offense to it and because many times when I do the weird stuff in my office, people will tell me that I'm a voodoo doctor, or that I'm a witch doctor. And you know what?  Dr. Stephey: I can live with that. I'm okay with that.  Tim Edwards: You know why there's results, right? You're seeing results. I've seen the results myself and with what you've shown me on video.  Dr. Stephey: What's really interesting about that is if I take somebody who has postural issues, right? And most people would not associate posture problems with vision problems. And certainly not in their understanding of that the holy grail of going to the optometrist is to see 20/20. And that's important, but it's not the most important piece. I don't think. So, if I'm going to assess somebody's posture and their response to changes in posture through their visual system, I will often preface our conversation with, I don't know if this is going to work with you or not, but I'm willing to take the chance because if it doesn't work, you're just gonna think I'm crazy. And if it does work, you're going to think I can walk on water. Because how could I change the way your knee hurts or the way your hip hurt or the way your back hurts or the way your neck hurts by putting on a pair of glasses with prism or color. You don't believe it until you've experienced it.  Tim Edwards: That's true and I've experienced it for myself than just a personal story. My wife is experiencing it as we speak. She had the opportunity to see you a couple of weeks ago. She's now wearing her lenses that you prescribed for her, her colored lenses and we'll get into more of that a little bit later. But she is around fluorescent light all the time. That used to bother her and now it doesn't, as a result of these lenses. And that's the first time I've told you that is right here in the recording. So, you know, like I said in the lead into the episode, I told the story of how this podcast came to be Dr. Stephey. We don't want to scare people away when you say the word witch doctor because that might make people freak out a little bit, but give us a rundown of your optometry practice because it's not your run of the mill optometry practice where you're in and out in an hour with a pair of glasses.  Dr. Stephey: Early on in my career when I first bought this practice in 1988 and I was reading practice management tools, one of the fundamental questions that has to be asked and answered is, do you want to be a quantity practice or do you want to be a quality practice? Quantity practice is just that. It's about. It's about crunching the numbers, how many people you can get through your exam in an hour, and I chose not to do that. I wanted to be a quality practice and I see less patients per hour, but I think I spend much more quality time. I actually listen to patients. I've gotten much better over the years about watching patients. It's not uncommon that I'll notice that somebody taps their leg or wiggles a foot or drums their fingers or chews their lip or other quirky behaviors that they oftentimes know they have, but nobody's explained why they have and that's not ADHD.  Dr. Stephey: Most of the time that's an undiagnosed and untreated vision problem and that they need that kind of movement in order to shower up thier otherwise poor vision skills. So I decided to be a quality practice and when somebody comes to see me for an exam, I want them to learn how the eyes and brain have to work together as an integrated team and that in order to function appropriately in life, you've got to have eyes that see fast, that see accurately, that see effortlessly and sustainably over the course of the entire day. And if you can't do those things, there's going to be behavioral consequences to it. Either you're going to be pushed to be in fight or flight or you're going to learn how not to pay attention, right? That's the group that describes themselves or others describe them as daydreamers or spacey or staring out the window or absent-minded professor.  Dr. Stephey: That's an adaptation to typically not being in fight or flight. High fear, high anxiety, high distractibility. And then the third way some people adapt is they're chronically fatigued and they feel like over the course of the whole day they end up walking around on their last nerve. And oftentimes that's one of these undiagnosed underassessed, and undertreated vision problems. So that's really why I have practiced the way I do.  Tim Edwards: And it's evident from the moment that you walk into your practice, again, referring back to the intro to this podcast, I was able to meet you on a video project. And I won't go into too much into it right now because I talked it about earlier. But when I met with you to prepare and plan the video, the very first thing you did was stick me in your chair and go, all right, here's what I do.  Tim Edwards: I mean, I've been wearing glasses and contacts for over 25 years. Even had LASIK surgery back in the early 2000s. And I mentioned earlier that I've filmed dozens of marketing videos for optometrists throughout southern California. So I can say with great confidence that your methods that a patient experiences in your initial exam are slightly unconventional, which is a word that you embrace with your practice. They go way beyond the typical, you know, which lens looks better, one or two. And it's truly Dr. Stephey not hyperbole when I say that you blew my mind when I produced that first video, which of course, again, we'll have links to in the show notes. So you can see Dr. Stephey for yourself, for those that are listening while you're driving to work or walking the dog or on the treadmill or something. But please share, if you don't mind with our audience, some of the things that a new patient can expect when they see you for the first time, for that consultation, that same consultation that blew my mind.  Tim Edwards: How you're able to assess what you just spoke about. How we can, how you can determine whether or not someone is in constant fatigue or feeling anxiety or lack of concentration.  Dr. Stephey: You Bet. So first thing I want to say is there is great value in the part of the exam about which one is better, choice one or choice two. But what's interesting is that oftentimes patients will stress out about picking an answer. And if I ever get the feeling or somebody voices that concern to me, I remind them or tell them maybe for the first time after years of being stressed out with other exams, I remind them that I'm trying to get them to a point where the differences between the choices are so small that they can't pick a right answer because they're both right. So the little secret is we should get you to the point where you can't tell the difference between one or two. So stop stressing out about the choices.  Tim Edwards: There's always anxiety associated with that because you know that you're going to be committing to some lenses and so you want it to be right and perfect. So that anxiety that I've always felt, you know, like I said, wearing glasses for a quarter of a century and going and seeing different optometrists throughout the country, that the anxiety of picking one or two, you alleviate that. Just by how you worded it. And that is the very first thing that I noticed was, oh, that, that was easier than I thought. And that's just step one. That's foundation. Dr. Stephey: That's foundation. And the other thing to consider is a two circle venn diagram. So if we take two circles and partially overlap them those two circles are where most eye doctors practice. And one circle is can you see 20/20 and the other circle is related to eye health and/or eye disease. And again, those two circles have great value but they're insufficient. So there's a third circle that we're going to add into the venn diagram. And that third circle is really in my estimation, where all the magic happens. In that third circle, there is eye taming, eye focusing, eye tracking, visual attention, visual-auditory skills, visual-spatial skills, visual auditory, visual motor. And on and on it goes. Most eye doctors pretend like that third circle doesn't exist. So even if you've got major problems in the third circle.. Dr. Stephey: It's probably gone undiagnosed and untreated. Whether you had an exam the day before you came to see me or whether you've been going to the eye doctor like you have for 25 years. If you don't measure components in the third circle, if you don't ask questions in your history about the symptoms typically experienced by somebody having third circle problems, then you're never going to find those problems.  Tim Edwards: That's pretty clear.  Dr. Stephey: It's pretty simple. So I think one of the fundamental differences in my practice is when you walk in my exam room, well you know what, that's not even really true because it could be outside of my exam room. If I go to a bank and strike up a conversation with the teller about what I do, it's not unusual for me to ask them if they have a history of migraines or headaches.  Dr. Stephey: That's a simple question and a lot of people have those problems. So if I get a yes answer to that, it's already opened the door for us to have a conversation about me asking some other questions and then the patient looks at me like, what? What is going on? Because I'm answering yes to everything that you're asking me. And it's just that easy. So when you walk in my exam room, I am assuming that you have a third circle problem until you prove to me that you don't. And what I mean by prove to me it's either going to be the questions I asked you during the course of the exam or the questions that I hand to you at the end of the exam and have you go home and think about for a few days or during the course of my exam itself where I measure some things.  Dr. Stephey: For example, how easily or how difficult it is for you to cross your two eyes. Because that allows us to strike up a conversation about the way your two eyes work together as a team. How, if we think about the two eyes is being global positioning satellites that have to be in synchronous orbit and if your two global positioning satellites are not in synchronous orbit, then your internal map quest is off. A couple of the other quick assessments that I do in my office, I've got a couple of devices that allow you to see, let's say a vertical line through your rigght eye and a horizontal line through your left eye. And if your brain is using your two eyes together as an integrated team, you should see a plus sign. Well some people look at these targets and only see one line.  Dr. Stephey: So that gives me an opportunity to demonstrate to them that that they weren't looking through one of their two eyes and that is a concept, I think you used the phrase earlier that blows their mind.  Tim Edwards: That was the first thing that blew my mind was, oh my gosh, how did that happen? How was it that I had been seeing this one line and not the other?  Dr. Stephey: Right. And what exactly do you mean that my brain isn't looking through my left eye? I thought our eyes just looked out in space, picked up information and filter it back to the brain that we then processed. Well, that is how most people think about vision, but remember the retina, which everybody's heard of, right? The retina is specialized brain tissue that's pushed out into the eyeball. And the optic nerve is one of the 12 cranial nerves that is a direct branch off of the brain.  Dr. Stephey: So to be very clear, the brain does the scene, not the eyes. And in this context, the brain has to pick up data from the right eye, has to correlate it with the data in the left eye and then combine the two in order to use the two eyes together as a well integrated team. But if there's too much conflict. And now that happens, oftentimes in fact I would argue that the smartest of brains, will figure it out how to turn one eye off because if you can't use your two eyes together as a well-integrated team, your brain's either going to use your two eyes together as a poorly integrated team and lend itself to you being physically clumsy or to have a lot of fatigue or get tired or sleepy when you're read or be prone to headaches or migraines. So the brain's thinking, well, I can use the two eyes together that way, but be miserable doing it.  Dr. Stephey: Or I can shut one eye off and test drive what's life like if I do that. And then what's really the most, I think one of the most fun things about that whole discussion is when I point out to the patient about their wiggley left foot or they're chewing on their lip and we'll do that same assessment again and I'll have them do whatever they're quirky behavior was and probably 95, 97, 99 times out of 100, when they do that kind of movement, their brain will turn that eye on and tend to keep it on. So then we have another blow my mind moment because you know, I convey to them it's like, are you beginning to understand that all that motor overflow that  you've been doing is actually trying to solve the vision problem you didn't know you had. I'm like, how smart is your brain that it has figured that out and you don't even know it.  Dr. Stephey: So I think in part that's how my practice is different. I'm assuming that you have this problem until you prove to me that you don't.  Tim Edwards: And I would venture to guess that the majority, if not every single person who's listening to this has never experienced that at their optometrist, unless of course they're already listening and they're clients of yours. Is this done elsewhere? The way you set up your practice.  Dr. Stephey: Interesting thing about that, Tim, is that optometrists, at least part of us have been doing this kind of work since the 1930s and it was likely more common in the 50s and 60s maybe up even until the mid to late 70s. And then optometry as a profession started to increase it's scope of practice and started to do more medical things, which is fine. I think we should be able to practice within our scope so we should embrace the things that we're trained to know how to do, but not abandon the things that have made optometry so unique in its history.  Dr. Stephey: And as more optometrists adopted the medical model, they moved away from this behavioral or this neuro-developmental model. So I would venture to say that there's maybe 10 or 15 percent of optometrists in practice today that practice in this way. But I wouldn't change it for the world. I've said this in other venues, being able to practice this way and change people's lives in the manner in which we can do this. It's chicken soup for my soul, so I get to feel great everyday about what I do because it is life changing. You bet, Tim. So as an example, you're going to learn in the future why 20/20 is not enough. It's important. But remember that third circle part of the venn diagram, 20/20 is not enough. There's a whole lot more going on. You're going to learn about a concept you've never heard before.  Dr. Stephey: Called the magnocellular visual system, which is about seeing fast.  Tim Edwards: Seeing fast.  Dr. Stephey: Seeing fast. People know that when they go to the eye doctor, it's about seeing 20/ 20, right?  Tim Edwards: That's what we're told.  Dr. Stephey: Well that's not enough. We also have to account for how fast or how slow we see. Because there are a number of patients, kids and adults alike who have been defined as having slow processing speed. What typically isn't getting discussed is what exactly are we referring to when kids have slow processing speeds. While invariably it's tied in to vision. Even though most psychologists and cognitive psychologists don't describe processing speed in vision terms in most cases, there is a tie into these visual skills. So we're going to talk about seeing fast or slow. We're going to talk about the volume of space that you can see. That's something else that doesn't get talked about a whole lot.  Dr. Stephey: Some people who exhibit inattentive tendencies essentially have tunnel vision. So imagine the cardboard tubes at the end of the paper towel roll, and if we took the two of those and glued them to the front of your eyes, and that's the volume of space you could see. Well your head's going to be on a swivel top because you only see that big volume of space. So in order to capture your environment, you have to look and take a snapshot of each picture. That's that tiny, and you effectively have to build a collage and your mind of all the snapshots that you've just taken in order to try to image then the volume of space that you're supposed to see. And similarly, in terms of the tunnel vision, oftentimes people do the same thing with auditory and touch. These are the kids as an example where you might say, Jimmy, Jimmy, Jimmy, because they have learned how to be auditory and attentive.  Dr. Stephey: They have hyperfocused to a task and tuned everything else out in order to be able to try and do the task at hand.  Tim Edwards: There is the listen part of Move Look Listen.  Dr. Stephey: Yup. And similarly, if you're somebody in their 60s and 70s, this becomes an issue when you drive. Because if you imagine again the paper towel tubes and you're looking straight ahead and that's the volume of space that you see and some kids playing in the yard and his ball rolls out in the street and you don't see them until he's right in front of you, that's not good. And when you can only function with a small volume of space, it also contributes to your clumsiness. These are the patients that have bruises from hip to ankle, from running into the corners of tables or chairs, they run into the edge of a door frame, they don't like driving in the car pool lane because the whizzing pass to their peripheral vision of the concrete dividers is too upsetting. So we're going to be talking about those things.  Tim Edwards: Boy, these are every day run of the mill tasks that we all have and without thinking of that volume. It's almost like tunnel vision and it just inhibits how we function.  Dr. Stephey: Yes, because your brain has to make a decision about the volume of space that you're going to attend to or can attend to, and the speed with which you do it. So you can either see big and slow, smaller and faster. And one patient said, well, what if I want to see big and fast anyway, even if I don't have the skills to do it?   Dr. Stephey: I said, well, you can force yourself to do that but then you will be tired and cranky at the end of the day.  Tim Edwards: It's exhausting, right.  Dr. Stephey: It is exhausting. You can do it, but there's going to be a price to pay and it's going to be exhausting. And when you're that exhausted, it's going to wear out your adrenal glands. It's going to have some role to play in chronic gut dysfunction and it's likely to play a role in headaches and that you're just fatigued all the time.  Tim Edwards: My gosh, it's foundational. It's just foundational and everything is connected. If you think about all of the different ailments and problems or struggles or anxiety or stress that can be a result of not seeing fast or having great volume with your vision.  Dr. Stephey: Well, what's interesting about that, Tim, because that ties right into the next topics which has to do with nutrition and fish oil. And I was just at a nutrition conference yesterday all day and during one of the breaks, one of the other attendees, we introduced ourselves and she's a chiropractor. And most people in this group, there were a number of chiropractors, some acupuncturists, there was one M.D., there was one pharmacist and me. And when I told her I was an optometrist, reflexively, she said, what are you doing here?  Tim Edwards: Yeah, why are you here?  Dr. Stephey: And we didn't have much time to talk about it, but clearly she had fallen into the trap of, well all someone would come to see you for is to be able to see 20/20. And then I just said, you know..  Tim Edwards: Send her a link to the podcast and then let her subscribe and then she'll understand.  Dr. Stephey: Yes. That's excellent. Well, you know, she did want my contact information. So I texted her.  Tim Edwards: Wonderful.  Dr. Stephey: I may follow up with her and say, hey, what's your email because I need to send you some stuff. And where are you located? Because you're an 818 area code. So you're, within striking distance to my office, you need to know what I know.  Tim Edwards: That's right.  Dr. Stephey: So further episodes we are going to talk about nutrition and vision because we cannot parse out our brain functioning abilities and the way our GI tract functions from these visual skills that are all happening in that third circle.  Dr. Stephey: So nutrition is a critical part of the way I practice this kind of optometry. It has to be.  Tim Edwards: And again, have never heard an optometrist say that, and it's foundational. I mean, it comes down to what we put in our body, how it affects everything, not just our weight.  Dr. Stephey: No. Every cell membrane in your body has a component of fatty acids to it as an example. And your body and brain is going to make those cell membranes out of good fats or bad fats. And the problem is that we're exposed to way too many bad fats. People have heard something about omega-3 fatty acids and omega-6 as well. We're going to talk about in more detail the differences between those two and the consequences to your brain and your visual skills and you're learning and attention. So those will be coming in future episodes.  Dr. Stephey: I'm going to be talking about something called retained primitive reflexes. Retained primitive reflexes have a foundational role to play in our abilities to develop our move, looking and listening abilities. So I've seen kids as an example who've done six, seven, 800 hours of occupational therapy and speech therapy and adaptive physical education services. They've been to reading tutors six to 800 hours.  Tim Edwards: My goodness. And I didn't hear vision therapy in there at all.  Dr. Stephey: No. And and they still have tremendously poor outcomes because I think most cases the visual skills are never assessed. So they're being jumped over and if you don't have these visual skills, you can't do those other outcomes in a way that you should be able to.  Tim Edwards: It's that key missing component.  Dr. Stephey: It's a key missing component. You know, at the bottom of my learning ladder, there's genetics and epigenetics, there's nutrition, then there's primitive reflexes. So it is really low down on the ladder and if you tried to jump over that and do things that are three or four rungs up the ladder, you're not going to have great outcomes.  Tim Edwards: Perfect example.  Dr. Stephey: And the sad thing about that discussion, which happens all too often, it's pretty much universal, is that you contribute to these kids misery because now there are six to seven out of eight hours in and not really getting better and it snuffs the spark of their really being interested in getting better because they increasingly don't believe they can. Because their life experiences would tell them, hey look, you're 700 hours into doing therapy, you're really not better than when we started. That is really sad.  Tim Edwards: It is very sad and expensive. I mean, of course it's more important that it's sad. But it's also quite expensive too.  Dr. Stephey: It is very expensive and it could be that the school district is paying for it. And in one of the upcoming episodes, we're going to talk about educational rights as it relates to your move, look and listening abilities.  Dr. Stephey: And you're going to learn a lot about what your rights really are as a parent. And how likely those rights have been violated even as we speak. So I think that's going to be one of the most exciting episodes for parents to hear. Parents, grandparents, and even some educators because if you're a classroom teacher who's, in the front lines, teaching these kids, those kids and their behaviors are disrupting the flow of your classroom. So you really want to know this information because it's going to make your life easier in the classroom. And ultimately it's going to affect that child's life who's in your classroom. If not during the year that you have them, certainly for the future.  Tim Edwards: And perhaps these educators with that knowledge can look upon those children with a lot more grace than they would before, knowing what they're going through.  Dr. Stephey: Well, I think they will. And another example of that, this past week I've had an opportunity to assess a 16-year-old. She's had an IEP for a number of years, has never had this vision assessment as is pretty much universally true. Let's be real. It's universally true. And she's currently kicked out of school because she's gotten in one too many fights at school. She's fairly disconnected when she's in class and I believe that it's primarily related to the problems that we're going to be talking about in these future episodes. It is a combination of nutrition and this vision piece. So she is perpetually in a constant state of fear that is beyond her control. I mean it's not surprising or would not be surprising to me that somebody brushes up against her in the hallway and she's ready to punch him in the face because she perceives that as a threat.  Dr. Stephey: And when, when you're pushed to be in survival based behavior, it's survival at all cost. So if somebody invades your personal space and touches you and you perceive it as a threat, you're going to fight back. So I think she's oftentimes swinging the first punch and doesn't even know it until after it's happened.  Tim Edwards: And others might look upon that as an offensive, aggressive behavior and it is. But the root of it is it's really defensive because of what's going on in her mind being in fear all the time.  Dr. Stephey: Absolutely. That's what's happening and I think that is in great part why she throws her hood up. When she's in class because she's trying to withdraw into her shell and not feel that miserable and not feel that anxious, not feel like I want to run out of the room screaming. I'm forced to be here, but the only way I can really survive this is to learn how not to pay attention.   Dr. Stephey: It is really sad and I was talking to her mom about this and you never know when you're going to strike the right chord because I was having a discussion with her mom about about this. Her being pushed to be in constant fear and I made the comment about how if you're in this state, if your autonomic nervous system is so dysregulated that you are in a constant state of fear that you could make eye contact with somebody across the room and be ready to go over and punch him because you perceive them looking at you as a glare. Right. It's like, why are you looking at me that way? Really? I'm just looking at you and then that turns into a confrontation and so her mom had mentioned to me that, that is exactly what happens to her. She misinterprets facial cues and that's going to tie into one of the future episodes as well. We're going to talk about something called the polyvagal theory of affect, emotion and self-regulation. And that if your autonomic nervous system is dysregulated that you are precluded or prevented from engaging in social behavior or at least positive social behavior. You may be engaged in negative social behavior and that's what's gotten her kicked out of school right now. So we're also going to be talking about learning disabilities and dyslexia because as an example, in my estimation, those are just labels.  Dr. Stephey: They don't really tell us anything. And when, when I meet somebody in my office and if it's a parent and they say, oh, my child has a learning disability or my child's dyslexic. I usually say, what do you mean by that?  Dr. Stephey: And then they look at me like, what do you mean, what do I mean? And I said, well, you're the one that threw out the term, I want to know what your understanding of that term actually means. And that's when they pause and they're like, I guess I don't really know what it means. I said, okay, well amuse me for a second. I'm going to rattle off some terms you tell me which of these terms you know could define and specifically how they apply to your child. Phonological processing, rapid naming speed, working memory, convergence insufficiency, vergence facility, accommodative facility, ocular motor skills, retained primitive reflexes, millisecond timing clock deficits, and your child's AA-EPA ratio as measured in their blood. And then I get that blank stare.  Dr. Stephey: They typically don't know any of these answers because nobody's sharing the information with them.  Tim Edwards: They were just labeled.  Dr. Stephey: They were just labeled. So you know, that's really the purpose of this first series of podcasts is that I want to broaden people's knowledge about what is out there. The labels don't mean anything, not really. Learning disability, dyslexia, reading disorder, dysgraphia, dyscalculia, ADHD, inattentive ADD. Those are just labels. They recognize the behaviors, but I want to go back to my holy bucket analogy, and assess why are you ending up with those behaviors. And how again, that ties into your abilities to move, look and listen. And shouldn't we be assessing for those skills and treating those skills because I don't care what your chronological age is. If there's a big gap between your developmental age and your chronological age related to your abilities to move, look and listen you're going to struggle.  Dr. Stephey: And that ties also into kids on the spectrum because you know when we go from however we define normal and we slide down the scale of behaviors while there is normal and then there's ADDness and ADHDness and then there's high functioning autism and asperger's, and nonverbal learning disabilities, and then there's more traditional spectrum kids that are not as high functioning and then there's kids who are nonverbal. All of this is on a continuum. So when I assess even a nonverbal child, I'm looking at their abilities to move, look and listen, and how those skills allow them to regulate their autonomic nervous system and engage their social behaviors to facilitate their ability to read gestural language and body language and facial expressions and think about that for a minute. Gestural language, body language and facial expressions all read through the visual system.  Tim Edwards: That's true. It's all absorbed through their eyes.  Dr. Stephey: It is, and most social psychologists would tell you that 80 percent of what somebody is telling you is through their body language, not the words coming out of their mouth. Because there's more messaging in the nonverbal cues. We're going to wrap up the first series with two different episodes. One is going to talk about brain injuries and alzheimer's and one is going to talk about headaches and migraines because both of those things have a tremendous visual overlay. For example, there's estimated to be 3 million sensory neurons that feed information to the brain through vision, auditory, taste, touch and smell. And of that 3 million nerve fibers, there's roughly 30,000 auditory nerve fibers per ear and roughly 1.2 million per eye. Almost two and a half of the 3 million sensory inputs to our brain and our brain's ability to experience our environment, are tied up in the visual system. And that goes directly in to the third circle of the venn diagram.  Tim Edwards: Wow, that's it. Move Look Listen with Dr. Stephey. You know you mentioned, you alluded to it earlier when we were going through some of the topics we're gonna cover in season one of the podcast, but I'd like for you to dive down just a little bit more to Dr. Stephey if you don't mind, into what it is in one statement, what it is you want to accomplish by producing and distributing this content through your Move Look Listen podcast.  Dr. Stephey: The purpose of my doing this podcast and how it relates to one's ability to move, look and listen, relates to your ability to function in life, your development of your sense of self, your place in this world, how you socially engage with others, your ability over your lifetime to receive further education, live independently, and have gainful employment. That's the purpose of Move Look & Listen.  Tim Edwards: Well, I can't wait to delve into season one with you, Dr. Stephey. This has been a long time coming and I do believe much needed information for anybody struggling with any of those issues that we've talked about here in our inaugural maiden voyage of the podcast. Thank you for your time and looking forward to season one with you Dr. Stephey.  Dr. Stephey: Thank you.  Tim Edwards: Thank you for listening to the Move Look & Listen Podcast with Dr. Doug Stephey brought to you by audible. Get a free audio book download and a 30 day free trial of audible membership at audibletrial.com/inbound. You'll find over 180,000 titles to choose from, including books mentioned here in the Move Look & Listen podcast. You can listen to these books through your iphone, your android, your kindle, your computer, or even an MP3 player. And if for any reason and at any time you choose to cancel your membership, you keep all of your audio book, downloads. Give it a shot for 30 days. You got nothing to lose. Support the Move Look & Listen podcast by visiting audibletrial.com/inbound. We will include a link for your convenience, in the show notes of this and every episode of the podcast. And of course if you like some more information regarding Dr. Stephey's practice or to make an appointment, we will include links in the show notes to Dr. Stephey's website and his youtube channel.  Tim Edwards: Dr. Stephey's website is stepheyoptometry.com. That's s t e p h e y optometry.com. You can also call the office at 626-332-4510. Again, all of Dr. Stephey's contact information will be included in the show notes of each and every episode. One last request before we let you go on to the next episode, please subscribe to the podcast from whichever platform you might be listening in. Of course, it is free to subscribe and it ensures that every time we post a new episode, you'll find it right there waiting for you to listen in your podcast app of choice. We really do appreciate your listening and until next time for Dr. Stephey of the Move Look & Listen podcast. I'm Tim Edwards with the Inbound Podcasting Network.    

"These images like murals are images that can speak to people and that people can identify with. You don’t have to be from a certain background or certain city or community or ethnicity or political belief or religious belief. These are my visual memorials to the epic and endless struggle of the human experience." From Vincent Valdez’s point of view we have a choice as to which way we want to go as a country. We can start again. It could be the beginning of a darker chapter in our history or a more enlightened and inclusive one. And art can sometimes be that guide to help tell us who we are, what we are made off, and where we can go from here. One of his biggest fears is that we are not learning from history, some of which is seemingly lost, and some of it ignored or manipulated to favor one group over another. Vincent has never wanted to be anything other than an artist and he vowed and pledged an oath to himself and his work right from the beginning. Never would he sway from what he felt in his heart that it was most important to say, no matter the consequences. He has stayed true to his vision for almost two decades and has used his struggles in life and in the studio as fuel to propel him forward. His integrity, clarity, and work ethic come from his parents and family who are the common people that have helped to build their communities and America while enduring discrimination and the systemic limitations built into our society that do not favor people of color. At the very beginning of his life as a small helpless baby in an incubator Vincent was holding on for life, but his grandmother saw then what is obvious now to the rest of us. He has something to say and he has the ability, the determination, and the courage to say it in his own visual way. As he developed his skills, discipline, and interest in art growing up, he really found his calling when he started to paint murals with his mentor Alex Rubio. That was his first real education about people, life, and how the world works. He vowed to never loose sight of or touch with the community that he was learning to portray and give a presence and a voice to in those murals. We see now in his works the truths and realties of life’s struggles and a mirror of ourselves and the human experience that we night not always recognize on our own or want to look at. Potential moments of truth and something greater than just one person or one artist. In his studio Vincent feels the most freedom in his life and the main limitation is having the time to manifest all of his ideas. Beyond painting and drawing he feels he is just a novice so there is much to learn. The work is an outlet to try to make sense of the world outside of the studio and success is simply having the ability to do what he wants to do. Be an artist and keep reinventing himself and keep exploring how to see and show things differently, or as they really are. When he has an intense feeling and idea for new work his biggest challenge is how to then translate that into a painting or drawing that will potentially give the viewer of that work a similar feeling. Vincent and I met in 2011 at The Serie Project thanks to the amazing Sam Coronado. Over the years our paths have crossed again but with the excitement around the inclusion of his paintings The City I & II at the Blanton Museum of Art, I knew the time was right for an interview. And what a great interview it is, not because of anything I did, but because of Vincent’s humble, generous, and wise perspectives on life, being an artist, and staying true to your ideals. Please enjoy and if this episode or any other I've produced have helped or added value to your life please consider supporting the podcast (http://www.austinarttalk.com/supportpodcast) so it can continue and grow. Thanks! Some of the subjects we discuss: Sam Coronado The Strangest Fruit Defining moments Visiting The Alamo Painting murals/community Getting held up at gun point Facing tough issues/truths Amnesia/looking in the mirror Influential artists Struggles/oath to work Capturing a feeling Challenges/bodily limits Source of integrity/parents Voices of the people The Beginning is Near Critical thinking The role of Art Travel outside US Origin story/childhood What is success? Doing the work Skill level/types of work Fortunate enough Teaching/corazón Adriana Corral Requiem sculpture Collaboration https://uploads.fireside.fm/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/7Efrx8jf.jpg Vincent in his studio with a painting of his grandparents. Current Local Exhibitions Vincent Valdez: The City The Beginning is Near (Part I) CLOSES →October 28, 2018 On view at The Blanton Museum of Art (https://blantonmuseum.org/) The University of Texas at Austin 200 E. Martin Luther King Jr. Blvd. Austin, TX 78712 512-471-5482 info@blantonmuseum.org Here's a link to the museum website dedicated to a discussion of The City. http://blantonmuseum.org/valdethecity https://uploads.fireside.fm/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/ifviXSTE.png Also on view in the permanent collection of the Blanton are two of Vincent's paintings from The Strangest Fruit (https://vincentvaldezstudio.com/the-strangest-fruit/)series. They are right across from two prints by previous podcast guest Deborah Roberts (http://www.austinarttalk.com/19). The photo below was taken by me on 9/29/13, the day he finished the series at his former firehouse studio in San Antonio, right before they came crate them up. https://uploads.fireside.fm/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/jZUFRktf.jpg Vincent Valdez: Dream Baby Dream The Beginning is Near (Part II) Fri, Sep 7, 2018 → Sat, Nov 10, 2018 David Shelton Gallery (http://davidsheltongallery.com/exhibitions/detail/vincent_valdez_dream_baby_dream_sep_2018) 4411 Montrose Blvd., Suite B Houston, Texas 77006 713 393-7319 info@davidsheltongallery.com https://uploads.fireside.fm/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/-gne7--k.jpeg The lights are on. The mics are live. The cameras are rolling, yet no one is sure where to begin. Gestural brushwork composes the scene. Moments of pause. Speakers at podiums, flanked by microphones and floral arrangements. Each is silent. Some mournful. Some pensive. Others meditative or distant. Collectively uncertain of where we go from here. Dream Baby Dream (2017–2018) is Part II of Vincent Valdez’s allegorical trilogy The Beginning Is Near. The series follows on from Part I (2015–2016), two large oil paintings, The City I and The City II, that address the structural oppression, hate and violence Valdez sees as inscribed into the sociocultural landscape of the United States. As he completed the final canvas of The City I, news broke of the death of Muhammad Ali (June 3, 2016). A week later, between bouts of painting, Valdez watched television coverage of people following the hearse carrying Ali’s body, the funeral service and the eulogies honoring “The Greatest.” The diversity of the speakers and the compassion and conviction of their words resonated with Valdez, but months later, during the culmination of the 2016 presidential campaign, he found new meaning in the spectacle surrounding Ali’s death. Returning to the footage, Valdez sought to reconcile Ali’s life and legacy with the dawning apprehension, anxiety, division and disillusionment that echoed across the country from screen to shining screen. From an essay by Ian Alden Russell, August, 2018 Banner Image - Dream Baby Dream (7), 2018 oil on paper 42 x 72 inches Photo: Peter Mollick This interview has been edited and condensed for clarity. Intro music generously provided by Stan Killian (http://stankillian.com/main/) Support this podcast. (http://www.austinarttalk.com/supportpodcast)

1. Freeze-frame each moment when something rocks your world.2. When you cry or become frightened or get angry or laugh or are overwhelmed by a sense of wonder, reverse-engineer what just happened. Ask yourself, “Why am I feeling this way? How did they do this to me?” Was it something in the sequence of events? Was it in the shapes or colors, words or music, symbols or associations? Was it facial expressions, vocal intonations, or a combination of several of these at once? 3. Experiment with what you learn. The techniques that worked on you will work for you, as well. Communication is usually auditory, graphic, or gestural.These are its primary elements:Auditory: 1. Words, and the phonemes that compose them 2. Music: pitch, key, contour, interval, tempo, rhythm, texture and harmony 3. Sounds: jets landing, babies crying, dogs barking, crickets chirping, etc. Graphic: 1. color, form, line, shape, space, texture, value, proximity and radiance 2. image – what is being shown, and what associations does it trigger? 3. metaphor – what does it mean? Gestural: 1. facial expression 2. symbolic gestures and movements 3. dancing Simultaneous elements of communication can reinforce or contradict each other. Perception is deepened when elements reinforce one another and agree. Interest is elevated when an element contradicts and disagrees. An apple tree is ready for harvest, all its apples a husky shade of red except for one – just beyond your reach – that shimmers electric blue.You'll wonder about that apple all day. Predictability is the silent assassin of surprise and delight.Defeat it by modifying expected patterns of communication. Enter new subjects from unusual angles of approach. Communicate details. Specifics are more credible than generalities. The more specifically you speak to a single person, the more powerfully you speak to everyone. We love to be in the presence of powerful communicators who take us places and make us feel things; actors and filmmakers, dancers and photographers, sculptors and illustrators, singers and architects, teachers and musicians, painters and writers. When brilliant communicators work their magic, we get lost in it. Would you like to become one? You already own the hardware.Have you ever used a zoom lens? Think of your brain as having one. As you zoom in, you exclude the context to focus on the tiniest details. But when you zoom out, you see those details fold in on themselves to reveal the ever-expanding context of “the big picture.” The idea that captivated your zoomed-in attention is now just a tiny cog in a complex machine. The key to keeping your reader/viewer/listener off-balance is to zoom in after zooming out, and zoom out after zooming in. Take them on a journey with you. Make them think they're going to see one thing, then show them something different. Unexpected elements make stories and photographs and paintings and music and everything else more interesting. I agree with Leo Burnett: The great danger of advertising isn't that we will mislead people, but that we will bore them to death. Please don't. Take them someplace they never expected to go. Show them something they didn't expect to witness. Give them an experience they didn't see coming. Roy H. Williams

"Photographer John Kilar’s site will tell you, simply, that he is a nomad. Portraits and landscapes by Kilar will show you that too, with a raw presentation of untamed characters and equally wild and beautiful locations. Variety does not shake the colorful, documentary aesthetic that is true to his photos, which show a curious admiration for each subject. John Kilar’s images can be found in Oyster Magazine, VICE, Dazed & Confused, Purple Fashion, and DIS Magazine. His client list includes Heineken, Urban Outfitters, The Cobra Snake, and several other lifestyle-saavy brands which Kilar worked with while living in Venice Beach, California." Text by Linnea Stephan @ Juxtapoz Topics Discussed In This Episode: His journey into a nomadic lifestyle Synchronicities Following your bliss Deactivating technology to be more focused on the present moment Expanding consciousness Identity Having empathy towards others www.artistdecoded.com www.twitter.com/yoshinostudios

Originally hailing from Toronto, Canada, Michelle Groskopf is a Los Angeles based photographer. Her work is a mix of photo journalism, portraiture and street photography. She holds a BFA in film and video production from the School Of Visual Arts in New York where she also taught as an adjunct professor in the graduate film and video dept. She is a member of the celebrated flash photography collective Full Frontal Flash. Michelle is dedicated to empowering youth through photography and education initiatives working with the Lucie Foundation, Educare and Youth Arts to inspire the next generation of photographers and artists. Her work has been shown around the world and featured in publications such as The British Journal Of Photography, American Photo, The Huffington Post, Vice Magazine and It’s Nice That, among others. Her clients include, Refinery 29, Bloomberg Businessweek, Vice Magazine, Marie Claire France, Aftenposten, and Stern Magazine. Her first monograph is being published by The Magenta Foundation and will be released in the fall of 2017.  Topics Discussed In This Episode: Making thematic work Her early life/work as a filmmaker and producer How she became a photographer Visual iconography Outside forces polluting ideas Her experiences living in Hollywood The path of least resistance Physical and emotional stress Larry Sultan Thinking about life as a marathon as opposed to a sprint Changing the idea of success Romanticizing the artist lifestyle Seeing the light at the end of a dark and hopeless tunnel Looking at other mediums of art for inspiration Over intellectualizing artwork The “Full Frontal Flash” photography collective Finding a community www.artistdecoded.com

Originally from Ottawa, Elly Smallwood graduated from OCAD University in 2011 and now works as an artist in Toronto. Her paintings are intensely personal, a visual exploration of her mind and body, and those of the people around her. Topics Discussed In This Episode: Female sexuality in art The ephemeral feelings involved while painting Ron Mueck's sculptures The business of art Pricing artwork Nymphomaniacs www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios  

Explore a chart showing the scriptural language used for attitude and disposition in worship, the physical in worship, and liturgical/cultic. Also explore a diagram from Block, the Dimensions of Devotion, as he illustrates devotion through the heart or worship from the inner being (Dispositional worship), person where worship involves the whole person (Gestural and liturgical worship), and through resources or worship with all one's resources (life as worship). Mike Cosper, in Rhythms of Grace: How the Church’s Worship Tells the Story of the Gospel, uses the terms "gathered" and "scattered" worship. Simon Chan, in Liturgical Theology: The Church as Worshiping Community, uses the words "liturgical" and "private" worship. Bob Kauflin, in Worship Matters: Leading Others to Encounter the Greatness of God uses the terms "event" and "every day" worship. Miroslav Volf, in “Worship as Adoration and Action: Reflections on a Christian Way of Being-in-the World,” in Worship: Adoration and Action uses the terms "adoration" and "action" worship. Consider that evangelism is reclaiming lost, misdirected worshippers. Sanctification is growing in increased proportion of worshipping God and not everything else. Unbelief is losing your wonder and awe for the gospel. Consider that at the heart of believing is worship. The root of sin is misplaced and misdirected worship. Pastors and worship leaders need to shape their flocks both inside and outside the worship service.

After many years in front of the camera acting for the likes of Brian DePalma, Quentin Tarantino, Wes Craven, Robert Rodriguez, among many others, Rose McGowan has turned her eye to directing. She premiered her directorial debut, the short film, Dawn at the Sundance Film Festival. It garnered not only critical praise, but a Grand Jury Prize nomination and qualified for the Academy Awards. McGowan is now preparing for her feature length debut. Rose continues to evolve with explorations into music, she released her first single in the Fall after many years recording under different names, and virtual reality which she is currently creating several projects around this medium. Today is a new era for McGowan - who seeks to create meaningful, artful work that inspires. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Born in Germany in 1979, Daniel Sannwald is emerging as one of the true original voices in contemporary photography. In a landscape dominated by referential and repetitive imagery, Daniel is establishing a strong and recognizable signature that is already catching the attention of some of the most influential trendsetters in the fashion and photography industries. His surrealistic and hauntingly beautiful images speak of a world where Fashion and Art meet to reveal a unique narrative. Daniel studied at the Royal Academy in Antwerp (MA Honours) and is now based in London. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Vanessa Prager is an America artist, born and raised in Los Angeles, CA. Known mainly for her large-scale, abstract oil paintings, Prager's main subject is the face. Perception, perspective and information flow are all central themes to her work, which became more widely recognized after her exhibition, Dreamers - a series of "imagined" portraits which cross the border between the figurative and the abstract - opened and sold out completely, in Spring 2015. In January 2016, Prager's first solo exhibition in NYC, Voyeur, opened with favorable reviews. The Huffington Post described the works as "densely layered paintings, with pigment applied so thickly it forms its own topography", elaborating that, "various strokes of color - a ribbon of white like a squirt of toothpaste, a sharp silver of green like a fish darting by - come together to form different visual narratives."  Currently Vanessa Prager is represented by Richard Heller, Los Angeles and The Hole, NYC. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Joshua Hagler has worked for over a decade in the San Francisco Bay Area until recently relocating to Los Angeles.  Known mainly for his large-scale semi-figurative canvases, the work has followed a natural evolution in the artists's personal exploration and anxiety around religious thought and its history.  Since 2006, he has exhibited his paintings and multi-media installations through North America and Europe, including several solo exhibitions. Working for over a decade in the San Francisco Bay Area, Joshua Hagler recently relocated to Los Angeles.  The work has followed a natural evolution in the artists’s personal exploration and anxiety around religious thought and its history.  Currently, research and work looks toward Westward Expansion in 19th-century United States as a means of exhuming a kind of poetry of amnesia and redemptive yearning in colonists, settlers and their descendents.  Since 2006, he has exhibited his paintings, videos, and multi-media installations throughout North America and Europe, including several solo exhibitions.  “Between Winds,” submitted here for the Transart Triennale is currently a part of Hagler’s traveling solo exhibition “The Adopted” first appearing at La Sierra University in Riverside, California and now at JAUS Gallery in Los Angeles. In 2013, Hagler traveled for three months with collaborator Maja Ruznic through Eastern and Western Europe and the Middle East making art with war refugees, orphans, and the terminally ill while creating the art book DRIFT.  2013 also included guest lecturing at the Krannert Art Museum at the University of Illinois, and solo show The Unsurrendered at the university gallery. In 2012, his animated video projection “The Evangelists” was based on interviews with four middle-aged men dealing with psychological trauma and included Hagler’s former neighbor who burned down their mutual San Francisco apartment building in 2007. The piece was later selected to exhibit at the Museum of Contemporary Art, North Miami and the Royal Institute in Adelaide, Australia.     Maja Ruznic was born in Bosnia & Hercegovina in 1983 and came to the United States as a refugee in 1992.  She currently lives and works in Los Angeles.  Ruznic studied Psychology and Art at UC Berkeley and received her MFA from the California College of the Arts in 2009.  She has exhibited in Japan, Turkey, Belgium, Sweden, Germany, Austria, France, Puerto Rico, Texas, Los Angeles and San Francisco.  Her painting "The Mother of All Evil" was featured on the cover of New American Paintings in 2011 (Pacific Coast Section, Number 97).  Ruznic’s work is included in the Jiminez-Colon Collection (Puerto Rico) and she recently received the Dave Bown (9th semiannual competition) Award of Excellence.  She was a featured artist in JUXTAPOZ art magazine in the Septemeber 2014 issue.     Last year, Ruznic’s first international solo show, “Yellow Throat Ribs” at Galerie d’Ys was a great success.  Congruent with the solo show, Ruznic was also represented by Candyland Gallery at the Supermarket Art Fair in Stockholm, Sweden through which the Public Arts Commission acquired two of Ruznic’s paintings.   In 2016, Ruznic will have a solo exhibition at Jack Fischer Gallery titled “Soil As Witness”, which will consists of large oil paintings, small works on paper as well as sculptures.  She will also be a part of  “Werewolf” a group exhibition at Charlie James Gallery in Los Angles, as well as “Between Worlds”, a group exhibition at Arc Gallery in San Francisco, in which all the artists were refugees or deal with the themes of immigration and Diaspora in their work.   www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Seamus Conley is a Los Angeles native now living and working in San Francisco, CA. A recipient of the Pollock Krasner Foundation Award his paintings have been exhibited in galleries throughout the US, including a solo Museum exhibit at The Lancaster, CA Museum of Art and History. His work has been featured in publications such as Hi Fructose, Art ltd, SF Examiner, SF Weekly, Empty Mag, and American Art Collector. John Wentz is a contemporary painter whose process resides in an area between rigid technicality and honest expression.  Working within the classical idiom of the human figure, his goal is to reduce and simplify the image to it's core fundamentals: composition, color, and paint application.  Paint application and brush strokes are broad and simplified as a means to connect and convey these ideas to the viewer in a way that only painting can. John was born and raised in the San Francisco Bay Area.  His interest in art began at the age of 6 when he first discovered Batman and Spiderman comic books.  After years of copying comics panel by panel he worked in the commercial arts as a muralist, billboard creator and freelance illustrator.  After learning to paint by doing airbrushed billboards, he decided to pursue Fine Art and work in oils.  Since then, he has had 3 solo exhibitions in San Francisco and numerous group exhibitions both nationally and internationally.  His works have appeared in many publications and have won multiple awards. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Benjamin Bjorklund is a painter based in Uppsala, Sweden. Spending the majority of his time in Sweden, Ben enjoys a simple life based in a small rustic 19th century wooden farm house shared with his Great Dane and muse, Solomon, and a menagerie of pets including rabbits, guinea pigs, mice and rats. Finding inspiration in everyday life, Ben regularly seeks to interpret through his paintings the emotions and characters of the beings that surround him. He keeps his compositions and focal points simplistic, ensuring his subjects remain within reach. Subjects such as Solomon, both wild and domestic animals and family members feature predominately, though he also works from old photos and memories as references. Ben's figurative and portraiture work can, at times, depict scenes bordering on the surreal with characters influenced by those around him existing in various physical or emotional situations. These are usually emphasised through the use of abstracted light and darts of colour. These, Ben refers to as 'happy mistakes' being borne from spontaneous actions and serving to focus the viewer's attention whilst adding to the emotional impact on the viewer. Blake Paul Neubert is a Colorado artist that focuses of figurative painting. He references themes from his experiences working in the Criminall Justice field with substance abuse and mental illness. He is the Co-Founder of Death of a Coworker. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Phil Hale was born in 1963 and raised in Kenya and Massachusetts. He was apprenticed to painter Rick Berry when he was sixteen, and moved to London when he was twenty-one. His early career is strongly associated with the books he illustrated for Stephen King. In the 90s he produced work for Warner Bros, Playboy, DC, Sony, Penguin and others. By 1999 he had transitioned to portraiture, and commissions included Muttiah Muralitharan for Lords Cricket Grounds (MCC), Thomas Ades of the National Portrait Gallery, and Tony Blair's official portrait for the Houses of Westminster. His fine art has been show throughout Europe and the US at numerous galleries and institutions. His most recent show was Life Wants to Live at the Jonathan Levine Gallery in NYC. Published collections of his work included Mockingbirds / Relaxeder, Urge Ourselves Under, Record Separator, Empire, and Black Crack.  www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

A Southern California native, Emilio Villalba received his BFA from the Art Institute of California in 2006, and his MFA in Painting from the Academy of Art University in 2011.  He currently lives in San Francisco where he teaches at the Art Institute of California and Cogswell College. "My portraits are inspired by master works, as well as the contemporary human condition.  They explore the dissonance created when the familiar is fractured and distorted by outside influence." - Emilio Villalba www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

"I was born in cozy Madison, WI, but ever since that day I have not set foot on Wisconsin again. In all honesty, I haven’t really been actively avoiding this generous land of cheese and beer. Given the very attractive winters that this icebox of a state has to offer, I was happy that my parents decided to return to Colombia before my first birthday. I spent my first 17 years in Bogotá and after finishing High School I went to New York to study Illustration in SVA. After graduating I worked at Evergreene Painting Studios, a mural painting studio, and at The Studio, an illustration studio where I did animatics, storyboards, print jobs, together with some illustration jobs (paperbacks, jackets, etc). After two years of constant and diligently supervised drawing, I decided to go back home to Colombia and be free to paint full time. What was a hard decision at first, turned into the best career move. I have been able to paint what I love, and be surrounded by friends and family. Today, I am happily married and live with my beautiful wife Claudia in Bogotá who just gave birth to our first baby, Samuel. He quickly became the reason I work." - Nicolas Uribe www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Alex Kanevsky was born in Russia in 1963. He studied mathematics at Vilnius University in Lithuania before coming to the United States. After his arrival to Philadelphia in 1983 he worked as Russian translator, illustrator at the Psychiatric Nursing Magazine and drew pictures for the telephone book advertisements. After attending PAFA (1989-93) and winning a Pew Fellowship (1997) he devoted himself to painting full time. Alex Kanevsky lives and works in Philadelphia. He has exhibited his work in the United States, Canada, France, Italy, UK and Ireland. His work is represented by Hollis Taggart Gallery in NY and Dolby Chadwick Gallery in San Francisco. He teaches a painting seminar at PAFA. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

This fast Pecha-Kucha style talk summarizes a year’s quest to explore novel cross-device gestural UX, collaborating with Citrix Labs. The goal was to define a set of UX principles via paper prototypes, threshold mapping and user studies. This informed later design iterations for a digital demo.

A generally observable trend of the past 10 years is that the amount of sensors embedded in mobile devices such as smart phones and tablets is rising steadily. Arguably, the available sensors are mostly underutilized by existing mobile user interfaces. In this dissertation, we explore sensor-based user interface concepts for mobile devices with the goal of making better use of the available sensing capabilities on mobile devices as well as gaining insights on the types of sensor technologies that could be added to future mobile devices. We are particularly interested how novel sensor technologies could be used to implement novel and engaging mobile user interface concepts. We explore three particular areas of interest for research into sensor-based user interface concepts for mobile devices: continuous interaction, around-device interaction and motion gestures. For continuous interaction, we explore the use of dynamic state-space systems to implement user interfaces based on a constant sensor data stream. In particular, we examine zoom automation in tilt-based map scrolling interfaces. We show that although fully automatic zooming is desirable in certain situations, adding a manual override capability of the zoom level (Semi-Automatic Zooming) will increase the usability of such a system, as shown through a decrease in task completion times and improved user ratings of user study. The presented work on continuous interaction also highlights how the sensors embedded in current mobile devices can be used to support complex interaction tasks. We go on to introduce the concept of Around-Device Interaction (ADI). By extending the interactive area of the mobile device to its entire surface and the physical volume surrounding it we aim to show how the expressivity and possibilities of mobile input can be improved this way. We derive a design space for ADI and evaluate three prototypes in this context. HoverFlow is a prototype allowing coarse hand gesture recognition around a mobile device using only a simple set of sensors. PalmSpace a prototype exploring the use of depth cameras on mobile devices to track the user's hands in direct manipulation interfaces through spatial gestures. Lastly, the iPhone Sandwich is a prototype supporting dual-sided pressure-sensitive multi-touch interaction. Through the results of user studies, we show that ADI can lead to improved usability for mobile user interfaces. Furthermore, the work on ADI contributes suggestions for the types of sensors could be incorporated in future mobile devices to expand the input capabilities of those devices. In order to broaden the scope of uses for mobile accelerometer and gyroscope data, we conducted research on motion gesture recognition. With the aim of supporting practitioners and researchers in integrating motion gestures into their user interfaces at early development stages, we developed two motion gesture recognition algorithms, the $3 Gesture Recognizer and Protractor 3D that are easy to incorporate into existing projects, have good recognition rates and require a low amount of training data. To exemplify an application area for motion gestures, we present the results of a study on the feasibility and usability of gesture-based authentication. With the goal of making it easier to connect meaningful functionality with gesture-based input, we developed Mayhem, a graphical end-user programming tool for users without prior programming skills. Mayhem can be used to for rapid prototyping of mobile gestural user interfaces. The main contribution of this dissertation is the development of a number of novel user interface concepts for sensor-based interaction. They will help developers of mobile user interfaces make better use of the existing sensory capabilities of mobile devices. Furthermore, manufacturers of mobile device hardware obtain suggestions for the types of novel sensor technologies that are needed in order to expand the input capabilities of mobile devices. This allows the implementation of future mobile user interfaces with increased input capabilities, more expressiveness and improved usability.

New technology is designed to let you talk with your hands... to your computer.

Cathi on virtual mannequins Nora on U of Tokyo gestural computing for cell phones