go here Drawing on principles of video game design and cognitive science, the simulations are populated with characters programmed with behavioral drives, but left to self-evolve amidst otherworldly environmental conditions. It is composed of three interconnected episodes, each centered on the life of a narrative agent — the Emissary — who attempts to achieve a series of narrative goals, only to be disrupted by the underlying simulation and deviate into new directions.
Across three decades, Jafa has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race.
By re-performing these narratives in the present, Jafa imagines and constructs new possibilities for making them visible. Jafa creates work that approximates the radical alienation of Black life in the West while seeking to make visible — or emancipate — the power embedded in modes of African expression. Texts by Fred Moten, Tina M. The artist has been collecting and working from a set of source books since the s, seeking to trace and map unwritten histories and narratives relating to black life. Between and a young naturalist, Alexander von Humboldt — , visited the American continent for the first time, making two expeditions.
The most adventurous section of his journey was the trip down the Orinoco to the Rio Negro in Venezuela. At the time, his report on this journey laid the foundations for a holistic way of looking at nature — one that was way ahead of its time. Von Humboldt was the first researcher to point out how the forces of nature, both animate and inanimate, work together.
Starting with the idea of the kind of ecology that focuses not only on natural circumstances but also on the economic and socio-political situation, as well as on technological progress, the exhibition investigated an alternative interpretation of anthropology and zoology. Accordingly, the selection of works evidenced the search for our evolutionary roots, looking into questions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and that of our constantly changing perceptions of reality due to all kinds of different influences.
The different complexes of subjects move within that intermediate space between nature and art, their various systems offering new approaches to interpretation and methods of classification. A free magazine accompanied the exhibition, which is here as download available. Nothing is left to chance at the Institute for Cybernetics and Future Research.
Ostensibly for research purposes, a private corporation uses a mainframe to create a computer-animated world where economic and social developments can be simulated in order to make forecasts and thus lay the basis for decision-making. This mainframe goes by the name of Simulacron 1 and is capable of perfectly simulating a section of reality with all the respective inhabitants.
All the simulated persons have their own minds, but no idea that they are part of a virtual reality. By means of the virtual animated real-time simulations that arise through the 3D videogame design Cheng enables viewers to experience the microscopic but essential mechanisms of the complex, multi- millennia-long process of evolution. The structure of consumer and product experiences in capitalist societies and the creative industries become the main theme of art.
The narratives overlap with one another, reveal different angles on death, and morph into a kind of deja-vu in the viewer. The works in the exhibition shared in common a critical thrust that asks how digital technology should be limited and justified. In this regard, the individual art forms oscillate between the different genres. They radically cast into question traditional notions of the artwork and the original creation of pictures as the main task of art.
A free exhibition magazine accompanied the exhibition with an essay by Hannah Black and introductory texts on the individual works, which can be downloaded here. The exhibition brings together works in film and video by seventeen artists, spanning over six decades of audiovisual production focused on themes such as cultural history, race, gender identity, circulation of images in the media, and the role of artists in contemporary society.
Self-representation and its strategies, such as self-portrait and the fictionalization of life, emerge in various works, functioning as a potential guiding thread and uniting productions in the exhibition, as well as appropriation, collection, and montage of images from other sources. These are two possible thematic trends running through the exhibit, serving as useful conceptual cores to navigate it, but which do not exhaust the possibilities of interpreting the works displayed and the relationships between them. Time kills simply by passing, and there is nothing we can do about that or the veracity of the phrase.
Nevertheless, it serves to activate other senses in the context of the exhibition. Time-based art relates to works of art produced in video, film, audio, or computerized technologies that unfold to viewers over time, with duration rather than space as their main dimension, unlike painting and sculpture although duration is also an element of those two- or three-dimensional art forms. To collect time-based artworks, one must compress time in analog and digital media.
Therefore, exhibiting them requires decompressing those time frames and creating different forms of spatialization, generating displaysof different lengths occurring simultaneously in a group show. In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds which viewers break down and recombine at will. Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space. Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives.
The virtualization of our world experience and increasing temporal hence subjective compression are the context the artists must deal with to create their work. Thus, time not only kills passively, it kills a little more every second. The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings.
Around these spaces, in the circulation areas, other works establish new relationships with one another. In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works. The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture.
On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons. Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing. The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time. The exhibition constituted the largest presentation of time-based media works in Israel.
As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection. The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed.
This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists.
These range from performative and theatrical elements in the works to different means of narration. More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole. Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective.
The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time. They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium.
It is to date the most extensive presentation of time-based art in Israel.
The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on. It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions.
A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.
A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new. We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.
With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence. Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance. Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill.
With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies. The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present.
As of 16 April across a total space of over 2, sq. The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e.
Your Daily Focus for October 3, - Tarot - Astrology - Numerology - Duration: 11 minutes. 81 views; 1 hour ago. Tarot with Tilly; 4, videos; , views; Updated yesterday. Play all Your Daily Focus for October 3, - Tarot - Astrology - Numerology. by Tarot with.
The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.
Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq. Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images. Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music.
The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn. Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring.
The Driver by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history.
Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. A wild, colourful pictorial history of architecture begins to the rhythm of the music. In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox. How to find us. Advance registration for the visit during the opening hours is not required.
Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and p. Free of charge for children and young people under eighteen, as well as school children, students and trainees. If you are interested in booking a guided tour in English, please send us an e-mail to visit. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you. The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light.
A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality.
The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building. Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century.
Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes. G Conzen. Renovation work in strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space.
The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows. At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.
Kuehn Malvezzi, founded in Berlin in by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice.
Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in Celebrate exclusively in the rooms of an internationally renowned art collection. Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA. Public guided tours in English through the current exhibitions on Saturdays, p. Registration online through our calendar. Free of charge for children and young people under eighteen, school pupils, students and trainees.
Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers access only via the staircase; no lift. In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof. Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state.
Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation. These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held.
The furniture, most of which was designed especially for this site, supports these activities. The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use.
In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.
The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times. At present, over artworks by more than contemporary artists and artist groups across genres and generations offer an overview of time-based art from the s to today with a strong focus on works made after The term time-based art or time-based media describes works of art that unfold in time.
Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art.
These works are often allographic, meaning they are only visible when installed or projected. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.
The first large-scale group exhibition at the collection, Number One: Destroy, She Said —08 , was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile —09 focused on the body and corporality, bringing together video, performance, and body art.
Number Three: Here and Now —10 was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys —16 revisited performance and feminist video, questioning the representation of female identity and the performance document. The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next.
The inaugural exhibition in Berlin, Welt am Draht , addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group show, Jaguars and Electric Eels , explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality.
Large-scale solo presentations supplement the collection exhibition program. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program.
We all know that there are real problems with our current health care financing system. According to curator Yang Beichen this is an obvious analogy, as metallurgists are not only guided by the specific properties of various materials and their processing, and indeed in their works also hybridize and meld a wide variety of contemporary themes. Anicka Yi. Camper - Montana Mountaineer. On the second floor 11 films from the group of works covering rituals, mythology and landscape were on display. Monica Bonvicini. Edit Cast Cast overview, first billed only: Eddie Murphy
Loan requests must be made at least 6 months before the desired start of the loan period. The request must contain the following information and documents:. Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.
The conservation requirements for time-based media TBM have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works. Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware.
All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete.
To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository. This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete.
This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved. The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning.
Temperatures of around 15 degrees Celsius 59 degrees Fahrenheit and 35 percent relative humidity RF are considered optimal for storing magnetic tapes and was therefore chosen for the repository. These conditions are also appropriate for film and slides. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes.
In addition, the shelves are grounded to prevent any static electricity. Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process. Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection. The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe.
Menu Stroke 48 Created with Sketch. Close up — work of the month. We look forward to your participation and your visit! Artboard Created with Sketch. Cordial invitation! Artboard Copy Created with Sketch. Group Created with Sketch. Language: English April Edited by Julia Stoschek Foundation e. Size: 20,5 x 28,5 cm. Softcover with flaps. Language: German. Size: Hardback with colour plastic dust jacket. Sundays, a. During opening hours: Sunday, a.
Outside opening hours: Cost: EUR You are looking for a special location for a celebration or a corporate event? We would be pleased to submit you an individual offer. Photo: Simon Vogel, Cologne. JSC Berlin. Photo: Robert Hamacher, Berlin. JSC Berlin, foyer, ground floor. Cost: EUR 5. Contact: Christian Nickolai nickolai jsc. Group 3 Created with Sketch. The Dusseldorf School of Photography. Andreas Weisser Time-based media conservator.
Jacolby Satterwhite. Katharina Sieverding. Manuel Graf. Christian Jankowski. Christoph Schlingensief. Roxy Paine. Jeppe Hein. Charles Richardson. Wu Tsang. Relation in Space , Talking about Similarity , Breathing in, Breathing out , Imponderabilia , Expansion in Space , Relation in Movement , Relation in Time , Balance Proof , Incision , Kaiserschnitt , Charged Space , Three , There is a Criminal Touch to Art , Art must be beautiful, Artist must be beautiful , Freeing the Voice , Freeing the Memory , Freeing the Body , Helen Benigson. Hannah Perry.
Leo Gabin. Pipilotti Rist. Peter Weibel. Lutz Mommartz.
David Claerbout. Matthew Buckingham. Matt Copson. Jen DeNike. Jacky Connolly. Ana Mendieta. Arthur Jafa. Vito Acconci. Colin Montgomery. Bruce Nauman. Art Make-Up, No. Cyprien Gaillard. Natascha Sadr Haghighian. Elizabeth Price. John Baldessari. Christoph Westermeier. Sigalit Landau. Ed Fornieles. Thomas Demand. Jeremy Shaw. Jon Rafman. Still Life Betamale , Mainsqueeze , Erysichthon , Clemens von Wedemeyer. Big Business , The Making of Big Business , Mary Lucier. Paul McCarthy. Ma Bell , Painting Face Down — White Line , Spit — Not Looking at the Camera , Spinning, Short segment of minute Tape , — Whipping the Wall with Paint , Up Down Penis Show , Zippedy Doo Dance , Icicle Slobber , Pipe Shadow , Upside Down Spitting — Bat , Drawing — Semen Drawing , Spitting on the Camera Lens , Upside Down Pipe , Jesper Just.
Doug Aitken. Hannah Black. Adam Putnam. Nam June Paik. Joseph Beuys. Taryn Simon. Players can now tackle the first of 10 new Legendary Bounties; the bounty for Barbarella Alcazar. Visit a Bounty Board for details on Alcazar, and complete the bounty before Sept. Play RDO through Sept. Club, the Outlaw Pass, and more. For a complete list of patch notes, visit the Rockstar Support page. These Frontier Pursuits will gain Role XP as players complete specific activities associated with them hunting bounties, hunting beasts, and finding secret treasures.
Specific necessary items used to unlock each role can be purchased by all players for 15 Gold Bars , and can be obtained for free under the following circumstances: Players who linked their Twitch Prime and Rockstar Games Social Club accounts by Sunday, Sept. Those who missed the deadline will see the License appear within 72 hours of linking accounts. Rockstar has announced the addition of the new, free RDO membership program. Club, players are automatically enrolled in the program by playing RDO between Sept. Rockstar also announced the arrival of The Outlaw Pass, a new Rank-based progression system 70 Ranks total which allows players to earn unique rewards.
For more information on club rewards, visit the Rockstar Club Rewards page. Rockstar announced more activities, including Legendary Bounties, weekly maps with special collectible sets, new bonuses, gifts, and more will be revealed in the weeks to come. Club, players are automatically enrolled in the program, which awards members as they accumulate XP and Role XP.
The Club Membership period lasts from Sept. Rockstar also announced The Outlaw Pass, a new Rank-based progression system 70 Ranks total which allows players to earn unique rewards. Players who unlock all 70 Ranks of The Outlaw Pass during the membership period will earn a total of 35 Gold Bars , effectively negating the cost of the Pass.
Club, membership in The Outlaw Pass lasts from Sept. Each Role will unlock certain exclusive skills and items as it increases in Rank, and unlocking new Role Ranks will award Role Tokens, which can be redeemed for special Role-specific abilities, upgrades, and more. The Bounty Hunter. Bounty Hunters will pick up additional jobs at Bounty Boards in key locations , which will task them with taking down criminals. Bringing them in alive grants a bonus, and bounties will be split among if the Bounty Hunter is in a Posse.
Once the player has surpassed Rank 12, Bounty Hunters will be able to hunt other players in timed pursuit encounters. I had a chance meeting with a guy I knew from school who I hadn't seen for over 20yrs a few months before and couldn't stop thinking about him. I honestly thought I'd never bump into him again. I wanted to know if you could see us meeting up and maybe starting a relationship of our own. You talked about my past, present and future in this reading. With my past you said you could see me playing with three girls, all with different coloured eyes, that I would reunite with these girls and that they are connected to this guy from the past that I like.
But- you then went on to say that I would have a reunion with these girls To be honest Tilly, I really didn't pay much attention to what was written for me here at the time because it wasn't important to me at the time- I was just interested about finding out about this guy from my past. It only occurred to me a few weeks ago when I re-read this reading that I have in fact become friends with these girls and yes they all do have different coloured eyes andshare a connectionwith thisguy from the past because we went to the same school.
With my present reading- Queen of cups, you described me well. I am a practical businesswoman window dresser and I do enjoy caring for other people. I see myself as the very motherly type. I like to look after people by cooking for them and listening to their problems and being sympathetic, a shoulder to cry on etc. You said that my love was fading for my partner, which it did and he has now gone. You felt that I would get involved with someone new, job related. That earning money wouldn't be thereason for working overtime- the reason would be because I wanted to spend time with a guy I'm working with This is yet to happen… Unless it means me helping out in another field of work and not the job I'm actually doing I could see this happening in the not so distant future..
I'll explain. It was regarding meeting a man at work and that I would be working overtime. Not for the money but so I could be with him. The guy from school has out of work interests. He has a Working dog, ferrets and a Hawk. I might be offered to ask to help out in these areas in the future. You said, not to come across too eager to this man and he would be falling at my feet. You said you could see me travelling with this man and that this man was unsure of himself. He had been hurt in the past and was not willing to show his feelings and that it would be hard to get him to notice me.
He was waiting for me. You could seeus meetingand that it would be a complete surprise to me. You said that we would meet by water during a waxing moon. All the above was relevant, here is my story now…. When I contacted you last April, I had already sent an email to the guy I liked from school.
In fact I'd already sent two, over a two-month period, with no reply. After I read your reading, I sent him another one, just asking if he was ok and what I'd been doing and that shortly I'd be going on holiday. The day after I got back from holiday, I realised things hadn't sorted themselves out between my partner and me and we discussed separating. That dayI checked my emails.
My friend from schoolhad sent me an email. A very nice one too. We emailed each other every week.
Bearing in mind I was still with my partner then, the relationship was hanging on a thread, until one day, I asked him to leave which he did. I grew close to my new long lost friend thro emails.
We talked about everything. He knew I had problems with my relationship. He had split from someone and was still very hurt at the time. I was surprised whenhe asked if I fancied meeting up to take his dog for a walk. With me not being able to drive and living in the city and him livingin the countryside seemed a bit awkward. I offered to get a taxi down to his but he offered to pick me up, so I agreed. I left it to him where to go, we parked up in a field next to a river.
Guess what, it was a during a waxing moon too as you predicted. As the months have passed, we have built up a good friendship with this man His scars are healing and he's helped mine to healtoo. He's helped me remember who I was and who I am.. We travel in to the countryside quite a lot for walks and meals. He makes me feel like a different person to what I was a year ago.
We haven't got to holding hands stage just yet, he seems scared to get involved and doesn't know how to react when I give him a kiss on the cheek goodbye when we've been out. I know he likes me though, I feel that he's just unsure of himself. So the next chapter is still left to unfold but I feel so much more optimistic and positive about where my life is going.
I treat my ex partner with respect and didn't do anything deceitful I thought.