Really Big Inflatable Swan would love a dip in your pool

inflatable-swanSummer is coming, and with that, it would translate to having a ball of a time in the great outdoors. Some of us like to get close to nature by hiking or taking the road less traveled, while others would like to take a dip in the nearby river or lake. However, if you so happen to be blessed enough to own a home with a swimming pool, how about having some wild fun with the £49.99 Really Big Inflatable Swan?

I would like to think that the name itself does give the game away – the Really Big Inflatable Swan lives up to its reputation, being really large in size, and it measures a massive 75” x 48”. You can proverbially kill a pair of birds with a single stone, so to speak, by relaxing and having a nice, delightful time floating in bliss. And fret not if you have piled on the pounds in the previous months, the Really Big Inflatable Swan is able to handle up to 140lb of weight. Made from durable, heavy-duty vinyl, it can stash an adult comfortably, or perhaps four children’s worth. Would be nice to pair this up with the Inflatable Water Shooting Float.
[ Really Big Inflatable Swan would love a dip in your pool copyright by Coolest Gadgets ]

3 Ways to Create a Productive Routine Without Getting Stuck in a Rut

There has been a lot of chatter lately about the importance of preserving your mental energy for the most important tasks. This energy conservation movement has led many people to cut back on the small choices they’re making every day, ranging from what they’re going to wear to what they’re going to eat.

After all, why waste precious mental energy trying to decide whether to wear the red shirt or the grey shirt? The solution — wear black shirts every day. It worked for Steve Jobs.

And why use limited brain power trying to decide between the turkey sandwich and the chef salad? By planning your menu weeks in advance, you can devote every ounce of aspiration to the decisions that really matter.

While there’s a lot to be said for conserving your time and energy — just ask Mark Zuckerberg — eliminating spontaneity can have consequences. A mundane routine is boring. If you’re not careful, you can get stuck in a rut.

Being stuck in a rut can kill your creativity, stress you out, and zap your productivity. Doing the same thing over and over again causes your days to blend together. Five years from now not a single day will stand out more than any other.

So how do you create a routine that conserves your mental energy without getting stuck in a rut? Here are three strategies:

1. Examine the bigger picture. The busyness of life can keep you running from one activity to the next. If you never step back to consider whether all those activities are really how you want to spend your time, you could miss out on building the kind of life you want. Devote at least 10 minutes each day to examining the bigger picture in your life.

Are you really living according to your values? Are you engaging in worthwhile activities? Do you feel like your work has meaning and purpose? Set aide time to think about how to create the kind of life you want to live. Creating time to reflect on your life could be the key to reaching your greatest potential.

2. Schedule leisure time. Most people fill their schedules with work, and leisure only happens when there’s time leftover. But it’s impossible to live a rich and full life without doing things that give you joy. Forget about productivity once in a while and give yourself permission to goof off.

Schedule time to have fun each week. Whether you love to go for a hike at sunrise, or you feel the most alive when you’re driving your motorcycle, engaging in leisure will keep you from getting stuck in a rut. Do whatever causes you to lose track of time and you’ll open doors to creativity and innovation.

3. Challenge yourself. While staying inside your comfort zone can reduce your anxiety, it’s also the fastest way to get stuck in a rut. You can’t grow better if you don’t challenge yourself to try something new. That doesn’t mean you need to take giant risks. Tiptoe outside of your comfort zone if you must — but be willing to take steps that will help you grow.

Look for new ways to challenge yourself personally and professionally. Take a class, introduce yourself to new people, face your fears, and invest in personal development. Dare to become just a little bit better today than you were yesterday. Doing so will ensure you’re growing, rather than staying stuck in one place.

Amy Morin is a psychotherapist and the author of 13 Things Mentally Strong People Don’t Do, a bestselling book that is being translated into more than 20 languages.

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How to Deliver Leadership Based on Values

This week’s episode of the Future of Work podcast is with Harry Kraemer, the former CEO of Baxter and now professor at Northwestern University’s Kellogg School of Management where he teaches management and leadership. Many of you are familiar with Baxter, the large pharmaceutical company that today has just over 60,000 employees around the world. Harry does quite a number of things, one of which is that he is a best-selling author. His second book just came out titled, “Becoming the Best: Build a World-Class Organization Through Values-Based Leadership.” You will recall that in a recent podcast, I spoke with Herminia Ibarra who also wrote a book on leadership. This episode explores leadership from Harry’s perspective. I must say that it was interesting to compare and contrast these two different models and styles of leadership. Of course, Harry and I examine what makes a leader. One of the common themes in Harry’s book is all about “being yourself.” We discuss the four principles of values-based leadership that include humbleness and humility, which Harry believes are very important for leadership. We also talk about how he scales leadership and the importance of corporate culture on leadership. There is a fascinating discourse on employee engagement as well as Harry’s concept called “leading up.” Harry shares some interesting stories and anecdotes from his life and experience as CEO of such a large organization as Baxter. As with every episode of the podcast, we end with his advice for managers, employees and organizations around the world. This is a great podcast episode. I found Harry’s thoughts, views and perspectives quite interesting, and I think you will too. So tune in and listen to this fascinating discussion on values-based leadership!

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How to Deliver Leadership Based on Values

Jacob Morgan is a futurist, best-selling author and keynote speaker, learn more by visiting The Future Organization.com or check out his latest book,”The Future of Work: Attract New Talent, Build Better Leaders and Create a Competitive Organization,” on Amazon.

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The Worrier

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Artist Elevates Paint Swatches To The Level Of Fine Art, Tickles Color Nerds Everywhere

Paint chips are usually found at home improvement stores, packed into a small herd and fanned out for customers to peruse and take home at will. Someday, some of them may dictate the exact hues of our most intimate spaces — our bedrooms, our kitchen walls, our bathroom ceilings. But until then, they float in a strange space of indeterminacy, free of cost and packed with potential.

Denver-based artist Shawn Huckins found unlikely inspiration in these mundane color swatches. He first stumbled upon their beauty while working on an experimental painting. “I was having difficulties figuring out which color tone to use for the background,” he said, “so I taped some Behr paint cards to the canvas to help me in the process. Seeing the cards attached to the canvas was an interesting contrast with the subject matter. I thought, what if I took that paint swatch, blew it up to a large scale and placed the subject within the color fields?”

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380B – Brown Paper Bags, Artists with Huge Egos 2009 acrylic on canvas mounted on MDF 49 x 40 in

And that’s exactly what he did. Huckins creates exact replicas of the original paint chips, blown up to canvas-size proportions. Everything, from the rounded corners to the text style on the swabs, is duplicated. “Typically, I choose the color first and compose which colors work best in a group, trying to avoid muddy or grayed out hues,” Huckins explained. “Once I have a few paintings completed with the color fields, then I research and figure out subject matter to place on top of the color fields. With most ‘Paint Chip’ paintings, I’ll choose my subjects based on the color of the swatch. For example, ‘490A — Flight,’ the crisp blue of winter’s sky or in ‘390B — The Peeker,’ the heat of the desert sun.”

The results are what Pantone nerds — yes, they’re out there — dream about. Color swatches, larger than life, finally amplified to a size comparable to the space they take up in our hearts. If you’ve ever passed by a basket of free color swabs without a second thought, let Shawn Huckins show you the beauty you’ve left behind. “With this particular series, I wanted to communicate the mundane and the beauty that can be found in it. We can be so caught up in the day to day routines, that it’s easy to forget the simpler, beautiful things, even in the mundane.”

Preach.

h/t Beautiful Decay

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Nigeria's Army Says More Women And Children Freed From Boko Haram

MAIDUGURI, Nigeria (AP) — A day after the Nigerian army celebrated the rescue of 200 girls and 93 women in the forest stronghold of Boko Haram, the army’s spokesman said more women and children believed to have been abducted by the Islamic extremists were rescued as firefights broke out there.

Several lives were lost including that of a soldier and a woman during shootouts in nine separate extremist camps in the Sambisa Forest, according to a statement late Wednesday from Col. Sani Usman. He said eight women sustained gunshot wounds and four soldiers were seriously injured. Some of the females who were freed earlier have been so transformed by their captivity that they opened fire on their rescuers, authorities have said. A veteran counselor said Wednesday they would need intensive psychological treatment.

The army spokesman said several Boko Haram field commanders and foot soldiers were killed and combat tanks and munitions of high caliber used by Boko Haram were recovered while others were destroyed.

“The troops have also rescued additional women and children,” the statement said, without saying how many were rescued. “They have been evacuated to a safety zone for further processing.”

The military was flying in medical and intelligence teams to evaluate the former captives, many of whom were severely traumatized, Usman said earlier.

It remained unclear if any of the schoolgirls kidnapped from the northeastern town of Chibok a year ago were to be among the 200 girls and 93 women whose rescue was announced on Tuesday.

The plight of the schoolgirls, who have become known as “the Chibok girls,” aroused international outrage and a campaign for their release under the hashtag #BringBackOurGirls. Their kidnapping brought Boko Haram, whose nickname means “Western education is forbidden” in the local Hausa language, to the world’s attention. Of the Chibok girls, 219 remain missing.

Nigerian military and counter-insurgency spokesmen have said they have information indicating at least some of the Chibok girls still are being held in the Sambisa Forest.A counselor who has treated other women freed from Boko Haram captivity said some had become indoctrinated into believing the group’s Islamic extremist ideology, while others had established strong emotional attachments to militants they had been forced to marry.

Some of the about 90 women and girls freed by the army four months ago in Yobe state, for example, had upset their community on their return by maintaining that the militants were good people who had treated them well, said the counselor, who spoke to The Associated Press on condition of anonymity because he has been targeted by the militants in the past.

“The trauma suffered by the (abducted) women and girls is truly horrific,” said Amnesty International’s Africa director for research and advocacy, Netsanet Belay. “Some have been repeatedly raped, sold into sexual slavery or indoctrinated and even forced to fight for Boko Haram.”

Amnesty International said earlier this month that at least 2,000 women and girls have been taken by Boko Haram since the start of 2014.

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The Rich History Of Nepalese Culture, Some Of Which Is Lost Forever

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In Nepal, Buddhist deities and Hindu gods are both vital parts of ritual life and are worshiped side-by-side. Rakta Lokeshvara, a meditation form of the Bodhisattva of compassion, stands at the center of this painting and is surrounded by a number of Hindu gods emanating from his body.
Rakta Lokeshvara/Macchendranath, Nepal; dated 1842, Pigments on cloth; 29 3/8 x 22 in. Rubin Museum of Art

On Saturday, April 25, a 7.9 magnitude earthquake hit Nepal, centered outside the capital of Kathmandu, rattling and destroying many of the city’s oldest neighborhoods. The worst earthquake to hit the South Asian nation in over 80 years, the quake was strong enough to be felt all across parts of India, Bangladesh, China’s region of Tibet and Pakistan. Aftershocks of up to 6.7 magnitude increased the already devastating damage.

As of now, over 4,800 people have been killed by the natural disaster, although the full scale of the damage has yet to be determined, as many mountainous areas and faraway villages remain unreachable. Prime Minister Sushil Koirala told Reuters the death toll could reach 10,000, a number exceeding the 8,500 deaths that occurred in the 1834 earthquake.

Aside from the thousands of lives lost, Nepal’s culture was irreparably wounded, as well. As Donatella Lorch wrote in The New York Times: “The Durbar Squares in Katmandu and Patan where tourists thronged — ancient plazas graced with temples and fountains opposite the old royal palaces — had been reduced to rubble, with only a few structures left standing. One of my favorite shrines, famous for its white domes and four giant, fearsome brass dragons with talons raised, is now a pile of cracked red bricks and dust.”

We reached out to Jan Van Alphen, Director of Exhibitions, Collections and Research at the Rubin Museum of Art — New York’s mecca for art from the Himalayas, India, and neighboring regions. “We’re the only museum that deals with this niche of Himalayan Buddhism and Hinduism, art from Nepal and India and Western China,” Alphen explained. “Our collection also includes folk religions, shamanism, everything that’s happening in the Himalayas, and in extension Mongolia.”

Van Alphen spoke about the damage and what people can do to help.

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Hindu Festival Banner, Nepal, Pigments on cloth, 23 3/4 x 17 1/2 in. Rubin Museum of Art

What has been your experience with Nepalese artworks?

I studied Nepalese art and gave courses on it when teaching in Antwerp. It’s really a mixture in its religions, in its styles. We have in the Rubin about 600 objects that are Nepalese — it’s a big part of our collection.

What would you say are the dominant traditions of Nepalese artwork?

The Nepalese paintings, which we call thangkas, many of them have an inscription on their front side which says something about the time the paintings were dedicated to a temple. Basically, it gives a date, which is so important to attach times to certain styles.

The Nepalese bronze casts from the Kathmandu Valley are so important to the history of bronze making. They made perhaps the finest bronzes ever in that part of the world. [The artists] were so good that some of them, like the famous Aniko, were introduced to the imperial workshops in the Chinese capital during the Yuan Dynasty. Their influence worked further into the art of the Ming Dynasty. The Nepalese were also known for their mercury building, where gold was mixed with mercury, and then when they’d fire it, the gold stretched all over the structure and made a second skin. The only thing is that from inhaling what came out, many of those bronze casters died early. It’s forbidden now to do that.

Would you say the role of Nepalese art was primarily religious?

Yes, one could say so. But also, non-religious art and buildings have a very important role. I think in those countries it’s all mixed and influenced with each other. For example, you have the brackets on one of the famous Nepalese temples, which have now collapsed. They have all sorts of scenes sculpted in the wood that at the same time support the structure and also have a narrative to tell. People would stand under these rooms and look at the sculptures. The fountains, the step wells, it’s all mixed — religious and non-religious. It comprises a bit of every part of daily life.

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Chakrasamvara, Central Tibet, Gilt copper alloy with pigments and turquoise inlay, 12 5/8 x W 12 1/4 x D 6 in., Rubin Museum of Art

What was your reaction when you heard of the earthquake?

It’s horrible. In many ways. My daughter studied last year in Kathmandu. She was there with her school working with orphans and children. Her first thought was: what happened to the children? We couldn’t get in contact with them because the telephone lines were broken. We heard several of our friends’ houses collapsed. They had to live with our friends who had gardens because they couldn’t go into buildings because of aftershocks. A friend of mine who has a big collection, his house hasn’t completely collapsed, but he can’t go inside for any of his belongings. And of course, it’s worse for the thousands of people that died in this horrible thing.

The daughter of a friend of mine, who is coincidentally in London at the moment, said “I can’t imagine going back to my country. It’s changed completely in one day.” She was involved in the restoration of many buildings that were just finished. Now, they’ll have to start over completely, if it’s even possible to start over. Some won’t even be possible to restore again. All that is over, it’s finished, it’s for nothing. My first thoughts were, of course, for the people that died and after that for the tremendous loss of culture and heritage. We just hope that there is a lot of care and solidarity after something like this.

To your knowledge, what is extent of the damage thus far?

The three main adjacent cities in the Kathmandu Valley — Kathmandu, Bhaktapur and Patan — if you go to the main sites, all the court squares, with beautiful 17th century buildings and Hindu temples in the middle — most of it has collapsed. The Buddhist stupa sites from Swayambhunath and from Boudhanath and many buildings around them are finished. Also, the Hindu complex of Pashupatinath, where corpses are cremated. And then there’s the Dharahara Tower, also called the Bhimsen Tower, an early 19th century watchtower where tourists often visit, collapsed with several hundreds of tourists inside. I think most of the important sites are somehow part of this catastrophe. It will take a lot of work to get it back, if at all possible.

How can we help?

The Rubin has listed humanitarian organizations currently providing aid on the ground and accepting donations. We’re also putting our Nepal objects that are mixed in the six galleries together so people can see how important Nepalese art is. We will definitely help in making people aware of how important the heritage and art is in Nepal. We have planned a big Nepal show for next year and plan to do something in light of this disaster. We just want to make people aware of what this means. There are many occasions to help, small and big.

You can also visit The Rubin’s website to learn more about their upcoming events, lectures, exhibitions and programming centered around Nepalese culture.

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This exquisitely crafted gilded répoussé plaque depicts a special birthday celebration common to the Kathmandu Valley known as the Chariot Ritual. It is practiced by both Hindus and Buddhists when an elder reaches the age of seventy-seven. (Swayambhu Stupa, Bhimarata Chariot Ritual, Nepal; 1776, Gilt copper; répoussé; H 17 1/2 x W 11 1/2 x D 3 3/4 in. Rubin Museum of Art

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The Dictionary Of Obscure Sorrows Invents New Words For Powerful Emotions

The journey that a made-up word takes from invention to induction into a dictionary — be it Oxford Online or Merriam Webster’s even more selective print edition — is arduous.

For the latter, decades worth of frequent use is needed, except in the rare instances that a language trend spreads quickly, but doesn’t die out. This is why selfie has made its way into the long-lasting print editions, but twerk, a blip on our linguistic radar, hasn’t passed the more ephemeral online book.

The Dictionary of Obscure Sorrows — a blog that evangelizes new words by constructing faux entries and accompanying videos — has collected a few contenders. In its first video, creator John Koenig narrates, “There’s no word in the English language for the desire to disappear, or the eerie tension of a looming thunderstorm […] or the realization that each random passerby is living a life as vivid and complex as your own.”

It’s true that each language has its shortcomings. In English, for example, there’s no single word that describes the light that flits between tree leaves when you pass them by; the Japanese equivalent is komorebi. Nor is there a word for an act we partake in often — continuing to eat once we’re already full. In Georgia, the word for that is shemomedjamo.

In an attempt to bridge the gap between language and the way we connect with one another — especially emotionally — Koenig proposes that we add the following words, plus many more, to our lexicon:

liberosis
n. the desire to care less about things — to loosen your grip on your life, to stop glancing behind you every few steps, afraid that someone will snatch it from you before you reach the end zone — rather to hold your life loosely and playfully, like a volleyball, keeping it in the air, with only quick fleeting interventions, bouncing freely in the hands of trusted friends, always in play.

nighthawk
n. a recurring thought that only seems to strike you late at night — an overdue task, a nagging guilt, a looming and shapeless future — that circles high overhead during the day, that pecks at the back of your mind while you try to sleep, that you can successfully ignore for weeks, only to feel its presence hovering outside the window, waiting for you to finish your coffee, passing the time by quietly building a nest.

midsummer
n. a feast celebrated on the day of your 26th birthday, which marks the point at which your youth finally expires as a valid excuse — when you must begin harvesting your crops, even if they’ve barely taken root — and the point at which the days will begin to feel shorter as they pass, until even the pollen in the air reminds you of the coming snow.

For more should-be words, take a look at The Dictionary of Obscure Sorrows.

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School Doesn't Let 4-Year-Old Eat Oreos From Own Lunchbox

AURORA, Colo. (AP) — A suburban Denver 4-year-old came home from school disappointed, with untouched Oreos and a note from her teacher.

Denver news station KMGH-TV reports (http://bit.ly/1P6770A ) that preschooler Natalee Pearson told her mom Friday that she wasn’t allowed to eat the cookies in her lunchbox.

The note told parents to pack a nutritious lunch that includes a fruit, vegetable and healthy snack.

Natalee’s mother, Leeza Pearson, says she doesn’t agree with the decision by the Children’s Academy in Aurora.

She says Natalie also had a sandwich and cheese and that the school took things too far.

A spokeswoman with Aurora Public Schools says they gave Natalee a healthy alternative to the cookies.

Pearson says Natalee attends the private Children’s Academy as a public school student under the state’s preschool option program.

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Information from: KMGH-TV, http://www.thedenverchannel.com

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Meet The Art Collective Making Carpets From Skewers, Sponges, Pasta And Party Hats

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When we think of carpets, images of bland loop pole rugs float to mind, tickling the toes but leaving the eyes and imagination rather unstimulated. We Make Carpets does not make those kinds of carpets. Instead of working in broadloom, wool or triexta, We Make Carpets works in more unorthodox materials, like crayons, or bricks, or straws, or even pasta. Yup, they may not feel so good under the feet — in fact, don’t touch them at all — but, boy, are they easy on the eyes.

Amsterdam-based trio Bob, Marcia and Stijn made their first carpet in 2009, while collaborating on an “Instant Nature” exhibition for Dutch Design Week. They collected pine cones and needles, which resulted in what they dubbed “Forest Carpet.” From there, We Make Carpets was born. “There never was a preconceived plan, like ‘from now on the three of us will make carpets,’” the artists explain on their website. “It just happened. At the same time we had the feeling it might lead somewhere.”

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The craft-savvy trio has been in the business of unconventional floor coverings ever since. From far away, their dizzying tapestries resemble the geometric designs you’d encounter on a classic Turkish carpet. However, a closer look reveals the recycled and oft overlooked materials that make up the unlikely art objects. “The three of us always had an interest in the everyday things surrounding us,” We Make Carpets told The Huffington Post. “They are produced in such huge quantities that nobody seems to notice them anymore. By making something new out of them, and using them in huge quantities, we try to renew their aesthetic value, and at the same time say something about the time it takes to build them and the fragility of the installations lying loose on the ground.”

The artists have worked with media including skewers, confetti, party hats, sponges and umbrellas. “The materials have to be available in big quantities, so they have to be mass produced, that is one of the only criteria,” the artists said. “Of course we also look at the shape and the color of the materials. In the end, everything has to come together: the material, the size of the work and the space we build it in.”

Some carpets are as large as twenty by thirty meters, but the artists say the smaller carpets are the most physically taxing. “It puts your whole body under strain,” Marcia explained.

The site-specific artworks are made on the spot, allowing the shapes and colors of the mundane materials to guide the symmetrical geometric patterns that soon emerge. Although the final products resemble rugs, the raw materials are often arranged on the ground, untethered, such that a single graze of the hand could disturb the entire fragile display.

“What will happen with the installations if it is touched? What will happen after the exhibition is over? It’s nice that every everyday things can raise these kinds of questions.”

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