I just thought that, as adept and talented as my daughter undoubtedly is, the apple might prove her undoing… and it did.
I had cut it into segments, and she was really enjoying the taste and the sensation of it, but a piece broke off that was too tricky for her to handle and there were tears… (mostly mine).
Think we'll give the apples a miss until she has some top teeth and I can just hand her the whole thing to scrape on.
Still no sign of the top teeth but at nine months old Babybear now enjoys eating her apples whole. I wouldn't have started her any earlier, thanks to our choking experience, but what I do is bite a good chunk out of and hand it to her so that she can use her bottom teeth to grate away at the open part of the apple. Very, very handy to take out with you as it is a huge time-waster, and it is rather sociable, I find, to share an apple with your child. Especially when I get to eat 90% of it.
So wish I had read this bit before. I posted the other night about my DD doing her best to give me a fright by choking on a piece of apple. I am just navigating my around the website tonight to see what else is going on and what I should be doing or avoiding with this BLW. I know, I know, I really need to chill out a bit!
My daughter Clara is almost 6 months, and she loves apple! What I do is peel and cut a wedge off a McIntosh apple, put it in the microwave for 30 seconds, cool it under water and then give it to her. She just devours it! Hope this helps!
good idea, what does it go like? all mushy?
I wish I had read this first. I was getting motivated by my little one's desire for solids and gave her a slice. The peel of the apple gave me quite a scare when she choked on it. I scooped it out of her mouth with my finger and all was well.
I think I'll try grating it, she loved the flavor!
We started solids yesterday at 6 months, 2 days and will be doing Baby-led weaning. Many thanks to you for this lovely site.
Baby K loved the taste of apple, but I had to try 3 different preps before we found one that worked like a charm!
Type 1: Peeled microwaved wedge – she didn't like the squishy peel and wouldn't pick it up.
Type 2: Peeled raw (skinny) wedge – she loved this but kept biting off big chunks which caused her to gag and spit them out after a while. I was fine with the process but hubby almost had a heart attack.
Type 3: Frozen wedge with peel intact – This went MAGNIFICENTLY. She grabbed it easily, seemed to enjoy the coolness on her gums, and the flesh/meat dissolved easily into almost mush as she enthusiastically gummed it. She obliterated the meat of it, handily keeping ahold of the skin while she continued to eat it; then dropped the skin when she was all done. We were ecstatic. HURRAH!
Hello! Good idea to heat up the apple to make it softer, but what if I don't want to use a microwave? Would steaming or baking slices make them too mushy?


when you don't notice it!
It's only in the absence of good signage does it become apparent that it is not there. Our wayfinding and signage systems help millions of people find their way every day in the UAE and worldwide. The importance of good signage systems should never be underestimated; it is vital that the end user can find their way around the development. It is a major touch point of your brand and can be a factor in the return of the end user.
Capital Gate, owned and developed by ADNEC (Abu Dhabi National Exhibitions Company), has been certified as the world's farthest-leaning manmade tower by Guinness World Records. mr.h has recently completed the signage system in the development, reflecting the brands of both Hyatt and Capital Gate in the signage.
as the approved signage consultancy, mr.h design the main signage on the premise of the builidings 18º lean. the signage scheme also had to incorporate both brands, Hyatt and Capital Gate.
mr.h was appointed initially to aid with the signage of this project but it became apparent the F&B outlets needed the mr.h touch. Working with the investors and interior designers, the mr.h team created a clean, simple design to reflect the new nature of the hotel and its outlets.
ADNEC sets the stage for some of the UAE's most important and best-loved exhibitions and events. It is also responsible for a number of high profile development projects, not to mention its international business interests.
making sure that the visitors are directed every step of the way from the car park to exhibitions and back.


text:
Q: while he took his bath a. She left while he took his bath.
b. She left when he took his bath.
Do these mean

*

*She left when he was starting to take his bath.

*She left while he was taking his bath. (He was taking his bath when she left.)
or

*She left after he took his bath.

?
Many thanks.

A: "She left while he took his bath.", tells us that he was taking a bath when she left. Clearly, she did not leave after he had taken it.
"She left when he took his bath.", may suggest that his taking a bath is in someway significant (meaning often requires context) to her leaving. The two events appear as if connected, but we are not told how.

redpajama_set_name: RedPajamaStackExchange


text:
In Practice: Performing Twinship: Molly & Aviva Rose-Williams
By Sima Belmar
May 16, 2019, PUBLISHED BY IN DANCE
On January 25, 2018, Molly and Aviva Rose-Williams performed Side by Side at Paufve Dance's 8x8x8 performance series at The Uptown in Oakland. I was there that night and have also watched the footage (deftly videographed by Erin Halley) multiple times to try to put my finger on why I consider it a perfect work. An engaging mixture of sensibilities and movements drawn from circus (spectacle!) and minimalist, postmodern dance (anti-spectacle!), Side by Side is six satisfying minutes of comedic intimacy. I was most moved by the moments when Molly and Aviva engage in brief gestural conversations, enlarging the gesture space beyond face, head, shoulders, arms, and hands to include the whole body.
Molly and Aviva Rose-Williams are Berkeley natives and also twin sisters. Their most recent collaboration, Mind the Gap, performed at Kinetic Arts Center where Molly and Aviva are 2019 resident artists, builds on the Side by Side to explore the pleasures and pains of being twins—the unparalleled intimacy, sometimes marked by playful exuberance and mutual support, other times an uncomfortable mirror to be covered with a sheet and hidden in the corner (read: they adore each other and also benefit to a degree from living on nearly opposite sides of the world). I brought my kids, 12 and 6, to that show, and all three sets of eyeballs were glued to the stage, a rare successful intergenerational performance outing—in other words, not one of us stood up to shout, "THIS IS SOOO BORING. CAN WE LEAVE?" (Yes, one of my children did that at a performance, I kid you not.) With technique, wit, and fearless vulnerability (is there any other kind?), Molly and Aviva charmed us all.
The twins grew up with parents who Aviva says, "both appreciate the arts and both feel like anything's possible." Early on they trained in circus, first with Splash Circus Theatre and later as members of the San Francisco Youth Circus from 2006 to 2009. After attending Berkeley High, Aviva and Molly auditioned for the National Circus School in Montreal, a grueling, four-day experience that resulted in neither being accepted. Aviva: "It was awful. They cut people as the days go on, so if you're left at the end, you've seen all of your friends get cut. Mol got cut and we were auditioning together, so she ended up having to come in just for the hour that I needed her to do our act. It was so unpleasant." When Aviva was sitting in the canteen with the final 30 auditioners, a young man rushed in. Aviva: "He had his coat over his head, got on his hands and knees, and started running around the canteen whispering, 'There's a circus school in Quebec! Come audition. Auditions are next week. Tell everyone about it!' Though I came back to the Bay Area to study nursing at USF, I realized, 'Oh! There's another circus school in the world.'"
Molly spent three months in Bolivia and then went off to Middlebury College. Aviva spent an unfulfilling year at USF and training in the professional acrobatics program at the San Francisco Circus Center before following the advice of that "crazy guy." She auditioned at École de Cirque de Québec, got in, got on a plane, and never turned back. Upon graduating with a degree in Chinese Pole in 2013, Aviva and cohort-mates Helene Leveau, Benjamin Renard, and Constanza Sommi, formed the circus collective À Sens Unique ("one-way"), and relocated to Renard's hometown of Le Mans, France. (I highly suggest you pause your reading and watch a few À Sens Unique videos on YouTube to get a feel for their charming blend of circus arts and physical theater.) Aviva currently resides in Brussels but tries to visit the Bay Area as much as her tour schedule allows.
Molly (left) and Aviva (right) Rose-Williams, photo by Eric Gillet
Molly started dancing in college, and continued, somewhat to her surprise, after graduating. Side by Side was the first piece the two made together—a test-run of sorts to see what might happen if they were to bring these parts of their lives that had developed separately from one another back together. Mind the Gap, a full-length show, felt like the natural next step.
One of the themes of Mind the Gap is the geographical and psychoemotional distance the twins have experienced since graduating high school. Much of the verbal text in the show explores the sisters' mutual but not always simultaneously experienced urge to individuate from each other. In a gorgeous moment in the piece, Molly unwinds herself from an intertwining duet and says, "Every time we separate it feels like my heart is being ripped out of my chest and part of me is being hollowed away. But without all these miles between us, I don't think I could have ever learned how to be by myself." Then Aviva says, "Or with other people," and Molly says, "Or with other people." The way they look at each other is as two separate souls, one softened into a deep pool of understanding and care into which the other can see herself shine. Throughout the work, we see them take turns being the reflective water for the other.
This loving listening appears in the partnering, the unison work, the easy laughter, and the generous turn-taking on stage. Watching Molly and Aviva perform, and listening to them talk, their sororal love illuminates the space around them—like in Frozen! (except without the imbalance of one sister having ice powers and the other heteronormative desires).
What follows is some back-and-forth between Molly and Aviva. You'll notice my absence—these two clearly have had a lot of practice talking to each other.
On their creative process
Molly: Before every performance, Aviva and I would set intentions or questions: what are we curious about, what do we want to find within the experience? I hadn't realized until we were doing that together that I do that myself when I perform solos. But doing it together and having the conversation every time, we would actively decide to think about pacing and energetic flow or about what it means to perform the piece from where we are right now as opposed to where we were when we created the movement.
Aviva: Mol's extremely articulate. All I can think of is a cardboard box next to you, simple and bland when it comes to articulation.
Molly: [Laughs.] The entire piece relies on feeling the realness of our relationship. And yet there was almost a distancing from our real life relationship and a leaning in to our artistic, creative collaboration that needed to happen in order for the relationship to feel really alive in the show. Something that's been so exciting about working with Aviva is finding a collaborator who can match and expand my physical interests as well as having a completely different creative domain in terms of how we might use a physical language to convey or investigate something.
On the roles of dance and circus
Molly: My whole life growing up I did acrobatics, played soccer. It always felt like there was something external about the physical experience. When I started dancing I feel like I actually met my body. My first dance class was with Andrea Olsen at Middlebury—experiential anatomy. There was very little so-called dancing. It was mostly touching our bodies, finding how things worked, exploring ranges of movement. As I started to investigate a new relationship with my moving body, I realized there was also incredible capacity and potential in dance for the athleticism I had grown up loving. Now that I have these skills I can actually feel it when I'm doing it.
Aviva: The thing I find most interesting about working in circus is finding everything that's in between the things that people have already found. Especially on pole, I've noticed there are specific positions you can get in and normally a trick is getting from point A to point B. How do you change point B so it's something that's never been seen? How do you rewrite these things and make them unexpected? This goes towards dance: how do you change rhythm and change a body's buoyancy in space so that it becomes unexpected? Then for the performance, you have to figure out what you're communicating with all of that. That's where I think my work veers towards dance because it really is movement exploration.
Photo by Robbie Sweeny
On generating movement
Molly: We approach movement exploration really differently, which was one of the hardest parts of the creation process. My experience of your approach is that it has a lot more to do with pathways and I'm interested in felt experience and a broader narrative element, the experience of the energy, and the experience of the event, which is more intangible. Your process is more concrete in a way that can be shared between two people.
Aviva: I feel like creating movement and creating things in general are a series of choices. And in general you can't make bad choices. Any choice that you make can become something else over time or reinspection. For me to get to a reexamining I just need to create something and find the logic within it when I'm working with other people.
Molly: Hearing you describe it that way, in some ways our process is not that different. I feel like your body and intellect have a more harmonious relationship and your intellect doesn't stifle your body as much as mine does. The relationship between my intellect and body is not quite as intimate, the translation isn't as easy so I have to take more distance and then come back to it later. Our physical process is somewhat similar, but mine happens over a longer period of time.
Aviva: One of the things I loved the most about working with Mol—and I loved a lot of things—is being able to come in as a circus person from a very specific environment, and be like we're making something. It didn't have to be circus or dance or theater. We can use our voices. We can use guitars. We both thought that if there were risks we weren't able to take before, this is a great place to take them.
On the audience
Molly: Maybe this is my projection but I feel like everyone wants to connect and most of the choices we make every day of our lives are somehow related to the desire to connect with others. I think it would be silly to think someone was making art in a process completely devoid of that desire. Art is a really beautiful way to connect with others and to connect with ourselves.
Aviva: Coming from circus I've seen the opposite where people love training, they love the physical engagement with their body, they love how it makes them feel, they love the way that it makes them look to themselves and a lot of performance that I've seen also feels like just a step, if you train this much and you want to validate it then you need to perform to make money so the performance doesn't feel that important, it's a way to validate their training experience which is really a connection to their body. There's not much riding on any sort of connection.
I had one final question for Molly and Aviva: What was the driving question for Mind the Gap?
Aviva: A lens of oneness through our twinship to talk about oneness with all people.
Molly: Where did we come from? And where are we now?
This article appeared in the June 2019 issue of In Dance.
Sima Belmar, Ph.D., is a Lecturer in the Department of Theater, Dance, & Performance Studies at the University of California, Berkeley. She is ODC Writer in Residence and host of the new podcast Dance Cast. She has been writing the "In Practice" column for In Dance since 2017. To keep up with Sima's writing please subscribe to tinyletter.com/simabelmar.

redpajama_set_name: RedPajamaCommonCrawl


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