BOILED DOGS AND FRIED CATS – BARBARIC MENU FROM CHINESE SAVAGES

 

As Cornell University scientists led by Dr. Adam Boyko, the genetic traces of today’s dogs lead to Central Asia. Scholars have conducted genetic analysis of more than 5,000. Nowadays living dogs, both those living in the homes of man and the feral, exist in the vicinity of human host and reproduce freely.chp-5 It turned out that all the genetic traces lead to central Asia, in present-day Mongolia and Nepal. Wolves, the ancestors of today’s dogs have been domesticated there, “Dr Boyko said in the PNAS magazine. chp-7The researchers also found no evidence that domestication could have occurred independently in different parts of the world, for example in Central Asia, Europe and the Middle East. On the contrary, the domestication process has taken place once and then the new species has spread throughout the world. It is also known that the dog is accompanied by the longest of all animals. So far scientists have been convinced that the wolf was tame and domesticated much later, about 13-12 thousand. years ago. So he could not accompany the first European homo sapiens in hunting. Today, however, it seems that the man came up with the idea of ​​attaching wolves to his herd much earlier. As the recent discovery by Russian scientists proves, fully domesticated dogs accompany us not from 12-13 thousand years, but at least 30 thousand years. chp-11This is evidenced by the remains of an animal found in Siberia that have both dog and wolf characteristics. They were discovered by scholars from the Russian Institute of Molecular and Cell Biology. Genetic research and dating of debris have confirmed that it was one of the first dogs to accompany human beings and lived as many as 33,000. years ago.chp-6

But of course this in not about history. This is about present time! It is estimated that 30 Million Cats and Dogs are killed each tear in China, Korea, Vietnam and other Asian Countries for their Meat and Fur. In China alone it’s estimated 10 Million plus are killed each year for their meat, a vast majority of these sentient beings are either Stolen Pets some still wearing their Collars or Strays. Three large Slaughterhouses in the province of Jilin torture and slaughter between 5000 to 10000 Cats and Dogs on a daily basis.chp-4 Each day trucks loaded with 300 to 400 dogs and cats crammed into filthy wire cages stacked on top of each other. These animals travel in these filthy conditions for days without any water or food. Some of them are dying from dehydration, heat stroke or suffocation.chp-3 On arrival cages are roughly thrown to the ground which results in broken bones. Once unloaded they are sadistically tortured by being beaten, hung, blow torched, boiled, skinned or crucified while still alive. 365 DAYS A YEAR.  In the past company of Humans and Their Dogs drove Neanderthals to extinction, stake was high – that was evolution race. And now, these days?  Evolutionary recession, callousness and countless Chinese give scientists sleepless nights, why? Because Homo Sapiens and Canis Lupus Familiaris lived together since forever and very soon there will be need to re-write anthropology books.

 

Below there is very interesting but short interview with Fundraiser Mahny Djahanguiri and Anneka Tanaka-Svenska  TV presenter and conservatonist.

 

 

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Who am I?

A few years ago, the city council of Monza, Italy, barred pet owners from keeping goldfish in curved bowls… saying that it is cruel to keep a fish in a bowl with curved sides because, gazing out, the fish would have a distorted view of reality. But how do we know we have the true, undistorted picture of reality?

Stephen Hawking

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I met Raouf for the first time at a New Year’s party and I did not know anything about him except that he works with my fiancé, he is Italian and does not look like Italian. It was the day I came up with an idea for an interview.  With Raouf we agreed to meet last week on Tuesday afternoon in London. When I called him and offered him a coffee in Little Cairo as a destination of the meeting. He replied that has never been there before. I have had a double pleasure to introduce him to Edgware Road and have a talk.

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Before the Romans, today’s Edgware Road began as an ancient trackway within the Great Middlesex Forest. The Romans later incorporated the track into Watling Street. Many centuries later, the road was improved by the Edgware-Kilburn turnpike trust in 1711, and a number of local inns, some of which still exist, functioned as stops for coaches, although they would have been quite close to the starting point of Coach routes from London. During the 18th century, it was a destination for Huguenot migrants. By 1811, Thomas Telford produced a re-design for what was then known as a section of the London to Holyhead road, and redesigned one of the most important feats of pre-Victorian engineering. Telford’s redesign emerged only a year After the area saw the establishment of Great Britain’s first Indian restaurant. The area began to attract Arab migrants in the late 19th century during the trade with the Ottoman Empire. The trend continued with the arrival of Egyptians in the 1950s, and greatly expanded in the 1970s, and continued to the present when events including the Lebanese Civil War, the overthrow of the Shah of Iran, and the unrest in Algeria brought more Arabs to the area. They established the present-day mix of bars and shisha cafes, which made the area known to Londoners by nicknames such as “Little Cairo” and “Little Beirut.”

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PM: Raouf, please introduce yourself.
RS: My name is Raouf Salhi, I’m Tunisian, born in Sidi Bouzid in Tunisia, and both of my parents are Tunisian. I came to London in January 2016 from Munich in Germany where I lived for three years. When I was six months old my parents decided to move to Bologna in Italy where I stayed until my 21st birthday.

PM: Where is your family right now?
RS: My mother and sister they live in Bologna, my father five years ago moved back to Tunisia where he has got property business and right now he spend six months in Tunisia and other six in Italy. My family is in couple of countries right now, maybe even ten, if counting all of my cousins and uncles.

PM: Which language do you speak at home?
RS: It depends who I talk to. Whit my parents I speak Arabic, with my sister I speak in Italian but sometimes we mix both languages, we substitute words and I think that you know a little bit about it because your fiancé is Italian

PM: Yes, it is true that sometimes one sentence include words from three languages. I call it house language. Speaking of which: where is your home?
RS: That’s a good question! I miss Germany and I would consider it as my home. Surprisingly I don’t miss Italy.

PM: What makes Germany better than Italy?
RS: And better than UK (laughing) In my opinion people make it great, it doesn’t matter how the country looks like because people makes me feel like I’m home. And Germany is the country where I experience kindness, respect and help. Life wise Germany is the place where you will have more opportunities to find work, school, proceed with your career. It seems to be much easier to live, much easier than here in the UK. In Italy looking for work is very difficult unless you know somebody who knows somebody. On the other hand Germany is the country where you can start from scratch, on your own and it’s much easier than here in London where I’m not saying it’s impossible but very difficult due to living costs.

raouf a1bPM: What was your reason for leaving Germany?
RS: Because of my Girlfriend. Yes, love was involved, as well as engagement ring. We were planning future together and there were two options, or she is coming to live in Germany or I’m coming to UK. First option was rather impossible because she didn’t speak German, so I decided to leave everything and come to her.

PM: You spend your entire life in Europe. In Italy, Germany and now UK. Are you considering yourself as a European citizen?
RS: I would say that half of me is European and half Arabic. I was raised in Europe between Europeans and under influence of European culture, but when I’m asked about origins I always answer: Tunisian. My name is Arabic, as well as my look and blood. And why do I speak Italian? Because I’m Italian. I have double nationality but fist is always Tunisian.

raouf a1ePM: Are you on a trip looking for new home or you already know where it is or where to go?
RS: I found home and I left it (laughing). Italy is not as multicultural as other countries and I think migrants start to settle there maybe thirty years ago, this is only one generation which is not even close to migration history of Germany or UK. In Germany quality of life is at the level I wish could be here in London.

PM: What about friends?
RS: There are friends in Italy, In Germany, I miss them all and I visit them at least once a year

PM: Are you religious?
RS: If you ask me what religion I am, I will tell you that I’m Muslim. I do believe in my God and my Religion. I pray but I struggle to go to the mosque, but I really do believe that Allah forgive me not following my religion properly. We say InShaAllah which means “if God wills” – with Gods will one day I will become good Muslim.

PM: We all know that time is flying these days, and might be silly to ask you but I really would like to know where do you want to be buried?  This is very important matter to me and I would like to know yours.
RS: Without no doubt in Tunisia. All my family will be there, all my grandparents are already there. Shall I say that’s my home then? (Laughing) I wouldn’t live there because I know there is no life for me in Tunisia. I’m attached to Europe, to people here, to mentality and I think Tunisia is still far behind but this is my homeland.

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I have had my shisha and mint tea first time in my life as well as my first interview with? With who? With the men who is making his living far away from his family and teaching me that it’s very difficult to find the home but it’s essential to search it no matter what. He wants to be here, he wants to have normal life as we all want to have during this very precedent time of decomposition of Europe, or “the”world perhaps.

PHOTOBOOK RESEARCH

My research I started from XIX century. I decided to introduce a couple of very first photo books and have a look at these from present time. What is arguably the first photo-book, Photographs of British Algae: Cyanotype Impressions (1843–53) was created by Anna Atkins. The book was released as a partwork to assist the scientific community in the identification of marine specimens. The non-silver cyanotype printing process worked by pressing actual specimens in contact with light-sensitive paper; hence the word “impression” in the book’s title.

Detail of title page of Photographs of British Algae: Cyanotype Impressions

Detail of title page of Photographs of British Algae: Cyanotype Impressions

Sir John Herschel, a friend of Atkins and Children, invented the cyanotype photographic process in 1842. Within a year, Atkins applied the process to algae (specifically, seaweed) by making cyanotype

A cyanotype photogram made by Atkins which was part of her 1843 book, Photographs of British Algae: Cyanotype Impressions

A cyanotype photogram made by Atkins which was part of her 1843 book, Photographs of British Algae: Cyanotype Impressions

photograms that were contact printed by placing the unmounted dried-algae original directly on the cyanotype paper.” Atkins self-published her photograms in the first installment of Photographs of British Algae: Cyanotype Impressions in October 1843. Although privately published, with a limited number of copies, and with handwritten text, Photographs of British Algae: Cyanotype Impressions is considered the first book illustrated with photographic images. Eight months later, in June 1844, the first fascicle of William Henry Fox Talbot’s The Pencil of Nature was released; that book was the “first photographically illustrated book to be commercially published” or “the first commercially published book illustrated with photographs.” Atkins produced a total of three volumes of Photographs of British Algae: Cyanotype Impressions between 1843 and 1853. Only 17 copies of the book are known to exist, in various states of completeness.

Cover of The Pencil of Nature, 1844

Cover of The Pencil of Nature, 1844

The next book I would like to bring on is: The Pencil of Nature (1844–46) was produced by William Henry Fox Talbot, who had invented the Calotype photographic process in 1839. Although significant as the first negative/positive photography process, the Calotype was also envisioned as a commercial prospect for the reproduction of images in books through mass publication. Anticipating commercial success, Fox Talbot established purpose-made printing premises in Reading to carry out the reproduction of his book. The Pencil of Nature was released in six parts between 1844 and 1846, to an initially promising list of private subscribers whose numbers dwindled, causing the premature termination of his project.

The 24 plates in the book were carefully selected to demonstrate the wide variety of uses to which photography could be put. They include a variety of architectural studies, scenes, still-lifes, and closeups, as well as facsimiles of prints, sketches, and text. Due to the long exposure times involved, however, Talbot included only one portrait, The Ladder (Plate XIV). Though he was no artist, Talbot also attempted to illustrate how photography could become a new form of art with images like The Open Door (Plate VI).

View of the Boulevards at Paris

View of the Boulevards at Paris

From Europe I would like to jump to Asia, exactly to Japan where photobooks didn.t appear as early as in Europe but still surprisingly  early. Photographers such as Shinzō Fukuhara were producing photography books in the 1920s. The postwar years brought low-priced photography books, such as the many volumes of Iwanami Shashin Bunko magazine. From the 1950s onward, most Japanese photographers of note have had photo-books published.

Shinzo Fukuhara, Tokyo 1923

Shinzo Fukuhara, Tokyo 1923

Fukuhara first used a camera in 1896, if not earlier. He went to Columbia University to study pharmacology in 1908, and after his graduation traveled around England, Germany and Italy before settling in Paris in 1913. While there he certainly viewed much art and is likely to have seen various exhibitions of post-Impressionist works; Iizawa sees the influence of artists such as Seurat in Fukuhara’s photographs later collected as “Paris and the Seine”.

Shinzo Fukuhara, Tokyo 1923

Shinzo Fukuhara, Tokyo 1923

After this era and beginning of photography where only analog cameras were in use came era of digital image and internet. Storing digital images in traditional photo albums means printed copies are inserted in the pages of an album. Companies allow users to create personalized photo-books. The resulting book is printed on digital color printers and case bound. Professional printing and binding services offer easy creation of photo-books with professional layouts and individual layout capabilities. Because of the integrated design and order workflow, hardcover bound books with customized pictures and text can be produced very cost-effectively. Currently there are many photo-book software companies who sell licensed solutions to photo labs and print houses so that their customers can create photo-books (and other photo related paraphernalia) with ease. These software solutions are available for free download or online access or through apps. The development of digital cameras and the Internet allowed an enormous production and exchange of pictures, taken from different corners of the globe. There are many possibilities nowadays for users to upload and share pictures (examples are Google and Facebook). However, many people and institutions also publish ‘photo-books’ on the web, by providing the community with a huge web database freely available for everybody.

EXPERIMENTAL PHOTOGRAPGHY

ARTIST RESEARCH – WALTER HUGO

Walter Hugo is a British photographer that uses many experimental techniques. One that caught my eye is described as photographic fresco where he develops photographs directly onto the walls of a gallery. As the developer ran down the wall it created very one of pieces of art which had a very distinct look.

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Using a room-sized camera with a built-in dark room is in itself an unusual approach to image-making. Add to that British photographer Walter Hugo’s mid 19th century camera lens and glass plate printing technique and you have a unique artist producing forward-thinking, yet antique, art.

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Hugo, having asked parts of London’s young creative elite to pose for him, compiled the Reflecting the Bright Lights exhibition a while back, but it’s now combined with the The Nature of Interdependence series of beautiful UK seascapes, as part of an unofficial Frieze celebration.

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Henri Cartier-Bresson  "Behind the Gare St. Lazare,"

Henri Cartier-Bresson “Behind the Gare St. Lazare,”

The first photograph I am discussing is entitled, “Behind the Gare St. Lazare,” and was taken in 1932, at one of the large railroad stations in Paris. I’m going to speak about it in relation to the beginning opposites Aesthetic Realism shows every person is trying to put together: Self and World—for it surely is about those very opposites. We see in the foreground the silhouette of one man in the midst of a leap. He is one particular individual in a bowler hat, taking a chance, and yet how richly and subtly Cartier-Bresson makes us see the relation of this man to the world around him. As I’ve studied it, I’ve come to feel that it is one of the great photographs of the world because of the way it shows, through lines, shapes, forms and through light and dark, that the self is in an unlimited relation to reality, and it is that relation which gives the self meaning and grandeur.

Julius Schulman "Stahlhouse"

Julius Schulman “Stahlhouse”

Mr. Shulman photographed buildings by some of the era’s best-known architects, including Richard NeutraFrank Lloyd Wright, Charles and Ray EamesMies van der Rohe and Oscar Niemeyer. But he also photographed less exalted examples of American buildings, like gas stations, apartment buildings and shopping malls. One of Mr. Shulman’s most widely reproduced images, a 1960 view of Pierre Koenig’s Case Study House No. 22, shows two well-dressed women in seemingly casual conversation in a living room that appears to float precariously above the Los Angeles basin. The vertiginous point of view contrasts sharply with the relaxed atmosphere of the house’s interior, testifying to the ability of the Modernist architect to transcend the limits of the natural world.

Julie Blackmon "Homegrown"

Julie Blackmon “Homegrown”

Julie Blackmon’s photographs don’t look particularly real – they’re too staged and manipulated for that – but she is a kind of realist nonetheless. Instead of depicting domestic life in extremes, either as some soft-focussed bower of bliss or alternatively a living hell, Blackmon goes for something in between. Her family scenes supposedly represent the more ordinary experience, and yet Blackmon freely admits that her own extraordinary upbringing as one of nine children has inevitably filtered through – hence the comedic, joyous, rowdy chaos that defines each one, illustrating family life as both a blessing and a bane.

from paris to london with jeff brouws

Jeff Brouws

My choice of photgrapher was very simple as soon as I get to Paris Photo. I knew it will be Jeff Brouws. Born in San francisco in 1955, is a self-taught artist, landscape photographer and geographer. Pursuing photography since age 13, where he roamed the railroad and industrial corridors of the South Bay Peninsula in California State. What is most important for me in his work , is that he shows rural, urban and suburban landscapes from cultural point of view. Using single photographs he tries, or rather is showing character of nation, enviroment where they live and how they live. Huge influence on his work caused “New Topographic Movement” by artist Ed Ruscha as well as the writtings of cultural geographers like J.B Jackson, Dolores Hayden and John Stilgoe. He might be best known for exploring vast teritory of United States and indexing character of his country. His last project which was very interesting for me was named “The Coaling Towers” which I was able to see in Paris Photo. Very simple shots of industrial architecture, but very striking in it’s simplicity. Work of Brouws is very close to my preferences which is travelling and discovering architectual sculpture. Photographer saying that his work refer to as “visual anthropology”. This kind of work from my point of view is extremley important. Jeff recording shape of his national landscape making some kind of chronicle of places which disappear under influence of developers wanting to win the priceless piecies of land.

Twentysix Abandoned Gasoline Stations by Jeff Brouws (published in 1992) is an exact replica of Ed Ruscha’s Twentysix Gasoline Stations, first published in 1962. Mimicking Ruscha’s format, design and type treatment, the 5½” x 7” book contains 26 black and white shots of abandoned gas stations. While the images selected bear no geographic relation to Ruscha’s original photos (it is not a re-photographic project), they do share an aesthetic sensibility in the way both artists employ a deadpan, neutral gaze.

Twentysix Abandoned Gasoline Stations #1, San Miguel, California 1990

Twentysix Abandoned Gasoline Stations #1, San Miguel, California 1990

When Brouws began his project in the early 1990s many stations were being abandoned due to the implementation of new, tougher EPA requirements mandating that aging underground tanks had to be replaced, which required a huge capital outlay. Independents gas station owners were unable to bear this cost, while larger, better-funded multi-national corporations like Chevron and Shell could afford to meet these stricter regulations. Investigative reporting in the Los Angeles Times at the time suggested that major petroleum companies conspired with the EPA to drive competition out of business with these tactics.

Twentysix Abandoned Gasoline Stations #15, Johnson Corners, California 1984

Twentysix Abandoned Gasoline Stations #15, Johnson Corners, California 1984

Brouws’ series—initially begun as a simple riff on Ruscha’s original idea and a play on words—tangentially evolved into a documentary typology reflecting this changing aspect of the commercial landscape. The two books, done thirty years apart, make visual commentary on the historical ascendancy and demise of an important element of American car culture.

Twentysix Abandoned Gasoline Stations #3. Edison, California 1980

Twentysix Abandoned Gasoline Stations #3. Edison, California 1980

Approaching Nowhere is a moving meditation on the loss of place and texture in the contemporary American landscape.

Jeff Brouws 'Approaching Nowhere'

Jeff Brouws ‘Approaching Nowhere’

Brouws’ luminous images elegantly capture the complex, surprising beauty and desolation of visual life in our time, as seen from the American road.

Jeff Brouws 'Approaching Nowhere'

Jeff Brouws ‘Approaching Nowhere’

The potency of the work reflects both Brouws’ perceptive vision of the country’s changing face and his concern for the shifting shape of its soul.

Jeff Brouws 'Approaching Nowhere'

Jeff Brouws ‘Approaching Nowhere’

Inside The Live Reptile Tent captures the half-experienced, half-remembered landscape of the American carnival midway in eighty color photographs.

Jeff Brouws, Tickets, Ventura, California Inside the Live Reptile Tent (1987)

Jeff Brouws, Tickets, Ventura, California
Inside the Live Reptile Tent (1987)

Temporary architecture, gravity defying amusement rides, brightly colored booths, the beseeching barkers – all are preserved by Brouws’ lens in the perpetual twilight of the midway. Cultural historian Bruce Caron provides a lively text to accompany the photographs.

Jeff Brouws, Skydiver, Ventura, California Inside the Live Reptile Tent (1988)

Jeff Brouws, Skydiver, Ventura, California
Inside the Live Reptile Tent (1988)

“Initially what I examined were the older elements of roadside culture,” says Brouws.  “What Walker Evans called the ‘historical contemporary.’ I was on a road trip – this was purely visual engagement: I saw something that attracted me and made a photograph.”

Jeff Brouws, Live Reptile Tent, Ventura, California Inside the Live Reptile Tent (1987)

Jeff Brouws, Live Reptile Tent, Ventura, California
Inside the Live Reptile Tent (1987)

photographer’s gallery

Photographer’s Gallery 

After visit to exhibition in photographer’s gallery I was amazed by work of Lorenzo Vitturi. Vitturi’s work, in this series, documents the changing landscape of Dalston. Lorenzo’s “Dalston Anatomy” was on show in the John Lyon gallery, exemplifies this capacity Vitturi is a Venice born artist formally cinema set painter, who currently resides in Dalston, East London. As an artist he uses photography in order to cross boundries and re-shape and interact with the world around him. Dalston area is changing very dynamically, landsape is rapidly undergoing a process genitrification. This series is the end point of a seven year documentation process in which Vitturi witnessed his local neighborhood transforming at an accelerated speed. The artist’s interestslie in documenting this process of decay. Such interestsare highly visible here in the gallery. In past exhibitions I didn’t see this kind of work. I remember the moment in which doors from the lift on the top floor have opened up and I saw the first picture of Lorenzo. It was a photo of rotten bananas . They were completely black, totally rotten, cover in white mould. Composition of the fruits, the way in which bananas were laid was very impressive. Apart from bananas I can see composition which gives me feeling that bananas are in move. I’m thinking here about African savannah, where terirfied antilopes runnig away in chaos, escaping from inevitable death pictured in big, hungry lions. The question is what Lorenzo want to say trough these fruits? I know situation of Dalston and I feel really happy with my interpretation. There is danger waitting everywhere around looking for weak and vulnerable units. Lions are always hungry, even if they are not – they are haunting.

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Lorenzo Vitturi ‘Dalston Anatomy’

On photograph above the image of corn, where the purpule tissues and background juxtapose the yellow of the corn was one of my favourite. Beautiful combination of colours showing knob of corn. This plant is very common on our planet, and especially on markets. Colours gives me some idea. Seconds after I spotted this picture I was thinking about deadly poisonus tiny frogs from tropical forests taking the bright colours to inform enemy how dangerous they are, or I was thinking about Paramecium Caudatum is a spiece of unicellular organism. This organism leave in every eco system on our planet. I would say when some social groups are united, they have strong bonds and ideas , they can win with opponent couple of times bigger and more dangerous.

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Lorenzo Vitturi ‘Dalston Anatomy’

Julie Blackmon (b. 1966, USA) is an award-winning photographer who has amassed several honours since beginning her career just a few years ago. Her work is in the collections of the Museum of Contemporary Photography, Kemper Museum of Art in Kansas City, the Toledo Museum of Art, the Portland Museum of Art, and the Museum of Fine Arts in Houston, among others. Her photographs were featured in such publications as New York, TIME, VOGUE Italia, New York Times and The New Yorker. You can gauge from the comments that Blackmon creates powerfully mythic work on familiar family spaces – the domestic hallucinations of a woman juggling work and family, the cultural baggage of motherhood and the reality of a working life, and the personal, social, and emotional expectations surrounding it. Somehow Blackmon extracts from this chaos a very singular vision. It’s where the cinematic meets the suburban, the epic meets the domestic, the authoritative parental eye folds into the vision of the child. The current show ”Homegrown” in on show downstairs in the Print Room at the Photographer’s Gallery. It is the perfect space for what Blackmon is doing, a little bit emotionally confined, claustrophobic a photographic vision seeking to escape through a playfulness that sits on the threshold between pure creative freedom and the day in the life of a Mum. Blackmon writes on her website of being a mother, “We live in a culture where we are both ‘child centered’ and ‘self-obsessed.’ The struggle between living in the moment versus escaping to another reality is intense since these two opposites strive to dominate… Caught in the swirl of soccer practices, play dates, work, and trying to find our way in our ‘make-over’ culture, we must still create the space to find ourselves. The expectations of family life have never been more at odds with each other…”

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Julie Blackmon ‘Homegrown’

Probably the image “Take-Off”, the skewed perspective, the scrawny pilot, the spectators on the window sill, the sharp-intake of breath, the photograph visibly  inhales just before the astronaut in underpants gets ready to launch. Heroic and mock-heroic, triumphant and comical, heaven and hell, in each of Blackmon’s photographs, her eye maps the dynamic emotional vectors of family life.

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Julie Blackmon ‘Homegrown’

In “S a golden-tressed toddler lies smiling on the floor after taking a black marker to a tufted Victorian sofa. A nearby chair is overturned, and various objects — a pillow, shoe, doll, and spilled Tic Tacs — litter the floor. harpie,”