The Quilter's Applique Workshop: Timeless Techniques for by Kevin Kosbab

By Kevin Kosbab

A clean tackle quilting and appliqué!

Kevin Kosbab exhibits quilters that not just is appliqué enjoyable and simple to do, it may well open up an international of layout probabilities. The Quilter's Appliqué Workshop teaches you every little thing you want to understand to create appliqué–both as embellishment and because the concentration of projects.

The ebook is split into 3 sections that every explores a easy appliqué technique: raw-edge, prepared-edge, and needle-turn appliqué. every one part comprises particular directions, tips, and illustrations. Twelve home-decor tasks, together with mattress quilts, wall quilts, desk runners/toppers, and pillows, illustrate the ideas and let you discover extra really expert tools similar to broderie perse, felt appliqué, and bias-tape appliqué. The Quilter's Appliqué Workshop promises the instruments to mix'n'match appliqué suggestions and create any layout you could imagine.

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24] - La terza scena si svolge a casa di Andy, nella grande sala centrale. Alice è di fronte a un grande schermo su cui viene proiettata continuamente una scena pornografica ripetuta all’infinito in cui si vede lei stessa mentre viene penetrata da dietro, forse analmente, con un’espressione di piacere misto a dolore. Il confronto tra Alice e il suo doppio fantasmatico causa l’effetto del “questa non è Alice”, come accade nel dipinto di Magritte intitolato “Questo non è una pipa”: si tratta di un tipo di scena in cui una persona reale viene accostata all’immagine fondamentale di quello che è per il fantasma dell’Altro maschile, in questo caso mentre gode a essere sodomizzata da un grosso uomo di colore (“una donna viene sodomizzata” funziona qui come l’affermazione freudiana “un bambino viene picchiato”).

A differenza della femme fatale classica che viene distrutta nella realtà per sopravvivere e trionfare come entità fantasmatica spettrale, Linda Fiorentino sopravvive nella realtà sacrificando e distruggendo il suo supporto fantasmatico. Ma lo fa davvero? L’enigma della nuova femme fatale è che rimanga enigmatica nonostante, al contrario della classica femme fatale, sia totalmente trasparente, e assuma apertamente il ruolo di una puttana calcolatrice, personificazione perfetta di ciò che Baudrillard ha chiamato “la trasparenza del Male”.

Gli spettatori non sono forse perfettamente consapevoli dei prodotti della loro immaginazione oscena? La psicanalisi è necessaria in un punto ben preciso: ciò che ignoriamo non è un contenuto segreto profondamente rimosso, ignoriamo invece il carattere essenziale delle apparenze stesse. Le apparenze contano: si possono avere tante fantasie oscene, ma ciò che conta è quale di esse verrà integrata nella sfera pubblica della Legge simbolica, del grande Altro. Maltby ha quindi ragione quando sottolinea come il famigerato Codice di Produzione di Hollywood negli anni ’30 e ’40 non fosse semplicemente un codice censorio negativo, ma anche un regolamento e una codificazione positivi – o produttivi, direbbe Foucault – che diede vita a un eccesso la cui rappresentazione diretta cercava invece di ostacolare.

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