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fantasyideas1 · 7 months

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quotes almat

body with harmful goods and services, due to self-hatred, self-doubt and fear of the future, the poison weakens the will and increases despair, making life aimless, the snake is a false friend in the environment a pickpocket who steals ideas and hopes, try to take away a smartphone from a child and give a book, it will hit you on the head, you killed your family and relationships, therefore you gave your child a smartphone, you lost your child, now he lives on the Internet, fast food drowned in cholesterol, from TV screens and gadgets the truth goes blind, lose your sight wisely, lose time and health wisely, bookmakers, lottery loans, micro loans, and casinos will undress you with lies, you are getting poorer from naivety, paid courses and lectures of coachers' platitudes, mulattoes with honey-pie skin, if you want to see great-grandchildren, lead a healthy, religious lifestyle, eat healthy food, go to bed on time, don’t go to prostitutes (sexually transmitted diseases), coffee and energy drinks ruin your heart, don’t cheat on your soulmate, it doesn’t matter where you work, it doesn’t matter how much you get paid, don’t be humiliated by low wages, violence, scandals, stress of smiling people the ego of blind fools will not be corrected, they are molded from the unhooking garbage of the Internet, in the beautiful eyes of an Asian there is a cosmic depth of infinite beauty, abstinence from anger is like a broken bladder, urine accumulates and periodically trickles of anger come out, urine therapy with evil truth, kidney disease from bladder retention leads to complications of blood pressure and an effect on the heart that accumulates everything under a thick layer of refraining from anger, the future is unstable from our insecurities, deadly awareness lifting (lifting a heavy barbell), ego lifting (lip tightening), lifter teacher elevating to the highest floor of understanding a world where real life and people are not visible where only clouds that we are all not eternal, traffic jams like slowly flowing lava or an avalanche, a trombone of suicidal egoism and laziness in the veins of society, an explosive mixture of degradation, in a brainwashed incubator, people obsessed with entertainment grow, s voids of illusory non-existence, a lifelong show of hypocrisy, show business for profit, greedy predators, slaves of their genitals and ego, Poetry Ruthlessly exciting sweet skin color, lyrical eternity filled with epic romance, inspired by spiritualized sublime love for you, filling the lungs with air of relief from thinking about you, your beauty and presence exceeds all values in life, an overdose of love, charm melts my heart like candle wax waiting for your love , the light burns until the last second of my century, geysers of gusts of sincere passion, thermonuclear orgasms whenever I see you in my lustful mind, devoted heart, and a sperm plant in a penis that was created only for you, my soul of continuation of you, an endless epic of lyrical love where, bypassing the eternity of reincarnation, I will meet you to conquer your heart, you are a precious thought in the heart, The sweetest temptation of tenderness, everything is so sweet in you, when you kiss me deliciously, you are like a magnetic apparatus that lifts cars, also an erection, subtly perfectionist detailed temptation , boundless perfection, the volume level of love in the soul is growing, you are the divine relish of sweetness, the hot springs of passion in which I bathe you in my lust, the sauna of passion will heat the body and warm the heart with love, you are my eternal ideal of passion, the power of lust is growing, love leads away into a deep state of love for you, every nerve continuously ends with an orgasm, every cell of the body reaches out to you, I need a break too much beauty, the heat of the trembling of your powerful sexuality, eroticism through the body, like a washing machine in spin mode, a powerful Parkinson's vibrator from arousal,

Author musin almat zhumabekovich

#quotes #life quotes

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thisisheffner · 4 years

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Nightmares on wax: the environmental impact of the vinyl revival | Music | The Guardian

Inside a US vinyl pressing plant – its owners have asked that I do not give its location – dozens of hydraulic machines run all day and night. These contraptions fill the building, as long as a city block, with hissing and clanking as well as the sweet-and-sour notes of warm grease and melted plastic. They look like relics, because they are. The basic technological principles of record pressing have not changed for a century, and the machines themselves are decades old.

While it is far exceeded by revenues from streaming, the vinyl market keeps growing – Americans now spend as much on vinyl as they do on CDs, while there were 4.3m vinyl sales in the UK last year, the 12th consecutive year of growth. So, if you’re one of the millions of people to re-embrace vinyl records, it’s worth knowing where they come from and how they’re made. There are containers called hoppers at each pressing station, brimming with the lentil-like polymer pellets that get funnelled down into the machinery, heated and fused to form larger biscuits that resemble hockey pucks, and squashed to make records.

Employees are cagey about the separate warehouse where this company stockpiles its plastic. But the empty fridge-sized cardboard boxes on the pressing floor hint at their origin. They are marked with big red letters proclaiming, “Vinyl compound” and “Product of Thailand”.

While vinyl pellets are shipped in large boxes, it takes only a handful to make a typical record. US–based petrochemical corporations supplied much of this raw material until the LP market dried up after 1990 and, consequently, the US supply chain evaporated. Nowadays, with the stylus back in style, the ingredients of LPs are manufactured offshore. More than half of the polyvinyl chloride (PVC) used by today’s US record manufacturers comes from the Thai Plastic and Chemicals Public Company Limited (TPC), which has its headquarters in Bangkok.

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TPC makes this specialised vinyl on the banks of the Chao Phraya river, about a half-hour’s drive south of the capital. After a year of unanswered emails and weeks of being hung-up on, I finally got a tentative invitation to tour TPC’s facilities and boarded the next flight to Thailand.

By coincidence, the first person I met in Bangkok was a retired Belgian petrochemical engineer. He was surprised when I told him not only that vinyl record sales had been increasing since 2005 but that the recording industry still used what he saw as a grimy and outmoded material. But he knew one thing for sure: TPC was not going to let me see how PVC is made. He was right.

Unsurprisingly, security was tight at the TPC facility, and guards refused me at the gate; I never saw inside or had contact with TPC representatives. Instead, a representative from SCG Chemicals – TPC’s parent corporation and one of the largest petrochemical manufacturers in Asia – agreed to meet at my hotel to discuss their business and to explain how vinyl is made.

The process of producing PVC compound is complicated. There are numerous phases, a campus of buildings, tall silos, deep vats, busy machines, as well as many workers in hardhats, hairnets and safety glasses. But the basic principles are easy to imagine.

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If you have ever rolled Play-Doh in your hands, placed it in one end of a garlic-press-like gadget and squeezed it out the other, then you know how PVC compound is made. Once PVC has been synthesised from its component chemicals, the raw resin is then mixed with a variety of additives, heated to form a molten plastic compound, forced like spaghetti strands through a die and chopped into pellets.

The SGC representative I met was quick to explain the intricate sciences, the high levels of industrial expertise and the thorough quality-control checks needed to make this high-grade vinyl compound, but stonewalled questions about the harmful side effects of vinyl production. PVC contains carcinogenic chemicals, and the operation produces toxic wastewater that the company has been known to pour into the Chao Phraya Rriver according to Greenpeace, which says TPC has “a history of environmental abuses” going back to the early 1990s. A representative from SGC brand management and corporate social responsibility declined repeat opportunities to comment in detail via email.

During vinyl’s original heyday, the situation in the US was no different. In the 70s, the Keysor-Century Corporation, located north of Los Angeles, supplied about 20m kilos of PVC a year to the US record industry. That amounts to about one-third of the total annual amount used in the country at the time.

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Keysor-Century was an illegal pollutant. The corporation had been under investigation by the Environmental Protection Agency since 1977. It was revisited by the EPA in the early 2000s, this time with the FBI, which resulted in a $4m fine and public apology for lying about exposing workers to toxic fumes, releasing toxic chemicals into the air and dumping toxic wastewater down the drain.

It is impossible to know the proportion of the effluent in the Chao Phraya or how much of the pollution is directly linked to the production of LPs. One thing, though, is certain. Vinyl records, as well as cassettes and CDs, are oil products that have been made and destroyed by the billion since the mid-20th century. During the US sales peaks of the LP, cassette and CD, the US recording industry was using almost 60m kilos of plastic a year. Using contemporary averages on greenhouse gas equivalent releases per pound of plastic production, as well as standard weight figures for each of the formats, that is equivalent to more than 140m kilos of greenhouse gas emissions each year, in the US alone. Music, like pretty much everything else, is caught up in petro-capitalism.

Is rejecting physical media and embracing streaming the answer? This is the wrong way of framing the issue, as digital media is physical media, too. Although digital audio files seem virtual, they rely on infrastructures of data storage, processing and transmission that have potentially higher greenhouse gas emissions than the petrochemical plastics used in the production of more obviously physical formats such as LPs – to stream music is to burn coal, uranium and gas.

The amount of energy required to stream an individual song or album is negligible – much less than it takes to get that same music on an LP, cassette or CD – but one-to-one comparisons miss the point. We need to understand the aggregate energy effects of billions of streamers who now expect, without a second thought, instant access to unlimited amounts of music. This culture of listening is what gives us the result that, although the US recording industry is using far less plastic, it is producing more greenhouse gas emissions. Conservative estimates show the amount of such emissions to be 200m kilos a year after 2015, while pessimistic estimates show it to be 350m kilos a year – which is more than double the US industry’s emissions profile at the height of vinyl, cassettes or CDs. Individual digital audio files use less energy than those previous formats. Those individual gains in efficiency are outstripped by increases in overall use.

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The devices required to access those infrastructures – smartphones, tablets, laptops – rely on the exploitation of natural and human resources around the world. These products then quickly succumb to fashion and obsolescence, ending up at dump sites, making further claims on other people and places.

Still, practical resolutions are emerging. A group of eight Dutch companies is exploring ways of greening vinyl, by making records from a recyclable, non-PVC material. Yet last October in Los Angeles, at the world’s leading business-to-business conference for plastic music formats, their Green Vinyl Records prototype recordings were laughed at because they sounded “awful” and felt “cheap”. One of the consortium’s leaders complained to me about the conservatism of vinyl junkies. I listened to the available demo record, and it’s true that it neither sounded nor felt like a typical LP. The background noise was not what I was used to, and there was even sometimes an intermittent ringing – as if the record itself had tinnitus. The bend and the flex were unusual. The edges were boxy. But if this is the sound and the feel of something that is made from a material less damaging than PVC, then these characteristics are not blemishes but beauties.

Streaming services such as Spotify have started releasing information about their environmental impact. While the numbers they publish suggest that their carbon footprint is decreasing, they only provide information about their own data centres. However, Spotify has decommissioned most of their own streaming infrastructure and subcontracted that work to the Google Cloud. So the amounts must be significantly higher than what is reported. As more and more streaming services subcontract their data storage and processing needs to cloud corporations, they also subcontract responsibility for the energy requirements and carbon emissions of digital music. As one streaming engineer told me: “As long as we have an ozone layer, we live in the cloud.”

It can be unsettling to find out that something as delightful as music is inseparable from these disturbing realities. But confronting those realities is the first step toward understanding them – and maybe improving them. I think back to the strange feel and whine of the recyclable record – it’s now the cosy crackle of PVC vinyl, which indexes petrocapitalism, that I find disturbing.

• Adapted from Decomposed: The Political Ecology of Music by Kyle Devine, published by MIT Press.

This content was originally published here.

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bigyack-com · 4 years

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In the Swim of Digital Images, There’s Nothing Boring About Sculpture

In 1846, back when critics were not yet afraid of rendering judgments, Charles Baudelaire went to the Paris Salon and wrote a review that aimed to put an entire art form out of business.Under the title “Why Sculpture Is Boring,” Baudelaire argued that bronze and marble statuary was vague and elusive, and “presents too many faces at once” — 100 different angles — to the spectator. He thought sculpture lacked the authority of painting or architecture, which both made clear where they stand. When “a chance illumination, an effect of lamplight, reveals a beauty which was not the one he had thought of,” the sculptor must sadly accept that three-dimensional art is always fated to depend on the circumstances of its display. That makes it, the poet insisted, nothing but “a complementary art.”Baudelaire’s critique was just one of many anti-sculpture broadsides over the last two centuries, mostly delivered by painters — and by those critics in the tank for them. (Ad Reinhardt, maybe apocryphally, said in the 1950s that sculpture was “something you bump into when you back up to look at the painting.”) But something interesting has changed in the camera phone age: Suddenly, a sculpture’s infinite perspectives and mutable viewing conditions provide new prospects in the gallery and on the web. To Baudelaire, sculpture disappointed by refusing to resolve into a single point of view, but to the camera phone-conditioned eye, that refusal is an opportunity. Every sculpture, to the contemporary viewer, is first a solid thing in the gallery and then a font of subsequent images, co-authored by artist and viewer.I’ve spent a lot of the past season thinking about the contemporary relevance of sculpture, and how we experience solidity, weight and dimension in the era of the cloud. It’s a question that framed my viewing of Verrocchio’s works in bronze and terra cotta, on view through Jan. 12 at the National Gallery of Art in Washington. It exercises contemporary sculptors as different as Richard Serra, Rachel Harrison, Nairy Baghramian and Andra Ursuta, who all presented major new shows recently in New York. It looms over the rolling controversies over public monuments, which solidify history in metal or stone, then deliquesce into pixels on Google Street View. And it provides the unexpected link between two extraordinary sculptors, working five centuries apart, who each updated the classical sculpture tradition for new audiences looking with new eyes.The older of these two artists is Bertoldo di Giovanni (circa 1440-1491), whose small but varied output in bronze, wood and terra cotta anchored the fall season at the Frick Collection. Bertoldo enjoyed the patronage of Lorenzo the Magnificent, the biggest hot shot of 15th-century Florence, and yet he produced relatively little; today he is most often spoken about as the student of Donatello and teacher of Michelangelo. This first-ever retrospective, which closes Jan. 12 and contains almost every surviving work, sticks up for Bertoldo as a multimedia resuscitator of the art of classical Rome, whether in Lorenzo-celebrating portrait medals or in an entire terra cotta frieze that topped the entrance of a Medici country house (a striking loan from a Tuscan museum).Nude men and gods, twisting and writhing, were Bertoldo’s predicament and prize. An arresting, full-scale statue of St. Jerome, made of painted wood and credited here to Donatello and Bertoldo working together, embodies the hermit priest as a lithe but wretched penitent, face pained and abdomen collapsed as he strikes his chest with a rock. Yet to a 21st-century eye, the most challenging and surprising work here is a serpentine bronze statuette of Orpheus, done around 1471 and on loan from the Bargello in Florence. Just 17 inches tall, with a tiny waist and unmuscled thighs and buttocks, this Orpheus looks more like a boy than a man as he sings, dances and plays a Renaissance string instrument called a lira da braccio. Get up close and you’ll see that the bronze is abraded and unfinished, especially on Orpheus’s lyre and on the animal pelt draped over his chest — the result of an only partial mastery of the lost-wax process of metal casting, which involves forming a clay mold around a wax figure, heating it so the wax melts away, and then filling the cavity with liquid metal. It was an ancient technique that Florentine artists had only recently rediscovered. Bertoldo’s “Orpheus,” for all its antique inspiration, is a work of a new, or newly revived, engineering process, whose glitchy rusticity has both a human and a technological derivation.Bronze statuette works grew in refinement and finish later in the Renaissance and into the Baroque era. The financier and art collector J. Tomilson Hill, whose collection of bronzes went on view at the Frick in 2014, now exhibits his cache of statuettes in an airy, white-walled space in Chelsea — alongside works of contemporary art. Right now at the Hill Art Foundation you can see five Renaissance bronzes alongside the sculpture of Charles Ray, the deep-thinking and slow-working Los Angeles sculptor who has rethought the classical tradition for our age as profoundly as Bertoldo did for his.For Mr. Ray, sculptural invention takes the form of an excessive perfectionism, in which new scanning and casting technologies permit thrillingly off-key riffs on ancient forebears. In the low-slung sterling silver sculpture “Mountain Lion Attacking a Dog” (2018), for example, the artist embodies a predator sinking its teeth into the flesh of its upturned prey, updating the Greek and Roman taste for group sculptures of animals to today’s Hollywood Hills. (This work’s most evident art historical precedent is the marble sculpture “Lion Attacking a Horse,” at the Capitoline Museum in Rome — a favorite of Bertoldo’s disciple Michelangelo.)The lion’s painstakingly chased fur recalls the contrasts of clean and striated bronze in Bertoldo’s “Orpheus,” though now the technology at hand is different. For Bertoldo, the intermediate step between the initial figure and the metal cast was a layer of wax. For Mr. Ray, it is 3-D scanning and CNC machining: highly precise technologies that translate objects into data that can be output to a robotic mill.For both the metal sculpture stands as an uncanny replica or transformation of bodies we know, given new integrity and new value (literally, in the case of silver and bronze casts). What makes these sculptures compelling — and what Baudelaire hated about them — is the cryptic and unfathomable faces they offer as we circle them in the gallery, beholding them from all sides, scrutinizing their chasing and their patinas.What interests me now is how young audiences may perceive these sculptures, and how the social photo has transformed our appreciation of them. For more and more viewers, the phone screen conditions almost all visual perception — and this is true even at a museum like the Frick, where, nearly alone among New York museums, you cannot take photographs. Whether the smartphone comes out or stays in your pocket, our eyes are already being reformatted to follow the logic of digital images, where life becomes pictures and pictures become information.Sculpture, much more than maybe any art form, can offer viewers the satisfaction of oscillating between reality and virtuality, between object and image. (Unlike installation art, which too often recedes into a selfie backdrop, a sculpture retains its potency as it’s channeled with light and shadow from gallery into the social media feed.) Baudelaire’s anxiety about sculpture as a “complementary art” has drained away. The new challenge, when we look at Renaissance or modern sculpture, is to somehow still appreciate mass, volume and scale when all that is solid melts into the screen.Bertoldo di Giovanni: The Renaissance of Sculpture in Medici FlorenceThrough Jan. 12 at the Frick Collection, 1 East 70th Street, Manhattan; 212-288-0700, frick.org.Charles Ray and the Hill CollectionThrough Feb. 15 at the Hill Art Foundation, 239 10th Avenue, Manhattan; 212-337-4455, hillartfoundation.org. Read the full article

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gethealthy18-blog · 5 years

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How to Make & Use Dried Flowers for Decor, Tinctures, and More

New Post has been published on http://healingawerness.com/news/how-to-make-use-dried-flowers-for-decor-tinctures-and-more/

How to Make & Use Dried Flowers for Decor, Tinctures, and More

We use a lot of flowers around here for purposes other than decoration, from calendula for skin to dandelions for iced dandelion lime tea. While I enjoy a vase of fresh flowers as much as the next person, the practical side of me always wishes for a way to extend the enjoyment.

I did a little research, and as a result, here are five natural ways to preserve flowers so their beauty lasts for weeks (even months!).

How to Make Dried Flowers for Lasting Beauty & Benefits

Yes, they’re pretty, but flowers have other benefits. Science has shown flowers make us happier!

I may be known for suggesting gifts other than flowers (preferably, experiences!), but there are tangible benefits to this popular gesture. In 2005 researchers explored how flowers impact behavior. People who received flowers were happier and had more positive interactions with those around them. The flowers even positively affected the recipient’s memory!

Fresh flowers can get expensive though! (I personally love to receive potted plants for this reason.) One other approach though is to dry flowers in order to preserve them (and the positive emotions!). Dried flowers are one of the simplest and most classic ways to preserve flowers and make the enjoyment last.

Which Flowers Work Best

Flowers that are delicate can crumble more easily when dried, so sturdy flowers work best. Sunflowers and daisies usually lose their petals when dried, so they’re not the best candidates for dried flowers.

Here are some flowers that work well:

Marigold

Carnation

Rose

Hydrangea

Delphinium

Tip: Flowers are best preserved when they’re vibrant and before they’re fully opened. Don’t’ wait until they’re dying!

How to Make Beautiful Dried Flowers at Home

There are three basic ways (that I know of) to dry flowers: by hanging, by pressing, or in wax.

Option 1: Dry Flowers by Hanging

Pros: Easy to do, little prep time. Ideal method for flowers and herbs that may be used in tinctures.

Cons: Some fading and loss of color. Will crumble easily if touched.

Supplies

You’ll need:

Flowers

Twine

Coat hanger

Scissors

Brown paper bags (optional)

Instructions

Remove the leaves from the stem so the flowers dry better.

Arrange the flowers in small bundles. Space the flowers out so there’s enough airflow and the blooms aren’t smashed together.

Tie twine around the flower stems and pull it tight. The stems will shrink some as the flowers dry.

Tie the twine to a clothes hanger. Each coat hanger will fit about 2-3 flower bundles.

Hang the flowers in a warm, dry place for 2-3 weeks or until dry.

Tips for Success:

Moisture will prevent the flowers from drying properly and can cause them to get moldy.

There should be air circulation, but make sure there aren’t any breezes nearby!

Direct sunlight causes the petal color to fade. Covering flowers with a paper bag while they’re drying can help. Once the flowers are tied, gently place the flower heads into an open paper bag and secure with some twine.

Storage and Shelf Life

Keep the flowers away from direct sunlight and protect them from gusts of wind. When stored properly, dry flowers will last for years, if not indefinitely.

Option 2: Dry Flowers by Pressing

Pros: Easy, low prep, and perfect for framing

Cons: Will lose the three-dimensional beauty; only works with certain flowers

This well known method to preserve flowers works best on blooms that are naturally more flat. There are some inspiring wooden flower presses available, but good old-fashioned books work just as well. According to Better Homes and Gardens, here are some flowers that work well for pressing.

Flowers that work well for pressing:

Violets

Pansies

Daisies

Shrub roses

Cosmos

Delphinium

Miniature roses

Geraniums

Forget-me-nots

Ferns

Leaves

Pressed Flowers Supplies

You’ll need:

Flowers

Scissors

Heavy books or flower press

Absorbent paper (newspaper, regular printer paper, etc. NOT wax paper or paper towels)

Pressed Flowers Instructions

Snip the stems from the flowers as close to the base as possible.

Lay a sheet of paper on the pages of the book. Arrange the flowers on the paper so they don’t touch each other.

Lay another sheet of paper on top, then close the book or flower press.

Stack heavy books on top and leave it be for several weeks.

Storage and Shelf Life

Pressed flowers will last indefinitely when stored properly. Keep them away from excessive heat, moisture, and direct sunlight. The flowers can be displayed in a glass frame, or laminated for things like bookmarks.

Option 3: Preserve Flowers in Wax

Pros: Lasts indefinitely and preserves color better than the other methods

Cons: Time-intensive and can be finicky; more to clean up.

I use beeswax in everything from homemade deodorant to non-toxic candles. Turns out it’s also handy for preserving flowers. Paraffin wax is typically used to wax flowers. However, like petroleum jelly, paraffin is a by-product of oil refining so I prefer to skip it. Soy wax is often used, but it comes from highly refined GMO crops (definitely not eco-friendly), so it’s also on my no list. So that leaves us with beeswax.

Wax Flowers Supplies

Flowers

Beeswax (about 1 cup)

Wide mouth Mason Jar

Pot

Metal Spoon

Wax Flowers Instructions

Fill the pot half full of water and place it over medium/high heat on the stove.

Put the beeswax into the jar and place the jar in the water.

Stir occasionally with a spoon until fully melted.

Quickly dip the flower into the wax, making sure it’s fully submerged.Large flowers like roses need more wax than something like daisies.

Pull the flower up out of the wax, but keep the head still in the jar: give it a spin so the excess wax comes off.

Dry flowers upright for a few hours until hardened.

Tips for Success:

This method is a little trickier than the others and takes some trial and error.

The wax should be hot enough to smoothly coat the petals, but not so hot it cooks them.

The wax made the pink and red flowers duller and faded. However the method works beautifully for leaves, yellow, and orange-toned flowers.

Flowers with petals that aren’t tight together work best (flowers should be completely bloomed and open). Delicate flowers that won’t hold up to the heat of the wax are also a poor choice.

Storage and Shelf Life

Waxed flowers will last about 1-4 weeks, although some people have reported theirs have lasted for years. Keep them out of direct sunlight.

Fun Uses for Dried Flowers

Here are some ideas to use dried flowers:

Mount pressed flowers in a picture frame and hang them like art. Frames that are clear glass on both sides work well for this!

Put pressed flowers on some scrapbook paper to make a bookmark. Cover it in contact paper or laminate.

Arrange and put in shadow boxes (these are like picture frames but much thicker for large items).

Make a wreath with dried flowers to hang in the home.

You can make handmade paper from paper scraps and add flower petals for color.

Decorate gifts by tying with some twine and tucking dried flowers in the twine.

Pressed flowers can even be used to decorate a smartphone. Simply arrange the flowers on the phone back, then snap a clear phone cover over them.

Memory books and scrapbooks are another way to keep pressed flowers. Be sure to use very flat blooms and cover them with modge podge, contact paper, or something similar so they don’t crumble on the page.

Have you ever dried flowers before? What are some ways you use the dried blooms?

Sources:

Haviland-Jones, J., Rosario, H. H., Wilson, P., & McGuire, T. R. (2005). An Environmental Approach to Positive Emotion: Flowers. Evolutionary Psychology. https://journals.sagepub.com/doi/10.1177/147470490500300109

Source: https://wellnessmama.com/403578/dried-flowers/

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amkautodetailing · 6 years

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